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.

On February 24, the art lovers of Cyprus will be able to enjoy a fascinating retrospective of the life and work of three important artists of the 20th century. The exhibition 'Ghika, Craxton, Leigh Fermor: Charmed lives in Greece', presents the friendship of three significant figures, the artists Nikos Hatzikyriakos-Ghika (1906-1994) and John Craxton (1922-2009) and the writer Patrick Leigh Fermor (1915-2011), from the early years of their acquaintance in the mid-1940s to the end of their lives. Through the display of works of art, extracts from texts, photographs, letters, manuscripts and publications, we follow their relationship and their artistic and literary careers, with their love of Greece always a common denominator. As well as giving a chronological account, the exhibition plays on the theme of the places which inspired them - Hydra, Kardamyli, Crete and Corfu - and where they found hospitable settings to live and create. Nikos Ghika and John Craxton first met in London in 1945 and a year later Craxton visited Greece; prompted by Patrick Leigh Fermor, he stayed and painted with Lucian Freud on the island of Poros. After traveling around the country, he soon realised that Greece should become his home base. Similarly, Leigh Fermor, who knew Greece from his earlier travels, would choose the southern Peloponnese for his own home in 1960. The enduring friendship amongst the three men lasted for over fifty years. Greece was an integral part of their relationship, as well as an inspiration apparent in every aspect of their work. The friendship between them was sealed in four particular areas which also became a source of artistic inspiration: Hydra, Kardamyli, Crete and Corfu. The exhibition will be launched at the A. G. Leventis Gallery in Nicosia (February-May 2017), then at the central building of the Benaki Museum in Athens (June-September 2017) and finally, at the British Museum in London (March-June 2018).--Leventis Gallery website.

"Elusive, enigmatic and beautiful, Joan Leigh Fermor [a.k.a. Joan Rayner] (1912-2003) was also one of the finest photographers of her time. Although hailed and hired by John Betjeman and Cyril Connolly from the 1930s, and a remarkable recorder of the London Blitz, she most excelled in pictures of unspoilt Greece taken between 1945 and 1960 as visual notes and with no thought of publication. The scale of her achievement was only discovered after her death in 2003. What emerge in her wide-ranging work is an eye of immense subtlety and empathy, and an entire absence of ego. The artist's ease is reciprocated in the faces of Cretan shepherds, Meteoran monastics and Macedonian bear-tamers. Her vision is both intimate in portraiture and architecture, and panoramic in landscape, and most firmly focused in an abiding love of Greece. The archive of 5,000 images now in the National Library of Scotland - and partly introduced in this monograph - reveals, at long last, a 20th century photographer of significance."--Provided by publisher.

Patrick Leigh Fermor recounts the last leg of his epic walk across Europe as he makes his way through Bulgaria, Romania, and finally Greece. In the winter of 1933, eighteen-year-old Patrick (“Paddy”) Leigh Fermor set out on a walk across Europe, starting in Holland and ending in Constantinople, a trip that took him almost a year. Decades later, Leigh Fermor told the story of that life-changing journey in A Time of Gifts and Between the Woods and the Water, two books now celebrated as among the most vivid, absorbing, and beautifully written travel books of all time. The Broken Road is the long-awaited account of the final leg of his youthful adventure that Leigh Fermor promised but was unable to finish before his death in 2011. Assembled from Leigh Fermor’s manuscripts by his prizewinning biographer Artemis Cooper and the travel writer Colin Thubron, this is perhaps the most personal of all Leigh Fermor’s books, catching up with young Paddy in the fall of 1934 and following him through Bulgaria and Romania to the coast of the Black Sea. Days and nights on the road, spectacular landscapes and uncanny cities, friendships lost and found, leading the high life in Bucharest or camping out with fishermen and shepherds–in the The Broken Road such incidents and escapades are described with all the linguistic bravura, odd and astonishing learning, and overflowing exuberance that Leigh Fermor is famous for, but also with a melancholy awareness of the passage of time, especially when he meditates on the scarred history of the Balkans or on his troubled relations with his father. The book ends, perfectly, with Paddy’s arrival in Greece, the country he would fall in love with and fight for. Throughout it we can still hear the ringing voice of an irrepressible young man embarking on a life of adventure.

Martin Gayford’s masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselves The development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley. Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.

Keith Vaughan (1912-77) was a major figure in post-war British art who is known for his searching portraits of the male nude and his association with the Neo-Romantic painters. This book provides for the first time a definitive, illustrated account of his life and work, exploring his wide-ranging achievement as a modern British artist.

Published by the Trustees of the National Galleries of Scotland on the occasion of the exhibition Lucian Freud: early works at the Scottish National Gallery of Modern Art, Edinburgh, 18 January - 13 April 1997.

This book revisits the trajectory of one section of Patrick Leigh Fermor's famous excursion on foot from the Hook of Holland to Constantinople in the 1930s. The highly regarded British travel writer and heroic wartime Special Operations Executive officer walked into Hungary as a youth of 19 at Easter and left Transylvania in August 1934. This intrepid traveler, "a cross between Indiana Jones, James Bond and Graham Greene" as the New York Times obituary put it in 2011, published his experiences half a century later. Between the Woods and the Water, that covers the part of the epic foot journey from the middle Danube to the Iron Gates, has been a bestseller since it was first published in 1986. In the present volume Michael O'Sullivan reveals the identity of the interesting characters in the travelogue, interviewing several of them eyetoeye. The many counts and barons among his 1934 contacts are a proof of Leigh Fermor's lifelong attraction to the aristocracy. Rich with photos and other documents on places and persons both from the thirties and today, the book offers a compelling social and political history of the period and the area. It provides a particular portrait of Hungary and Transylvania when they were on the brink of momentous change.

American genre painting flourished in the thirty years before the Civil War, a period of rapid social change that followed the election of President Andrew Jackson. It has long been assumed that these paintings--of farmers, western boatmen and trappers, blacks both slave and free, middle-class women, urban urchins, and other everyday folk--served as records of an innocent age, reflecting a Jacksonian optimism and faith in the common man. In this enlightening book Elizabeth Johns presents a different interpretation--arguing that genre paintings had a social function that related in a more significant and less idealistic way to the political and cultural life of the time. Analyzing works by William Sidney Mount, George Caleb Bingham, David Gilmore Blythe, Lilly Martin Spencer, and others, Johns reveals the humor and cynicism in the paintings and places them in the context of stories about the American character that appeared in sources ranging from almanacs and newspapers to joke books and political caricature. She compares the productions of American painters with those of earlier Dutch, English, and French genre artists, showing the distinctive interests of American viewers. Arguing that art is socially constructed to meet the interests of its patrons and viewers, she demonstrates that the audience for American genre paintings consisted of New Yorkers with a highly developed ambition for political and social leadership, who enjoyed setting up citizens of the new democracy as targets of satire or condescension to satisfy their need for superiority. It was this network of social hierarchies and prejudices--and not a blissful celebration of American democracy--that informed the look and the richly ambiguous content of genre painting.