A new monograph brings together 30 important paintings by Pierre Bonnard (1867 1947) on loan from museums and private collections, including still lifes, nudes, interior scenes, and landscapes, many never seen together before and published here for the first time. The book reveals how Bonnard s modern compositions transformed paintings in the first half of the twentieth century, while celebrating his unparalleled ability to capture fleeting moments, memories, and emotions on canvas. Rather than focus on a particular time period or subject, Bonnard: The Experience of Seeing aims to present Bonnard s modernity and concentrate on his influence on contemporary painters working today. The book draws attention to how Bonnard translated the experience of perception with his shifting spaces, camouflaged and dissolving figures going in and out of focus, and forms hidden at the periphery and how we as viewers experience his paintings, with his works slowly revealing themselves to us over time.

Over the course of his career, William Scott painted more than 1,000 works in oil, all of which are catalogued in this four-volume publication, which covers the artist's output from 1928 to 1986. Each work is accompanied by a catalogue note giving reasons for the dating together with any documentary material relevant to its history, much of it published here for the first time. An enormous amount of new information has been unearthed during the six years of research that has gone into this important project, research that not only reveals a great deal more than was previously known about the artist's life and work but also about how both these aspects of his career had a bearing on the wider context of contemporary British art. The artist's own papers and many previously unpublished letters and lecture notes have been made available by his family especially for this project. This landmark work will provide scholars and collectors with a vital tool for further research, and all lovers of Scott's art with a source of inspiration and insight.

"One more dawn! One more day! One day more!" Did Les Miserables make you miserable? Or did it inspire you? When Sarah Whitfield was a teenager, her Dad frequently embarrassed her with his love of this musical above all others. So, after he was diagnosed with late stage cancer, Whitfield set out to find out why this musical meant so much to him and to its worldwide following. In this new book, she asked her Dad and 350 other people how they felt about this musical, exploring people's personal connections with the show. In the middle of some of the hardest moments in family life, Whitfield explores how the musical might help us deal with some of our most difficult experiences and give us hope for when 'tomorrow comes'.

Rene Magritte (1898-1967) was a surrealist artist whose thought-provoking works used ordinary objects to challenge how viewers perceived reality. His extensive oeuvre was documented in a comprehensive five-volume project, led by distinguished art critic and writer David Sylvester. In the years that followed the publication of the final volume in 1997, numerous works purporting to be by Magritte appeared on the art market. Under the auspices of the Fondation Magritte, a committee was established to verify the authenticity of newly discovered works as well as those previously recorded as "whereabouts unknown" or listed as appendix items in the original volumes of the Rene Magritte Catalogue Raisonne. Rene Magritte: Newly Discovered Works includes color illustrations of 130 previously unpublished or unknown works authenticated by the committee between September 2000 and March 2010. Like its predecessors, this volume is the culmination of years of research, which synthesizes new discoveries about the artworks and details of the life of Magritte himself. Accompanying text and comparative documentation provide a wealth of complementary information, including the circumstances of a work's discovery, references to letters, quotations in their original languages, and citations from previous volumes. Distributed for Mercatorfonds

Les Fauves (the wild beasts) was the nickname given in 1905 to a group of painters led by Henri Matisse. Today, their paintings are among the most popular of all twentieth-century art. Yet when Matisse and his friends - Derain, Vlaminck, Marquet, Dufy and Braque among them - first exhibited their work, the reaction of public and critics was astonishment and often hostility. Using strong, even strident, colors, applied in a manner deriving from Cezanne, Gauguin and Van Gogh, the Fauves took painting back to its basic principles, inspired by primitive art, popular prints and children's paintings, and paved the way to Cubism. The artists, their work, their relationships, their achievements and the critical and commercial response to their work are discussed in this absorbing book, the first in many years to offer a reappraisal of Fauvism.

As one of the leading critical voices on art of the postwar years, polymath Lawrence Gowing (1918-1991) combined a passion for close visual involvement with formidable literary skills. Edited by art historian Sarah Whitfield, four decades of Gowing's writing are brought together for the first time in this volume, covering subjects from the Old Masters to Francis Bacon and Howard Hodgkin. Having first gained success as a painter, Gowing's 1952 monograph on Vermeer brought him early recognition as a writer with the ability to combine aesthetic experience with a meticulous historical perspective. Gowing's foremost commitment was to the pioneering painters of the late nineteenth and early twentieth centuries, notably Paul Cezanne and Henri Matisse. The exhibitions he curated at the Tate and Museum of Modern Art famously helped to mould and reshape public perceptions. Characterised by a desire to instruct and encourage, his writing reflects a highly successful career as a curator and teacher.

The third and final instalment in the Bacon Estate's groundbreaking series discloses and analyses the most exciting new research and information to emerge in many years on this elusive artist. Three of the essays, by Francesca Pipe, Sophie Pretorius and Martin Harrison, are based on archives recently added to the collection of the Estate of Francis Bacon. Very little is known about Bacon's early career, and the diaries of his two first patrons provide a far deeper understanding of his formative years than has been accessible hitherto. Especially revelatory are the extensive records kept over a long period by Bacon's doctor, Paul Brass: what they reveal will revolutionise thinking on Bacon. Sarah Whitfield sheds new light on both Bonnard and Bacon; she has identified concerns the two artists shared that will surprise as well as enlighten. Joyce Townsend draws on her scientific and technical investigations into Tate's most important Bacon paintings to advance significant new information about Bacon's methods. Christopher Bucklow is an expert on Japanese art, which forms an important, if unexpected, aspect of his rethinking of the metaphor system in Bacon's paintings.