Drawn to Paper: Degas to Rego is a publication showcasing works on paper by some of the leading figures of European modernism. The selection is built around a group of works from a private collection and have not been seen in public since they were acquired in the 1970s and early ‘80s. At the heart of the collection is a group of works made by leading artists on the mid-twentieth-century Paris art scene, including the American Alexander Calder and Spaniards Picasso, Dalí and Miró, as well as the French artists Raoul Dufy and Fernand Léger. The publication is fully-illustrated with a prefatory essay and catalogue entries.

The International Conference on Insular Art (IIAC) is the leading forum for scholars of the visual and material culture of early medieval Ireland and Britain, including manuscript illumination, sculpture, metalwork, and textiles, and encompassing the work of Anglo-Saxon-, Celtic- and Norse-speaking artists. The present volume contains a selection of papers presented at the eighth IIAC, which took place in Glasgow 11-14 July 2017. The theme of IIAC8 - Peopling Insular Art: Practice, Performance, Perception - was intended to focus attention on those who commissioned, created, and engaged with Insular art objects, and how they conceptualised, fashioned, and experienced them (with ‘engagement’ covering not only contemporary audiences, but later medieval and modern ones too). The twenty-one articles gathered here reflect the diverse ways in which this theme has been interpreted. They demonstrate the intellectual vibrancy of Insular art studies, its international outlook, its interdiscplinarity, and its openness to innovative technologies and approaches, while at the same time demonstrating the strength and enduring value of established methodologies and research practices. The studies collected here focus not only on made objects, but on the creative processes and intellectual decisions which informed their making. This volume brings Insular makers – the illuminators, pattern-makers, rubricators, carvers, and casters – to the fore.

Published to accompany a major new exhibition at the Sainsbury Centre, this book examines the spectacular and controversial vision of art practice that raged across the Western world from the end of the 19th century: Art Nouveau.The role of nature is a key focus of the exhibition. The common theme of translating plants into patterns will be explored as a defining feature of the modern style. Art and objects will represent Art Nouveau from different countries, where it appeared characterised as flowing, tensile line, and dramatic movement, or by organic imagery combined with an informal geometry. Artists and designers include René Lalique, Edgar Degas, Charles Rennie Mackintosh, William Morris; Alphonse Mucha and Gabriel Dante Rossetti.

The Danish neoclassical sculptor Bertel Thorvaldsen (1770–1844), who lived most of his life in Rome, was not only one of Europe’s most soughtafter artists; he was also a collector. In addition to his own works and drawings, he built extensive collections of paintings, prints, drawings and books – and of ancient artefacts from Egyptian, Greek and Roman antiquity: coins, lockets, containers, vases, lamps, fragments of sculpture and more. He also acquired a large collection of plaster casts, primarily after ancient sculptures and reliefs, but also of works dating from the Renaissance and up until his own lifetime. Thanks to Thorvaldsen’s bequest to the city of Copenhagen, his birthplace, all of these collections are still largely intact and well preserved at his museum. Home to a total of 657 plaster casts, the Thorvaldsen Museum’s cast collection is unique for several reasons: The collection offers us insight into the sculptor’s working methods and the development of his work because it served a clear function as an image bank of forms, motifs and subjects for Thorvaldsen’s own endeavours. Furthermore, the dual fact that the collection is so well preserved and was established over a relatively brief period of time makes it a valuable example illuminating the trade and distribution of plaster casts during the first half of the nineteenth century. These areas of study form the central focal point of Volume I of this publication. Volume II contains a catalogue of the individual objects in the cast collection, while Volume III collects the overviews, inventories, concordances and primary sources referred to in the first two volumes. Arising out of many years of study of Thorvaldsen’s cast collection conducted by their author, the classical archaeologist Jan Zahle, these books contain comprehensive source material from the period, much of it previously unknown.

From Italy to France to Flanders, the arts of painting in the 14th century were practised in manuscript illumination, on panel, and in fresco. Recipes for pigments appropriate to all these arts are included in this collection. "Experiments upon Colours" were dictated by painters to a Frenchman, Jehan Alcherius, while the Italian artist, Cennino Cennini, was especially attentive to the practice and the pigments to be used in fresco painting in The Book of Art / Il Libro dell' Arte, of c. 1390. His descriptions reveal the craft of Giotto, whose works make up the plates in this collection.

Hartford Seen is the first modern-day art photography book to focus on Connecticut’s capital. Comprising more than 150 full-color images, it has been in the making since Pablo Delano began teaching photography at Trinity College in 1996. In this personal meditation on the city’s built environment, he implements a methodical but intuitive approach, using color and meticulous compositions to evoke the city’s essence, particularly the way global population flows impact the city’s physical structures. Hartford Seen is meant to be taken as a whole, as a visual document that can shed light on the unique characteristics of one city’s past, present, and potential futures.

The art world has become a point of contention within a range of debates and yet, strangely enough, while art criticism has been discussed at length, very little is said about art critics. Following in the footsteps of Lionello Venturi’s History of Art Criticism, in the current volume Lorente provides an updated reassessment of the great art critics from the Enlightenment down to the turn of the millennium. Conceived as a didactic handbook with a recommended bibliography at the end of each chapter, this concise work tells the history of a profession in permanent crisis, while also paying homage to its most influential practitioners in different cultural contexts.

The present volume shows the archaeological thinking as a form of art, revealing the poetics of the archaeological imagination. It shows that, in their work, archaeologists, without being inspired by contemporary artists, use creative methods, and their analysis of the art of the Past goes beyond the material culture of the art objects, into the realm of the mental processes of creation. Consequently, the purpose of this book is to present the archaeological research functioning as a sort of artistic creation, proposing new perspectives on the archaeological imagination. It offers an exploration of the creative processes, the possibility of finding inspiration in experientiality, and the approach to the act of creation as a subject for archaeological research. When analysing the art of the Past, or when using art methods to approach the Past, we are facing an act of creation where imagination, emotion, and creativity combine under the form of an experiential instrument of investigation. The book offers a vision of archaeological research, a means to understand the complexity of the human nature, and consequently, to approach the human thinking structured on similarity and symbolism, being able to detect cultural and psychological subjects ignored until today, and, at the same time, to offer a series of visions of art, seen from the perspective of archaeology.

Founded as a sovereign Commonwealth in 1901, a dominion in the British Empire, Australia set out immediately to present itself to the world as a nation with a great future. This book relates the untold story of how Australia’s first diplomatic mission was conceived, designed and built. Its international showcase was to be Australia House, a splendid purpose-built building at the Aldwych in the very heart of London, the Imperial capital, and of world trade and prosperity. Commenced in 1913, Australia House was opened in 1918 while the Great War still raged. It is a story of ambitions and achievements – global, imperial, local and personal. ‘This meticulous and engaging study, remarkable for the depth and breadth of its scholarship, shows that the new Federation’s projection of its growing national pride and self-assurance via an imposing stone building was also part of the quest to make of London a city that fully expressed the ambition, achievement and grandeur of empire.’ Frank Bongiorno FRHistS FASSA, Professor of History, Australian National University ‘The story of the building [of Australia House] and the wider context of the Holburn to Strand improvements at Aldwych of which it formed part is here brilliantly told.’ David M. Walker, Dictionary of Scottish Architects

The image is an ontological paradox; it is made of dead matter, yet appears to be alive. For centuries, artists have created images of the living world – images that are static and yet possess the power to bring to life a frozen moment in time. While this tension has constituted a fundamental challenge for as long as theories on the nature of images have existed, recent scholarship has rekindled interest in the question of what images ‘do to us’. Despite the rational discourse of Modernity, we must acknowledge that we view images as half-living entities. Dead or Alive! addresses the perpetual relevance of images’ enigmatic life-likeness. Each of the twelve chapters, written by scholars of art history and visual culture, conveys how the materiality of images generates this powerful effect of animation. Covering a wide range of practices, from early paleolithic stone engravings, medieval tomb sculpture, renaissance death masks and baroque painting to modern fashion, park design, early cinema, robots and bio art, the book demonstrates that the ontological paradox of the image is not limited to a specific historical period or certain types of images, but can be seen throughout the history of images across different cultures.

The Crocker Art Museum has one of the finest and earliest German drawings collections in the United States. Featuring artists such as Johann Wolfgang Baumgartner, Anton Raphael Mengs and Johann Heinrich Wilhelm Tischbein, The Splendor of Germany examines the major developments in German draughtsmanship over the course of the eighteenth century. Published to coincide with the collection’s 150th anniversary. In the 21st century, the collecting and study of 18th-century German drawings has become a major focus for American museums. One of the finest collections of them, however, has been in California for 150 years. The superb drawings at the Crocker Art Museum, from a Baroque altarpiece design by Johann Georg Bergmüller to a Neoclassical mythology by Johann Heinrich Wilhelm Tischbein, provide a panorama of German draughtsmen and draughtsmanship throughout the century. Many of the drawings are remarkable for their modernity. A self-portrait by Johann Gottlieb Prestel bypasses convention to achieve a direct, unmediated likeness. Well-placed slashes with brush and black ink define the features below his peruke outlined in black chalk. Other drawings encapsulate specific developments and styles, such as Johann Wolfgang Baumgartner’s Lazarus and the Rich Man, which shows the florid dynamism of the Augsburg Rococo. A full range of eighteenth-century German artists are represented here, from the satirizing moralists Johann Elias Ridinger and Daniel Chodowiecki to the Classicist and friend of the art theorist Johann Joachim Winkelmann, Anton Raphael Mengs. Landscape artists are especially well represented, such as the key figure Johann Georg Wille, printmaker to the French king Louis XV, and generations of artists he taught and influenced all the way to the early Romantic landscapists. The exhibition and catalogue gather together a variety of dynamic and sensitive portraits, charming scenes of daily life, and often humorous moralizing subjects, as well as narratives, both religious and mythological, from the late Baroque to Neoclassicism. In the realm of landscape, the depth of the collection allows the exhibition to trace schools and influences—in addition to Wille’s mentioned above—even in families such as that of Prestel, whose wife and daughter were both landscapists. It also allows it to demonstrate the great variety of works by single artists such as Christoph Nathe, represented by four landscapes in four different genres including a splendid scene near Görlitz. Some artists, in fact, work in several genres as in the case of Johann Christian Klengel, whose works include the scene of a family by candlelight, a farmstead landscape, and a sketchbook that he carried through the countryside to record picturesque views.This is a rare opportunity for the public and for drawings enthusiasts. Two-thirds of the drawings in the exhibition have not been shown before; most of the exceptions have not been seen since 1989. Because of the drawings’ 150-year history of limited exposure, the state of preservation of the collection is exceptional, as is the condition of the new acquisitions included in the exhibition.

Comprising material from the 15th century through to the present day, Portraying Pregnancy accompanies an exhibition at the Foundling Museum, which is the first ever to focus on portraits of pregnant women in British art. The book will be extensively illustrated with painted portraits, drawings, miniatures, prints, photographs, sculpture, textiles and objects. Although up to the early 20th century many women spent most of their adult years being pregnant, their pregnancies are seldom made apparent in surviving portraits. Portraying Pregnancy considers the different ways in which (from the late Middle Ages onwards) a sitter’s pregnancy was, or was not, visibly represented to the viewer. Over a span of more than 500 years, Portraying Pregnancy interrogates how the social mores and preoccupations of different periods have impacted the ways in which pregnant women have been depicted – sometimes reinforcing an ‘ideal’ female role (especially within a religious context), while at other times celebrating fertility, or asserting shock value. Prior to the 20th century, the possibility of death in childbirth was a constant reality that brought an additional tension to such a representation. Portraying Pregnancy also explores the extent to which female sitters have had agency over their depiction. Written by Karen Hearn, the leading expert on this topic, Portraying Pregnancy will address representations of pregnancy in a religious context; early popular and medical understanding of pregnancy; dress and fashion; pregnancy portraits in 16th- and early 17th-century England; mid 17th-century female portraits; 18th-century British grand portraiture; the rarity of 19th-century images of pregnant women; the shift in early 20th-century male artists’ depictions of their wives and partners, as they began to celebrate pregnancy visually; how British women artists now addressed their own pregnancies in their work; and other later 20th-century nude portrayals.

Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared ‘ways of seeing’ that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects.

In Knowing and Seeing, muralist Douglas Cooper reflects on his long career as a muralist in various cities around the world. Part memoir and part an examination of his art, Cooper looks back on his half-century career from two points of view. First, through personal anecdotes on site sketches and finished works, and secondly, on the intellectual roots of the works. Though the core ideas of his work began in Pittsburgh, Cooper has exhibited work and produced murals, up to 200 feet long, in Cologne, Rome, San Francisco, Seattle, Qatar, Frankfurt, Philadelphia, New York, and Washington DC. Memory has been a recurring theme in his art. All of Cooper’s works are driven by a desire to combine his conception of place with his perception of it—knowing and seeing. Knowing and Seeing features personal essays and more than 240 color images, including early Christian and Renaissance paintings as well as contemporary murals and other illustrations of Cooper’s unique work.

Motivated by the inexorable rise of urban-industrial development and the subsequent deterioration of our planet, artists confront the contemporary vulnerability of our natural world, and illustrate the continued relevance of ecology and nature conservation to contemporary artistic practice, and global climate change. In Fragile Earth: The Naturalist Impulse in Contemporary Art, leading artists Jennifer Angus, Mark Dion, Courtney Mattison, and James Prosek make natural elements their medium conceptually and literally. From prints created with eel bodies and moth wings, to ceramic sculpture mimicking coral bleaching, cabinets filled with colorful plastic collected from oceans and rivers, and walls covered with shockingly beautiful, preserved insects, the artwork reflects an artist’s perspective to natural science, these essays and written conversations showcase the persuasive role artists can play in advocating for the preservation of earth.

For the first time, Craigie Aitchison and the Beaux Arts Generation tells the story of Craigie Aitchison’s role amongst the bright young figurative painters of post-war London. Along with Michael Andrews, Frank Auerbach, Leon Kossoff and Euan Uglow, Aitchison belonged to ‘the Beaux Arts generation’: a set of highly talented painters first shown at the Beaux Arts Gallery by Helen Lessore. Under her discerning gaze, the early careers of these five artists were launched and close friendships formed, even as a wild divergence of artistic styles took place. By the time of its closure in 1965, Lessore’s gallery had laid the foundations for the next five decades of British art. The book accompanies Piano Nobile’s exhibition of the same title. A memoir by Susan Campbell provides a first-hand insight into the student days of Aitchison, Andrews and Uglow. Herself a student at the Slade School of Fine Art and an erstwhile visitor to the Beaux Arts Gallery, Campbell contributes a vivid account of these artists and their early careers. The book further includes three definitive texts by Aitchison, Andrews and Auerbach. First published in 1959 and 1960 by the literary arts magazine X: A Quarterly Review, these short essays provide a cogent insight into the three artists’ thinking. The book also comprises a fully-illustrated catalogue of forty-eight works. A first section presents a significant group of works by Aitchison, followed by a second section with paintings, watercolours and drawings by Andrews, Auerbach, Kossoff and Uglow. Many works are drawn from private collections and have not previously been published.