A major survey of Dame Laura Knight, first female Royal Academician and popular British artist of the 20th century. Laura Knight (1877–1970) was one of the most famous and popular English artists of the twentieth century. She was the first woman to have a solo exhibition at the Royal Academy of Arts, in 1965. In the following decades her realist style of painting fell out of fashion and her work become largely overlooked. A new generation has rediscovered her work, finding a contemporary resonance in her depictions of women at work, of people from marginalized communities and her contributions as a war artist. This beautifully illustrated book, which accompanies a major exhibition at MK Gallery, provides an overview of Knight's illustrious career: from her training at Nottingham Art School at the age of 13 and her time in North Yorkshire and Cornwall, to her visits to traveller communities and a segregated American hospital. It also features her circus, ballet and theatre scenes, paintings of women during the war and her late paintings of nature. The selection of over 160 works combines celebrated paintings with less known graphic and design works, including ceramics, jewellery and costumes that reflect the artist's enduring interest in the everyday activities of people from all walks of life.

A long overdue reappraisal of an outstanding and pioneering female artist features over 35 of her finest works from across her long and prolific career.

Laura Knight (1877-1970) was one of the most distinguished women artists of the early 20th century with an international reputation. This much-anticipated biography appears at a time of renewed interest in Dame Laura's extensive repertoire. Laura Knight: A Life probes beneath the myths and fictions that have and continue to be woven around the artist. This highly readable and objective biography covers her early years in Nottingham; relationship with her husband Harold; life in the artists colonies of Staithes on the North Yorkshire coast, Laren in Holland and Newlyn in Cornwall; Laura's subsequent immersion in the worlds of the ballet, the circus, the theatre and her travels in Europe and America; her work as a designer of theatrical costume, posters and ceramics; and her role as Official War Artist during World War 11 and recorder of the Nuremberg Trials in 1945-46. The author does more than merely draw the solid lines of Dame Laura's professional and public identity for the reader, she fills in the background, expresses the light and colour of Laura Knight's vibrant personality and, by also exploring the darker shades of her character, gives this portrait of the artist depth and perspective. If you read just one biography of Laura Knight it should be this one.

Catalog of an exhibition held at Penlee House Gallery & Museum, Penzance, June 16-Sep. 8, 2012; at Djanogly Art Gallery, Nottingham, Sept. 22-Nov. 4, 2012; and at Worcester City Art Gallery, Nov. 17, 2012-Feb. 10, 2013.

Dame Laura Knight RA (1877-1970) was the first female member to be elected to the Royal Academy of Arts, submitting Dawn, her now famous painting of two female nudes, as her Diploma Work in 1936. In 1965 the Academy's major retrospective of her work recognised her importance in British art.0This autumn an exhibition of Knight's drawings opens at the RA. Drawing was a key part of her practice, and allowed her to capture at speed her various subjects, which include travellers, circus performers, boxers, ballet dancers and ice skaters. Drawing allowed her to capture with immediacy the exuberant life of her models, as well as being a vital recording tool when she witnessed one of the most important events of the twentieth century: the Nuremberg trials.0In this new publication on the artist, Annette Wickham and Helen Valentine present the Academy's holdings of her drawings with an in-depth analysis focused on three key subjects within her work: the nude, the working woman and country life.00Exhibition: Royal Academy of Arts, Tennant Gallery, London, UK (02.09.2019-02.02.2020).

Laura Knight, the first woman elected to the Royal Academy of Arts, is widely acknowledged as one of the most important English artists of the twentieth century. Her autobiography--originally published in 1936 and now back in print with forty color images--offers a fascinating look inside the life of a trailblazing polymath. Although she is best known for her paintings of the worlds of ballet and theater, Knight's work also shed light on marginalized communities, including itinerant gypsies and laborers in the American South. She served as an official war artist in World War II and later recorded the Nuremberg trials. Oil Paint and Grease Paint tells the inside story of a multifaceted original.

Based on communications received through Ouija board sessions, attempts to weave together contradictory threads of religion, science, history, alien abduction, and political conspiracies to prove the existence of a reptilian race controlling humans.

International criminal justice relies on messages, speech acts, and performative practices in order to convey social meaning. Major criminal proceedings, such as Nuremberg, Tokyo, and other post-World War II trials have been branded as 'spectacles of didactic legality'. However, the expressive and communicative functions of law are often side-lined in institutional discourse and legal practice. This innovative work brings these functions centre-stage, developing the idea of justice as message and outlining the expressivist foundations of international criminal justice in a systematic way. Professor Carsten Stahn examines the origins of the expressivist theory in the sociology of law and the justification of punishment, its articulation in practice, and its broader role as method of international law. He shows that expression and communication is not only an inherent part of the punitive functions of international criminal justice, but is represented in a whole spectrum of practices: norm expression and diffusion, institutional actions, performative aspects of criminal procedures, and repair of harm. He argues that expressivism is not a classical justification of justice or punishment on its own, but rather a means to understand its aspirations and limitations, to explain how justice is produced and to ground punishment rationales. This book is an invitation to think beyond the confines of the legal discipline, and to engage with the multidisciplinary foundations and possibilities of the international criminal justice project.

Paintings and drawing of the ballet and the stage