The latest research on aspects of the Anglo-Norman world. The contributions collected here demonstrate the full range and vitality of current work on the Anglo-Norman period, from a variety of different angles and disciplines. Topics include architecture and material remains in Winchester, Kent and Hampshire; the role of Duke Richard II and Abbot John of Fecamp in early Normandy; political and liturgical culture at the Anglo-Norman and Angevin courts; the lost (illustrated?) prototype of Dudo of Saint-Quentin's early Norman history and Geoffrey of Monmouth's motivation for his Historia Regum Britonum; twelfth-century legal scholarship and the archaic use of vernacular vocabulary in law texts; trade and travel; and a study of episcopal acta from the south-western Norman dioceses. Contributors: Richard Allen, Pierre Bauduin, Johanna Dale, Jennifer Farrell, Peter Fergusson, Sara Harris, Nicholas Karn, Edmund King, Lauren Mancia, Eljas Oksanen, Gesine Oppitz-Trotman, Benjamin Pohl, Katherine Weikert

A look at the artistic and technical innovation of British printmaking from World War I to the eve of World War II, as artists from the Grosvenor School and beyond harnessed an emerging modernist style Throughout the tumultuous decades of the early twentieth century, the graphic arts flourished in Great Britain as artists sought to portray everyday life during the machine age. This richly illustrated volume reintroduces rare print works from the collection of Leslie and Johanna Garfield into the narrative of modernism, demonstrating their relationship to other movements such as Cubism, Futurism, and Constructivism. Essays explore how artists turned to printmaking to alleviate trauma, memorialize their wartime experiences, and capture the aspirations and fears of the twenties and thirties. Special attention is given to the linocut technique revolutionized by Claude Flight and his students at London's Grosvenor School of Modern Art. Highlighted as well are the pioneering works of artists such as C. R. W. Nevinson, Sybil Andrews, Cyril E. Power, Paul Nash, Edward Wadsworth, Edith Lawrence, Ursula Fookes, and Lill Tschudi. In their quest to promote a more democratic art, these artists created innovative graphics that portrayed in subject, form, material, and technique the dynamic era in which they lived. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (October 21, 2021-January 17, 2022)

Richard Brown Baker (1912-2002) began collecting works by emerging artists in the 1940s, becoming one of the first collectors to actively embrace both Abstract Expressionism and Pop Art and eventually amassing more than 1,600 works from the postwar period. Represented among these are groundbreakingAmerican artists such as Jean-Michel Basquiat, Chuck Close, Roy Lichtenstein, Robert Morris, Jackson Pollock, Robert Rauschenberg, and James Rosenquist, as well as European and Asian artists such as Alberto Burri, Jean Dubuffet, Georges Mathieu, Kurt Schwitters, and Jiro Yoshihara. Baker bequeathed the majority of his collection to the Yale University Art Gallery, and the balance to the Museum of Art, Rhode Island School of Design.Highlighting 130 works, this is the first complete history of Baker's important collection. Essays by renowned art historians Thomas Crow, Serge Guilbaut, Robert Storr, and others contextualize each of the five decades of Baker's collecting efforts, while entries on individual artists illustrate the remarkable scope of Baker's holdings. Throughout the publication, firsthand accounts from Baker's extensive personal journals describe his collecting activities within the dynamic New York art scene of the day.