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.

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.

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).

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.

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.

When Turner died in 1851, the general view of an artist's late work was one of decline. Indeed, Turner's own painting from 1845 onwards was described as indulgent, eccentric and 'repulsive', and even his devoted champion John Ruskin commented on its 'wholly inferior value'. However, from the early 1900s there was a major reassessment of Turner's later paintings and sketches. Commentators hailed his study of light as a visionary precursor to the ideas of the Impression­ists. This continued into the twentieth century, with curato­rial choices in some museums presenting Turner's late and unfinished work as distinctly modern. Through a number of key themes and studies into his subject matter, technique and personal activities, this new analysis challenges the historical conceptions of Turner's late style. The idea that as an elderly artist Turner was seen as intro­verted and detached by the Victorian art world is set against the fact that his paintings from 1835 were some of the most popular, accessible and intellectual that he created. Mean­while, questioning the notion that Turner's late work articu­lated a conclusive, radical vision that was heedless of public reaction, the texts explore how Turner had a very firm idea of the workings of the art market at that time. Fully illustrated in colour, and with contributions by some of the foremost Turner scholars, this book breaks new ground in the continuing study of the life and legacy of one of art's greatest masters.