The first color monograph on the artist Glyn Philpot - a key figure in Modern British art Glyn Philpot (1884-1937) was a key figure in Modern British art in the first half of the twentieth century, whose work spanned Arts and Crafts illustration, Edwardian "Swagger" portraiture, Symbolism, and Art Deco Modernism. Drawing on new research and recently rediscovered paintings and archive material, the first color monograph on the artist looks at his career from early works comprising more traditional formal portraiture through to modernism in the 1920s and 30s. Exploring Philpot's engagement with international modernism, it looks at his exposure to American art and the Harlem Renaissance, Neue Sachlichkeit in Berlin and the impact of living and working in Paris, especially the work of Rodin, Matisse, Picasso, and Cocteau. It also considers Philpot's work in the light of recent queer theory and writing on race, discussing Philpot's impact on queer writers and artists, including more recent works by Isaac Julien--in particular his film 'Looking for Langston'--and writers such as Booker Prize winner Alan Hollinghurst, who provides an introduction to this volume.

'The latest news in the art world is that Mr Glyn Philpotts [sic] has been asked to remove his picture from the RA...' Virginia WoolfGlyn Philpot (1884-1937) was a portrait, figure and still-life painter and a sculptor. One of the most financially successful portrait painters of his generation, he achieved early prominence in both Britain and America. Philpot was a senior public figure who embodied deep personal contradictions. In 1933 at the age of 49, he submitted The Great Pan to the Royal Academy. The painting made explicit what had for so long been a coded language within homosexual writing and art and the artist suffered the ignominy of public rejection.The young Glyn Philpot circulated in the close company of the Edwardian aesthetes. Portraits financed his more committed work on subject pictures. In the Symbolist tradition, they reflect his deepest concerns: religious themes reveal a profound knowledge of his adopted Catholicism, while an increasing interest in the male nude and a series of superb portraits of young men, his black servants, models, friends and lovers, show the gradual public expression of his homosexuality. The tensions between his public and personal lives led Philpot to spend long periods outside Britain. In 1931, he visited Berlin. His encounter with that city's homosexual underworld had a profound spiritual and emotional effect and Philpot adopted a new style which owed much to international modernism.Philpot's new style was greeted with overt hostility. The scandal led to a period of acute financial hardship which undoubtedly contributed to the artist's early death at 53. Tragically, Philpot did not live long enough to see what he regarded as his most ambitious work accepted or approved. His reputation as a portraitist never faltered, but his subject pictures remain controversial. In 1985, the National Portrait Gallery, London staged a major retrospective of his work.In this fascinating account of an artist whose career bridged the transition between Edwardian aestheticism and international modernism, Paul Delaney has skilfully brought together disparate elements to reveal the personal, social and artistic crises that transformed Glyn Philpot's work.

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).

"Much of Philpot's work remains to be re-discovered ... If this exhibition achieves anything, however, it will demonstrate that Philpot was not only one of the most gifted portrait painters in a long British tradition, but also an original and sensitive artist, whose work has a recognisably individual beauty of technique and a virility of style and concept."--Page 35.

Broadcasters are corseted and cossetted - it's time to set them free. We need to scrap the TV licence and give broadcast journalists the same freedoms their print colleagues enjoy, argues Richard D. North. It made sense 80 years ago to treat broadcasters as special - but not now.

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.

Exploring what motivates artists to paint or photograph themselves, the author selects over 100 self-portraits from the National Portrait Gallery to examine the style, techniques and personalities of the sitters, including William Hogarth, Thomas Gainsborough, Angelica Kauffmann, and more.