Richard Demarco co-founded the Traverse Theatre in Edinburgh in 1963 and ran the vibrant Richard Demarco Gallery in Edinburgh for almost 30 years. He promotes crosscultural dialogues and was the first person to introduce Joseph Beuys in the UK. Joseph Beuys was a German sculptor and creator of action performances, political activist and teacher. This book explores the works, lectures and 'Actions' which resulted from the mutual hopes, inspirations and shared values of Richard Demarco and Joseph Beuys, the innovative and inspirational German postwar artist, from 1970 until Beuys' death in 1986. Demarco, an avant-garde gallerist in Edinburgh, was an early proponent of Scotland taking its place within the European art world; Demarco recognised the visionary quality of Beuys' work and visited him in Oberkassel in January 1970. In the hope of focusing Beuys' attention on Scotland, he presented him with a set of postcards depicting typical Scottish scenes. Beuys responded with, 'I see the land of Macbeth, so when shall we two meet again, in thunder, lightning or in rain?' They reunited in thundery Edinburgh later that year and Demarco led him northwards along the ancient track he calls 'The Road to Meikle Seggie'. This initial experience of the Scottish landscape inspired Beuys, who felt a strong connection with Celtic culture, and laid the foundation for a remarkable artistic friendship which enriched the work of both men. With photos from Demarco's personal collection and essays spanning from 1970 to the present, this is an intimate and intellectually rigorous look at a friendship seminal to the development of art in Scotland over the last 40 years.

Few artists of this century have exercised so wide an influence as Paul Klee (1879-1940). He was one the most inventive and prolific of the modern masters, working in a dozen different styles, each of which he made uniquely his own, so that a work from his brush is unmistakable in any style/ The forty-eight full-page colour plates in this book illustrate the unparalleled way in which he combined unrivalled imaginative gifts with supreme technical and formal proficiency, from the playfulness of such early pictures as Red and White Domes to the more threatening, bitter satire of the later work. Accompanying the plates are extensive notes and an authoritative introduction, which discusses Klee's life and the development of this thought and achievement. Douglas Hall's essay on the artist has been revised and expanded for this edition, to make it an invaluable introduction to an extraordinary painter.

This book is about a body of painters who have generally been marginalised by British art historians - the Polish exiles from war and persecution who made their homes and careers in Britain before or after 1939. It takes ten of them, explores their origins, their often hazardous escape from occupied Europe, their reception and the development of their work. Some who were personally known to the author, such as Herman and Ruszkowski, are, along with Gotlib and others, the subject of searching enquiry; a further group, perhaps better known, like Adler and Potworowski, are also covered. The book has chapters on the Polish context from which they came, on the problems East European art has encountered in the West, and on the Polish artistic community in Britain as a whole. The author Douglas Hall, who was the first Keeper of the Scottish National Gallery of Modern Art and still lives in Scotland, is known for his sympathy with the underdog and his interest in unfashionable or belittled values and modes of expression in modern art. The appearance of this book is timely. Since the author first began to study the subject the perception of Poland in Britain has changed utterly. Further integration of Poland into the European community should lead to further exchanges of art between the two countries. If it does not, it may not be for economic reasons alone, but may be further evidence of the reluctance of Western art authorities to take East European art, as a whole, seriously. The book suggests a beginning in better understanding by starting with those Poles who became British, and whose work for the most part is still here, a part of British art that is for ever Polish.

Richard Demarco co-founded the Traverse Theatre in Edinburgh in 1963 and ran the vibrant Richard Demarco Gallery in Edinburgh for almost 30 years. He promotes crosscultural dialogues and was the first person to introduce Joseph Beuys in the UK. Joseph Beuys was a German sculptor and creator of action performances, political activist and teacher. This book explores the works, lectures and ‘Actions’ which resulted from the mutual hopes, inspirations and shared values of Richard Demarco and Joseph Beuys, the innovative and inspirational German postwar artist, from 1970 until Beuys’ death in 1986. Demarco, an avant-garde gallerist in Edinburgh, was an early proponent of Scotland taking its place within the European art world; Demarco recognised the visionary quality of Beuys’ work and visited him in Oberkassel in January 1970. In the hope of focusing Beuys’ attention on Scotland, he presented him with a set of postcards depicting typical Scottish scenes. Beuys responded with, ‘I see the land of Macbeth, so when shall we two meet again, in thunder, lightning or in rain?’ They reunited in thundery Edinburgh later that year and Demarco led him northwards along the ancient track he calls ‘The Road to Meikle Seggie’. This initial experience of the Scottish landscape inspired Beuys, who felt a strong connection with Celtic culture, and laid the foundation for a remarkable artistic friendship which enriched the work of both men. With photos from Demarco’s personal collection and essays spanning from 1970 to the present, this is an intimate and intellectually rigorous look at a friendship seminal to the development of art in Scotland over the last 40 years.

Thomas Thistlewood came to Jamaica from Lincolnshire, England in 1750, and lived as an estate overseer and small landowner in western Jamaica until his death in 1786. Throughout his life he kept a record of his daily activities and his observations of life around him. His diaries contain a rich chronicle of plantation life - its people, social life, agricultural techniques, medicinal remedies and relations between slaves and their owners.

This work provides a careful historical analysis of the methods and contents of the 'De Trinitate' of Boethius and the 'Expositio' of Aquinas. It is also the first comprehensive philosophical and theological analysis of Aquinas' 'Expositio' to be based on the modern critical edition of the Latin text and in the light of mid- and late-20th-century advances in thomistic scholarship. In this study the author locates the reconstruction of Boethius undertaken by Aquinas, and radically documents the dialectical themes of 'agnosia' and 'remotion' in this work. Such documentation aims to provide a higher level of understanding of the structure of the 'cu Expositio' than is possible with mid-20th-century approaches which have emphasized participationist, analogical and transcendental thematics.