Böcker utgivna av Lund Humphries Publishers Ltd

The Lovell House, by Richard Neutra, was a 'demonstration house': widely documented and published about in its time, these publications made it an essential work of the modern movement to the world, from Berlin to Tokyo and Paris to Milan, at the high point of its influence and fame, 1927-37. This book is about the making and dissemination of a house that was a founding document in the history of modernism. It helped to launch the international career of one of the central figures of twentieth century architecture, pioneered the use of concrete and steel in the dwelling, radically advanced the ideals of hygienic, carefree, and open-air living, and explored new relationships between space, structure, the natural world, and physical and psychological well-being. The book is framed with an introduction by Edward Dimenberg and includes texts by Crosby Doe, Thomas Hines, Willard Morgan, Richard Neutra and Nicholas Olsberg. At the heart of the book are six narrated portfolios of visual and textual documentation on the background, design, making, circulation, reception and resonance of this seminal house, for which the published imagery in its first ten years - based on a unique corpus of photography by Willard Morgan documenting every stage of construction and completion - was exceptionally rich, refined, varied, widespread, and influential.

English architect and designer Halsey Ricardo (1854-1928) was a champion of craftsmanship and the Arts & Crafts movement as well as an influential thinker and teacher. Mark Bertram's engaging illustrated biography, which draws on previously unpublished correspondence, is the first book to place Ricardo's work and ideas within a broader social and cultural context. It includes a complete survey of Ricardo's architecture, including all his built works, many of which have been listed, as well as unexecuted proposals and competition entries. Richardo was well known as an Arts & Crafts figure on account of his business partnership of 10 years with William De Morgan, for whom he designed tiles, vases, and other artefacts, as well as for his role as head of architecture at the Central School of Arts and Crafts, and his lectures and essays. From his letters, talks and articles, quoted here for the first time, Ricardo emerges as a most engaging personality, as well as an intelligent and forward-looking thinker and a gifted lecturer and essayist. His architectural work is revealed as individualistic, sometimes exceptional, and his best-known buildings, 8 Addison Road, London (designed for Ernest Debenham in 1905) and Howrah Station, Calcutta (1901), both reflect his innovative use of colour and glazed materials. This book paints a fascinating picture of the life of a jobbing architect and lecturer, with insights into the architectural training and professional practice of this period, as well as into the thinking behind the Arts & Crafts movement.

Annabel Keenan's timely and urgent book reviews the work that has been undertaken to date to create a more sustainable art world and proposes the next steps in system-wide change. It identifies the main sustainability issues for the art industry, arguing that artists and art activists have led the way in creating awareness of climate change, and evaluates progress to date on climate-action commitments by the various sectors of the art world, offering examples of best practice. Uncompromising in its messages, Climate Action in the Art World is essential reading for all art professionals, from artists to curators to art handlers, as well as for anyone seeking an accessible entry-point to a topic which is unfortunately only getting (literally) hotter.

Sheila Fell (1931-1979) was one of the most talented British artists of her generation: a figurative painter with a singular and powerful vision of the Cumbrian landscape of her childhood. Here, for the first time, the full breadth of her artistic achievement is recorded in a catalogue raisonné of her paintings. The book features 472 expertly researched catalogue entries alongside a substantial art-historical narrative that charts Fell's entire career and provides unique insights into the artist's background, inspirations, technique and legacy. As such, and in the context of the dearth of recent literature on the painter, this invaluable resource will stand as the definitive publication on Sheila Fell for many years to come.

How are contemporary artists responding to the climate crisis? Filipa Ramos takes an original approach to the subject by addressing two parallel strands. She looks firstly at pioneering approaches to ecology by key contemporary artists from different generations and cultural backgrounds working in different art media; and she considers the balance between ecology as theme and ecology as practice, underscoring the imperative for both artists and art institutions to adopt responsible environmental positions in their practice. This topical and important book discusses the work of artists who have returned to the land; reviews how questions of shared rights and environmental justice are represented in contemporary artistic practice; highlights the renewed importance of performance and time-based media in ecologically themed art; and looks at artists' and art institutions' complex relationship to environmental action.

With the closure of traditional church buildings, leading to fewer opportunities to develop the art and craft of stained glass, the future of this well-loved discipline is in danger. However, throughout the centuries, stained glass has had a capacity to adapt to the ever-evolving cultural, artistic and technological landscapes, enabling the medium to inspire viewers through its unique ability to use colour and light to uplift our senses. This book provides a compelling overview of how stained glass can play a significant role in our visual culture and heritage. The conservation of historic windows and creation of contemporary work at Barley Studio over the last 50 years provides an ideal platform to examine and explore stained glass today, with insights from the authors' personal experience as designers, conservators, and educators. They reflect on how stained glass has evolved from solely conveying religious didactic messages, to forming new-found connections in secular and spiritual settings. The book begins by examining Barley Studios conservation and restoration work, particularly focusing on the unique schemes of medieval windows at St Nicholas Church, Stanford-on-Avon, Northamptonshire and St Mary's Church, Fairford, Gloucestershire. It then considers Helen Whittaker's work as a practitioner and demonstrates the variety of techniques used in her work to engage a contemporary audience. It discusses the key design factors that stimulate Helen's creative approach to each commission and reflects on the connections between traditional and contemporary approaches to stained glass. The range of perspectives presented within this book draws attention to and celebrates the power of this unique art-form and reveals how it can adapt to changes in popular tastes and trends.

The art of Paule Vézelay (1892-1984), celebrated in this groundbreaking publication, is remarkable in its breadth. Over her long career she created an extraordinarily diverse output encompassing painting, collage, sculpture, constructions, illustration, textiles, photography, poetry, prose, critical writing and even a film script. As a mark of her considerable accomplishments, she was celebrated with a show at Tate in the year before her death. Setting out to bring this bold and accomplished artist to new audiences, this important publication focuses primarily on Vézelay's early years in Paris from the 1920s through to 1939, during which time her work moved from figuration to abstraction, for which she would become best known. The book also brings to light, for the first time in detail, her little-known period as a successful designer of textiles. Uncompromising and clear-sighted in her artistic ambitions, Vézelay became a formidable presence in the international avant-garde scene in Paris and continued to push artistic boundaries throughout her long career. This publication, which includes original research and previously unpublished works, extends our understanding, and appreciation of, this important British artist.

The first monograph entirely devoted to the illuminated manuscripts of Sister Eufrasia Burlamacchi (1478-1548), this book demonstrates that her artistry should not be confined to painting or sculpture alone. Within the convent walls of San Domenico in Lucca where she lived and worked, Burlamacchi attained high levels of artistic proficiency through her knowledge of drawing and colour technique, composition, treatment of space and proportions. This book highlights that Sister Eufrasia was aware of the progress illumination underwent in contact with the artists we now include in the High Renaissance. She quickly established a style which she then passed on to younger sisters in faith to establish a convent workshop where mutual exchange was the norm. Here, for the first time, Eufrasia Burlamacchi is recognized and discussed as an influential and gifted artist in her own right.

The 1960s continues to hold an almost mythical place in Western culture, particularly in Britain, where change was widespread and infiltrated many aspects of life. This included architecture, where its role in a modern democracy and the form it should take was hotly debated. Through an examination of the design of university building, the book discusses this phase of architectural thinking. While there were notable buildings being built in other spheres, no other provided the opportunity to express those ideas as freely, while reflecting innovative new thinking about education and society. Somehow, the university buildings of the 1960s seemed to represent the cutting edge of modern architecture in the U.K. This book provides the first critical analysis and overview of these buildings, designed by some of the leading British architects of the period including Sir Basil Spence, Sir Leslie Martin, Alison and Peter Smithson, Denys Lasdun, Powell and Moya and James Stirling. By placing the buildings in a wider social, cultural and political context, it examines the combination of circumstances and attitudes that produced results that are equally admired and detested and allows us to understand how we might replicate or avoid them in the future.

This books serves to establish Clara Peeters, one of the most talented and creative among the early practitioners of still-life painting in Europe in the early 17th century, as a leader in her field. The book not only discusses the artist's biography but also examines the historical and cultural context of Peeters' art, her artistry and the material culture reflected in her paintings. Part of the first generation of European artists to specialise in still-life painting, Peeters was in fact the only Flemish woman known to have focussed on this genre of painting in the early 17th century. She was also one of the few women to dedicate her professional life to painting in early modern Europe. This timely book sheds light on the limitations that Clara Peeters encountered because of her gender and how she responded to them in her art, while also assessing her importance as a painter of still-life.

This is the first book to examine the art and life of Boston-born artist Francesca Alexander (1837-1917). Francesca and her parents moved to Florence in 1853 and became part of a thriving international community. Her long residence in Italy was important; Francesca was a largely self-taught artist, and both her art and writing focused on Italians and Italian life. Her portraits and nature studies, and her translations of songs and stories, were celebrated by people from all walks of life, including John Ruskin, who published three of her manuscripts and promoted her work to his followers. She used her earnings from the sale of these publications, and her art, to fund her many charitable endeavours; both friends and admirers marvelled at her saintly character, which they linked to a romantic view of Italy itself. Nonetheless, in spite of her celebrity on both sides of the Atlantic, she has been largely forgotten. Drawing on her art and writings, as well as letters, diaries, guidebooks, newspapers, and magazines, this book provides a vivid biography of Francesca Alexander, her art, and her place in history.

In a painting career spanning half a century, Helen Clapcott (b.1952) has remained consistent in both her choice of subject and her disregard of the art establishment's playbook. In this, the first major monograph on the artist, Andrew Lambirth charts Clapcott's unconventional path and presents a painter with an uncompromising vision. Clapcott is a painter pre-occupied with the destruction and regeneration of the landscape of her native North-West England. Depictions of the mutation and evolution of what was once Stockport's industrial valley, now a commuter corridor, are expressions of our developing environments and the growth of vernacular townscapes. Based on numerous conversations with the artist, and an in-depth understanding of Clapcott's oeuvre, Andrew Lambirth's text provides a lively account of the artist's background, training and working methods, including her mastery of tempera. Above all, this is a study of an artist's very personal relationship with the evolving landscape of her childhood and her lifelong artistic engagement with the city that she loves.