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The Times and Sunday Times Art Book of the Year 'Superb ...
Spalding is a lucid and revealing guide who wears her scholarship
lightly' Sunday Times 'Spalding’s prose is as clear as a
Ravilious greenhouse, her thoughts as orderly as a Ben Nicholson
white relief' The Times A fresh look at a period of English art
that has surged in interest and popularity in recent years,
authored by one of Britain's leading art historians and critics.
The 21st century has seen a surge of interest in English art of the
interwar years. Women artists, such as Winifred Knights, Frances
Hodgkins and Evelyn Dunbar, have come to the fore, while familiar
names – Paul Nash, Eric Ravilious and Stanley Spencer – have
reached new audiences. High-profile exhibitions have attracted
recordbreaking visitor numbers and challenged received opinion. In
The Real and the Romantic, Frances Spalding, one of Britain’s
leading art historians and critics, takes a fresh and timely look
at this rich period in English art. The devastation of the First
World War left the art world decentred and directionless. This book
is about its recovery. Spalding explores how exciting new ideas
co-existed with a desire for continuity and a renewed interest in
the past. We see the challenge to English artists represented by
Cézanne and Picasso, and the role played by museums and galleries
in this period. Women artists, writers and curators contributed to
the emergence of a new avant-garde. The English landscape was
revisited in modern terms. The 1930s marked a high point in the
history of modernism in Britain, but the mood darkened with the
prospect of a return to war. The former advance towards abstraction
and internationalism was replaced by a renewed concern with
history, place, memory and a sense of belonging. Native traditions
were revived in modern terms but in ways that also let in the past.
Surrealism further disturbed the ascetic purity of high modernism
and fed into the British love of the strange. Throughout these
years, the pursuit of ‘the real’ was set against, and sometimes
merged with, an inclination towards the ‘romantic’, as English
artists sought to respond to their subjects and their times.
In this extraordinary essay, Virginia Woolf examines the
limitations of womanhood in the early twentieth century. With the
startling prose and poetic licence of a novelist, she makes a bid
for freedom, emphasizing that the lack of an independent income,
and the titular 'room of one's own', prevents most women from
reaching their full literary potential. As relevant in its insight
and indignation today as it was when first delivered in those
hallowed lecture theatres, A Room of One's Own remains both a
beautiful work of literature and an incisive analysis of women and
their place in the world. This Macmillan Collector's Library
edition of A Room of One's Own by Virginia Woolf features an
afterword by the British art historian Frances Spalding. Designed
to appeal to the booklover, the Macmillan Collector's Library is a
series of beautiful gift editions of much loved classic titles.
Macmillan Collector's Library are books to love and treasure.
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The Runaway (Paperback)
Elizabeth Anna Hart; Illustrated by Gwen Raverat; Afterword by Anne Harvey, Frances Spalding
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R517
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This novel for grown-up children and childish grown-ups was first
published in 1872 and is evocative and surprisingly modern.
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Edward Burne-Jones (Paperback)
Penelope Fitzgerald; Introduction by Frances Spalding
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R407
R303
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Penelope Fitzgerald, the Booker Prize-winning author of 'Offshore'
and 'The Blue Flower', turns her attention to the remarkable life
of the Pre-Raphaelite artist Edward Burne-Jones. 'I mean by a
picture a beautiful, romantic dream of something that never was,
never will be, in a light better than any light that ever shone -
in a land no one can define or remember, only desire' Edward
Burne-Jones Edward Burne-Jones (1833-1898) was the prototypical
pre-Raphaelite but with a truly individual sensibility. Penelope
Fitzgerald's delightful biography charts his life from humble
beginnings in Birmingham as the son of an unsuccessful framer,
through a transformative period at Oxford, where he met his close
friend and collaborator William Morris, and on to the
apprenticeship with Dante Gabriel Rossetti that would shape his
artistic vision. His work harks back to an Arthurian England - an
Arcadia that offered solace against the onset of the Industrial
Revolution, and on a deeply personal level provided respite from
his ever-present melancholia. This is an illuminating portrait of a
fascinating figure - artistic genius, doting father, troubled
husband - written with all Penelope Fitzgerald's characteristic
sympathy and insight.
An essay collection which examines Britten's juvenilia, influences
such as Shostakovich and Verdi, his opera Owen Wingrave and a
libretto written by Australian novelist Patrick White with the hope
of a future collaboration. Benjamin Britten: New Perspectives on
his Life and Work reveals the extent to which Britten scholarship
is reaching outside the confines of Anglo-American criticism. The
volume engages with juvenilia and other orchestral works from the
1920s and examines a broad range of influences on Britten,
including the works of Shostakovich and Verdi, the poetry of Ovid,
and the cinema. Among his operatic works the dramatic qualities of
Owen Wingrave arediscussed through a close study of Piper's
libretto and we witness the genesis of a libretto written by
Australian novelist Patrick White and submitted to Britten with the
hope of a future collaboration. The volume uncovers the generally
hostile reception Britten's operas received in Paris until around
the 1990s. Britten's status as 'outsider' in both the USA and in
his own country when he returned in 1942 is discussed: the
possibility is that Britten wasbecoming nervous of the gathering US
involvement in the war and the real chance he may be called up to
serve in the US forces is also discussed here.
Vanessa Bell is central to the history of the Bloomsbury Group, yet
until this authorised biography was written, she largely remained a
silent and inscrutable figure. Tantalising glimpses of her life
appeared mainly in her sister, Virginia Woolf's, letters, diaries
and biography. Frances Spalding here draws upon a mass of
unpublished documents to reveal Bell's extraordinary achievements
in both her art and her life. She recounts in vivid detail how
Bell's move into the Bloomsbury Group and her exposure to Paris and
the radical art of the Post-Impressionists ran parrallel with an
increasingly unorthodox personal life that spun in convoluted
threads between her marriage to Clive Bell, her affair with Roger
Fry, her friendship with Duncan Grant and relationship with her
sister.
The most constructive and creative influence on English taste
between the two wars, 'The Bloomsbury Group' was a union of friends
who transformed British culture with their approach to art, design
and society.The Group began the twentieth century with a desire to
rebel and challenge what they felt were the religious, artistic,
social and sexual taboos of Victorian England. Together they
created a revolution in British style that resonates with
contemporary painters, writers, actors, designers, fashion editors
and publishers. This book explores the impact of Bloomsbury
personalities on each other, as well as their legacy to the
twenty-first century. Author Frances Spalding demonstrates how this
network of artists, lovers and patrons recorded one another
obsessively in both words and images. She presents twenty
fascinating biographies, all of which are illustrated with
paintings and intimate photographs created by members of the Group.
Highlighted in her revealing account are: Virginia and Leonard
Woolf, Vanessa and Clive Bell, Duncan Grant, Lady Ottoline Morrell,
Roger Fry, J.M. Keynes, Lytton Strachey and Dora Carrington.
This book is a glorious celebration of Rhoda Pritzker's collection
of 20th-century British art, much of which has been donated to the
Yale Center for British Art. Pritzker, who was born in Manchester
in1914 and emigrated to the United States during the Blitz, was an
avid and daring collector of paintings, sculptures, and drawings.
Keen to support artists whose reputations were still emerging, and
loyal to no single school or style, she developed a unique and
impressively diverse collection. While Pritzker most actively
purchased pieces in the 1950s and 1960s, her collection offers a
fascinating window onto postwar artistic production. Beautifully
illustrated, this catalogue features a number of unpublished works
and archival materials. Among the artists discussed are key
figures, including L. S. Lowry, Barbara Hepworth, Anthony Caro, and
Henry Moore, as well as lesser-known artists. The texts elucidate
the factors that made Pritzker's method of collecting so
singular-namely her relationship to an evolving transatlantic
artistic community and the deeply personal nature of the works she
procured. Distributed for the Yale Center for British Art
Exhibition Schedule: Yale Center for British Art, New Haven
(05/11/2016-08/21/2016)
This is a new release of the original 1937 edition.
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
Kessinger Publishing is the place to find hundreds of thousands of
rare and hard-to-find books with something of interest for
everyone!
In this book Frances Spalding reassesses the astonishing
achievements of British artists from the Edwardians Ben Nicholson
and Walter Sickert to the Bloomsbury painters Vanessa Bell and
Duncan Grant; from the work of Paul Nash and David Jones between
the wars to that of Ben Nicholson, Barbara Hepworth, Henry Moore,
Francis Bacon, David Hockney and the host of younger artists who
have emerged since the 1960s. While modernist ideas from Europe
and, more recently, American trends have had their influence, the
author argues that British artists have drawn much of their
inspiration from native traditions and are distinguished by their
passionate adherence to individualism.
This book is about a shared journey made by John and Myfanwy Piper
who early on settled down in a small hamlet on the edge of the
Chilterns, whence they proceeded to produce work which placed them
centre stage in the cultural landscape of the twentieth century.
Here, too, they fed and entertained many visitors, among them
Kenneth Clark, John Betjeman, Osbert Lancaster, Benjamin Britten,
and the Queen Mother. Their creative partnership encompasses not
only a long marriage and numerous private and professional
vicissitudes, but also a genuine legacy of lasting achievements in
the visual arts, literature and music. Frances Spalding also sheds
new light on the story of British art in the 1930s. In the middle
of this decade John Piper and Myfanwy Evans (they did not marry
until 1937) were at the forefront of avant-garde activities in
England, Myfanwy editing the most advanced art magazine of the day
and John working alongside Ben Nicholson, Barbara Hepworth, Henry
Moore, and others. But as the decade progressed and the political
situation in Europe worsened, they changed their allegiances, John
Piper investigating in his art a sense of place, belonging,
history, memory, and the nature of national identity, all issues
that are very much to the fore in today's world. Myfanwy Piper is
best known as 'Golden Myfanwy', Betjeman's muse and for her work as
librettist with Benjamin Britten. John Piper was an extraordinarily
prolific artist in many media, his fertile career stretching over
six decades and involving him in many changes of style. Having been
an abstract painter in the 1930s, he became best known for his
landscapes and architectural scenes in a romantic style. This core
interest, in the English and Welsh landscape and the built
environment, developed in him a sensibility that took in almost
everything, from gin palaces to painted quoins, from ruined
cottages to country houses, from Victorian shop fronts to what is
nowadays called industrial archeology. His capacious and divided
sensibility made him defender of many aspects of the English
landscape and the built environment, while in his art he became an
heir of that great tradition encompassing Wordsworth and Blake,
Turner, Ruskin, and Samuel Palmer. He was torn between the
pleasures of an abstract language liberated from time and place and
those embedded in the locale, in buildings, geography, and history.
Today, this expansive contradictoriness seems quintessentially
modern, his divided response finding an echo in our own ambivalence
towards modernity. Both Pipers created what seemed to many
observers an ideal way of life, involving children, friendships,
good food, humour, the pleasures of a garden, work, and creativity.
Running through their lives is a fertile tension between a
commitment to the new and a desire to reinvigorate certain native
traditions. This tension produced work that is passionate and
experimental. 'Only those who live most vividly in the present',
John Russell observed of John and Myfanwy Piper, 'deserve to
inherit the past'.
Published in 1915, THE VOYAGE OUT is Virginia Woolf's first novel, and came out after she had suffered a succession of severe mental crises. This definitive edition contains the original Hogarth Press text as overseen by the author, and a list of textual variants that appeared during her lifetime. THE VOYAGE OUT tells the story of a young Englishwoman, Rachel Vinrace, and her long sea voyage to South America, her engagement to Terence Hewet and her sudden illness and death. An extraordinary debut by one of the greatest novelists of the twentieth century.
Spalding reveals and explores the intimate relationship between the
course of Stevie Smith's life and the evolution of her art, into
which she assimilated not simply the events and emotions of her
private life, but the influences on her imagination of her wide and
varied reading. Photos.
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