An insightful exploration and moving meditation on identity, art, and belonging from one of the most celebrated writers of the last decade. What happens when we begin to consider stories at the margins, when we grant them centrality? How does that complicate our certainties about who we are, as individuals, as nations, as human beings? Through the lens of visual art, literature, film, and the author’s lived experience, Out of the Sun examines Black histories in art, offering new perspectives to challenge us. In this groundbreaking, reflective, and erudite book, two-time Scotiabank Giller Prize winner and internationally bestselling author Esi Edugyan illuminates myriad varieties of Black experience in global culture and history. Edugyan combines storytelling with analyses of contemporary events and her own personal story in this dazzling first major work of non-fiction.

This richly illustrated Tiny Folio(TM) volume surveys British painting, watercolors, and sculpture from the sixteenth century to the present. With masters such as William Blake, William Hogarth, George Stubbs, Thomas Gainsborough, Joseph Mallord William Turner, Dante Gabriel Rossetti, James McNeill Whistler, John Singer Sargent, Henry Moore, Francis Bacon, Lucian Freud, and David Hockney, the Tate Gallery offers work to please every taste. The gallery, which was opened in London in the summer of 1897 by the Prince of Wales, is best known for its modern art collections, but-as this little compendium makes wonderfully clear-it encompasses the full sweep of British art, from ornate aristocratic portraits and vivacious hunting scenes to the Pre-Raphaelites languid femmes fatales.

Fringe First and Total Theatre Award- winning Breach (Tank, The Beanfield) restage the 1612 trial of Agostino Tassi for the rape of baroque painter Artemisia Gentileschi. Based on surviving court transcripts, this new play dramatises the seven-month trial that gripped Renaissance Rome, and asks how much has changed in the last four centuries. Blending myth, history and contemporary commentary, this is the story of how a woman took revenge through her art to become one of the most successful painters of her generation.

In 1861, the death penalty was abolished for sodomy in Britain; just over a century later, in 1967, homosexuality was finally decriminalised. Between these legal landmarks lies a century of seismic shifts in gender and sexuality for men and women. These found expression across the arts as British artists, collectors and consumers explored transgressive identities, experiences and desires. Some of these works were intensely personal, celebrating lovers or expressing private desires. Others addressed a wider public, helping to forge a sense of community at a time when the modern categories of gay, lesbian, bisexual and transgender were largely unrecognised. Ranging from the playful to the political, the explicit to the domestic, these works showcase the rich diversity of queer British art. This publication, the first to focus exclusively on British queer art, will feature sections on ambivalent sexualities and gender experimentation amongst the Pre-Raphaelites; the new science of sexology's impact on portraiture; queer domesticities in Bloomsbury and beyond; eroticism in the artist's studio and relationships between artists and models; gender play and sexuality in British surrealism; and love and lust in sixties Soho. 00Exhibition: Tate Britain, London, United Kingdom (05.04.2017-01.10.2017).

Through broad groupings within thematic chapters, leading scholars focus on how particular objects tell the history of life under British rule. Paintings by well-known artists such as John Singer Sargent and Sidney Nolan are illustrated alongside Benin bronze heads and Mughal miniatures in a survey that ranges from 16th century colonialism through to the projection of Britain's imperial might in the late 19th century to its decline in the post-war era.

Published on the occasion of an exhibition held at the National Gallery, London, Oct. 31, 2012-Jan. 20, 2013, the CaixaForum Barcelona, Feb. 21-May 19, 2013 and at the CaixaForum Madrid, June 19-Sept. 15, 2013.

Organised by National Gallery Singapore in association with Tate Britain, Artist and Empire: (En)countering Colonial Legacies critically examines the effects of the British Empire through the prism of art. This catalogue accompanying the exhibition underscores the thought-provoking ways in which artist and Empire affect each other--artists negotiating historical conditions of colonialism in their work, and visual representation altering perceptions of the Empire. Essays by exhibition curators and external scholars situate the concept of Empire within broader socio-political discourse, while selected key artworks from the exhibition are paired with curatorial text that illumines concerns underpinning the works. A comprehensive, pull-out timeline spanning the 16th to 20th centuries charts the scope of activities undertaken in the name of the Empire, and contextualises the pursuits of artists from former colonies.

Art first became public in Britain through a series of interlocking relationships between national galleries, patrons, collections of art, and sections or classes of the population as a whole. This study concentrates on London, and analyzes the formation of the major national art institutions at its geographical and managerial centre.

A fascinating record of the early years of Thomas Lawrence: the story of an exceptional young portraitist and future president of the Royal Academy. Like his Renaissance predecessors Raphael, Michelangelo and Dürer, the young Thomas Lawrence (1769-1830) was considered to be a boy genius. This survey of Lawrence's first twenty-five years tells the story of an exceptional artist growing up at the end of the century when Britain created its own unique artistic voice. It accompanies a major exhibition at the Holburne Museum in Bath and includes previously unpublished works as well as some of Lawrence's most brilliant masterpieces. Lawrence first came to public attention when he was cited in a scientific paper on 'early genius in children'; shortly afterwards his family moved to Bath where the eleven-year-old was kept busy making likenesses of the spa town's fashionable visitors. By 1790, his spectacular portraits were the most applauded works in the Royal Academy's annual exhibition, which opened days before his twenty-first birthday. This book considers the young artist's self-image as a prodigy, the impact of Bath's rich cultural life on his formation, the rapid development of his painting technique following his move to London, and his use of celebrity, print media and the Royal Academy to grow his reputation. Particular attention is given to Lawrence's perceptive depictions of old age and bold celebrations of youthful energy. His portraits from this time present a fascinating glimpse of British high society at the turn of a memorable century: they include celebrities such as the Duchess of Devonshire, Emma Hamilton and actresses Sarah Siddons and Elizabeth Farren, as well as political leaders, members of the Bluestocking circle and the Royal Family.