Fighting History is the first book to engage with the story of British history painting and its survival into contemporary practice today. Beautifully illustrated with works from the Tate collection, as well as a number of paintings from other institutions and from practicing artists, the book traces the tradition of history painting from the baroque allegory of the seventeenth-century court to contemporary works by Dexter Dalwood, Jeremy Deller, Michael Fullerton, and others. Three short essays address themes in history painting, from the question of the shifting meanings of 'history painting' to an account of the great radical artists in the genre. In an interview with Dexter Dalwood, one of Britain's most celebrated contemporary painters, the artist explains the enduring significance of history painting in twentieth-century art and in his own practice. Includes contributions from Mark Salber Phillips, Dexter Dalwood, Clare Barlow and M. G. Sullivan.

This remarkable dictionary provides information on the work of over 3,000 sculptors working in Britain between 1660 and 1851. It is a substantially expanded edition of Gunnis's "Dictionary of British Sculptors," the primary source for information on church monuments, portrait busts, carved fireplaces and more since publication in 1951. Published for the Paul Mellon Centre for Studies in British Art and the Henry Moore Foundation

In the stunning, new interior of the Ashmolean Museum, a wall extending three levels high' illuminates' the works of one of Britain's major sculptors, Francis Chantrey (1781-1841). This book explores the pieces that comprise the Chantrey Wall and the remarkable career of an artist whose sculptures were noted for their naturalism and simplicity of style (the sculptor has been compared to Michelangelo). Chantrey sculptor produced statues of such luminaries as George Washington (housed in the Boston state house), of kings George III and IV, of William Pitt the Younger, of the Duke of Wellington, of Lord Melville and many others, including sculptures of children, perhaps his most beloved. This publication charts the progress of his art from workshop to Victorian national treasure. Chantrey's was the first monographic collection of British sculpture to become a part of a permanent museum collection in the Ashmolean. The author, who also curated the Chantrey Wall, conducted a three-year research project on Chantrey's works.