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The Tradition
Peter Lord, considered to be the greatest living scholar on Welsh visual art and culture, surveys the evolution of the visual culture of Wales from the Renaissance to the end of the twentieth century in this new, single-volume history. Written for everyone with an interest in the art and history of Wales, the volume illustrates some 400 landscapes and portrait paintings, prints and sculptures from artists such as Augustus John, Ceri Richards, Christopher Williams and many more. The author describes both how the work emerged from its Welsh historical context and was related to the art of other cultures. Revealing the many discoveries made since its first publication of the Visual Culture of Wales series in 1998, The Tradition is the only study now in print that encompasses the whole field of Welsh visual art. It is published with the support of the National Museum of Wales, The Paul Mellon Foundation, the National Library of Wales, the Marc Fitch Fund, Swansea University and the Welsh Book Council. Includes new and expanded material not originally featured within Lord's Visual Culture of Wales series.
Art for Wales
An invaluable reflection on the legacy of Derek Williams (1929-1984), a Cardiff surveyor whose generous bequest of his art collection and entire net estate coincided with a reappraisal of the role and workings of the National Museum of Wales and led to the formation of the Derek Williams Trust in 1992. Concise, insightful chapters by writer and curator David Moore examine the quality and variety of artworks assembled by Derek Williams or supported by the activity of the Trust over a period of over 25 years, ranging from painting to ceramics, photography and digital media. Illustrated with a wealth of artworks from the Trust s collection and related exhibitions.
The Tradition
Peter Lord surveys the evolution of the visual culture of Wales from the Renaissance to the end of the 20th century in this new, single-volume history, which illustrates some 400 landscapes and portrait paintings, prints and sculptures. He describes how the work emerged from its Welsh historical context and was related to the art of other cultures.
Clarence Whaite and the Welsh Art World
From 1971-86 Peter Lord worked primarily as a sculptor but has since worked mainly as an art historian. He is currently a research fellow at the University of Wales, Centre for Advanced Welsh and Celtic Studies and has produced three volumes under the collective title of The Visual Culture of Wales. This book describes the early days of the Royal Cambrian Academy.
Art in Wales
This is the first major study of the fine arts in Wales during the modern period; a pioneering expedition into territory that has been neglected by the wider world of scholarship. It is, therefore, presented as a broad survey, rather than a detailed history; bringing together hitherto unrelated individuals and events, to give a coherent account of the evolution of modern art in Wales. Using a wealth of illustrations, the author argues that there is no case for an autonomous `School of Wales'. His theme is that, from a stagnant back-water, Welsh art has developed into a vigorous tributary to the mainstream of Western art. This luxuriously produced volume tells the story of those outstanding artists working in Wales and outside Wales who, by their collective efforts, have made modern Welsh art a subject in its own right.
Welsh Painters Talking
This lavishly illustrated work provides both an introduction and a guide to the current art scene in Wales, which is experiencing something of a renaissance. Senior and established painters as well as young and radical ones discuss how they paint and their relationship with the Welsh landscape, culture, and people. They are: Arthur Giardelli, Charles Burton, Felicity Charlton, Sally Moore, Kyffin Williams, Will Rogers, Peter Prendergast, Kevin Sinnott, Shani Rhys James, John Knapp-Fisher, Ernest Zobole, and Iwan Bala. Tony Curtis's most recent collection of poetry is War Voices (Seren / Dufour). Individual biographies and exhibition listings are included.
Looking Out
The six sequential essays in this collection provide a narrative of a century and a half of Welsh painting, written with an emphasis on issues of social class and national identity. Through his earlier writing, Peter Lord has contributed to the establishment of an historical tradition of Welsh painting, but because it does not feature in the wider story of Western art history as presently told, the work revealed continues to be perceived as marginal, existing in isolation from ideas and movements in other countries. These essays break new ground by discussing the concerns of Welsh painters not only in domestic terms but also in the context of the ways in which artists in other parts of Europe and in the United States reacted to the common underlying causes of those concerns. The author challenges the idea that the work of Welsh painters is relevant only to the evolution of their own communities and, through confident and detailed analysis, validates their pictures also in terms of the arts of other Western cultures.
