This important book revisits a major figure from a now somewhat neglected generation who dominated the British art scene in the 1930s and 1940s. Focusing on the period from the mid 1930s, when Sutherland established his identity as a modern painter to the 1950s, when his influence began to wane, it portrays the types of work that gave rise to a widespread consensus amongst fellow artists and critics that Sutherland was the most exciting and compelling voice in contemporary British painting. Two particular strands of his imagery are discussed: the landscapes of Pembrokeshire and the South of France, before and after the Second World War; and the scenes of devastation produced for the War Artists scheme run by Sutherland's great friend Kenneth Clark. The dramatic colour and lighting and the metamorphosis of observed form in his pictures of bombed buildings, tin mines and factory interiors, struck a powerful emotional chord in such traumatic times. The book also includes sections on the early 1920s etchings, which introduced certain fundamentals of his art, and on the initial emergence of his portraiture with the creation of Somerset Maugham in 1949. There are also carefully selected works by other artists, past and present, in whom Sutherland took an interest: such as Blake, Palmer, Nash and Masson. Published to accompany the major exhibition at Dulwich Picture Gallery in June 2005, this long overdue and much requested book, (there has not been a substantial Sutherland show in London since 1982), comprises eighty oils and works on paper drawn from public and private collections throughout the UK and offers a selective interpretation of his painting rather than the usual career retrospective. The exhibition opens at Dulwich Picture Gallery on 16th June to 25th September 2005 and will travel to the Djanogly Gallery in Nottingham in the autumn. 904009490X

A compelling biographical study of a leading twentieth-century British artist, 'Graham Sutherland: Life, Work and Ideas' offers new insight into how he and his paintings developed. In the culmination of her life's work, Rosalind Thuillier builds on the reflections and recollections of a friendship spanning decades to craft a comprehensive study of Sutherland's life and works, interweaving his perceptive responses to his own art, taken from personal notes and correspondence, with critical reviews and collectors' musings to give an authentic picture of the man whose work divided critics. Drawing on Sutherland's personal archive, the book includes an expansive collection of images that provide a fresh view of the artist. Studies by Sutherland, along with preparatory works for what would become renowned paintings, are published for the first time. Graham Sutherland's distinctive style and the emotions that shaped the paintings are here vividly explored. Thuillier describes not only the inspiration he found in the windswept Pembrokeshire countryside, but also his time as an official war artist, and his friendships inside and outside the art world. She expertly details the process behind the creation of works such as the controversial portrait of Churchill (1954), subsequently destroyed, and his most famous work, the huge 'Christ in Glory in the Tetramorph' tapestry (1962) in Coventry Cathedral. 'Graham Sutherland: Life, Work and Ideas' is not merely a biography, but a journey behind the scenes of the artist'scareer, exploring the paintings, relationships and influences that formed his vision as an artist and his undeniable contribution to art.

A fascinating look at Irving Penn's platinum prints, which the photographer carefully made of some of his most iconic images.

The field of 'art and religion' is fast becoming one of the most dynamic areas of religious studies. Uniquely, "The Art of the Sacred" explores the relationship between religion and the visual arts - and vice versa - within Christianity and other major religious traditions. It identifies and describes the main historical, theological, sociological and aesthetic dimensions of 'religious' art, with particular attention to 'popular' as well as 'high' culture, and within societies of the developing world. It also attempts to locate, and predict, the forms and functions of such art in a changing contemporary context of obligation, modernity, secularism and fundamentalism. The author concentrates on four chief dimensions where religious art and religious belief converge: the iconographic; the didactic; the institutional; and the aesthetic. This clear, well-organised and imaginative treatment of the subject should prove especially attractive to students of religion and visual culture, as well as to artists and art historians.

Arthur Jeffress was an art dealer and collector from a Virginian family who bequeathed his “subversive little collection” (Derek Hill) to Tate and Southampton City Art Gallery on his suicide in 1961. That suicide, a result of his expulsion from Venice, has been the subject of speculation in many memoirs. Gill Hedley's biography of Jeffress has benefited from access to many hundreds of unpublished letters written between Jeffress and Robert Melville, who ran Jeffress' own gallery from 1955-1961. The letters were written largely while Jeffress was in Venice and reveal a vivid picture of the London gallery world as well as frank details of artists, collectors and the definitive story of his suicide. Previously unpublished research reveals new information about the lives of Jeffress' lover John Deakin, his business partner Erica Brausen, the French photographer André Ostier and Henry Clifford, and the way in which all of them influenced Jeffress' first steps as a collector from the 1930s onwards.

Uplifting and engaging, this story recounts the life and career of a rebellious 20th-century British artist Born into a large, musical, and bohemian family in London, the British artist John Craxton (1922–2009) has been described as a Neo-Romantic, but he called himself a “kind of Arcadian”. His early art was influenced by Blake, Palmer, Miró, and Picasso. After achieving a dream of moving to Greece, his work evolved as a personal response to Byzantine mosaics, El Greco, and the art of Greek life. This book tells his adventurous story for the first time. At turns exciting, funny, and poignant, the saga is enlivened by Craxton’s ebullient pictures. Ian Collins expands our understanding of the artist greatly—including an in-depth exploration of the storied, complicated friendship between Craxton and Lucian Freud, drawing on letters and memories that Craxton wanted to remain private until after his death.

Rooted in the study of objects, this book addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to researchers in a variety of fields including European history, politics, design history, anthropology, and media.