This scholarly publication presents the work of the designer, painter and illustrator Claude Gillot (1673–1722). The first volume on the artist in English, it accompanies a major exhibition at the Morgan Library& Museum that explores Gillot’s inventive and highly original draftsmanship and places his work in the context of artistic and intellectual activity in Paris ca. 1700. The history of eighteenth-century French art under the ancien régime is dominated by great names. But the artistic scene in Paris at the dawn of the century was diverse and included artists who forged careers largely outside of the Royal Academy. Among them was Claude Gillot. Known primarily as a draftsman, Gillot specialized in witty scenes taken from the Italian commedia dell’arte plays performed at fairground theaters and vignettes of satyrs enacting rituals that expose human folly. The book will address Gillot’s work as a designer, painter, and book illustrator, and advance a chronology for his career. Crafting a timeline for Gillot’s life and work will clarify his relationship with his younger collaborators Antoine Watteau and Nicolas Lancret.Through an artistic biography and six chapters, each devoted to an aspect of his oeuvre, Gillot’s role in developing quintessential rococo subjects is established. We follow Gillot from his start as the son of a decorative painter in the bishopric of Langres to his arrival in Paris in the 1690s, as the city and its secular entertainments flourished apart from the royal court at Versailles. Myriad opportunities awaited artists outside official channels, and Gillot built his career working in the theater and as a painter and designer long before seeking official academic status. His involvement with writers, playwrights, and printmakers helped define his sphere. Gillot’s preference for theatrical subjects brought him critical attention, and also attracted talented assistants such as Watteau and Lancret. Gillot came to prominence around 1712 working at the Paris Opéra and as a printmaker and illustrator of books, lending his droll humor to satires. By 1720, Gillot was enlisted to design costumes for the last royal ballet, one of the final projects of his career. He died nine months after his most celebrated pupil, Watteau. The sale of his estate, which including his designs and many etched copper plates, provided material for printmakers and publishers and ensured Gillot’s lasting fame among print connoisseurs. His oeuvre as a draftsman and painter, however, was largely forgotten until drawings and canvases began to emerge in the first half of the twentieth century.

This beautiful publication presents a catalogue raisonné of Léon Bonvin’s work published in both French and English. Introduced by several illuminating essays and accompanying an exhibition at the Fondation Custodia, this book enriches our understanding of the previously overlooked, yet immensely talented, French artist. Léon Bonvin never enjoyed the same notoriety as his half-brother, Francois (1817–1887), who was a well-regarded realist painter in the nineteenth century. He is characterised from the few remaining sources as misunderstood and ill-fated. As he was struggling to make a living, Bonvin took over his father’s inn in Vaugirard, while continuing to paint watercolours. His work, depicting wild flowers, still lifes and views of the still rural and working-class plain exhibit a deep sincerity. This catalogue raisonné is introduced by a series of essays, the outcome of intensive research that sheds new light on the life and art of Bonvin. Weisberg delivers two essays, a study of his career, and an exploration of contemporary receptions to his art. Luijten’s essay questions the artistic inspiration that Bonvin drew upon. Briggs considers the transatlantic appeal of Bonvin’s works whilst Guichané and Quentin explore his character and artistic practice. The catalogue documents all known works by the artist, which are scattered throughout public and private collections, mainly in the United States of America and France. Among these are many drawings which have never been published before. Together, the essays and comprehensive catalogue of his works, provide an essential foundational knowledge upon which an appreciation of Bonvin’s magnificent oeuvre may be built.

Russian painter, explorer, and mystic Nicholas Roerich (1874-1947) ranks as one of the twentieth century’s great enigmas. Despite mystery and scandal, he left a deep, if understudied, cultural imprint on Russia, Europe, India, and America. As a painter and set designer Roerich was a key figure in Russian art. He became a major player in Diaghilev’s Ballets Russes, and with Igor Stravinsky he cocreated The Rite of Spring, a landmark work in the emergence of artistic modernity. His art, his adventures, and his peace activism earned the friendship and admiration of such diverse luminaries as Albert Einstein, Eleanor Roosevelt, H. G. Wells, Jawaharlal Nehru, Raisa Gorbacheva, and H. P. Lovecraft. But the artist also had a darker side. Stravinsky once said of Roerich that “he ought to have been a mystic or a spy.” He was certainly the former and close enough to the latter to blur any distinction. His travels to Asia, supposedly motivated by artistic interests and archaeological research, were in fact covert attempts to create a pan-Buddhist state encompassing Siberia, Mongolia, and Tibet. His activities in America touched Franklin Delano Roosevelt’s cabinet with scandal and, behind the scenes, affected the course of three US presidential elections. In his lifetime, Roerich baffled foreign affairs ministries and intelligence services in half a dozen countries. He persuaded thousands that he was a humanitarian and divinely inspired thinker - but convinced just as many that he was a fraud or a madman. His story reads like an epic work of fiction and is all the more remarkable for being true. John McCannon’s engaging and scrupulously researched narrative moves beyond traditional perceptions of Roerich as a saint or a villain to show that he was, in many ways, both in equal measure.

This important book presents a comprehensive history of St Bartholomew the Great, the oldest parish church in London. In 2023, the Priory Church and Hospital will celebrate the 900th anniversary of their foundation.At the heart of the Smithfield area, with its hospital, pubs, restaurants and market, is a church built when Henry I, son of William the Conqueror, was King of England. Overlooking the fields where kings confronted rebellions, knights jousted and heretics were burnt, St Bartholomew’s Priory and Hospital played a central role in the history of medieval London.Partially torn down by order of Henry VIII during the Dissolution of the Monasteries, the Priory was reborn as a parish church. It served the City of London through the tumultuous years of the Reformation and the Civil War and has played host to many of London’s most famous residents. William Hogarth was baptized in its font. Charles Wesley preached in its pulpit. Benjamin Franklin served as a printer’s apprentice in its former Lady Chapel. John Betjeman lived across the street and memorialized it in his poetry.The history of St Bartholomew’s is a tale of miraculous survival and continual renewal. It came out unscathed from the Great Fire of 1666 and the bombs dropped in Zeppelin raids in World War I and during the Blitz in World War II. Its splendid Romanesque core has been added to by each successive generation. This volume – the first comprehensive history of the Church since 1921 – will survey the art, architecture and historical significance of the City of London’s oldest parish church in a scholarly, yet accessible tone. Richly illustrated, this book willappeal to those interested in the history of the City of London, in medieval and Victorian church architecture, in funerary monuments, and in the history of the Church of England.

Accompanying a major exhibition at Philip Mould & Company, Without Hands: The Art of Sarah Biffin presents the work of the remarkable 19th-century disabled artist who has been largely overlooked by art historians. This book and exhibition celebrate her art, life and legacy.Sarah Biffin (1784–1850) came from humble origins yet rose to fame in the 19thcentury as an exceptionally talented miniaturist. As a working-class, disabled female artist, her artworks – many proudly signed “without hands” – are a testament to her talent and life-long determination. Despite her prolific artistic output, Biffin’s life and work has been largely overlooked by art historians – until now.Sarah Biffin was born with the condition ‘phocomelia’, described on her baptism record as ‘born without arms and legs’. She spent her childhood in her family home where she learnt to sew and write. Biffin was later contracted to Mr Dukes, who ran a travelling sideshow, where Biffin would write and paint in front of an audience. The crowds who turned up left with a sample of her writing included in the cost of their ticket.In her mid-twenties she began formal tuition with a miniature painter, William Marshall Craig, and from 1816 she set herself up as an independent artist. Biffin travelled extensively, exhibiting her artwork and taking commissions all over the country, before finally settling in Liverpool. Throughout her long and successful career, she took commissions from nobility and royalty, and recorded her own likeness across the years through exquisitely detailed self-portraits.Working closely with the project’s advisor – artist Alison Lapper MBE (born with the same condition as Sarah Biffin 180 years later) – and consultant and contributor – Professor Essaka Joshua (specialist in Disability Studies at the University of Notre Dame, Indiana) – this publication and exhibition seek to celebrate Biffin as a disabled artist who challenged contemporary attitudes to disability. It is fully illustrated and includes original research.

Frank Auerbach: The Sitters provides a comprehensive overview of the artist’s portraiture. It reveals the special connection between the artist and his ‘sitters’ - the small group of dedicated models who have been Auerbach’s chief subject over a career spanning seven decades. A comprehensive list of his sitters has been compiled here for the first time, providing new biographical information about his models from E. O.W. to J.Y.M. and beyond. Frank Auerbach: The Sitters includes a wide range of contributors. An essay by the art critic William Feaver describes the experience of sitting for Auerbach, while a conversation from 2001 between the artist and Martin Gayford describes Auerbach’s intentions and process. Auerbach’s close friendship with the art historian Michael Podro is also explored, with a short memoir by Natasha Podro and a re-published, little known essay from 1969 by Podro himself. Forty paintings and drawings from 1956 to 2020 are illustrated in colour, with thoroughly researched catalogue entries that shed new light on the artist’s relationships and his work. The publication accompanies Piano Nobile’s exhibition Frank Auerbach: The Sitters, held in autumn 2022.

This catalogue accompanies the first exhibition devoted to a fascinating group of drawings by the Anglo-Swiss Henry Fuseli (1741–1825), one of eighteenth-century Europe’s most idiosyncratic, original and controversial artists. Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad. Fuseli’s contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puff ed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the mostbizarre and complicated sort. Often based on the artist’s wife Sophia Rawlins, the women who populate Fuseli’s graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually theyappear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband. By bringing together more than fi fty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli’s drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today. The exhibition showcases drawings brought together from international collections, including the Kunsthaus in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.

This welcome catalogue accompanies The Courtauld's display of the work of Helen Saunders (1885–1963), the first monographic exhibition devoted to the artist in over 25 years. After years of obscurity, Helen Saunders: Modernist Rebel reconsiders her work as an important part of the story of British modernism.One of the first British artists to pursue abstraction, Saunders was one of only two women to join the Vorticists, the radical but short-lived art movement that emerged in London on the eve of the First World War. Her extraordinary drawings capture both the dynamism of modern urban life and the horrors of mechanised warfare. Following the war, she turned her back on Vorticism and pursued her own path, working in a more figurative style. Due in part to the loss of a significant portion of her oeuvre, including all of her Vorticist oil paintings, this remarkable artist fell into obscurity. Only in recent years has her work begun to be rediscovered and celebrated as an important piece of the story of British modernism.A group of 20 drawings gifted in 2016 by her relative, the artist and writer, Brigid Peppin, has transformed The Courtauld into the largest public collection of Saunders's work in the world. These drawings trace Saunders's artistic development in the orbit of Roger Fry and the Bloomsbury Group, keenly attuned to contemporary art in France, to the ground-breaking abstraction of Vorticism. Following the disruption of the First World War and the disbanding of the Vorticists, Saunders turned again to figuration, developing her own approach to landscape, portraiture and still life which she would pursue alone for the rest of her career, exhibiting sporadically and never again joining a group of artists. This interest is revealed here in a group of landscapes created in L'Estaque in the south of France in the 1920s, which show the artist responding both to her surroundings as well as to predecessors such as Paul Cézanne and Georges Braque who had previously worked in the area. Featuring essays by Brigid Peppin and Jo Cottrell on Saunders's artistic education and career and on her relationship to the places of Vorticism in London, and catalogue entries by Rachel Sloan, this volume sheds light on an artist who steadily pursued her own path and whose contribution to the story of modern art is being newly appreciated.

This beautiful publication presents for the first time the Eveillard Gift of drawings to The Frick Collection, the most important gift of drawings and pastels in its history. It accompanies an exhibition at the Frick and includes a catalogue of the works and commentaries by noted scholars. Twenty-six works of art promised to The Frick Collection by Elizabeth and Jean-Marie Eveillard dramatically advance the museum’s commitment to the research and display of European drawings. Included in this transformative gift from two longtime supporters of the Frick are exquisite drawings, pastels, prints, and one oil sketch by François Boucher, Gustave Caillebotte, Edgar Degas, Eugène Delacroix, Jean-Honoré Fragonard, Thomas Lawrence, Francisco de Goya y Lucientes, John Singer Sargent, Elisabeth Vigée Le Brun, and Jean-Antoine Watteau, among others. The works include figurative sketches, independent studies, portraits, and landscape scenes, each either deepening the museum’s celebrated holdings or bringing the work of an artist who is not – but should be – represented in the collection. This lavishly illustrated publication, which accompanies an exhibition at the Frick, includes a catalogue of the works, as well as comprehensive commentaries on each of promised gifts written by noted scholars in their field.

A comprehensive, novel reassessment of the life and work of one of America's most influential self-taught artists, John Kane. The book presents a full account of Kane's life as a working man, including his time as a steelworker, coal miner, street paver, and commercial painter in and around Pittsburgh at the height of the industrial era. How these occupations shaped his development as an artist and his breakthrough success in the modern art world is carefully explored and analyzed in this richly illustrated volume. Kane's dramatic life story demonstrates the power of perseverance and creativity: his dedication to painting resulted in a fascinating body of work that has ended up in some of America's most important museums and private collections.

By 1920, Buenos Aires was the largest and most cosmopolitan city of Latin America due to mass immigration from Europe. Unbridled urban expansion had drastic effects on the social and cultural topography of the Argentine capital, raising ideological and aesthetic issues that shaped the modernist landscape of the country. Artists across disciplines responded to these changes with conflicting depictions of urban space. Centering these conflicts as a cognitive map of modernity’s new realities in the city and in understandings of the city itself, Buenos Aires and the Arts looks at the interaction between modernity and modernism in literature, photography, film, and painting during the interwar period. This was a time of profound change and heightened cultural activity in Argentina. Eleni Kefala analyzes works by Jorge Luis Borges, Oliverio Girondo, José Ferreyra, Xul Solar, Roberto Arlt, and Horacio Coppola, with a focus on the city of Buenos Aires as a playground of modernity.

Harlan Hubbard (1900-1988), Kentucky writer, environmentalist and artist, spent many years trying to rediscover and revive the vanishing language of landscape in his watercolor paintings. Known for their sense of drifting movement and their depiction of the simple way of life for which Hubbard was known, they inexplicably remain his least-studied artworks, despite being some of the best evidence of Hubbard's place in the history of landscape painting.The Watercolors of Harlan Hubbard not only argues Hubbard's place in the art historical canon, but also highlight and analyze the artist's own voice. In this unique collection, more than 200 watercolors are interspersed with anecdotes to present a personal meditation on the influence that Hubbard's work has had on the lives of those who knew him.

‘Told with exceptional scholarship, wit and humanity; the book itself is a ravishingly beautiful object’ - World of Interiors ‘Geraghty excels in uncovering the allusions that added up to a patriotic statement about French culture’s ability to absorb and refine diverse European precedents’ - Apollo ‘Beautifully illustrated book reconstructs what the house, collections and mausoleum were like before 1920’ - Spectator This absorbing book tells the story of Empress Eugénie (1826–1920), the wife of Napoleon III and the last Empress-Consort of France. Today she is remembered for her physical beauty, for her influence as a taste maker and for her glittering contribution to the second imperial court – but she outlived the Second Empire by half a century and lived in exile in England. The Empress bought the Farnborough Hill estate in 1880, following a decade of personal tragedy: the collapse of the Second Empire (1852–70), the death of Napoleon III, and the loss of her only child. The death of the Prince Imperial in 1879, aged 23, ended all hope ofa Bonapartist restoration. With the imperial succession removed to another branch of the family, Eugénie resolved to create a permanent monument to her husband and son. This was her primary reason for moving to Farnborough. This book describes the little-known assemblage of art and architecture that she created there in the 1880s. Geraghty analyses the principal buildings on the imperial estate: Farnborough Hill itself, which was extensively remodelled for the court-in-exile that Eugénie maintained there from 1880 to 1920; and St Michael’s Abbey, the spectacular domed mausoleum that the Empress built on an adjacent hill in 1883–88. These projects were entrusted to a French architect, Hippolyte Destailleur (1822–93), whose erudite designs situated the history of the Second Empire within the longer history of French architecture and design. Geraghty also provides the fi rst detailed account of the lost interiors of Farnborough Hill. He traces the origins of the collection back to the Second Empire, and – drawing upon historic photos, inventories, and sale catalogues – he shows how the collection was displayed in the principal rooms of the house. Primarily dynastic in purpose, the display included a major sequence of Bonaparte family portraits, including works by David, Gérard, Winterhalter, and Carpeaux. Eugénie also had an important collection of decorative arts, including Gobelins tapestries, Sèvres porcelain, and royal French furniture. Composed by the Empress herself, the display at Farnborough Hill was the last manifestation of the ‘Louis XVI-Impératrice’ mode of interior decoration that she had popularised in the 1850s. It was also, in its juxtaposition of modern and historic pieces, the final expression of the nouvelle sociabilité of the second imperial court. Finally, the book describes the breakup of the estate in 1927, when the house wassold to a convent school and the collection was dispersed at auction. Today, only the Mausoleum functions as Eugénie originally envisaged. Geraghty, however, recovers the totality of Eugenie’s vision for Farnborough. In so doing, he describes how the Napoleonic ideal, for one final time, was made visible through art, architecture, and collecting.

This important book presents the work of the fascinating and singular artist Luigi Pericle (1916–2001). Pericle was a painter, illustrator and scholar, as well as a leading figure in the story of art in the second half of the twentieth century.The artist initially found fame as an illustrator, gaining widespread renown in the 1950s as the inventor of the character Max the Marmot. But his intense, enigmatic and multi-layered paintings increasingly drew the attention of the art world, with works that reflect his personal, metaphysical take on post-war abstraction exhibited at numerous venues in Britain during the 1960s. Pericle then abruptly retreatedfrom the art system, and for the rest of his life continued to paint, write and to study esoteric philosophy in the secluded house he shared with his wife Orsolina on Monte Verit  in the Ticino region of Switzerland. The artist’s work was dramatically rediscovered in 2016 when the contents of his former residence were revealed. The process of restoring, cataloguing and researching his vast oeuvre is ongoing, and is overseen by Ascona’s Archivio Luigi Pericle, with which the exhibition has been organised.This beautifully illustrated publication, which accompanies an exhibition at the Estorick Collection, London, includes a full catalogue of the works, as well as essays by noted scholars.

Leonora Carrington (1917–2011) was part of an important group of artists who left Europe for America during the Second World War. Andre Breton described her as possessing two priceless gifts: the enlightenment of a lucid madness and the sublime potential of solitary thought. For Max Ernst, she was the Bride of the Wind, a figure who brought energy through her intense life, mystery and poetry. The current volume brings together a reconstruction of Carrington’s biography with a detailed analysis of her artistic production, beginning with her fleeing English high society to follow a dream of freedom, her crazy love affair with Max Ernst and her time in the small village of Saint Martin d’Archèche in the south of France, where she began to paint, write and sculpt. After the outbreak of war, the abyss of madness led her to an asylum, to escaping to New York and finally to Mexico. The culture of Mexico fed her imagination, inspiring a fantastic mythography that amalgamates a deep understanding of the Italian Renaissance, the hybrid figures of Surrealism and studies of esotericism and alchemy, producing original and extremely sophisticated creations. The book provides an intense narrative that spans across the fundamental stations of Carrington’s life, situating her individual journey within the cultural context of the 20th century, a journey that begins in England, moves across the Ocean and concludes in the new millennium in Mexico City, where the author met and became acquainted with the artist.

The New York Times called the Speed Art Museum's Promise, Witness, Remembrance - centered around artist Amy Sherald's portrait of Breonna Taylor and originally commissioned by Ta-Nehisi Coates for the cover of Vanity Fair magazine - one of the best art exhibitions of 2021. In the words of critic Holland Cotter, "the show was assembled in four months - warp speed in museum-time - and created a prototype for institutional responses to history-as-it's-happening." This breathtaking book documents not just the 32 works featured in the exhibition, but also the process by which the Speed used this opportunity to memorialize the life of Breonna Taylor, who was killed by Louisville police in March 2020, and to serve its community through art, featuring real-time quotations from Curator Allison Glenn, Community Engagement Strategist Toya Northington, Director Stephen Reily, Tamika Palmer (Breonna Taylor's mother), artist Amy Sherald, and others. With 200 photos, featuring work by 22 Black artists, including Sam Gilliam, Lorna Simpson, Kerry James Marshall, Hank Willis Thomas, and Theaster Gates, Promise, Witness, Remembrance is a vital addition to the canon of Black American art.