The first monograph on Richard Smith, a key figure in the development of British art. Richard Smith (1931-2016) was one of the most original painters of his generation, and one of the most underrated. As Barbara Rose said of Smith's major Tate Gallery retrospective in 1975, he was 'at once in and out of touch with the currents of the mainstream ... au courant and aloof at the same time.' That he latterly slipped under the radar to some extent is partly explained by his detachment from the mainstream as well as by his frequent switching of studios between England and the USA, although this helped charge his creative batteries. He is the only artist of his stature who has not been represented by a monograph, which the dazzling presentation of images in Richard Smith: Artworks now fulfils. It has been produced with the generous collaboration of the Richard Smith Foundation. Richard Smith: Artworks traces Smith's entire career, from the breakthrough lyrical abstraction of the early Pop-inflected paintings, through the radical shaped canvases and three-dimensional works that he produced in the 1960s, to the 'Kite' works beginning in 1972 and, eventually, his return to the flat canvas. As a Senior Curator at Tate, Dr Chris Stephens knew Smith well, and he contributes a wide-ranging introduction to Smith's art and life. Prof David Alan Mellor investigates and explains the Anglo-American cultural contexts that drove Smith's art, while Alex Massouras's two themed essays, 'Young and British' and 'From Motion Pictures to Flight', explore Smith's originality from fresh perspectives. The book is completed with an Afterword by its editor, Martin Harrison.

William Morris's interests were wide-ranging: he was a poet, writer, political and social activist, conservationist and businessman, as well as a brilliant and original designer and manufacturer. This book explores the balance between Morris's various spheres of activity and influence, places his art in the context of its time and explores his ongoing and far-reaching legacy. A pioneer of the Arts & Crafts Movement, William Morris (1834-1896) is one of the most influential designers of all time. Morris turned the tide of Victorian England against an increasingly industrialized manufacturing process towards a rediscovered respect for the skill of the maker. Morris's whole approach still resonates today, and his designs are popular and much admired. Published to mark the 125th anniversary of Morris's death, this book includes contributions from a wide range of Morris experts, with chapters on painting, church decoration and stained glass, interior decoration, furniture, tiles and tableware, wallpaper, textiles, calligraphy and publishing. Additional materials include a contextualized chronology of Morris's life and a list of public collections around the world where examples of Morris's work may be seen today. This study is a comprehensive, fully illustrated exploration of a great thinker and artist, and essential reading for anyone interested in the history of design. With 668 illustrations in colour

First published in 1960. This title is a study of one of the most controversial alliances in British political history. The 'wage freeze', Bevanism, the block vote, nuclear disarmament: these are only a few of the points at which the unions' activities within the Labour Party had roused hot debate. Drawing extensively on previously unpublished material and on discussions with past members of the Labour Movement, the author creates a survey of what the partnership really amounted to.

First published in 1960. This title is a study of one of the most controversial alliances in British political history. The 'wage freeze', Bevanism, the block vote, nuclear disarmament: these are only a few of the points at which the unions' activities within the Labour Party had roused hot debate. Drawing extensively on previously unpublished material and on discussions with past members of the Labour Movement, the author creates a survey of what the partnership really amounted to.

In the late 1960s, American society entered a period of rapidly accelerating social change. Certainty that U.S. vast scientific and technical capability would be able to find solutions to all problems began to turn to concern, as organizational efforts were unable to keep pace with new developments in a variety of areas. The health field, with its focus on the well-being of individuals, felt the impact of these changes particularly strongly. Medicines became more focused on isolated health practices, as the patient's needs were attended to within groups of unrelated biological systems. The emerging thought represented in this collection pushes for the perception of health as a right rather than as something to be earned. It argues that deprivation of life-saving and life-fulfilling opportunities to any populations should not be tolerated. The editors also demand more awareness of the implications of isolated health activities and make the case for a comprehensive total health care system. Health is no longer just a biological function; quality of life is also a concern. First published in 1971 by administrators of health agencies, teachers, and health personnel, this work presents perspectives on problems and interpretations of forces and issues that are of continuing importance to health administrators. The emphasis on the need to focus on the whole patient rather than just their illness, and on providing them with a good life, not just a disease free one, is still as valid today as it was when this volume was initially published.

In the late 1960s, American society entered a period of rapidly accelerating social change. Certainty that U.S. vast scientific and technical capability would be able to find solutions to all problems began to turn to concern, as organizational efforts were unable to keep pace with new developments in a variety of areas.

The health field, with its focus on the well-being of individuals, felt the impact of these changes particularly strongly. Medicines became more focused on isolated health practices, as the patient's needs were attended to within groups of unrelated biological systems. The emerging thought represented in this collection pushes for the perception of health as a right rather than as something to be earned. It argues that deprivation of life-saving and life-fulfilling opportunities to any populations should not be tolerated. The editors also demand more awareness of the implications of isolated health activities and make the case for a comprehensive total health care system. Health is no longer just a biological function; quality of life is also a concern.

First published in 1971 by administrators of health agencies, teachers, and health personnel, this work presents perspectives on problems and interpretations of forces and issues that are of continuing importance to health administrators. The emphasis on the need to focus on the whole patient rather than just their illness, and on providing them with a good life, not just a disease free one, is still as valid today as it was when this volume was initially published.

'Pure bias'. Succinct, to the point, this was Arthur Scargill's characterisation of the two main evening television programmes' coverage of the 1984 coal strike. Blunter still, the leader of the Nottinghamshire miners roared at the cameras, 'It's all being distorted. Take the bloody thing away'.Both Scargill and Chadburn were of course fighting their corner in the gravest industrial confrontation ever covered by television in Britain. This book is an analysis of the TV coverage of strikes and disputes in the 1980s. Useful for Media and Theatre Studies, Drama and students of politics.

A lavishly illustrated look at the sources behind the paintings of Francis Bacon. Francis Bacon famously found inspiration in photographs, film-stills and mass-media imagery. In this new, updated edition of In Camera, Martin Harrison reveals how these sources informed some of Bacon's most important paintings and triggered decisive turning points in the artist's stylistic development. Key influences, including the masters Velazquez, Poussin and Rodin, the photographer Eadweard Muybridge and the film director Sergei Eisenstein, are given close consideration. Bacon's work is examined in relation to the precedents set by other artists working in the tradition of making use of mechanical reproductions, including Pablo Picasso and Walter Sickert, and in the context of his contemporaries Lucian Freud, Mark Rothko, Graham Sutherland and Patrick Heron. With the aid of over 270 illustrations, including valuable source images and documents, In Camera is a bravura accomplishment of original research, addressing important questions about Bacon's painting practice and shedding fresh light on his life and work.

Francis Bacon: Shadows continues in the revelatory mode established by Inside Francis Bacon. It comprises six essays on diverse topics, interpretative as well as factual, which cumulatively present an abundance of fresh ideas and information about Bacon. The fundamental aim of the series – to rethink Bacon’s art from new perspectives – is impressively fulfilled by the eminent authors. Martin Harrison opens the book with some hitherto unseen Bacon-related photographs and includes a tribute to the great Bacon scholar, David Boxer (1946–2017). Christopher Bucklow turns his attention to the contrast between Bacon's art and the art of our own times, setting Bacon in the context of Romantic Modernism's confidence in the unconscious as a source. Amanda Harrison’s essay explores imagery in Bacon’s paintings that relates to esoteric, mythological and alchemical themes, while Stefan Haus draws on the ideas of philosophers from Plato to Hegel to consider the impact of Bacon’s art. Hugh Davies’s unexpurgated 1973 Bacon Diaries are published here in their entirety for the first time, revealing a more complete view of Bacon as both man and artist. Sophie Pretorius examines Tate's Barry Joule Archive, a collection of working materials and drawings attributed to Bacon. Finally, Martin Harrison explores Francis Bacon's Lost Paintings – works Bacon dubbed 'failures', but preserved by his Estate and published here for the very first time. With 120 illustrations in colour

Originally published in 1970, this collection of essays, in which Mr Williams displays his exceptionally wide learning and sympathetic insight into French political life, is an indispensable guide to anyone interested in the background to and achievements of de Gaulle's regime. It surveys French elections in the Fourth and Fifth Republics: the issues, the changing methods of campaigning, and the sharp mutations in voting behaviour, illustrated in a series of maps and tables. The electoral chapters are linked by discussions of the principal political developments between the successive appeals to the people. Each of the four chronological chapters sections concentrates on a leading theme.

This book highlights a theme that preoccupied Francis Bacon throughout his career: the relationship between two people, both physical and psychological. At its heart are two of the most uninhibited images that Bacon ever painted: Two Figures (1953) and Two Figures in the Grass (1954). After completing these interrelated works, Bacon did not return to the subject until 1967, the year that homosexual acts in private were decriminalized in England and Wales, when he painted Two Figures on a Couch, also featured in this volume. In Bacon s paintings, the human presence is evoked sometimes viscerally, at other times more fleetingly, in the form of a shadow or a blurred, watchful figure. In certain instances, the portrayal takes the form of a composite in which male and female bodily traits are transposed or fused. A number of the works in Couplings were inspired by Bacon s own fraught relationships. Francis Bacon: Couplings features an introductory text by Richard Calvocoressi; a new essay and plate texts by Martin Harrison; and a never-before-published interview with Bacon by Richard Francis and Ian Morrison; as well as studio ephemera and working documents that illuminate Bacon s process.

The Kangaroo Farm first appeared in Australia in 1997 and confirmed Martin Harrison's (1949-2014) reputation as one of Australia's finest poets. His poems of landscape and nature (and above all, Australian nature, in all its weird glory) offer the reader glimpses of an underlying meaning that mere tourism never can offer: "calm, intelligent, long-lined verse letters that engagingly bring us to a world where the ‘sea-dusks are sea-dusks flowing far inland’", as Nigel Wheale pout it when reviewing the first edition for the London Review of Books. “Harrison should be read as substantial Australian poet. His poetry is something new, something that opens up what poetry can be.” —Petra White, Cordite Poetry Review “This notion of work runs throughout Harrison’s poetry. There is a sense that each poem is a hard-won moment of perception even while offering to the reader an enviable translucence, a clear vision of the world in its contingency and temporal flux. At the heart of these profound and ever-meticulously crafted poems, this long meditation into the mechanics of conception and perception, is the warmth and flesh of the complexity of life and being plainly spoken.” —Michael Brennan

Peter Lindbergh photographed DIOR's most exceptional muses, Marion Cotillard and Charlize Theron among them, and signed campaigns for Lady Dior and J'Adore with his inimitable style. Throughout his career, the photographer was one of the house's closest collaborators. This final book was an original cocreation that was close to the artist's heart-and to ours. Seventy years of DIOR history projected against the effervescence of Times Square, New York: this was the concept behind Lindbergh's project, extraordinary both in scope and dimension, for which DIOR, in an unusual move, allowed an unprecedented number of priceless garments to be taken from its vaults in Paris and shipped across the Atlantic. The result is electric. Amid the frenzy of Times Square, Alek Wek glows in the immaculate 1947 Bar suit, the storied ensemble that launched the House of DIOR. In snatches of street scenes, models Saskia de Brauw, Karen Elson, and Amber Valletta flit through crowds and scaffolding, are reflected in building facades, and draped in haute couture, from pieces hand-sewn by Christian Dior to more recent designs by Maria Grazia Chiuri. Lindbergh's trademark monochrome and color photographs masterfully highlight the intricacies, silhouettes, and textures of each garment. Lindbergh himself is present in every aspect of this two-volume publication designed by his long-time collaborator and friend Juan Gatti. Volume one features 165 never-before-published images from the shoot, including an introduction by Martin Harrison. Volume two pays homage to Lindbergh's profound relationship with the Parisian House by curating more than 100 of his photographs of DIOR creations, from haute couture to ready-to-wear, men's and women's, originally published in some of the world's most prestigious magazines such as Vogue and Harper's Bazaar. A breathtaking tribute to two pillars of fashion and photography and their timeless collaborations.

In 1949 Francis Bacon found his subject--the human body--and from then on it remained his principal theme. But he did not paint from life. Instead he appropriated images from the mass media that he manipulated into his "studies." This book presents over 200 of these documents, about which Bacon was secretive but which, it emerges, were integral to his creative process.

Culled from thousands of pieces of original material found in his studio, including newspapers, magazines, books, and photographs, these items have each been exhaustively and minutely researched, providing for the first time comprehensive details of the artist's sources. Previously unseen, these visually thrilling documents demonstrate Bacon's tactile, visceral relationship with his sources and his unerring eye for seeking out visual stimulation in the most unexpected places.

This unique selection of material from Bacon's sudio--meticulously documented and compellingly presented--will provide an invaluable insight into both the artist's work and his working methods.

Martin Harrison is the author of In Camera: Francis Bacon.

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 new release of the original 1960 edition.

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Martin Harrison is a writer whose poetry is both a meditation and a meeting place between the immensity of Australian environment and the hi-tech urbane world of everyday Western life. In this new collection, Harrison has gathered together some of his best works and included some alluring and lyrical new works.

Nobody told Katie that life is difficult so, for her, it isn't. Something will turn up, she says, and it usually does. 90% of Robert's trouble is in his head. Life's a struggle - Ellen sees to that - but he will get there. But who will he be when he arrives, assuming he decides to keep going? He HAS to keep going - if only for the kids.

Subtle and sharply lyrical, these poems shimmer on the eye while being deeply held at the back of the mind. Martin Harrison has been described as a writer whose poetry is a meeting place between the immensity, and intensity, of the Australian environment and the hi-tech world of everyday life. Collected here is the poet's own re-casting of his work since the early 1990s, setting accomplished poems from earlier books in the company of recent poems and prose poems. Martin Harrison's Wild Bees: New and Selected Poems marks a place of arrival and a new departure.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!