Providing a detailed annotated bibliography and research guide to the Stieglitz Circle and four of its leading members--Arthur Dove, Marsden Hartley, John Marin, and Max Weber--this new sourcebook offers a chapter on each of the four artists. Complete with biographical essay and guides to writings, statements, correspondence, books, articles, reviews, reference sources, and archival sources, each artist's chapter gives the researcher an exhaustive catalogue of relevant material.

The only such annotated sourcebook currently available on the Stieglitz Circle, R. Scott Harnsberger's work offers lists of annotated reproductions of each artist's works, keyed to over 600 source volumes not mentioned elsewhere in the volume, including catalogues of museums, galleries, private collections, thematic exhibitions, and auction firms.

Hogarth has long been viewed as an insular and chauvinistic individual, with a particular aversion to all things French. On the contrary, while Hogarth himself liked to project this image, his effective invention of British art was founded upon a profound knowledge of contemporary French art and theory. This lavishly illustrated book conjures up in great detail the French and wider European context within which Hogarth's art was formed. Robin Simon examines the ways in which Hogarth interacted with and influenced his contemporaries not only in painting and printmaking, but also in sculpture, poetry, the novel, the theater, public life, art education, copyright law, music and opera. In this wide-ranging but richly detailed book, full of analyses of individual works, the author draws upon a mass of new material, with fresh analyses of Hogarth's most famous and less well-known works alike, opening a window on to one of the most creative and formative periods in British life. Robin Simon, FSA, is Editor of The British Art Journal, having been Editor of Apollo magazine and a tenured university academic for many years before that. He is the author of many scholarly articles on British art, and his books include The Portrait in Britain and America (1987).

In 1951, Joan Eardley visited the coastal fishing village of Catterline in north-east Scotland for the first time. Her visit sparked a fascination that would last the rest of her life. She made the village her home and found inspiration in the dramatic light and rapidly changing weather. The gentle landscapes and wild rolling seascapes she painted of Catterline in wind, snow, rain and sun are among her best-loved works. Unpublished archival material and interviews with many of those who knew her shed new light on Eardley's life in Catterline. A vivid portrait is painted both of Eardley and of the village, showing the vital part Catterline played in her development as an artist. The story of her experiences on the wild Scottish coast is evocatively told and beautifully illustrated with some of her most remarkable drawings and paintings.

Born in Berlin in 1931 to Jewish parents, the eight-year-old Auerbach was sent to England in 1939 to escape the Nazi regime. His parents stayed behind and died in a concentration camp in 1943. Now in his eighties, Auerbach is still producing his distinctly sculptural paintings of friends, family and surroundings in north London, where he has made his home since the war. The art historian and curator Catherine Lampert has had unique access to the artist since 1978 when she first became one of his sitters. With an emphasis on Auerbach's own words, culled from her conversations with him and archival interviews, she provides a rare insight into his professional life, working methods and philosophy. Auerbach also reflects on the places, people and inspirations that have shaped his life. These include his experiences as a refugee child, finding his way in the London art world of the 1950s and 1960s, his friendships with Lucian Freud, Francis Bacon and Leon Kossoff, among many others, and his approaches to looking and painting throughout his career. For anyone interested in how an artist approaches his craft or his method of capturing reality this is essential reading.

"Acrylic Landscapes in a Weekend" will have you painting in no time, with eight cleverly-constructed projects that can each be completed in just one weekend. You can discover the unique versatility and accessibility of acrylics - they can be used as watercolours on paper and as oil on canvas. Each of the projects features simple yet ingenious exercises to try on Saturday, and full step-by-step instructions for painting a finished picture on Sunday. It includes an insight into artist's materials, hot tips and gallery exercises to take things further. Versatile and inexpensive, acrylics are increasingly popular and "Acrylic Landscapes in a Weekend" is perfect for both beginners and improvers.

Prolific and successful in his own lifetime, and ""Picture drawer"" to Charles I, Cornelius Johnson (1593-1661) is now the forgotten man of seventeenth-century British art. This is the first book ever to address his life and work. Johnson's surviving works, all portraits, are found in most public collections in Britain and in many private collections seen on the walls of British country houses, in the possession of descendants of the original sitters. Working on every scale from the miniature to the full-length and big group portrait, Johnson faithfully rendered the rich textiles and intricate lace collars worn by his sitters. While always recognisably by him, his works reveal his exceptional flexibility and underline his response to successive influences. When four of Johnson's portraits in the Tate's collection were recently conserved, the author Karen Hearn commissioned investigations into his working methods and techniques. This previously unpublished material will make a significant contribution to the literature on this little-known artist as well as to the technical literature on 17th-century painting. Johnson's career coincided with one of the most dramatic periods in 17th-century history, and he painted many of the leading figures of the era. In 1632 he was appointed Charles I's Picture drawer and, as well as portraying the king, he produced exquisite small images of the royal children. In 1643, following the outbreak of Civil War, Johnson emigrated to the northern Netherlands. There he continued to work successfully, in Middelburg, Amsterdam, The Hague and, finally, in Utrecht, where he died a prosperous man. Johnson's portraits are not elaborate Baroque construts on the contrary, they have a delicacy, a dignity and a humanity that speak directly to present-day viewers. Their quality and diversity will be a revelation.

This volume commemorates the 100th anniversary of Vincent van Gogh's death. Major van Gogh scholars present essays that reexamine the painter's place in the art world of his time, the phenomenal growth in his reputation, and his influence on later art movements and individual artists. At the time of his death and for some years after, there was a question as to whether van Gogh's approach would gain recognition. Today, he is seen as one of the most popular and recognized of the world's artists, and his impact on 20th-century art is unquestioned. How and why this occurred is a major theme throughout this essay collection.

Among the topics examined are iconography; van Gogh's poetry as well as the literature that influenced him and that he, in turn, influenced; psychological and religious aspects of van Gogh's painting and self-imaging; and how van Gogh has been interpreted. A section on his legacy in art concludes this major reassessment of van Gogh's place in art history. An important collection for art scholars and researchers as well as public library patrons.

Published to coincide with the exhibition at the Foundling Museum in London, this fascinating book will re-introduce Joseph Highmore (1692-1780), an artist of status and substance in his day, who is now largely unknown. It takes as its focus Highmore's small oil painting known as The Angel of Mercy (1746, Yale), one of the most shocking and controversial images in 18th-century British art. The painting depicts a woman in fashionable mid-18th-century dress strangling the infant lying on her lap. A cloaked, barefooted fi gure cowers to the right as an angel intervenes, pointing towards the Foundling Hospital, the recently built refuge for abandoned infants, in the distance. The image attempts to address one of the most disturbing aspects of the Foundling Hospital story - certainly a subject that many (now as then) would consider beyond depiction. But if any artist of the period had attempted such a subject it would surely be William Hogarth, not the portrait painter Joseph Highmore? In fact, the painting was attributed to Hogarth for almost two centuries, until its reattribution in the 1990s. Even so, it is surprising that despite the wealth of scholarship associated with Hogarth and the `modern moral subject' of the 1730s and 1740s, The Angel of Mercy has received little attention until now. The book (and exhibition) seeks to address this, while encouraging greater interest in, and appreciation for, this signifi cant British artist. Highmore expert, Jacqueline Riding, will set this extraordinary painting within the context of the artist's life and work, as well as broader historical and artistic contexts. This will include exploration of superb examples of Highmore's portraiture, such as his complex, monumental group portrait The Family of Sir Eldred Lancelot Lee and the exquisite small-scale `conversations' The Vigor Family and The Artist and his Family, juxtaposed with analysis of key subject paintings, including the Foundling Museum's Hagar and Ishmael and Highmore's `Pamela' series, inspired by Samuel Richardson's bestselling novel. Collectively they tackle relevant and highly contentious issues around the status and care of women and children, master/servant relations, motherhood, abuse, abandonment, infant death and murder.

This reference provides biographical, historical, and critical information on Neo-Impressionist painting and its most significant painters. Neo-Impressionism, also called Divisionism and Pointillism, was one of the most innovative and startling late 19th-century French avant-garde styles. Over 2,000 books, articles, manuscripts, and audiovisual materials as well as chronologies, biographical sketches, and exhibition lists are cited. Also provided are both primary and secondary bibliographies for each artist. Secondary bibliographies capture details about each artist's life and career, relationships with other artists, work in various media, iconography, critical reception and interpretation, archival sources and more.

Art scholars will appreciate the comprehensive bibliographic research contained in this one volume. Entries on Neo-Impressionism in general, on exhibitions, and the primary and secondary bibliographies of artists follow an introduction about Neo-Impressionism and a Neo-Impressionism chronology that spans the years 1881 to 1905. An index of art works and an index of personal names complete the volume.