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Stanley Spencer was one of Britain's greatest twentieth-century
artists. He became famous for two things: his celebration and
immortalisation of his home town of Cookham in Berkshire - his
'heaven on earth' as he lovingly called it - and the fusion in his
paintings of sex and religion, the heavenly and the ordinary. In
1915, Spencer left home to serve as a medical orderly in the
Beaufort Military Hospital in Bristol. Aged 24, he had rarely
stayed away overnight from home. For ten months he scrubbed floors,
bandaged convalescent soldiers and carried supplies around the
vast, former lunatic asylum. In 1916, he signed up for overseas
duty in Macedonia, where he saw violent action up to the eve of the
Armistice. Five years after the war, Spencer started making large
drawings of a possible memorial scheme based on his wartime
experiences. So extraordinary were his sketches, and so committed
was he to realising them in paint, that the Behrend family became
his patrons, funding a purpose-built memorial chapel at Burghclere,
near Newbury. For five years he toiled, often on top of a giant
scaffold, to produce the painted chapel now regarded as his
masterpiece - one of the unsung artistic glories of Europe. Drawing
on Spencer's own letters, illustrations and paintings, Paul Gough
tells the story of the artist's journey from cosseted family life,
through the drudgery of a war hospital and the malarial
battlefields of a forgotten front, to his unique vision of peace
and resurrection in Burghclere. The book locates Spencer's work
alongside other soldier-artists of the time.
The Nobile Index is a series of monographic publications of art
sales prices achieved at auction, for a selection of leading
20th-century British artists. They involve the collaboration of a
commercial art dealership, Piano Nobile Works of Art and the
University of Bristol's History of Art Department; bringing
together academic and commercial expertise on the artists for the
benefit of those with an interest in their work. They are funded by
the generosity of a private benefactor. The studies are confined to
analyses of auction art sales results from 1990 to the time of the
study. Although largely from UK sales, data supplied by
international salerooms are also included. Graphs and
interpretations of these figures are analysed and significant
trends and buying patterns revealed. It is envisaged that this data
will be of growing value to private and corporate clients, museums
and fine art funds. Accurate commercial appraisal has always played
an important role in the consideration of new acquisitions
throughout the history of art. No more so than today is this seen
with the fluctuating, but ever more significant rise in value
commanded by the best of many 20th-century artists' work. This
publication of the Nobile Index Series, written by Sophie
Hatchwell, academic at Bristol University, focuses on the sales
history of Sir Stanley Spencer from 1990-2015. Stanley Spencer,
arguably one of the greatest British artists of the
twentieth-century, is also renowned for his chequered sales history
and money struggles. This rigorous study into the prices his work
now commands at auctions demonstrates the significance of major
sales over the past twenty-five years and the increasing value the
market place supon Spencer's paintings. Evaluating general market
trends, genres and media amongst other factors, Sophie Hatchwell's
investigation provides an invaluable source of information on
Stanley Spencer as an artist and the legacy and future of his work
within the art market. The publication comes in two sections - an
introduction by renowned Spencer specialist Professor Paul Gough,
results and analysis, and a booklet insert of appendices.
Stanley Spencer was one of Britain's greatest twentieth-century
artists. He became famous for two things: his celebration and
immortalisation of his home town of Cookham in Berkshire - his
'heaven on earth' as he lovingly called it - and the fusion in his
paintings of sex and religion, the heavenly and the ordinary. In
1915, Spencer left home to serve as a medical orderly in the
Beaufort Military Hospital in Bristol. Aged 24, he had rarely
stayed away overnight from home. For ten months, he scrubbed
floors, bandaged convalescent soldiers and carried supplies around
the vast, former lunatic asylum. In 1916, he signed up for overseas
duty in Macedonia, where he saw violent action up to the eve of the
Armistice. Five years after the war, Spencer started making large
drawings of a possible memorial scheme based on his wartime
experiences. So extraordinary were his sketches, and so committed
was he to realising them in paint, that the Behrend family became
his patrons, funding a purpose-built memorial chapel at Burghclere,
near Newbury. For five years, he toiled, often on top of a giant
scaffold, to produce the painted chapel now regarded as his
masterpiece - one of the unsung artistic glories of Europe. Drawing
on Spencer's own letters, illustrations and paintings, Paul Gough
tells the story of the artist's journey from cosseted family life,
through the drudgery of a war hospital and the malarial
battlefields of a forgotten front, to his unique vision of peace
and resurrection in Burghclere. The book locates Spencer's work
alongside other soldier-artists of the time.
This sumptuously illustrated volume, edited by eminent war
historian Joanna Bourke, offers a comprehensive visual, cultural
and historical account of the ways in which armed conflict has been
represented in art. Covering the last two centuries, the book shows
how the artistic portrayal of war has changed, from a celebration
of heroic exploits to a more modern, truthful depiction of warfare
and its consequences. Featuring illustrations by artists including
Paul Nash, Judy Chicago, Pablo Picasso, Melanie Friend, Francis
Bacon, Kathe Kollwitz, Yves Klein, Robert Rauschenberg, Dora
Meeson, Otto Dix and many others, as well as those who are often
overlooked, such as children, women, non-European artists and
prisoners of war, this extensive survey is a fitting and timely
contribution to the understanding, memory and commemoration of war,
and will appeal to a wide audience interested in warfare, art,
history or politics. Introduction by Joanna Bourke, with essays by
Jon Bird, Monica Bohm-Duchen, Joanna Bourke, Grace Brockington,
James Chapman, Michael Corris, Patrick Crogan, Jo Fox, Paul Gough,
Gary Haines, Clare Makepeace, Sue Malvern, Sergiusz Michalski,
Manon Pignot, Anna Pilkington, Nicholas J. Saunders, John
Schofield, John D. Szostak, Sarah Wilson and Jay Winter.
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