Based on new research, and drawing on information contained in her numerous diaries, The Prints of Wilhelmina Barns-Graham incorporates a complete illustrated catalogue of all of the artist's known work in etching, linocut, lithography, screenprinting and monotype, from 1946 to 2007. This book will prove an invaluable resource for museum curators, students of British art and 20th-century abstraction, and all those seeking to learn more about this aspect of the career of one of Britain's most important artists of the late 20th century.

In an engaging and lively narrative, Lynne Green documents more than six decades of the prodigiously inventive and productive career of Wilhelmina Barns-Graham and traces the evolution of the artist's strikingly individual wisdom.

Born in Fife, Scotland Wilhelmina Barns Graham (1912-2004) travelled and studied in Europe during the late 1930s before arriving in St Ives in 1940. Inspired by international abstract trends and her subsequent association with Ben Nicholson, Barbara Hepworth and the post-war painters and maker of the Penwith Society, she embarked on a career spanning 64 years. This publication accompanies an important exhibition of selected highlights from the career of this popular St Ives Modernist. It reveals the evolution of a number of key concepts which pre-occupied Barns Graham for more than three decades of her painting career, a period that saw her become regarded as one of Britain's leadng abstract painters. The book will show the quintessential Barns Graham, with special attention given to her Glacier paintings and drawings, and her relationship with the landscape of St Ives. It includes new works made shortly before her death in January 2004. an essay by critic Mel Gooding, takes a fresh view of the artist's diverse oeuvre and discusses her particular relationship to the landscape.

A celebration of the extraordinary upsurge of printmaking in Britain from the 1960s to now

Christopher Neves classic book is a journey into the imagination through the English landscape. How is it that artists, by thinking in paint, have come to regard the landscape as representing states of mind? Painting, says Neve, is a process of finding out, and landscape can be its thesis. What he is writing is not precisely art history: it is about pictures, about landscape and about thought. Over the years, he was able to have discussions with many of the thirty or so artists he focuses on, the inspiration for the book having come from his talks with Ben Nicholson; and he has immersed himself in their work, their countryside, their ideas. Because he is a painter himself, and an expert on 20th-century art, Neve is well equipped for such a journey. Few writers have conveyed more vividly the mixture of motives, emotions, unconscious forces and contradictions which culminate in the creative act of painting. Each of the thirteen chapters has a theme and explores its significance for one or more of the artists. The problem of time, for instance, is considered in relation to Paul Nash, God in relation to David Jones, music to Ivon Hitchens, hysteria to Edward Burra, abstraction to Ben Nicholson, the spirit in the mass to David Bomberg. There are also chapters about painters ideas on specific types of country: about Eric Ravilious and the chalk landscape, Joan Eardley and the sea, and Cedric Morris and the garden.

Stone Talks brings together poems and four talks/essays by noted poet Alyson Hallett on the subject of stones, rocks, somatics and our relationship with our environment.

Five centuries of fascinating female creativity presented in more than 400 compelling artworks and one comprehensive volume The most extensive fully illustrated book of women artists ever published, Great Women Artists reflects an era where art made by women is more prominent than ever. In museums, galleries, and the art market, previously overlooked female artists, past and present, are now gaining recognition and value. Featuring more than 400 artists from more than 50 countries and spanning 500 years of creativity, each artist is represented here by a key artwork and short text. This essential volume reveals a parallel yet equally engaging history of art for an age that champions a greater diversity of voices. "Real changes are upon us, and today one can reel off the names of a number of first-rate women artists. Nevertheless, women are just getting started."—The New Yorker