Gwen John

In 1942, at the height of his fame, Augustus John predicted that 'fifty years from now I shall be known as the brother of Gwen John'. Gwen John (1876 - 1939) is indeed now recognised as a great artistic innovator, yet for years her life remained shrouded in the myth of the solitary recluse. Born in Pembrokeshire, Gwen followed her brother to the Slade. Her future was bound up with Augustus, his women and his coteries, yet she was also daring and highly original, living determinedly in her own way. Defiant yet shy, she painted and modelled amid the Bohemian circles of early twentieth-century Paris and embarked on a long, intense love affair with France's most legendary artistic figure, the sculptor Rodin. A friend of Symbolist poets and post-Impressionist painters, later she turned increasingly to religion, achieving a deep serenity which masked her inner turbulence, creating her haunting paintings - delicate, austere, restrained and still. Based on her lively and passionate unpublished letters and copiously illustrated, this vivid new biography challenges our prejudices about the ways we evaluate women artists and finally uncovers the life of this ardent and complicated personality, one of the finest artists of her day. Important Notice: The digital edition of this book is missing some of the images or content found in the physical edition.

A unique combination of memoir and artistic biography, interspersed with original artworks, from the acclaimed artist and author of SELF-PORTRAIT. We are both painters. We can connect to each other through images, in our own unvoiced language. But I will try and reach you with words. Through talking to you I may come alive and begin to speak. Celia Paul has felt a lifelong connection to the artist Gwen John. There are extraordinary parallels in their lives and work. Both have always made art on their own terms. Both were involved with older male artists. Both worked hard to keep themselves and the sacred flame of their creativity from being extinguished by others. Letters to Gwen John is Paul's imagined correspondence with Gwen John, whose life and work have loomed so large in hers. These intimate, passionate, haunting letters allow Paul to reach across eras, to weigh up the sacrifices she has made, and to explore the rich possibilities of a life apart. With illuminating insights into the life and work of Gwen John, Letters to Gwen John is a unique form of memoir and conversation, and an unforgettable insight into a life devoted to making art.

This collection of essays brings together many separate but related issues which form the focus of contemporary research into the history of dress. Historically, in Britain at least, investigations of dress were primarily informed by historical and empirical protocols, although the symbolic meaning of dress was explored by anthroplogists and sociologists, who tended to concentrate on either non-Western cultures or British or Western sub-cultures. In recent years these approaches have moved closer together partly as a result of the impact of feminism.

The Flaneuris usually identified as the "man of the crowd" of Edgar Allan Poe and Charles Baudelaire, and one of the heroes of Walter N. Benjamin's Arcades Project. The Flaneur'sactivity of strolling and loitering is mentioned increasingly frequently in sociology, cultural studies and art history but very rarely is the debate developed. This book shows that the debate does not begin and end with Baudelaire and Benjamin. The Flaneurcenters around a series of original essays which provide hitories of the origins of the Flaneurand Flanerie. It raises many questions such as whether we have to walk the streets to indulge in Flanerie; how the city is a gendered space; and how Flaneriemight be possible from the safety of our dining tables. Keith Tester also raises important questions about the status of sociological and cultural studies.

This book includes some 200 complete entries from the award-winning Dictionary of Women Artists, as well as a selection of introductory essays from the main volume.

The most comprehensive volume of its kind, Gray's Dictionary of British Women Artists offers extensively-researched biographies of some of the most significant female contributors to British art.This volume will make a valuable contribution to the study of art history. It will also provide readers with significant insight into a long-neglected aspect of history - the lives and achievements of women artists. Each entry provides key biographical information, as well as (where possible) commentaryon the artist's studies, lifestyle, travels and family. Entries also detail significant works, exhibitions and membership of societies. Gray's introduction provides a useful context to the biographies.

A captivating collection of pieces about the art of narration by Britain's finest biographer, Michael Holroyd In this collection of pieces, Michael Holroyd reflects on the eccentricities of the art of writing about others. With characteristic playfulness and guilefulness, he considers the ways in which lives can be written about (and painted), with all the subtle differences of design and intention that this entails. From Kipling to forgetfulness, Princess Diana's butler Paul Burrell to fellow biographers like Richard Holmes and the fathers of British biography, Boswell and Johnson, Holroyd tackles a rich and vibrant array of topics. He discusses his life at the mercy of subjects who have led him all over the world – and often into other people's families uninvited. With wit, warmth and humour, he reflects on the unlikely ways he arrives at his subjects, and how the process of building their narratives is often a disturbing experience: so consuming that, when completed, he feels as if he has had a holiday from himself. Featuring writing originally published in the Times Literary Supplement, the Guardian, the Telegraph and elsewhere, Facts and Fiction provides unique insight into the mind of a master.

This book is about the contribution of women to the lives of famous artists. Although women have given so much to these artists, this selfless contribution has been largely overlooked by art historians. In trying to redress such a huge imbalance, I have focused mainly on male painters. As a retired psychiatrist, I could not write about these artists, and the women who were their intimate partners, without considering their psychopathology. In writing about this I have struggled to avoid jargon and to ensure readability. The main focus is on the relationship between psychopathology and creativity, with some comments about the effects of psychiatric treatment on the creative process. The overall bias of the book is feminist, but my voice here is not strident. I have tried to comment sensibly on what modern women may learn from the truly heroic women who are the main focus of this work.

When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.

Over 2,100 annotated entries for English-language books, articles, dissertations, and manuscripts identified through research in Wales, England, and the U.S.

Artists & Illustrators magazine's Book of the Month Taking inspiration from iconic paintings in the Tate collection, discover the techniques of the masters and improve your own painting skills with 30 guided projects. As you work through the exercises, you'll learn how to work 'wet into wet' with Maggi Hambling, master colour temperature with John Singer Sargent and create rhythm and unity in your paintings with John Nash. Whether you are looking to reinvigorate your watercolour practice with new techniques, try your hand at a wide variety of painting styles, or discover a new, inspiring master of the art, this book offers something new for every watercolourist.

They are not alone... Nevada Barr's nineteenth Anna Pigeon mystery, Boar Island, is a gripping novel that transports you to the wild and dangerous landscape of Acadia National Park. Perfect for fans of Jo Nesbo and Paul Doiron. 'Gripping... harrowing... a moving, suspenseful, fast-paced novel... shimmering with vibrant life and originality' - Cleveland Plain Dealer Anna Pigeon, in her career as a National Park Service Ranger, has had to deal with all manner of crimes and misdemeanours, but cyber-bulling and stalking is a new one. The target is Elizabeth, the adopted teenage daughter of her friend Heath Jarrod. Elizabeth is driven to despair by the disgusting rumours spreading online and bullying texts. Until, one day, Heath finds her daughter Elizabeth in the midst of an unsuccessful suicide attempt. And then she calls in the cavalry - her aunt Gwen and her friend Anna Pigeon. The three adults decide the best thing to do is to remove Elizabeth from the situation and, since Anna is about to start her new post as Acting Chief Ranger at Acadia National Park in Maine, they join her and stay at a house on the cliff of a small island near the park, Boar Island. But the move doesn't solve the problem. The stalker has followed them. And Heath (a paraplegic) and Elizabeth aren't alone on the otherwise deserted island. At the same time, Anna has barely arrived at Acadia before a brutal murder is committed by a killer uncomfortably close to her... What readers are saying about Boar Island: 'Ms. Barr's amazing writing and character development sucked me in and I went on the most amazing adventure' 'An exciting, twisting novel' '[I] excitedly anticipated the next page. I couldn't put Boar Island down'

Creative Justice examines issues of inequality and injustice in the cultural industries and the cultural workplace. It offers a comprehensive and considered account of the state-of-the field in cultural studies and sociological thinking about cultural and creative industries work, education and employment, and seeks to address fundamental questions about the constitution of equality and inequality in the creative industries.

The dramatic trilogy has been flourishing for some time now in new works and revivals of older works by American, British, and European playwrights. This book analyzes recent American works by Caucasian, African American, Asian American, and Hispanic American men and women. There are five chapters beginning with Opposing Families (trilogies of, e.g., Lanford Wilson, Foote, Machado, and McCraney are examined). Carson, Rabe, and McLaughlin are among those in the Classical Reimaginings chapter while Coen, Berc, and Wolfe constitute the Medieval Reimaginings chapter. Van Itallie, Havis, Rapp, and Hwang, among others, create New Forms. LaBute, Fierstein, and Nelson, among others, create New Selves. The concluding chapter is devoted to Ruhl’s Passion Play, which spans 400 years of theatre-creating from Elizabethan England to Hitler’s Germany to the Reagan era in America.

Breakfast at Sotheby's is a wry, intimate, truly insider-y exploration of how art acquires its financial value, from Philip Hook, a senior director at Sotheby's When you stand in front of a work of art in a museum or exhibition, the first two questions you normally ask yourself are 1) Do I like it? And 2) Who's it by? When you stand in front of a work of art in an auction room or dealer's gallery, you ask these two questions followed by others: how much is it worth? how much will it be worth in five or ten years' time? and what will people think of me if they see it hanging on my wall? Breakfast at Sotheby's is a guide to how people reach answers to such questions, and how in the process art is given a financial value. Fascinating and highly subjective, built on thirty-five years' experience of the art market, Philip Hook explores the artist and his hinterland (including -isms, middle-brow artists, Gericault and suicides), subject and style (from abstract art and banality through surrealism and war), "wall-power", provenance and market weather, in which the trade of the art market is examined and at one point compared to the football transfer market. Comic, revealing, piquant, splendid and absurd, Breakfast at Sotheby's is a book of pleasure and intelligent observation, as engaged with art as it is with the world that surrounds it. Philip Hook is a director and senior paintings specialist at Sotheby's. He has worked in the art world for thirty-five years during which time he has also been a director of Christie's and an international art dealer. He is the author of five novels and two works of art history, including The Ultimate Trophy, a history of the Impressionist Painting. Hook has appeared regularly on television, from 1978-2003 on the BBC's Antiques Roadshow.