First published to accompany major retrospective exhibitions at West Cork Arts Centre and the Irish Museum of Modern Art (IMMA), this full-colour illustrated monograph explores William Crozier's whole career, taking in the second half of the twentieth century - a key period in the development of British and Irish art. The catalogue is furnished with essays presenting brand new research by renown art historians and curators, Illuminated by unpublished sources and personal memoirs. What emerges is a picture of the continuum that runs through all of Crozier's work, revealing a fascinating narrative that, far from a story of transformation from darker, earlier imagery into the apparent hedonism of later landscapes, is one of continuity of purpose in Crozier's mind-set that connects 1950s Britain and Ireland with the concerns of the new millennium. Profoundly affected by post-war existential philosophy, Crozier consciously allied himself and his work with contemporary European art throughout the 1950s and 1960s, towards painters such as Jean Dubuffet, Pierre Soulages, Hans Hartung and Nicolas de Stael. The landscape became the source of visceral paintings: For Crozier, ravaged landscapes symbolised the torment and fear of the post-war condition at the heart of existentialism. Only ten years separate these images of traumatized humanity from the luxuriantly colourful works inspired by the landscape of West Cork. His early skill as a colourist reaches its zenith in paintings that capture the essence and appearance of the West Cork landscape in ways immediately recognisable to the viewer, but they are also concerned to capture a landscape during a period of great physical and social change. Crozier believed that when painting the Irish landscape he must, "Tell the truth. Say it simply."

A distinguished art gallery director, and curator of major exhibitions by some of the art world's most celebrated names, Enrique Juncosa is also a much-admired poet in his native Spanish. Bay of Flags & other poems draws on the two most recent of his six Spanish publications and introduces English language readers to what translator Michael Smith in his Introduction calls "a boundless curiosity about other people and places, an astonishingly broad interest in most of the major art forms, and an enthusiasm to experiment that matches the novelty of what he has encountered on his travels." Formally energetic and singularly engaging, Juncosa's poetry reveals what the poet himself terms "a certain obsession with lists and proper names, of people and places"-as well as a focus on the external world that will hold the reader's attention throughout even where it refuses linear narrative or tidy conclusion. "Ultimately," as Michael Smith puts it, "the poems are celebratory, of the world in all its incomprehensible strangeness and its beauty." The opportunity to read them now in this dual-language volume is is itself cause for celebration.

Shortly after the beginning of the Covid-19 lockdown, Iran do Espirito Santo, in Sao Paulo, contacted Enrique Juncosa, in Mallorca, proposing to collaborate on a book. It so happened that Juncosa had started some poems in prose related to travels based on personal memories and imagination, and which referred to a way of life that was suddenly suspended. He wrote 40 poems, suggesting the idea of quarantine, encompassing quarantine, encompassed under the title Pangolin, an animal pointed out as the initial propagator of the virus. Do Espirito Santo made 40 watercolours, one per poem, related to the text, although not always in an evident way, suggesting an inner journey. Floating images in a white space, abstract and geometric in origin, with the delicacy of oriental miniatures. Text in English and Spanish.