"When Cedric Morris and Arthur Lett-Haines opened The East Anglian School of Painting and Drawing in Dedham, Essex, in 1937 they were both established artists with international reputations...Their idea was to set up an art school which would provide an alternative to the formal courses offered by the art schools in the metropolis. The aim, as expressed in the school's brochure, was to provide 'an environment where students can work together with more experienced artists in a common endeavour to produce sincere painting.' The emphasis was on encouraging freedom of invention, enthusiasm, and enjoyment, with the assumption that the student 'believes himself to have a clear idea of creative work and requires help only in its production'...The extracts which form the text of this book are based largely on conversations with our contributors which took place during the years 1998 and 1999. Articles, extracts from an autobiography and a diary are also included. They comprise the affectionate memories of a few of those who knew and loved Benton End and its two gifted and hospitable hosts." -- from the Introduction.

"When in 1939 Cedric Morris and Arthur Lett-Haines visited Benton End, overlooking the River Brett on the outskirts of Hadleigh, Suffolk, they were both established artists with international reputations. What they found was a somewhat ramshackle but capacious sixteenth-century house which had been unoccupied for fifteen years, standing in over three acres of walled gardens lost beneath brambles and elderberries. But in 1940, Benton End became both their home and the new premises of the East Anglian School of Painting and Drawing which they, disillusioned with the commercial aspects of the art world, had founded together in 1937." "From 1940 until Lett Haines died in 1978 and Cedric Morris in 1982, Benton End was an exotic world apart where art, literature, good food, gardening and lively conversation combined to produce an extraordinarily stimulating environment for amateurs and professionals alike. Ronald Blythe recalls that 'there was a whiff of garlic and wine in the air. The atmosphere ... was robust and coarse, and exquisite and tentative all at once. Rough and ready and fine mannered. Also faintly dangerous.'" "The sharply differing characters and interests of Cedric Morris and Lett Haines ensured the widest range of contacts and visitors to Benton End who included Victoria Sackville-West, Elizabeth David, Francis Bacon, Randolph Churchill, Benjamin Britten and Peter Pears. There was no formal teaching and students were left free to pursue their own enthusiasms and to show their work to Cedric or Lett for advice. Cedric's skill as a plantsman and noted breeder of irises, contrasted with Lett's intellectual sophistication and interest in food, wine, artistic experimentation and general lack of enthusiasm for the outdoors." "Over the years many hundreds of students and visitors spent time at Benton End and these included Lucian Freud, Lucy Harwood, David Carr, Glyn Morgan, Kathleen Hale, Beth Chatto, Maggi Hambling and Ronald Blythe. It was Gwynneth Reynolds whose idea it was to assemble the recollections of 30 other former students and friends and to illustrate them with over 70 colour reproductions of works by Lett Haines and Cedric Morris."--BOOK JACKET.

Revised and updated paperback edition of this acclaimed biography of a unique couple who were hugely influential across the spheres of art, gardening and cookery.

"Argues that musical imagery in the art of American painter Thomas Hart Benton was part of a larger belief in the capacity of sound to register and convey meaning"--Provided by publisher.

The ease with which we can choose a typeface today is something we take for granted, but it is possible only because of the tremendous amount of labor of the Bentons.

The clues to a series of remorseless killings go up in smoke—and only Kay Scarpetta can find them in this #1 New York Times bestseller from Patricia Cornwell. “Sears its way into the psyche…Ablaze with Cornwell’s finest, scariest writing.”—Atlanta Journal Constitution The devastating fire tore through the horse farm, destroying everything it touched. Picking through the wreckage, Dr. Kay Scarpetta uncovers human remains—the work of an audacious and wily killer who uses fire to mask his brutal murders. And when Scarpetta learns that her old nemesis, Carrie Grethen, has escaped from a hospital for the criminally insane and is somehow involved, the investigation becomes personal. Tragedy strikes close to home. And Scarpetta must match Grethen’s every move with one of her own to douse the inferno of evil that threatens everyone around her... Includes an Introduction by the Author

Drawing on archive material and extensively illustrated with the work of Morris and contemporary artists, this book explores Morris's roots in Wales, follows his travels in Europe and beyond in the 1920s, and evokes the singular camaraderie of the East Anglian School.

The central volume in Ivan Doig's acclaimed Montana trilogy, Dancing at the Rascal Fair is an authentic saga of the American experience at the turn of this century and a passionate, portrayal of the immigrants who dared to try new lives in the imposing Rocky Mountains. Ivan Doig's supple tale of landseekers unfolds into a fateful contest of the heart between Anna Ramsay and Angus McCaskill, walled apart by their obligations as they and their stormy kith and kin vie to tame the brutal, beautiful Two Medicine country.

Synthesising clinical case reports and the research literature on the effects of stress, suggestion and trauma on memory, Richard McNally arrives at significant conclusions, first and foremost that traumatic experiences are indeed unforgettable.

This lavish book presents painter Revees' (b. England, has lived and worked in Mexico since 1985) diary texts and paintings created while living in the town Xilitla, San Luis Potosí and downtown Mexico City. An extraordinary collection of vivid mosaic of colors from the markets and streets along with portraits of the fashionable, religious, and anonymous figures that populate the streets, convents, and towns in Mexico. The book was published within the context of the XXI Festival de México en el Centro Histórico.