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Mary Fedden (1915-2012) is one of Britain's most popular artists.
The focus of this acclaimed book, newly available in paperback in
celebration of her life's achievement, is the artist's creative
process in various different media - oil, gouache, pencil and
collage.While Fedden is often considered almost exclusively a
still-life painter, still life was far from being her only
preoccupation, as this book shows. Fantasy and imagination always
also played a strong part, as is particularly evident in her small
gouaches. A quietly surreal, enigmatic streak runs through much of
her work.Fedden's collages are a witty and affectionate homage to
the work of her husband, Julian Trevelyan. They lived, worked and
travelled together from 1949 to 1988. The book re-emphasises her
debt to him, but also her independence, even during their early
life together when he stimulated her move into Modernism. In an
engaging text, which draws on numerous conversations with the
artist during her final years, Christopher Andreae considers why
Fedden has always had such a popular following, looks at the
English quality of her work, and talks about the commercialisation
of her art and her attitudes to the art market. Fedden is shown to
be an original, serious and prolific artist, a draftsman of unusual
sensitivity and prowess, and a colourist of power and
subtlety.Profusely illustrated with works from private and public
collections, this is a book for Mary Fedden's existing devotees as
well as newcomers to her work.
Artist Philip Reeves (b.1931, Cheltenham) has lived and worked in
Glasgow since the mid-1950s. Landscape and cityscape underpin his
artistic vision, which has explored varying degrees of
representation and realism, as well as an ever-evolving
abstraction. This long overdue book is the first to survey his
entire career, covering his printmaking, watercolour painting,
drawing, collage and reliefs. Reeves has brought his own fresh
subtlety and distinctiveness to the developing history and
expressive potential of abstraction. His printmaking experiments
have encompassed both innovative uses of the etching plate and the
deployment of found objects. Such work has led to his recognition
as an artist of note, particularly in Scotland where he has had
many exhibitions. Author Christopher Andreae charts this exhibition
history alongside Reeves' impact as a teacher at Glasgow School of
Art and as a founding member of print studios in Edinburgh and
Glasgow. The breadth of Reeves's work, illustrated extensively here
for the first time, may surprise even those who know and like his
art. Those who are yet to encounter the oeuvre will find in Philip
Reeves a fascinating introduction to a highly inventive artist.
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