The first monograph and only substantial publication on the work of Patrick George (born 1923), this book will reveal to a largely unsuspecting public the lyrical paintings of a rare and original talent. George is better known as a teacher; he taught for forty years at the Slade School of Fine Art, University College, London before eventually becoming Director there. He has only shown his work infrequently, yet perceptive commentators have identified him as a School of London painter, to be viewed in the same context as Lucian Freud (a friendly rival), Frank Auerbach (a strong supporter of George's work), and Euan Uglow (George's close friend and colleague). For too long dismissed as a follower of Coldstream, Patrick George is in fact very much his own man, a Northern European landscape and figure painter, working in the tradition of Gainsborough and Constable. In this book, his unique contribution to the development of contemporary landscape painting is for the first time examined and evaluated.

A new edition of the long unavailable autobiography of the pioneering Surrealist artist, Eileen Agar.

Told in his own words, in response to questions from the writer and art critic Andrew Lambirth, this book chronicles Andrew Logan's life and work through expressive anecdote and factual recollection. Reflections is a look back, but also a look at the present and a look forward: it is about the meaning of Andrew's world and the sculpture he has made to fill it, and about his approach to art, to friendship and to living in London and Wales. The Alternative Miss World, founded by Andrew in 1972, is at the heart of his philosophy, not just the world's greatest drag act (though it is this too), but an exhilarating celebration of the transformative power of the imagination. Andrew's work, which is all about joy and beauty, is inspiring and uplifting. This book, based upon discursive interviews dealing with all periods of his career, explains and contextualises it fully for the first time.

This book builds on the guidance given by the Primary Strategy for Literacy. By 'filling in the gaps' that the planning documentation leaves, the book provides teachers with the structures and ideas to plan creatively and effectively for their children whilst following and enhancing the recommendations of the strategy. It includes:

• clear and practical ways to plan units of work that embrace reading, writing, speaking and listening, in exciting and active ways
• examples of effective practice using children's work that highlight the effects of creative planning
• suggestions for texts and resources that can be included in half-termly and termly planning.

Written by a team of leading educationalists and teacher educators in the primary literacy field, this edited collection is a must-have for primary teachers wishing to inject creativity into the planning of their literacy lessons.

This accessible yet authoritative book affirms the vital role of creativity in writing, and considers and encourages flexible, innovative practices in the teaching of writing. Importantly, the book reflects upon teachers' imaginative practices in the teaching of writing. Importantly, the book reflects upon teachers' imaginative and artistic involvement in the writing process as role models, collaborators, artists and writers themselves.
Arguing that children's creative use of their language is key to the development of their language and literacy skills, this book focuses on the compositional process and children's own ideas. The authors examine the many voices that influence the inner and outer voice of the child, through reading, investigating, imagining, talking and taking part ion a range of engaging and inspiring activities.
Illustrated throughout with many examples of children's writing and drawing, and then with suggestions for classroom activities, this book is for any teacher looking to deepen their understanding of literacy theory and practice.

This accessible yet authoritative book affirms the vital role of creativity in writing, and considers and encourages flexible, innovative practices in the teaching of writing. Importantly, the book reflects upon teachers' imaginative practices in the teaching of writing. Importantly, the book reflects upon teachers' imaginative and artistic involvement in the writing process as role models, collaborators, artists and writers themselves.
Arguing that children's creative use of their language is key to the development of their language and literacy skills, this book focuses on the compositional process and children's own ideas. The authors examine the many voices that influence the inner and outer voice of the child, through reading, investigating, imagining, talking and taking part ion a range of engaging and inspiring activities.
Illustrated throughout with many examples of children's writing and drawing, and then with suggestions for classroom activities, this book is for any teacher looking to deepen their understanding of literacy theory and practice.

This book builds on the guidance given by the Primary Strategy for Literacy. By 'filling in the gaps' that the planning documentation leaves, the book provides teachers with the structures and ideas to plan creatively and effectively for their children whilst following and enhancing the recommendations of the strategy. It includes: clear and practical ways to plan units of work that embrace reading, writing, speaking and listening, in exciting and active ways examples of effective practice using children's work that highlight the effects of creative planning suggestions for texts and resources that can be included in half-termly and termly planning. Written by a team of leading educationalists and teacher educators in the primary literacy field, this edited collection is a must-have for primary teachers wishing to inject creativity into the planning of their literacy lessons.

Diana Armfield RA Hon RWS NEAC has a highly personal attachment to subject and a subtly distinctive affinity with the rhythms of form and tone. These qualities make her an important, influential figure in modern British art - and a very popular one. Flower paintings have brought her wide acclaim, but this book - created to mark her 100th birthday - also richly represents Diana's feeling for landscape and place. Including an inspiring number of more recent works, it brings her fascinating artistic and life story up to date. 'I think I was born making things', Diana comments to Andrew Lambirth, whose absorbing interview with her forms the narrative thread of Diana Armfi eld: A Lyrical Eye. Diana's was a creative childhood steeped in experiments with drawing, pottery and embroidery, played out against the backdrop of a picture-fi lled house, a lovely garden and an artistic family. She studied at Bournemouth, Slade and Central art schools, starting out as a talented textile designer - a legacy that lent her a unique approach to the geometry, cadences and colour qualities of a painting. After organising cultural activities for workers and troops in World War II, Diana became one half of a successful partnership designing textiles and wallpaper, whose work featured in the Festival of Britain in 1951. The 1960s brought a turn to painting and from 1966 Diana has been a regular exhibitor at the prestigious Royal Academy Summer Exhibition. She has continued to paint and draw throughout her life and, as this book clearly demonstrates, always thinks afresh about each subject she tackles in order to respond to it with a close, warm sincerity. Diana Armfi eld: A Lyrical Eye charts Diana's personal and artistic journey with over 200 beautiful reproductions of her work, tracing favourite subjects and events - from a Welsh landscape to an informal fl ower display or the much-loved location of a painting trip in Italy or France. Andrew Lambirth's interview also explores the unique bond with her husband, painter Bernard Dunstan, who died in 2017, looking at how two leading artists interwove their personal and creative lives over a marriage of almost 70 years. As well as this interview, Andrew has contributed an essay on Diana's work to the book. Diana's standing and popularity have led to regular exhibitions, especially at prominent London gallery Browse& Darby. Her work is held in private and public collections worldwide, from London's V&Ato the Yale Center for British Art.

In order to be a successful primary teacher you need a clear understanding of good teaching practice across the subjects that make up the primary curriculum. This second edition has been fully updated to include key points from the 2014 National Curriculum in England, balancing a clear discussion of the principles behind high quality teaching with the requirements of current policy. An emphasis on creative approaches supports you in developing inspiring cross-curricular practice in your classroom. New to this edition: Links to the 2014 National Curriculum in England in every chapter Case studies in every chapter provide useful examples of creative teaching in each curriculum subject Expanded coverage on assessment and planning This is essential reading for students on primary initial teacher education courses, including university-based (PGCE, PGDE, BA QTS, BEd), school-based (SCITT, School Direct, Teach First) and employment-based routes into teaching.

Bryan Robertson (1925-2002) was the greatest director the Tate Gallery never had. In 1952, at the age of 27, and against formidable competition (which included David Sylvester and Lawrence Gowing), he became Director of the Whitechapel Gallery, a post he held until 1969. While there he effected a revolution in the British museum world, bringing the more innovative and radical American and European contemporary artists to the UK, as well as programming a series of exhibitions devoted to British artists in mid-career. He was the first to show Pollock, Rothco, Rauschenberg and Johns in England, matching this with historical re-evaluations of Turner, Stubbs, Bellotto and Rowlandson. Among Europeans he showed Mondrian, de Stael, Malevich and Poliakoff , and the English artists included Barbara Hepworth, Alan Davie, Ceri Richards and Keith Vaughan. Among younger painters and sculptors he identified the New Generation of Caro, Hoyland, Riley, Jones and Caulfield, and stage-managed a flow of exhibitions which transformed the Whitechapel and made it the gallery to visit. Robertson was a man of vision and flair, and this book celebrates his lasting infl uence over the way we look at and think about art, as witnessed through the words of his friends and contemporaries and in excerpts from his own written works.

""The book's strength lies in the ability of the contributors to draw conclusions in relation to the reading debate and constructively justify moving away from the reliance on a single phonics approach based on evidence from empirical research. ...The book offers a timely warning against reading becoming synonymous with synthetic phonics instruction, of children becoming mere 'functional decoders of print' (p. 53). The argument turns to the very real need for children to develop and understand the 'joy, relevance and use for reading' (p. 79); indeed in the current climate of synthetic phonics instruction children are in danger of losing the ability or the will to look at a book for pleasure."
Early Years"

Debates about the teaching of reading and particularly which phonics method teachers should use have been simmering for many years. This groundbreaking book offers critical perspectives on the teaching of reading and phonics, openly challenging contemporary policy in both England and the US.

As well as providing refreshing insights into how children encounter texts in the increasingly complex world of literacy, the book celebrates the complexity, pleasure and passion that are the foundations of becoming a successful reader. Each chapter explores in-depth the processes involved as children engage in reading, from their interactions with texts in the very earliest stages through to the primary phase. Drawing on both research and theory, the book also shows how some contemporary understandings of reading are based on over simplistic and rationalised ideas about the reading process.

A unique feature of this book is that it combines academic perspectives with the insights of parents and practitioners. The participation of those most closely involved with children complements the lively debate and contributions from researchers, providing a rich and inclusive range of ideas.

"Understanding Phonics and the Teaching of Reading" is a stimulating read for educational studies students, students of teaching and learning, policy makers, educational researchers and teachers.

This is the first book to present a comprehensive overview of the entire career of British artist Richard Eurich (1903-1992), a figurative painter of compelling power and often visionary intensity who brought rare imaginative reserves to his depiction of the world around him, as well as to his apprehension of the mysterious and unseen. Eurich was a private man, not much given to self-promotion, and as such has not received the widespread attention he deserves. The Art of Richard Eurich locates the artist within the context of 20th-century British art, demonstrating his relevance in all quarters of the art world of the period. Eurich was draughtsman, landscape painter, teacher, War Artist, autobiographer, marine painter extraordinaire, portrait painter, figure painter, satirist, genre painter, visual poet of the beach, and occasional sculptor. His many creative talents are brought together in a compelling analysis of how these various parts refer to each other and to the man who was responsible for them. Featuring a wide selection of his artworks, from the topographical to the visionary, from the drawn to the painted, this book unspools the narrative of Eurich's life through expertly chosen examples of his paintings and drawings and places him in relation to his fellow-artists, friends and contemporaries.

This Reflective Reader contains extracts from books, journals and current research that have been chosen to stimulate trainee teachers' thinking about teaching English. It sets challenges about the daily work of teaching children to become literate, and creates a framework within which teachers will learn to become reflective practitioners.

Sarah Medway's abstract paintings are a delicate, evocative and sincere investigation into the nature of light as it manifests itself through the myriad environments that surround us. She navigates us through the different seasons, sometimes on foreign shores - from the Mediterranean to Scandinavia and beyond - other times closer to her canal-side studio in central London. She leads us through different times of day and night, from dawn to dusk and long into the night. She takes us up to the skies, into sunlight and shade, clouds and fog, rainbows and sunsets. She takes us into fields, along the coastline, and far out to sea. With her distinctive vocabulary of abstract marks and shimmering palettes, her works build into complex webs of patterns and textures that capture something of the experience of perceiving light, colour and shapes as they filter through the atmosphere into our eyes, minds, memories and subconscious. That Medway's works take us on different journeys, into different environments and out to sea is certainly apt, as the body of work presented in this latest monograph on the artist takes the form of 56 canvases that were commissioned for display on the new P&O Cruises Britannia, the largest and highest-specification cruise ship built by the company to date, making regular voyages into the Med, to the Fjords, to the Canaries, the Caribbean and beyond. This substantial commission is one of the latest in a long line of commissions by P&O of original works of art by living artists. For the publication, specially commissioned texts by eminent art critics Andrew Lambirth and Sue Hubbard offer an illuminating and insightful introduction to Medway's oeuvre and to this significant new series of paintings. In addition to having participated in group exhibitions at institutions including Tate Britain, the Whitechapel, the Royal Academy, the World Trade Center and Austin Museum of Art, Medway has had solo exhibitions at venues including Flowers East, London, Chelsea Hotel, New York, Kienbaum Gallery, Frankfurt, The Mandalai, Thailand, and Atelier Gallery, Spain. She has works in many public, private and corporate collections in the UK, US, Germany, Italy, Spain, Belgium, Hong Kong and Thailand. Published by Anomie, the monograph has been designed by Peter B. Willberg with James Sutton, and printed in Italy by Castelli Bolis.

Making Poetry Matter draws together contributions from leading scholars in the field to offer a variety of perspectives on poetry pedagogy. A wide range of topics are covered including: - teacher attitudes to teaching poetry in the urban primary classroom - digital poetry and multimodality - resistance to poetry in Post-16 English. The internationally recognised contributors draw on data collected through a variety of research methods, including case studies, to ensure that theory on poetry pedagogy is clearly linked to practice. They consider teaching and learning poetry in classrooms across the 5 - 19 age range from different perspectives, looking at reading; writing; speaking and listening and transformative poetry cultures.

Learning to read is an exciting and vital part of every child's development. The new edition of this book continues to provide trainees and teachers with a broad understanding of teaching reading and phonics, and equip them with the skills necessary to face the reality of the early years classroom in order to meet the needs of individual children. With vital information on constructing relationships with young readers, and how to plan phonics within a rich, interactive and playful literacy pedagogy, the second edition now includes: A brand new chapter on babies and early reading More information on language acquisition and how children learn A discussion of children with SEN An appreciation for the rise of digital technologies in relation to reading Whether you're training to become a teacher, or already working in the classroom this book is ideal for those who wish to embed the teaching of phonics into carefully selected high quality materials - particularly in children's literature.

Learning to read is an exciting and vital part of every child's development. The new edition of this book continues to provide trainees and teachers with a broad understanding of teaching reading and phonics, and equip them with the skills necessary to face the reality of the early years classroom in order to meet the needs of individual children. With vital information on constructing relationships with young readers, and how to plan phonics within a rich, interactive and playful literacy pedagogy, the second edition now includes: A brand new chapter on babies and early reading More information on language acquisition and how children learn A discussion of children with SEN An appreciation for the rise of digital technologies in relation to reading Whether you're training to become a teacher, or already working in the classroom this book is ideal for those who wish to embed the teaching of phonics into carefully selected high quality materials - particularly in children's literature.

Irish-born designer Eileen Gray (1878-1976) is widely known today as a pioneer of both Art Deco and Modernism. In a career spanning nearly 80 years she produced innovative designs for furniture, lighting, carpets, interiors and architecture. Much less well known is that throughout her life as a designer and an architect she never stopped producing small paintings and drawings. This book is the first to focus on Eileen Gray's important but essentially private work as a painter. Eileen Gray considered herself a designer and an architect, not a painter: she viewed her work as a painter with great modesty, treating it as a private occupation and a vehicle for artistic expression during periods when she could not design furniture. Much of her artwork has disappeared, either lost in the Second World War or destroyed by the artist herself. But a body of works on paper, produced between the 1920s and the 1950s, has survived: elegant, geometric drawings and gouaches of muted tonality and subtle power. This book, which reproduces unseen material from the Eileen Gray archive and draws on Gray's correspondence with her niece Prunella Clough on the nature of painting, will be a revelation to her many followers and admirers.

Edward Burra (1905-76) was an English painter who is best known for his paintings of the seedy underworld of urban life. Yet, as this fascinating new monograph on his work reveals, his interests were much broader, incorporating landscape and still-life paintings, stage designs, book illustration and watercolours. Somewhat neglected by histories of modern art because his singular vision was often at odd with the mainstream art world, his work is now due for a re-appraisal. This important book represents the first full-scale monograph on Edward Burra and reproduces 100 key paintings alongside drawings and a range of fascinating contextual material. It positions Burra as a major figure in the history of 20th-century art, placing his work alongside that of the German Expressionists and other important contemporaries and influences. Long awaited, this book will be widely welcomed by all those with an interest in the art of this fascinating maverick and documenter of modern life.

UKLA Academic Book Award 2016: Highly Commended Making Poetry Happen provides a valuable resource for trainee and practicing teachers, enabling them to become more confident and creative in teaching what is recognized as a very challenging aspect of the English curriculum. The volume editors draw together a wide-range of perspectives to provide support for development of creative practices across the age phases, drawing on learners' and teachers' perceptions of what poetry teaching is like in all its forms and within a variety of contexts, including: - inspiring young people to write poems - engaging invisible pupils (especially boys) - listening to poetry - performing poetry Throughout, the contributors include practical, tried-and-tested materials, including activities, and draw on case studies. This approach ensures that the theory is clearly linked to practice as they consider teaching and learning poetry to those aged between 5 and 19 from different perspectives, looking at reading; writing; speaking and listening; and transformative poetry cultures. Each of the four parts includes teacher commentaries on how they have adapted and developed the poetry activities for use in their own classroom.

This engaging text explores discourses involved in the teaching of literacy which can be conceptualised as deriving from the political left. The concept of a left and a right in politics are fully defined and a unique analytical framework is introduced to examine and categorise perspectives for teaching literacy. The book creates a language of critique for methods advocated from liberal, left-leaning sources within the field of education and connects them to left political agendas that aspire to either reform or revolution to change and improve society. These left approaches are then contrasted with politically right agendas. Methods for the teaching of literacy have for many years been seen to be politically motivated by commentators on the left and the right of politics. This book considers the ideological sources of educational practice in literacy. Methods advocated from more liberal perspective are rarely critiqued and examined for their ideological and political roots.

This engaging text explores discourses involved in the teaching of literacy which can be conceptualised as deriving from the political 'left'. The concept of a 'left' and a 'right' in politics are fully defined and a unique analytical framework is introduced to examine and categorise perspectives for teaching literacy. The book creates a language of critique for methods advocated from liberal, 'left-leaning' sources within the field of education and connects them to left political agendas that aspire to either reform or revolution to change and improve society. These left approaches are then contrasted with politically 'right' agendas. Methods for the teaching of literacy have for many years been seen to be politically motivated by commentators on the left and the right of politics. This book considers the ideological sources of educational practice in literacy. Methods advocated from more liberal perspective are rarely critiqued and examined for their ideological and political roots.