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Artists Making Landscapes in Post-war Britain
An unconventional and illuminating new history of British landscape art in the post-war period In this trailblazing study, Margaret Garlake complicates traditional histories of British landscape art in the post-war period. Drawing together work from painters and photographers--many of them women--Garlake expands the conventional view of the genre to include both rural and urban subjects. In doing so, she brilliantly places the work within the context of physical changes wrought by postwar society, as the British countryside reverted to civilian use, cities were built, and artists adjusted to the landscape as a site of both tradition and modernity. Carefully researched and subtly argued, this book will deepen our understanding of a fascinating period in British art history. Distributed for Modern Art Press
The Drawings of Peter Lanyon
This title was first published in 2003. Peter Lanyon stood at the forefront of landscape painting in Europe during the late 1950s and early 60s. A prominent St Ives artist, he was associated with Barbara Hepworth, Ben Nicholson and Naum Gabo; his work also has affinities with abstract expressionism. Lanyon's career started just as the study of drawing was being liberated from 19th-century academic constrictions. His many drawings range from records of trips to the Netherlands and Italy to portrait sketches and abstract studies. Lanyon also used drawings extensively in the development of some of his most important paintings. In this study, Margaret Garlake explores Lanyon's theory and practice of drawing; the contribution of drawings to the evocation of place in paintings; his use of models and the metamorphosis of the human body into landscape images, as well as his use of three-dimensional constructions as equivalents to drawing.
New Art, New World
During the years following World War II, Britain was plagued by privation, xenophobia, and humiliation from the loss of colonial territories and political power. At the same time, the country was in the midst of a dawning triumphalism, seen first in the Festival of Britain, then in the new Coventry Cathedral, and finally in the international status accorded to British art by the early 1960s. This book sets the visual arts in the social and political context of these complex years. Margaret Garlake establishes the intellectual, historical, and organizational frameworks within which art was made and received by critics and the public. She discusses problems raised by abstract art, links betwee...
The Sculpture of Reg Butler
In the post-war period, Reg Butler was one of the best known sculptors in the world. The private passions (and obsessions) which drove him to stardom in the 50's seemed increasingly to isolate him in the 60's and 70's, when he spent more time developing his highly personal and meticulous technical and iconographic language.
St. Ives Artists
Margaret Garlake's study of Peter Lanyon provides a unique survey of his life and work, from his childhood friendship with Patrick Heron to international acclaim in the 1960s. He was the only Cornishman among the leading members of the St. Ives group.
British Art in the Nuclear Age
Rooted in the study of objects, British Art in the Nuclear Age addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Examining both the fears and hopes for the future that attended the advances of the nuclear age, nine original essays explore the contributions of British-born and ?gr?rtists in the areas of sculpture, textile and applied design, painting, drawing, photo-journalism, and exhibition display. Artists discussed include: Francis Bacon, John Bratby, Lynn Chadwick, Prunella Clough, Naum Gabo, Barbara Hepworth, Peter Lanyon, Henry Moore, Eduardo Paolozzi, Peter Laszlo Peri, Isabel R...
Burning the Box of Beautiful Things
Alex Seago's book has been inspired by his desire to understand and discover the origins of postmodern culture in Britain. One of the main points of his study is that it was art and design students who were among the first to be aware of and to articulate social implications of postmodernculture. Arguing that postwar art schools provided a vital crucible for the development of a particuarly English cultural sensibility, he focuses on cultural change at the Royal College of Art, London, during the 1950s and 1960s. The students' attack on the English 'box of beautiful things' - aterm used by a former student to describe the neo-Romantic, neo-Victorian, highly decorated tastes of some RCA tutor...
Constructing Modernity
Naum Gabo (1890-1977), whose eventful life took him from his native Russia to Berlin, Paris, London, and finally the United States, achieved renown as one of the most inventive and controversial figures in twentieth-century sculpture. This book is the first comprehensive account of Gabo's life, career, and artistic theory and practice. Martin Hammer and Christina Lodder explore in detail the evolution of the artist's work and his aesthetic concerns, creative processes, assimilation of such new materials as plastic, and approach to public sculpture. The authors also examine his response to the scientific and political revolutions of his age and trace the origins and development of Gabo's utopian conviction that Constructivist art was profoundly in tune with modernity, social progress, and advances in science and technology. Drawing on Gabo's extensive and largely unpublished archives of letters, diaries, notebooks, models, and sketchbooks, Hammer and Lodder discuss the sculptor's work in the context of his relations with other avant-garde artists, architects, and critics, including his brother Antoine Pevsner. They also situate his aesthetic theory and practice within the Constructi
Blast to Freeze
With works from 100 artists, this publication traces the art movements of an entire century. As early as 1914, a group of young artists blended influences from French Cubism and Italian Futurism into an independent British Modernism, and this text traces British art through the century.
Beaconsfield
The first major book on Beaconsfield's history, this exciting publication is both the record of an artists' organisation, and that of an expansive curatorial journey within the art world taken by two artists trained as painters. From the first organisational forays within the creative partnership of David Crawforth and Naomi Siderfin culminating in the Nosepaint event of May 1991, this book then follows their journey from Nosepaint to the formal opening of Beaconsfield in September 1995 to the present, profiling how each project and initiative was approached with the same ethic and ethos throughout a collective 'Chronic Epoch'. The significance of the book's story is as much an important rec...
