Böcker utgivna av Lund Humphries Publishers Ltd

Debates about the restitution of cultural objects have been ongoing for many decades, but have acquired a new urgency recently with the intensification of scrutiny of European museum collections acquired in the colonial period. Alexander Herman‿s fascinating and accessible book provides an up-to-date overview of the restitution debate with reference to a wide range of current controversies. This is a book about the return of cultural treasures: why it is demanded, how it is negotiated and where it might lead. The uneven relationships of the past have meant that some of the greatest treasures of the world currently reside in places far removed from where they were initially created and used. Today we are witnessing the ardent attempts to put right those past wrongs: a light has begun to shine on the items looted from Asia, Africa, the Middle East, the  Americas and the Pacific, and the scales of history, according to some, are in need of significant realignment. This debate forces us to confront an often dark history, and the difficult application of our contemporary conceptions of justice to instances from the past. Should we allow plundered artefacts to rest where they lie ‿ often residing there by the imbalances of history? This book asks whether we are entering a new 'restitution paradigm', one that could have an indelible impact on the cultural sector - and the rest of the world - for many years to come. It provides essential reading for all those working in the art and museum worlds and beyond.

Hugely admired by artists and writers from Henri Cartier Bresson to the Booker prize winner Howard Jacobson, the extraordinary life and work of painter Dennis Creffield (1931-2018) are explored in this, the first major monograph on the artist. The narrative traces the artist's 'Dickensian' upbringing, his formative experiences as a teenager under the tutelage of David Bomberg, his conversion to Catholicism and his award-winning years at the Slade. Focus is given to Creffield's passions for the stories of England, not only in the Cathedral drawings, but in his expressive work on Shakespeare's Midsummer Night's Dream, on Blake and in his paintings and drawings of London, the great Petworth House, Cornish tin mines and the eerie military buildings on Orford Ness. Complementing his work on England's sacred and profane identity is an equally audacious body of work on the human body, from tender paintings of mother and child to erotic paintings of women to his late paintings of men near death - Turner, Nelson and Rimbaud. To quote his fellow artist R.B. Kitaj, Creffield's cover has been 'well and truly blown.'

Our relationship with our homes changed in 2020 when the pandemic known as Covid-19 led to enforced periods of self-isolation, called 'lockdown'. We got toknow our living spaces intimately and learned the greatest risk of infection was indoors through the breath we shared in poorly ventilated spaces, where microbial atmospheres could work their way inside, through every door, window and with every visitor. Our fear of such invisible threats will persist long after the pandemic ends and reflects a growing divide between the human and the microbial realm. This book examines the notion of the home in the context of the pandemic and lockdown, as they relate to environmental concerns and how we live with viruses and bacteria. It argues that, in order to decrease our vulnerability to infective agents, we need to acknowledge the link between people, space, daily routines and microbes and explore how the predominantly benign microbial world might be harnessed to combat and boost our immunity to future pathogens. Suggesting more than environmental home improvements, it explores new innovations and new materials which incorporate microbes for more ecological designs, such as ceramic tiles, concrete bio-receptive surfaces, building skins, fabrics, waste management and alternative energy supplies. A series of drawingswhich reveal the evolution of microbial technologies, infrastructures, spaces,dwellings, and architectures sets out a prototype for an ecological home forpost pandemic times. Identifying the lessons that COVID-19 has brought us, the book highlights the need for humans to consider and take microbes into account in future built environments.

Woodland Imagery in Northern Art reconnects us with the woodland scenery that abounds in Western painting, from Albrecht Durer's intense studies of verdant trees, to the works of many other Northern European artists who captured 'the truth of vegetation' in their work. These incidents of remarkable scenery in the visual arts have received little attention in the history of art, until now. Prosperetti brings together a set of essays which are devoted to the poetics of the woodlands in the work of the great masters, including Claude Lorrain, Jan van Eyck, Jacob van Ruisdael, Peter Paul Rubens, Rembrandt and Leonardo da Vinci, amongst others. Through an examination of aesthetics and eco-poetics, this book draws attention to the idea of lyrical naturalism as a conceptual bridge that unites the power of poetry with the allurement of the natural world. Engagingly written and beautifully illustrated throughout, Woodland Imagery in Northern Art strives to stimulate the return of the woodlands to the places where they belong - in people's minds and close to home.

Rudolph Ihlee (1883-1968) was a prize-winning student at the Slade where his contemporaries included Stanley Spencer, Mark Gertler, Maxwell Gordon Lightfoot, C.R.W. Nevinson and Edward Wadsworth. Turning his back on a flourishing career in London, he relocated to the southern French town of Collioure, where the Mediterranean light had mesmerised artists such as Derain and Matisse before him. Exploring for the first time Ihlee's impressive oeuvre in the context of a fascinating biography, this book provides a lively account of the career of an accomplished but under-appreciated artist, who found creative freedom and personal contentment on the inspirational Catalan coast.

Vermeer and the Art of Love is about the emotions evoked in those elegant interiors in which a young woman may be writing a letter to her absent beloved or playing a virginal in the presence of an admirer. But it is also about the love we sense in the painter's attentiveness to every detail within those rooms, which lends even the most mundane of objects the quality of something extraordinary. In this engaging and beautifully illustrated book, Georgievska-Shine uncovers the ways in which Vermeer challenges the dichotomies between 'good' and 'bad' love, the sensual and the spiritual, placing him within the context of his contemporaries to give the reader a fascinating insight into his unique understanding and interpretation of the subject.

Blurring the boundaries between sculpture, architecture, design andpainting, the innovative practice of Rana Begum RA (b.1977) is the subject of thiscomprehensive monograph, which takes her processes as its focus.

In just half a century of growth, the art fair industry has transformed the art market. Now, for the first time, art market journalist Melanie Gerlis tells the story of art fairs' rapid ascent and reflects on their uncertain future. From the first post-war European art fairs built on the imperial 19th-century model of the International Exhibitions, to the global art fairs of the 21st century and their new online manifestations, it's a tale of many twists and turns. The book brings to life the people, places and philosophies that enabled art fairs to take root, examines the pivotal market periods when they flourished, and maps where they might go in a much-changed world.Â

Exploring the ways in which painting, applied design and illustration intertwined over the course of the accomplished career of Paul Nash (1889-1946), this book provides a new perspective on one of the most gifted and celebrated English artists of the twentieth century.

There is almost nothing new left to say about the urgent need to reduce our devastating impact on the biosphere that supports us. In architectural terms, we have been told since the 1960s that mainstream architecture is not engaged enough with the environmental consequences of what it produces and how it produces it. The usual approach is to propose new ways of designing and building to persuade the reader of the centrality of environmental concerns. But too many readers have remained resolutely unpersuaded over decades. In four sharp, interlocking essays, this book asks why the majority of the architectural profession and its clients still only pay lip service to the importance of the environmental. The first - Overthrowing - examines the Modern Movement's astonishing success in establishing itself, and its legacy in contemporary architectural culture; the second - Converting - explores the inability of the environmental movement to ignite and transform architecture in the same way; the third - Making - discusses the importance of shifting architecture back to a materially-based view of itself to increase its effectiveness, and finally - Educating - looks at the need for architectural education to urgently reconsider how and what it teaches in the volatile 21st century. This in no way diminishes the extraordinary contribution that a minority in architectural practice and education have made to the development of environmental design and environmental thinking over the past fifty years. In each essay, therefore, are examples of innovative and determined people pursuing other ways of practicing architecture and other ways of training architects for this critical century, who are pulling the model of a nature-centric practice out of the margins and into the centre.

Examined through the lens of cutting-edge scholarship, Artemisia Gentileschi clears a pathway for non-specialist audiences to appreciate the artist's pictorial intelligence, as well as her achievement of a remarkably lucrative and high-profile career. Bringing to light recent archival discoveries and newly attributed paintings, this book highlights Gentileschi's enterprising and original engagement with emerging feminist notions of the value and dignity of womanhood. Beautifully illustrated throughout, Artemisia Gentileschi brings to life the extraordinary story of this Italian artist, placing her within a socio-historical context. Sheila Barker weaves the story with in-depth discussions of key artworks, examining them in terms of their iconographies and technical characteristics in order to portray the developments in Gentileschi's approach to her craft and the gradual evolution of her expressive goals and techniques.

Memory Art in the Contemporary World deals with the ever-expanding field of transnational memory art, which has emerged from a political need to come to terms with traumatic historical pasts, from the Holocaust to apartheid, colonialism, state terror and civil war. The book focuses on the work of several contemporary artists from beyond the Northern Transatlantic, including William Kentridge, Vivan Sundaram, Doris Salcedo, Nalini Malani and Guillermo Kuitca, all of whom reflect on historical situations specific to their own countries but in work which has been shown to have a transnational reach. Andreas Huyssen considers their dual investment in memories of state violence and memories of modernism as central to the affective power of their work. This thought-provoking and highly relevant book reflects on the various forms and critical potential of memory art in a contemporary world which both obsesses about the past, in the building of monuments and museums and an emphasis on retro and nostalgia in popular culture, and simultaneously fosters historical amnesia in increasingly flattened notions of temporality encouraged by the internet and social media.

The Culture Factory: Architecture and the Contemporary Art Museum examines museum design using international examples from Western Europe, China, Brazil and the USA. Written accessibly, it argues that the development of the art museum since the mid-1970s has involved the deliberate blurring of boundaries between different categories of art.

Conveys the excitement, diversity and richness of London at a time when the city was arguably at the height of its power, uniqueness and attraction.

Always recognised as a master print from the moment of its appearance around 1649, "The Hundred Guilder Print" is one of Rembrandt's most compositionally complex and visually beautiful works. This book gives a full overview of the fascinating story surrounding this print, from its genesis and market value to attitudes towards it in the present day. Focusing on the tradition of printmaking as well as the reception of the print in Rembrandt's time, Golahny explores the ways the artist made visual references to the work of such masters as Michelangelo, Raphael, and Leonardo da Vinci, while uniquely combining aspects of Christ's ministry. Placing it within its wider cultural and historical context, Rembrandt's Hundred Guilder Print offers an original and engaging approach to current Rembrandt scholarship and is essential reading for anyone interested in the work of one of the most famous artists of the Dutch Global Age.

The Rise and Rise of the Private Art Museum critically examines the growth of private museums in the 21st century, their impact on public institutions and what the future might look like. It is essential reading for museum professionals, art collectors, critics and cultural commentators and anyone working in the art trade.

A contemporary of Soane, Nash and Pugin, Decimus Burton (1800-1881) was one of the most prolific architects of his day and is best known for his work in London's Royal Parks, including: the Wellington Arch and the Serpentine pavilion in Hyde Park; villas and terraces in Regent's Park and the London Zoo; the Temperate house at the Royal Botanic Gardens, Kew; and the layout and architecture of the seaside towns of Fleetwood and St Leonards-on-Sea, and the spa town of Tunbridge Wells. Other projects include the Atheneum Club, Pall Mall, Adelaide Crescent in Brighton, and Phoenix Park in Dublin. Despite his success, little is known about Burton and this book is the first to fully examine his work, from his early years and his father's influence, through his apprenticeship with John Nash, his works in private practice and his growing reputation, to his exploits in town planning and glass houses. This is set within a fascinating social and political context, with stories of conflict and heated dispute amongst the key players which paint a vivid portrait of the architectural profession and construction industry during this period. It reappraises Burton's legacy and summarises his significant achievements and reveals how he contributed to the birth of the picturesque style that was to develop into the Arts and Crafts movement.

In this in-depth look at Ellen Gallagher's oeuvre, the complexities of her richly layered paintings are unpacked to examine themes such as identity, race, displacement and the ecological environment.

Michelangelo was the given name not only of the Florentine sculptor, but also of Michelangelo Merisi da Caravaggio, commonly called by reference to his hometown. In this book, author Bette Talvacchia explores the significant, but little-discussed, connection between the 'two Michelangelos.' She exposes the dynamic relationship between their work through looking at the ways in which Caravaggio creatively responded to the art of his namesake from the start of his youthful arrival in Rome. In addition, she suggests how Michelangelo's overwhelming achievement was a model that helped to drive the young Caravaggio's powerful ambition and shape his identity as an artist. With lucid and intelligent prose, this fascinating book sheds light on the similar 'artistic temperament' constructed in the biographies of each artist--glorifying their rebellious, anti-social behaviour and uncompromising artistic principles--examined both in its historical and contemporary configurations.

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This beautifully illustrated monograph presents the first overview in English of the life and work of Luisa Roldán (1652‿1706), a prolific and celebrated sculptor of the Spanish Golden Age. The daughter of Pedro Roldán, a well-known sculptor from Seville, she developed her talent in her father‿s workshop. Early in her career she produced large polychromed wooden sculptures for churches in Seville, Cádiz, and surrounding towns. She spent the second half of her career in Madrid, where she worked in both polychromed wood and polychromed terracotta, developing new products for a domestic, devotional market. In recognition of her talent, she was awarded the title of Sculptor to the Royal Chambers of two kings of Spain, Charles II and Philip V. This book places Roldán within a wider historical and social context, exploring what life would have been like for her as a woman sculptor in early modern Spain. It considers her work alongside that of other artists of the Baroque period, including Velázquez, Murillo, and Zurbarán. Reflecting on the opportunities available to her during this time, as well as the challenges she faced, Catherine Hall-van den Elsen weaves the narrative of Roldán's story with analysis, revealing the complexities of her oeuvre. Every year, newly discovered sculptures in wood and in terracotta enter into Roldán‿s oeuvre. As her artistic output begins to attract greater attention from scholars and art lovers, Luisa Roldán provides invaluable insights into her artistic achievements.

The nine building stories told in this book show how rural households and communities define themselves, and the role architecture plays in this.

Many communities in cities around the world do not like the growing number of residential towers, but they also realise that the detached house is not a sustainable urban solution. Between these two extremes, there is a 'missing middle' of mid-rise apartment buildings that relate to the street and are within the height of trees. This book argues that the mid-rise way of urban living is an essential component of growing cities, demonstrating that the economics of this form of development are better than that of terrace houses or town houses. It begins by examining successful historic precedents of this housing type, such as the tenements of Paris, Amsterdam, Berlin, Barcelona and New York and successful mid-rise housing in London. The book then discusses reasons for the relative lack of contemporary mid-rise housing developments, including planning legislation, and the perception that it is a dull and uniform building type. It brings together and analyses a wide range of award-winning international contemporary examples by leading architecture firms, looks at the importance of location, the need for urban placemaking, visual interest and design diversity and mixed use precincts, and highlights the advantages, including demographic diversity, urban density, sociability and reduction of car use.

The way we experience the world is largely through the design of the places, products, communications, services and systems we encounter every day. Design determines how difficult or easy it is to achieve certain things - whether taking a bath, cooking a meal, crossing the street or making a call, we all want a world that works for us all the time. However, some people are excluded from the simplest and most basic everyday experiences. Why? This is because the act of designing has given insufficient consideration to their level of physical ability or cognitive difference or cultural background or economic circumstance. Over the past 30 years, however, there has been a shift in designing to become more empathic and inclusive of different human needs. The Helen Hamlyn Centre for Design at the Royal College of Art first pioneered the concept of inclusive design in the early 1990s and it has gone on to build an extensive portfolio of collaborative projects over a long period, developing new methods, coaching designers at all levels in the approach and bringing a more inclusive way of thinking about design to international attention. This book shows the parameters of inclusive design through the lens of the centre's own projects in the field. It therefore maps a movement and, at the same time, marks a milestone: the 30th anniversary of the Helen Hamlyn Centre for Design in 2021. 30 everyday artefacts and environments are explored. These vary in scale: some are simple, hand-held objects, while others form part of large and complex environments or systems. Some have reached the market, others we can file under 'ideas for the future'. All reflect an approach which could be described as designing with people as opposed to designing for people.

Why should the public participate in planning? And who are the stakeholders who are required to participate in the planning process? This guide assesses public and stakeholder participation in the planning process, which is a statutory requirement across the entire scope and scale of planning activities in many global contexts. It provides a historical overview of participation and outlines how this has evolved over time. It then outlines a series of key issues for the contemporary planning professional in terms of their approach to public and stakeholder participation, particularly in light of alterations in landscapes of governance and recent social, political and technological developments. Illustrated with mostly UK and European case studies, but also drawing insights from further afield, the book also provides a framework for critiquing contemporary participation, including an assessment of the pitfalls, obstacles and unintended consequences of participation efforts. As such, it identifies key principles for participation and asks critical questions for its assessment.

Featuring 111 award-winning poster designs, the book tells the story of the development of the visual language of one of the 20th century's most important corporations.

With a body of work that explores a broad spectrum of subjects--from lesbianism and feminism to contemporary politics and the natural world--Nicole Eisenman (b.1965) challenges convention and encourages viewers to construe meanings from images that demand interrogation and debate. Illustrating paintings spanning the early 1990s to the present day, Dan Cameron unpacks the complexities of Eisenman's oeuvre via thematic chapters that address key ideas which emerge when drawing specific works together. As such, this first major account of Eisenman's painting career presents a clear analysis of the primary motivators that have fuelled the imagination of one of the most interesting and original contemporary artists working today.

This major new study by internationally renowned scholar Martin Kemp is the first book to consider the impact of Dante's vision of divine light on visual artists of the Renaissance and Baroque.