Born in 1885 in Porto, Portugal, to a middle-class musical family, Guilhermina Suggia began playing cello at the age of five. A child prodigy, she was already a seasoned performer when she won a scholarship to study with Julius Klengel in Leipzig at the age of sixteen. Suggia lived in Paris with fellow cellist Pablo Casals for several years before World War I, in a professional and personal partnership that was as stormy as it was unconventional. When they separated Suggia moved to London, where she built a spectacularly successful solo career. Suggia's virtuosity and musicianship, along with the magnificent style and stage presence famously captured in Augustus John's portrait, made her one of the most sought-after concert artists of her day. In 1927 she married Dr Jos asimiro Carteado Mena and settled down to a comfortable life divided between Portugal and England. Throughout the 1930s, Suggia remained one of the most respected musicians in Europe. She partnered on stage with many famous instrumentalists and conductors and completed numerous BBC broadcasts. The war years kept her at home in Portugal, where she focused on teaching, but she returned to England directly after the war and resumed performing. When Suggia died in 1950, her will provided for the establishment of several scholarship funds for young cellists, including England's prestigious Suggia Gift. Mercier's study of Suggia's letters and other writings reveal an intelligent, warm and generous character; an artist who was enormously dedicated, knowledgeable and self-disciplined. Suggia was one of the first women to make a career of playing the cello at a time when prejudice against women playing this traditionally 'masculine' instrument was still strong. A role model for many other musicians, she was herself a fearless pioneer.

Since the early nineteenth century, Byron, the man and his image, have captured the hearts and minds of untold legions of people of all political and social stripes in Britain, Europe, America, and around the world. This book focuses on the history and cultural significance for Federal America of the only portrait of Byron known to have been painted by a major artist. In private hands from 1826 until this day, Thomas Sully's Byron has never before been the subject of scholarly study. Beginning with his discovery of the portrait in 1999 and a 200-year narrative of the portrait's provenance and its relation to other well-known Byron portraits, the author discusses the work within the broad context of British and American portraiture of the late eighteenth and early nineteenth centuries. Receiving most attention are Thomas Lawrence and Sully, his American counterpart. The author gives the fullest account to date of Sully's career and his relation to English influences and to figures prominent in the early-nineteenth-century American imagination, among them, Washington, Fanny Kemble, Lafayette, Joseph Bonaparte, and Nicholas Biddle. Byron is discussed as an icon of the young American Republic whose Jubilee year coincided with Sully's initial work on the poet's portrait. Later chapters offer a close reading of the portrait, arguing that Sully has given a visual interpretation truly worthy of his celebrated, controversial, and famously handsome subject.

100 sumptuously produced essays by Britain’s leading art critic, US born, Richard Dorment. They cover exhibitions of historic and contemporary art world-wide, interpreting and critiquing many of the most important shows of the last 30 years. They offer, in a highly accessible form, the fundamental elements of a history of art, and a beguiling review of recent cultural trends.

FOX NFL Sunday analyst and legendary Hall of Fame head football coach Jimmy Johnson—the first to win both a college football championship and a Super Bowl—shares his long-awaited, intimate, no-regrets memoir recounting his extraordinary life and insightful lessons on winning, at every level. Hall of Fame football coach Jimmy Johnson’s house isn’t on the way to anything. Yet, his private sanctuary on the Florida Keys’ Islamorada islands is a popular destination to which college and professional coaches, general managers, and team owners regularly trek to seek advice—how to build a positive team culture, draft elite players, balance work and family life, and lead a team to win. Why? Because Jimmy Johnson has done it all—rising through the college coaching ranks to lead the University of Miami Hurricanes to a national championship, winning two consecutive Super Bowls with the Dallas Cowboys, and handling public triumphs while dealing with private adversity. Now, written with veteran sports journalist Dave Hyde, Johnson shares a candid account of his life experiences that have turned him into a legend in the coaching world. From his early days on the college football fields at Louisiana Tech to his arrival as the Cowboys’ coach in 1989, Swagger traces the history of Johnson’s career, and his lifelong mission to win. His larger-than-life personality and hard-driving, tough-talking coaching style led him to become one of only six coaches in NFL history to win back-to-back Super Bowls. Swagger shows the behind-the-scenes details of his professional conflict with Cowboys owner Jerry Jones and his personal revelations following his mother’s death and his son’s struggle with addiction. It reveals Johnson’s formula for winning, including his criteria for identifying talent, his core beliefs, how he replaced legendary coaches like Tom Landry and Don Shula, coached stars from a young Troy Aikman to an aging Dan Marino, and established the ever-elusive sense of “culture” that every team leader hopes to achieve. More than a highlight reel, Swagger reveals the hard-won lessons Jimmy Johnson has learned both as a man and as a coach through a lifetime dedicated to excellence.

Explores the ways in which new forms of visual culture, such as such as the illustrated newspaper, the cheap caricature cartoon, the affordable illustrated book, the portrait photograph, and the advertising poster, worked to shape key Victorian aesthetic concepts.

During states of emergency, normal rules and rights are suspended, and force can often prevail. In these precarious intervals, when the human potential for violence can be released and rehearsed, images may also emerge. This book asks: what happens to art during a state of emergency? Investigating the uneasy relationship between aesthetics and political history, Emilia Terracciano traces a genealogy of modernism in colonial and postcolonial India; she explores catastrophic turning points in the history of twentieth-century India, via the art works which emerged from them. Art and Emergency reveals how the suspended, diagonal, fugitive lines of Nasreen Mohamedi's abstract compositions echo Partition's traumatic legacy; how the theatrical choreographies of Sunil Janah's photographs document desperate famine; and how Gaganendranath Tagore's lithographs respond to the wake of massacre. Making an innovative, important intervention into current debates on visual culture in South Asia, this book also furthers our understanding of the history of modernism.

Combining the work of major scholars on both sides of the Atlantic this volume seeks to explore the interconnections between popular culture and political activism at both the local and central levels. Strongly influenced by the work of David Underdown, the contributions range across a spectrum of social and political history from witchcraft to the aristocracy, from forest riots to battles of the civil war. The volume combines chapters from historians of gender, of political theory, of social structure, and of high politics. Within this diversity, the contributors offer a cohesive approach to the study of early modern England, encouraging the exploration of mentalities and political activities, as well as artistic rendering, writing and ceremony within the widest context of cultural politics.

Andrew Graham-Dixon unveils the long-kept secret of Britain's rich and vital visual culture.

The Dutch-born English Baroque portrait painter Sir Peter Lely (1618-1680) is chiefly known for his drowsy, sensual beauties and bewigged courtiers associated with the Restoration court of Charles II. He is often seen as merely successor or "imitator" of Sir Anthony Van Dyck (1599-1641), with a common resemblance in all his sitters and an inability to capture a true likeness, as well as an absence of any personal characterization or psychological interest. Alternately, this dissertation aims to reveal Lely's genius of superb draughtsmanship, fine color and lively composition, as well as to examine and reinstate the artist's impact and deep impress on British painting. Lely's early style owes much to his Dutch origin and training with the pioneers of Dutch classicism, and the distinctive qualities of his early work and the change in his traditions and techniques are examined. The development of Lely's portrait style is examined - from his arrival in England in the early 1640s through his years as leading aristocratic and society portraitist and Principal Painter to the King in the 1660s, to his mature work in the 1670s when his work is characterized by a restricted palette and cool restraint. And finally, Lely as collector is examined. He assembled one of the largest and most impressive private collections of art in seventeenth-century Europe, and his acquisitions and their influences, benefits and effects are considered. Upon Lely's death, his highly important collection was dispersed by auction in a series of four well-publicized sales in 1681, 1682, 1688 and 1694, respectively. These sales brought many important works to the London art market, and were some of the most important sales to date in England, as well as the most spectacular of the modern auction world. Although Lely initially emulated the style and techniques of Van Dyck, he juxtaposed his profound Dutch qualities of rich color, dramatic illumination and romantic landscapes, and ultimately imbued a sensuality, languor and luxurious negligence into the traditions and continuity of Van Dyck's grand Baroque style of English portraiture. Subsequently, together later with Sir Godfrey Kneller (1646-1723), Sir Peter Lely completely dominated British portraiture from the death of Van Dyck in 1641 until William Hogarth (1697-1764) challenged his style in the first half of the eighteenth century. Due to large file size, some images within this ebook do not appear in high resolution.