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"I love this book! Brilliant biography of the...utterly fascinating
artist Isabel Rawsthorne" Jennifer Higgie "Every page is gripping,
fascinating, forcefully and excitingly written, and sad." Andrew
Motion "Isabel Rawsthorne's life reads like a ready-made
screenplay... - a poverty stricken upbringing, world wars,
espionage, affairs, addiction, politics ... all set to a series of
evocative cinematic backdrops. And that's before any mention of her
career as one of the most hidden but influential artists of the
20th century." Interiors and Home "Jacobi's bigger project here,
seems to be to reimagine what an artist biography... can be." The
Art Newspaper "Highlights how talented women have often missed out
on the recognition they deserved" Observer Isabel Rawsthorne's
painting career at the centre of the Parisian and London
avantgardes was eclipsed by the many occasions on which her friends
made her the subject of their art, notably Epstein, Derain,
Giacometti, Picasso and Bacon. This pioneering painter exhibited
from the early 1930s, was influential in the 1940s and well known
in the 1960s, but in her later years Giacometti's and Bacon's
blockbuster biographies made her famous as a muse. Rawsthorne's
work is now in major collections, and this beautifully illustrated
book re-writes the pre- and post-war art history of which she was a
part: it is traced through the upheavals of the 20th century and
her singular relationships with some of its most fascinating
figures. A decade of research into the period, Rawsthorne's art and
archives, and the memories of friends, has revealed for the first
time her role in a rebel group at Liverpool School of Art; success
and tragedy in the 1930s when she was studio assistant to Jacob
Epstein; her life-long collaborations with Alberto Giacometti; and,
after the war, with Francis Bacon and with African Modernism in the
1960s, as well as her exceptional late work. It also tells the full
story of her break from art during the second world war, when she
worked for the government in black propaganda.
This monograph covers in a comprehensive manner the current state
of classification theory with respect to infinite abelian groups. A
wide variety of ways to characterise different classes of abelian
groups by invariants, isomorphisms and duality principles are
discussed.
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Francis Bacon: France And Monaco (Hardcover)
Martin Harrison; Text written by Martin Harrison, Carol Jacobi, Catherine Howe, Darren Ambrose, …
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R1,140
R847
Discovery Miles 8 470
Save R293 (26%)
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Ships in 12 - 17 working days
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It was in Paris in 1927, at an exhibition dedicated to Picasso,
that Francis Bacon grasped his vocation as a painter. In 1946, he
moved to Monaco on the French Riviera where he lived for four
years, his time in the Principality marking a turning point in his
art; with his popes series, he became a painter of the human
figure. In Paris he befriended artists and intellectuals, such as
Giacometti and Leiris, whilst the city would become the setting for
the crystalisation of his reputation in 1971 with the retrospective
at the Grand Palais. In 1975, Bacon would take a studio in the
Marais district. This bilingual publication co-published by Albin
Michel and The Francis Bacon MB Art Foundation tells of Bacon s
deep ties with France and Monaco, and has been overseen by Martin
Harrison, author of Francis Bacon: Catalogue Raisonne and curator
of the coinciding exhibition Francis Bacon, Monaco et la culture
franc aise which runs at Grimaldi Forum, Monaco from 2 July 2016
until 4 September 2
This is a fundamental reassessment of the work of William Holman
Hunt, and the first critical text to reproduce his pictures in
colour and set him on an international stage. Introducing a new
critique of the autobiography and drawing on hundreds of private
letters, drawings and paintings, the author depicts a radical man
of his times, deeply troubled by the pivotal concerns of the
materialist age - the isolation of the individual, the collapse of
faith and the status of art - and seeking solutions through a
systematic testing of the extremes of painting. A close examination
of the pictures, including neglected later works, combined with
recent scientific research relate the physical act of painting, and
the paint, back to the body of the artist. Lavishly illustrated and
engagingly written, this book answers the longstanding lack of any
monograph on Hunt and will make compelling reading for
undergraduate and graduate students of History of Art, Victorian
Studies, English Literature and Religious Studies, as well as
curators, conservators and the artist's many admirers. -- .
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