Elisabetta Sirani of Bologna (1638-1665) was one of the most innovative and prolific artists of the Bolognese School. Not only a painter, she was also a printmaker and a teacher. Based on extensive archival documentation and primary sources - including inventories, sale catalogues and her work diary - Elisabetta Sirani provides an overview of the life, work, critical fortune and legacy of this successful Baroque artist. Placing her within the context of the post-Tridentine society that both inhibited and supported her, Modesti examines Sirani's influence on many of the artists studying at Bologna's school for professional women artists, as well as her significance in the professionalisation of women's artistic practice in the seventeenth century. Beautifully illustrated throughout, Elisabetta Sirani focuses on women's agency. More specifically, it explores Sirani's identity as both a woman and an artist, including her professional ambition, self-fashioning and literary construction as Bologna's pre-eminent cultural heroine.
This is the first book to address the long art history of dynastic marriage exchange between Denmark and Britain between 1600 and 1900. It explores an intersection of three themes trending in early modern studies: portraiture, gender and the court as a centre of cultural exchange. The book re-evaluates the construction and staging of gender in Northern consort portraiture over a span of three hundred years, examining the development of the scientific and social paradigms inflecting consort portraiture and representation, with a view to excavating portrait images' agency at the early modern moment of their conception and making. The consort's liminal position between royal houses, territories, languages and sometimes religion has often been equated with political weakness, but this new book argues that this position endowed the consort with a unique space for innovation in the representation of elite identity. As such, consort imagery drew upon gender as a generative resource of motifs and ideas. Each chapter is informed by new archival research and introduces the reader to little known, yet astonishing works of art. Collectively, they seek to trace a shift in practices of identity formation over time; the transition from an emphasis on rank to an increasingly binary emphasis on gender.
Mist and fog engender fascination and mystery, enticing with their wispy veils and vapourous moods, and they are the stuff of dreams and visions. 'The mists of time' and 'in a fog' are common expressions that substantiate the long association of mist and fog with the passage of time, the vagaries of memory, and feelings of uncertainty. Mist and fog obscure, conceal, and when they dissipate, reveal. Vapourous atmosphere in art and life masks evil and can elicit presentiments of death. It also has been used in art to convey the splendours of the spiritual world and the terrors of the supernatural. The metaphorical meanings that have accrued to mist and fog, encouraged by their indeterminate and transitory nature, and the emotions to which they give rise, are variously evident in the work of major artists and their contemporaries. This book focusses on mist and fog from the late eighteenth to the early twentieth centuries in the places they most proliferated. Examples of literature that employ mist and fog as metaphor and in allegory from antiquity to Joseph Conrad serve to amplify many of the paintings discussed.
Fidelia Bridges (1834-1923) painted pictures that critics praised for their ability to exude the fragrance of field flowers and glow with the plumage of birds. Raised in Salem and long residing in Connecticut, she maintained a studio in New York City, where she exhibited her art for over forty years at the National Academy, American Watercolor Society and other prestigious venues. Transforming flower painting from a domestic outlet for female amateurs to a marketable commodity for professionals, she never waived in her conviction that women had the right to shape independent careers on their own terms. Often, she combined plants with local birds to convey a sophisticated understanding of their environmental interaction that encouraged others to appreciate and conserve nature. Assembling a cross-section of her oil paintings, watercolours, chromolithographs, and illustrated volumes for the first time, and analysing them against letters, diaries, and periodical reviews, Fidelia Bridges combines a recovery of the artist's biography with close readings of her artworks.
Why do we not know more of Susie Barstow? A prolific artist, Susie M. Barstow (1836-1923) was committed to expressing the majesty she found in the national landscape. She captured on canvas and paper the larger American landscape experience as it evolved across the nineteenth century. A notable figure in the field of American landscape painting, now is the time to bring forward her narrative. In Susie M. Barstow: Redefining the Hudson River School, the life and career of this fascinating artist are explored and extensively researched utilizing vast, and previously unknown, archival materials. This rare occasion to mine the depths of an artist's life through letters, diaries, photographs, and sketchbooks provides a unique opportunity to present a comprehensive study that is both art-historically significant and visually stunning. Susie M. Barstow: Redefining the Hudson River School unpacks and positions Susie 'as a prominent landscape artist, whose paintings won her wide renown,' as her obituary would confirm, and explores the manner in which she struggled, flourished, and ultimately earned her living in the arts. This is her moment.
Since the construction of the first skyscrapers in the 19th century, urban environments have been increasingly marked by verticality. The advent of the modern metropolis transformed the experience of gravity in ways which resonate acutely today. At a time of instability, the rise of tall buildings poses new challenges to our sense of balance, yet the implications of vertigo remain unacknowledged. This book reflects on the precarious equilibrium at the heart of contemporary cities, where the drive to conquer ever greater heights has reconfigured our notion of abyss. Exploring the spatial thrills as well as anxieties associated with vertigo, it traces how different subjects experience, represent and transgress buildings and the spaces in between. On Balance tackles this complex subject through an interdisciplinary approach informed by social and medical sciences. After providing a historical overview of how the discourse on vertigo has permeated Western culture, it explores the work of modern and contemporary artists who have engaged with architecture as a field of dizzy visions. It then shifts focus to spatial practices predicated on the mastery of vertigo, such as climbing and funambulism, which have found in cities new stages for gravity-defying performances. Moving into the realm of architectural culture, the book offers a critical analysis of design projects and spaces that challenge the user's stability, from the modernist quest for weightlessness to the states of suspension that have emerged in recent decades. This broad-ranging exploration of vertigo reveals architecture to be central to our perception of balance at multiple sensory, spatial and social levels.
Socially inclusive approaches are an increasingly important part of twenty-first century design. Inclusive design was first defined by the Helen Hamlyn Centre for Design in 1994 and enshrines a people centred approach at the heart of its practice, accounting for all aspects of human diversity. It encourages designers to ensure that their ideas include the widest number of people in their work and carries an increasingly important message to today's innovators. Most of us are excluded in some way by mainstream design, typically by age and ability, but also by gender, race, geography, or economics. This book clearly and engagingly tells how inclusive design has grown from its inception to become a global idea, examining the characters, milestones, decisions and challenges along the way. As the world grows a social conscience and sees the need to be abjectly more inclusive, the author sets out the aspirations and the capabilities of inclusive design, as well as its application by governments, companies, individuals and the public sector today. It discusses how inclusive design can and should be linked to sustainable practice, questions who is excluded and why, sets out common misconceptions regarding inclusivity and explains how to engage with people in meaningful, respectful and valuable ways. The book also demonstrates that design can have impact beyond the simple focus on aesthetic practice and function - a common misconception about design over the decades. It includes a wide range of international case studies which illustrate innovative methods, successes and failures in inclusive design, and concludes with a section which offers practical advice on how to be an inclusive designer.
This book explores, debates and exhibits practices of contemporary architectural drawing, taking at its basis a series of meetings between a cohort of architects, critics and curators who discussed contemporary drawing practices and production in their own work and research. The participants - Laura Allen, Bryan Cantley, Nat Chard, Peter Cook, Mark Dorrian, Riet Eeckhout, Adrian Hawker, Perry Kulper, CJ Lim, Shaun Murray, Mark Smout, Neil Spiller, Natalija Subotincic, Michael Webb, Mark West and Michael Young - focused on drawings or drawing-related artefacts, around which dialogues took place. Beyond the usual representational imperatives of architecture drawing, the group considered and discussed its agency as a site of emergence and imagination. Organised in relation to specific topics and framed by contextual essays by Nat Chard, Mark Dorrian, Riet Eeckhout, Michael Young, Thomas-Bernard Kenniff and Carole Levesque, the book includes a selection of exquisite and fascinating key drawings by the various contributors, together with edited transcripts of discussions around drawing which developed at the symposia. The drawings presented in the book are in dialogue with one another, while their authors are themselves in extended conversation. This double aspect will make the book a distinctive publication and an enduringly important document and resource for thinking about architectural drawing.
Memorials have long been an important part of our built environments. In recent decades, there have been enormous changes in who and what we commemorate, and how. This increasing need for unique and sensitive memorials opens up new creative horizons for architects tasked with translating complex subjects and feelings into emotive spatial experiences that are as memorable as they are commemorative. This book showcases 45 contemporary memorials dating from since the beginning of the 21st century. Hauntingly eloquent, or starkly confrontational, each example highlights the effectiveness of such structures in focusing society's consciousness on important and diverse issues. From Argentina to New Zealand, Comoros to South Korea, the memorials represent a wide geographical spread, and each interacts in original and surprising ways with its context. Interspersed with the memorials are interviews with leading international architects, including Carmody Groarke, MASS Design Group, Michael Arad, Moshe Safdie, Philippe Prost and others. Their words offer insights into how architects have given form to such abstract concepts as loss, love, permanence, peace, justice, hope and memory itself.
Gathering together short texts and extracts that describe and reflect on ruins, dating from remote antiquity (Scipio shedding tears when viewing the destruction of Carthage) to present times (the ruins of a modern city, portrayed in the film Requiem for Detroit), the book provides a perspective upon what the past has meant to different cultures at different times. Following an introductory essay, the book includes 70 entries, chronologically ordered, each including an attractive indicative image (or two), an introductory commentary by the authors, and the text itself. The texts come from designers (from Bernini through Piranesi to David Chipperfield) as well as other artists (John Piper), and from literary figures (Goethe, Wordsworth, Byron and Shelley, Hugo, and Hardy). It concludes by discussing what we do with ruins by way of preservation, conservation, adaptive reuse and appropriation, and contemporary loss and ruin, as illustrated by 9/11 and the Neues Museum and highlighting the continuing relevance of the ruin.
In contrast to Henry Moore's well-known drawings depicting Londoners sheltering from the Blitz, little has been written about how this son of a Yorkshire coalminer tackled his second commission from the War Artists' Advisory Committee in 1941; drawing men in 'Britain's underground army', the miners of Wheldale colliery. Redressing this imbalance, Chris Owen's comprehensive account of the coalmining drawings explores every aspect of the commission - from Moore's return to his childhood home and the challenges associated with 'drawing in the dark' to the significant influence of the project on Moore's later work, including the Warrior and Helmet Head sculptures, and his little-known illustrations to W.H. Auden's poetry. With illustrations drawn from Moore's rich body of sketches and finished drawings, along with press photographs recording the commission and a range of contextual material, text and images combine to present the definitive study of this impressive body of work.
Censored Art Today is an accessible, informed analysis of the debates raging around censorship of art and so-called 'cancel culture', focusing on who the censors are and why they are clamping down on forms of artistic expression worldwide. Art censorship is a centuries-old issue which appears to be on the rise in the 21st century - why is this the case?Gareth Harris expertly analyses the different contexts in which artists, museums and curators face restrictions today, investigating political censorship in China, Cuba and the Middle East; the suppression of LGBTQ+ artists in 'illiberal democracies'; the algorithms policing art online; Western museums and 'cancel culture'; and the narratives around 'problematic' monuments. His fascinating study, which draws on extensive research and interviews, reveals why censorship has become the hottest of topics, impacting substantially on artists.
By 1862, just a decade after its launch as a study collection for art and design, the Victoria and Albert Museum had become a reference resource for collectors, scholars and art-market experts. Enriching the V&A, the final volume in a trilogy of books on the museum's 19th-century history, describes how the young museum's rapid growth in the following decades was driven more by collectors, agents and dealers, through loans, gifts and bequests, than by the combined expertise, acquisitions policies and buying power of its directors and curators. The V&A soon became a collection of collections, embodying a new age of collecting that benefitted from the break-up of historic institutions and ancestral collections across Europe, and imperial expeditions in Asia and Africa. The industrial revolution had created a new social class with the resources to buy from the expanding art market, especially in the decorative arts. Many were touched by a new moral imperative to collect for the home, however humble, and to share their specialist knowledge and enthusiasm by lending to the new public museums. Enriching the V&A explores the formative influence on the museum, and on pioneering fields of scholarship, of the V&A's leading Victorian and Edwardian benefactors. It also shares uncomfortable truths about the sources of some objects from the age of empires and shows how the meanings of things can change through the transformation of private property into public museum collections.
The Front Room: Diaspora Migrant Aesthetics in the Home, originally published in 2009, has become a beloved and much-praised source, providing fascinating revelations into the post-war British experience of immigrants, the decoration of their living spaces and their position in society in relation to decolonisation. The 'front room' (emanating from the Victorian parlour) provides an outlet to respond to the feelings of displacement, exile and alienation and the rebuilding of a home in a strange land. Primarily concerned with Caribbean homes, The Front Room also looks at Moroccan, Surinamese, Antillean and Indonesian migrant groups in Holland-encompassing, through texts, archival documents and artistic photographs, the important cultural markers that are expressed through the domestic interiors of migrants. The author examines how this intimate space within the home raises issues of class, race, migration, aspiration, religion, family, gender, identity and alienation. He also looks at the transition from the colonial post-colonial modernity by placing the book in the context of his own family's migrant experience. While this revised edition includes updates of the original essays from leading social commentators Stuart Hall, Denise Noble, Carol Tulloch and Dave Lewis, as well as poems by Khadijah Ibrahiim and Dorothea Smartt, and paintings by Sonia Boyce, Kimathi Donkor and Njideka Akunyili Crosby. It also examines the iteration of the 'front room' in post apartheid South Africa and discusses how sound system culture emerged from the front room, as well as adding to the rich oral histories from different generations reflecting on their personal experiences of the front room and discussing the artefacts and objects found in them in terms of their cultural significance. The Front Room documents how the 'Windrush' generation's settlement in Britain contributed to the making of multicultural society, and raises questions about our lived experience and notions of the 'home', as many more people globally look for a roof over their heads in the 21st century. The book is richly illustrated with intriguing photographs of installations based on front rooms of the time and the contemporary living room and their associated objects.
The most ambitious project of Henry Avray Tipping, the influential architectural editor of Country Life, Mounton was a new country house and garden, designed without limitations of expense to be the perfect expression of his immense knowledge of history, architecture and horticulture. All was designed to impress a distinguished social circle. However, within weeks of its completion, the Great War started. The world of English country-house living changed irrevocably, so Tipping never saw his hopes for the house come to fruition. Featuring a wealth of previously unseen material including correspondence, articles and illustrations, this book insightfully details the design and building of the home H. Avray Tipping created for himself with the help of the young Chepstow architect Eric Carwardine Francis. It also gives a rich and evocative portrait of Tipping and his friends, with visits from Lloyd George and from Tipping's gardening colleagues, including Harold Peto, Gertrude Jekyll and William Robinson. The grand layout of the Mounton gardens on the plateau above a limestone gorge included a 24-pillar pergola, terraces overlooking the Severn estuary, a two-storey tea house, a rock garden and remarkable and innovative water gardens. Over time, the house was neglected and the magnificent gardens became overgrown. Mounton could so easily have been demolished and yet, a hundred years after Tipping completed it, a loving work of restoration of house and gardens was launched. The final two chapters reveal the careful adaptation of the interiors of Mounton House and the spectacular remaking of the gardens by the renowned garden designer Arne Maynard, all fully illustrated with plans and striking new photography. This is the story of the creation, destruction and regeneration of a singular vision.
From artworks and chairs to architecture, landscaping and interior design, Michael Boyd's devotion to the principles of modernism is comprehensive. An artist and musician, he acquired his expertise as a collector, surrounding himself with rare and beautiful finds. His immersion in the philosophy and creativity of the masters inspired him to restore a succession of classic modern houses, curate exhibitions, create a versatile range of furniture and rugs, and design sculptural gardens. Millennium Modern: Living in Design details his work across the first two decades of the new millennium and reflects his belief that the tenets of modernism - honesty and simplicity - developed more than a century ago, are equally relevant to our pluralistic age. In contrast to the pioneers who wanted to do away with the past, his creations are deeply rooted in the history of design. Essays by Boyd and architectural writer Michael Webb, along with comments from collaborators and critics, explore each facet of his residential design. This beautifully illustrated volume reveals Boyd's holistic design practice from his discovery of design classics in flea markets, to his own furniture designs, which feature in residential interiors, hotels and museums, through to his sensitive restoration of the houses by Paul Rudolph and Oscar Niemeyer, Richard Neutra and Craig Ellwood, and the sculptural landscapes he designed to enhance these residences, as well as masterpieces by John Lautner.
This book presents a rich and rewarding history of houses in England through the stories of nine houses, dating from the 1600s to the 1980s, which have been inhabited by the author, an architect and academic. Chronologically ordered, the book covers rural vernacular houses from the 17th Century, Georgian and Victorian townhouses, villas and converted industrial buildings, Edwardian semis and 20th-century council housing and mixed tenure new developments. Firstly reflecting on the author's own experience of the house, each chapter then examines its historical context, before making a detailed analysis of the buildings design and layout, usefully illustrated with architectural drawings. Each chapter concludes with a useful discussion of lessons learnt from each house/historic period and compares them with contemporary houses which use similar materials, construction techniques or ideas. It not only details the evolution of the design and construction of houses through the centuries, but also includes concise but highly informative sections on the history of various types of construction and materiality, such as brickmaking and timber and steel frame; sections on conversion and adaptive reuse and what works and what doesn't; the evolution of styles; housing density; ownership; and the three broad waves of council/social housing etc. On reflecting on her own experiences, the author provides useful insights into how we relate to our homes, how they shape and affect us and the value and meaning of the home.
John Ward (b.1938) has a longstanding reputation as one of Britain's foremost potters, and yet very little has been written about his manifold achievements. Authoritative and enlightening, this will be the first account of Wardâ¿s life and work, tracing the evolution of his ideas and his practice as a potter and placing them critically within the history of British Studio Pottery. The qualities of Wardâ¿s best pots are hard to define. As the late Emmanuel Cooper noted as long ago as 1996: â...the apparently contrasting qualities of drama and quiet reflection, is one of the most engaging aspects of his work. This sense of balance, of the tension between pushing and pulling, light and shade, movement and rest, makes Wardâ¿s work distinctive, distinguished and intriguing.â? Setting out to explore and define those distinctions - expressing what makes Wardâ¿s pots compelling and historically significant - the potter's important artistic contribution will finally be expressed. Â
In this first major study of the work of the painter John Wonnacott (b.1940), Charles Saumarez Smith has surveyed a body of work produced at a tangent to the orthodoxies of modernism. Exploring the artist's formative experiences at the Slade, which connected him with artists such as Frank Auerbach and Michael Andrews and the School of London more broadly, Saumarez Smith roots Wonnacott's approach in his commitment to the discipline of drawing, his acute skills in observational analysis and the mechanics of graphic invention that makes his visual response to the world so memorable. Alongside commissioned portraits created in the grandest of architectural spaces, from naval bases to the Painted Hall at Greenwich and including John Major in 10 Downing Street and the Royal Family in Buckingham Palace, he has produced a revealing diary of self-portraits stretching back from his early teens and landscape paintings of light and sky which are celebrations of his native Essex coastline. In presenting the full range of Wonnacott's impressive oeuvre, the scope of the artist's remarkable achievement is revealed.
Over the last three decades, Jacqueline Humphries (b.1960) has, through an innovative painterly process, challenged the limits of abstraction. She has produced a body of work that reaches beyond modernism, Abstract Expressionism, and abstraction as we know it. Multi-layered in application, Humphries challenges the viewer to interact with her painting in diverse ways, inviting new approaches to looking and being with a work. Expertly analysing the ways in which Humphries has challenged convention and placed abstract painting at the centre of our twenty-first century visual environment, Frances Guerin's illuminating text reveals an artist at the peak of her powers.
More popular than ever, the work of Eric Ravilious (1903-42) is rooted in the landscape of mid-20th-century England. Now available in paperback, this best-selling book by Alan Powers, the established authority on Ravilious, is the first to provide a comprehensive overview of his art in all media - watercolour, illustration, printmaking, graphic design, textiles.
Curating Art Now is a timely reflection on the practice of curating and the role of the art curator during a period of rapid change. Curating has a pivotal position in the art world: it is embedded in the identity and expertise of the museum and plays an ever-increasing role in the commercial art sector too. Current curatorial practice encompasses a wide range of activities, from the care of collections in museums to the presentation of large-scale contemporary biennials, and from collaboration with artists to presentations of work on digital platforms. Curating has grown substantially in the last decades, and in the early 2020s is undergoing a significant period of transition as it grapples with some fundamental questions. How diverse and inclusive is curating as a profession, and how does that inform the art and artists who come to prominence? How possible is it to conduct exploratory and inclusive curatorial work in the challenging economic climate of the early 2020s? What is the extent of a curator's autonomy within the various institutions and structures in which they work, and what power dynamics are at work between artists and curators? Finally, how might digital art and exhibition-making give way to hybrid forms of practice, and even challenge the face of traditional curating? Lilian Cameron's lively review addresses all of these issues, and considers the future landscape of curating in an uncertain world.
This book explores the wealth of wooden architecture that is to be found in Northern Europe, in particular, the Fennoscandian Peninsula. This distinct region, which includes Norway, Sweden, Finland and the Russian Republic of Karelia, was dominated by coniferous forest and remained until well into the 20th century a largely rural society. Wood was seen as a living material - one that was permeated with myth and folklore - while the forest itself formed the background to everyday life. Indeed, no single source of material wealth has contributed more to the economy, art and culture of Fennoscandia than the forests. Nowhere is this contribution clearer than in the region's historic buildings, the vast majority of which were constructed in wood up until the late 19th century. This is the first book to examine and record the distinctive wooden architecture of this region from the early medieval period to the early 20th century. Structured according to different wood types, it concentrates on domestic and religious buildings, as these formed the great bulk of historic architecture in the peninsula over many centuries. It begins by setting out the geographical, social and historic background, before discussing the way in which two different timber-building traditions emerged in the region. It then provides a detailed examination of different types of dwellings (rural and urban) and storage lofts, followed by a section on Catholic, Protestant and Orthodox churches, along with their free-standing bell-towers. The book concludes with a chapter outlining the development of wooden domestic and religious buildings during the closing decades of the 19th century and the early years of the 20th century.
As advancements in transportation and technology continue to close the gap between architect, client, builder and site, critique and place, this book considers how architects, designers, theorists, and critics design, describe and critique future and past constructions in absentia. This book engages with remote practice, providing students, academics and professionals with the understanding and tools they need to rethink the role of the distant and disconnected in making, thinking and writing architecture â¿ a skill which is becoming increasingly important in contemporary education andpractice. Bringing together a collection of 16 essays and creative works from a diverse and respected group of scholars and designers, this book reflects upon the challenges and opportunities which remote practices occasion in architecture. Part One: Practice and Pedagogy investigates how a range of technological and economic advancements continue to redefine notions of connectedness in the practice of architecture at a distance and explores what it means to teach and study architecture at a distance from peer and place. Part Two: Critique and Performativity consists of a wide range of questions that unpack notions about situatedness, subjectivity, the body in space, and what occurs when disparate things are suddenly made proximate. The essays and creative works enable thematic as well as historically and culturally contextual understanding of the topic, highlighting important connections and changes across time.
William Turnbull (1922-2012) stands as one of Britain's foremost artists in the second half of the twentieth century. Both a sculptor and a painter, he explored the changing contemporary world and its ancient past, actively engaging with the shifting concerns of British, European and American artists. Presenting interpretations of Turnbull's work from an impressive roll-call of over sixty art historians, curators, critics and artists, a picture emerges of an innovative artist who determinedly followed his own path, drawing on influences as diverse as ancient cultures and contemporary music. Expansive in its breadth, William Turnbull: International Modern Artist will stand as the authoritative book on this fascinating artist. With contributions by Oliva Bax, Paul Becker, Andrew Bick, Antonia Bostroem, Mel Brimfield, Bianca Chu, Matthew Collings, Ann Compton, Sam Cornish, Keith Coventry, Elena Crippa, Amanda A. Davidson, Michael Dean, John Dee, Richard Demarco, Edith Devaney, Norman Dilworth, Patrick Elliott, Ann Elliott, Garth Evans, Pat Fisher, Neil Gall, Margaret Garlake, Antony Gormley, Kirstie Gregory, Kelly Grovier, Nigel Hall, Bill Hare, Daniel F. Herrmann, Peter Hide, Ben Highmore, Nick Hornby, Tess Jaray, Julia Kelly, Phillip King, Liliane Lijn, Clare Lilley, Jeff Lowe, Tim Martin, Ian McKeever, Henry Meyric Hughes, Catherine Moriarty, Richard Morphet, Jed Morse, Peter Murray, Matt Price, Peter Randall-Page, Guggi Rowen, Natalie Rudd, Michael Sandle, Dawna Schuld, Sean Scully, Jyrki Siukonen, Chris Stephens, Peter Suchin, Marin R. Sullivan, Mike Tooby, William Tucker, Johnny Turnbull, Alex Turnbull, Michael Uva, Brian Wall, Nigel Walsh, Calvin Winner, Jon Wood, Bill Woodrow, Greville Worthington, Emily Young
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