Böcker utgivna av Paul Holberton Publishing Ltd

A ground-breaking presentation of 60 projects of 'anarchist' architecture.

Talks about a war that is quintessentially postmodern in it's decentred identity, globalized character and confused conflict of cultures. This book explores the various ways in which art can help articulate the zone of grey that lies behind the black and white term 'terrorism'. It also offers an international plurality of voices.

This bold catalogue brings together the work of two cultural icons for the very firsttime: Beryl Cook (1926-2008) and Tom of Finland (1920-1991). It was inspired by the2024 exhibition Beryl Cook / Tom of Finland at Studio Voltaire in London. Beryl Cook was a painter renowned for her exuberant style and descriptions of everydaylife. Her work captures the social milieu of the areas she lived in and visited, notablyPlymouth. Her most enduring images are of larger-than-life women carousing innightclubs, eating in cafés or enjoying ribald hen parties, rendered in graphic andcolourful forms. Cook's work came to prominence in the mid-1970s and she quicklybecame known as one of Britain's best-loved artists, highly recognised for her distinctiveworks, which are both celebratory and provocative. Tom of Finland's pioneering depictions of homosexual machismo in his images ofbikers, soldiers, cowboys, sailors and labourers broadly represent queer, leather andmuscle communities. A master draughtsman, he used his works to give form to animaginative universe that, in turn, helped fuel real-world liberation movements and hadsignificant influence on a wide range of cultural figures including the Village People,Freddie Mercury, Jean Paul Gaultier and Robert Mapplethorpe. Beryl Cook / Tom of Finland puts their work into conversation for the first time. Thepairing is perhaps unexpected, yet immediate and compelling relationships betweentheir practices are evident. Fundamentally, both artists employed a sustained andcoherent way of hyper-realising the body in images that celebrate pleasure and denyshame. Together, their works reveal interconnected ideas surrounding sexuality, gender,taste and class. Artist and writer Huw Lemmey has contributed an incisive new essay exploringthe queer contexts inherent to Tom of Finland's work, but that also finds latentresonance in Cook's paintings of gay bars and shapely women. He further considersthe commercial forms of distribution that made their complex bodies of works highlyaccessible. Spanning five decades of paintings, drawings and archival materials, this companioncatalogue contributes to new readings of the artists' practices and their enduring impacton popular culture.

This stunning catalogue of 15th and 16thcentury Italian drawings from Museum Boijmans Van Beuningen will showcase highlights from this outstanding but still relatively little known part of the collection.

Richly illustrated with colourful, quirky rag rugs (also known as hooked rugs), this delightful book examines Winifred Nicholson's relationship with the Cumbrian craft.

A selection of magnificent works by the German British painter Frank Auerbach. Accompanying an exhibition at the Courtauld Gallery in London, this book presents a remarkable series of haunting drawings by Frank Auerbach. The catalog includes a new piece of writing on one of the drawings from critically acclaimed novelist Colm Tóibín, accounting for his experience and offering new insights into the work and the nature of self-portraiture. This catalog explores one of Frank Auerbach's most remarkable bodies of work--a series of large-scale portrait heads made in charcoal, produced during his early years as a young artist in postwar London. Auerbach spent months on each drawing, working and reworking them during numerous sessions with his sitters. His prolonged and vigorous process of creation is evident in the finished drawings, which are richly textured and layered. His heads thus emerge from the darkness of the charcoal with burning vitality, born of an artistic and physical struggle with the medium. The process of repeated creation and destruction, of which these images bear visible scars, speaks profoundly of their time, as people rebuilt their lives after the ruination and upending of the war. The exhibition marks the first time Auerbach's extraordinary drawings, made in the 1950s and early 1960s, have been brought together as a comprehensive group.

Art and essays that explore the complex world of the family. What is a family, and how is family experienced? These questions, explored through artists' eyes, are at the heart of Real Families: Stories of Change, a collaboration between the Fitzwilliam Museum and the University of Cambridge Centre for Family Research. This catalog presents the exhibition in four sections, containing twelve illuminating essays that discuss the concept of the family. It focuses on art produced in the past fifty years, a period of significant change in how families are created and structured, with historical works woven throughout to examine what is genuinely new and what has remained the same about the family. The catalog includes reproductions of paintings, photography, and sculptures that examine the wider social, cultural, and political influences on family relationships, from aging, fertility, divorce, LGBTQ+ perspectives, and adoption. Artists featured include Alice Neel, Chantal Joffe, Sunil Gupta, Donald Rodney, Nan Goldin, Paula Rego and Lucian Freud.

A fascinating biography on Helen Coombe that addresses her art, personal life, and struggles with mental illness. Helen Coombe was a woman admired not only for her artistic skill, but also for her intellect, personality, and wit. The first biography of Coombe, The Artist Helen Coombe reveals her family background and education, her place in the arts and crafts movement, and her outstanding artistic output. Coombe was married to Roger Fry, an artist who was to achieve most fame as an art critic, historian, and protagonist of the Bloomsbury Group. Soon after their marriage in 1896, she displayed symptoms of schizophrenia. After the first episode, she temporarily resumed her career and had two children with Fry, but for the last thirty years of her life, she was committed to an institution. This thoroughly researched investigation makes full use of archival material, including correspondence, diaries, and medical records, and illuminates late Victorian and Edwardian society and culture. It sheds new light on Fry and is a must for anyone interested in the Bloomsbury Group, art history, and the handling of mental illness in the late nineteenth century.

This volume brings together over 25 scholarly essays, reviews and shorter contributions by Peter Hecht, preceded by an introduction on what he thinks his life in art history has taught him.

An analysis of island identities and culture in the ancient Mediterranean. Accompanying an exhibition at the Fitzwilliam Museum, Cambridge, this book explores island identities in the ancient Mediterranean, questioning how the "insularity" of being of an island affected and shaped art production and creativity, architectural evolution, and migrations. It extends beyond the ancient, incorporating current discourses on island versus mainland cultural identities, in contemporary Art and other disciplines. In this book, fifty unique archaeological objects--most never displayed before outside Cyprus, Crete, and Sardinia-- tell exceptional stories of insular identity over 4000 years. The movement of people and episodes of migration between islands and their surrounding mainlands is also explored, through architecture, material culture, crafts, and technologies present in the Mediterranean islands. Islanders brings together research findings from scientific fields within archaeology.

This book explores the concept of travel as inspiration for artists across history. Comprising over one hundred such works, Connecting Worlds: Artists & Travel is the first exhibition dedicated to artists' experiences of travel from the Renaissance to the nineteenth century. A collaboration between the Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, and the Katrin Bellinger Collection, London, the exhibition includes works by major artists, lesser-known professionals, as well as amateurs, mostly from Northern Europe. Divided into three sections, the exhibition begins by exploring the work of artists on the road and what they regarded as important to record in their sketchbooks. The second section looks at Rome as one of the most important destinations for Northern travelers, and the journey ends in Dresden, a center of cultural exchange and glamorous festivities. This richly illustrated catalog features essays by an international panel of experts addressing such topics as the uses of artist sketchbooks across time, written and visual accounts of travel in books and prints, and encounters with the Ottoman world.

A study of theatrical portraiture through the work of William Hogarth and David Garrick. In 1770 Georg Christoph Lichtenberg remarked, 'What a work could be written on Shakespeare, Hogarth, and Garrick! There is something similar in the genius of all three.' Two-and-a-half centuries on, Robin Simon's highly original and illuminating book takes up the challenge. William Hogarth (1697-1764) and David Garrick (1717-79) closely associated themselves with Shakespeare, embodying a relationship between plays, painting, and performance that had been understood since Antiquity and which shaped the rules for history painting drawn up by the Académie royale in Paris in the seventeenth century. This book offers a fresh examination of theatrical portraits through a close analysis of the pictures and of the texts used in performance. It also examines the central role of the theatre in British culture, while highlighting the significance of Shakespeare, Hogarth, and Garrick in the European Enlightenment and the rise of Romanticism.

"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 circa 1700"--

Lavish illustrations of the works of the Frick Collection's Eveillard Gift with comprehensive commentaries by noted scholars in their field. This beautiful publication presents for the first time the Eveillard Gift of drawings to the Frick Collection in New York, the most important gift of drawings and pastels in the museum's history. It accompanies an exhibition and includes a catalog of the works and commentaries by noted scholars. Twenty-six works of art promised to the Frick Collection by longtime supporters Elizabeth and Jean-Marie Eveillard dramatically advance the museum's commitment to the research and display of European drawings. Included in this transformative gift are exquisite drawings, pastels, and prints 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.

A catalog accompanying the first exhibition devoted to a fascinating group of drawings by one of eighteenth-century Europe's most idiosyncratic, original, and controversial artists. Best known for his notoriously provocative painting The Nightmare, Anglo-Swiss painter Henry Fuseli (1741-1825) cultivated a reputation for eccentricity, with vividly stylized 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. By bringing together more than fifty of his works, this volume offers unprecedented access to see one of the finest draftsmen of the Romantic period at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalog 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 Zürich, the Auckland Art Gallery in New Zealand, and other European and North American institutions.

Published in conjunction with an exhibition at The Courtauld Gallery, London, June 16-September 18, 2011.

For the first time in English, this lavishly illustrated catalogue presents the collection of fifteenth- to seventeenth-century French paintings in the worldfamous Hermitage Museum. Including many well-known works, notably those by Nicolas Poussin and Claude Lorrain, this catalogue represents the first full publication in English of the whole of the Hermitage Museum‿s collection of French seventeenth-century paintings, as well as seven paintings dating from the fifteenth and sixteenth centuries. Since the publication of the Russian edition in 2018 the text has been considerably reworkedand supplemented, with new photography and the addition of one further painting. It thus marks an important milestone in the history of the Hermitage Picture Gallery. The Hermitage collection of French painting is one of the largest and most significant outside France. All the leading artists of the seventeenth century are represented and there are key works by some less famous names (for instance, signedpaintings by Pierre Cauchy and Jean Daret). This catalogue also throws light on the history of collecting in France and Russia from the seventeenth to early twentieth century. Paintings that were once in the most famous collections in France made their way to Russia from the middle of the eighteenth century. Catherine the Great acquired French seventeenth-century works among her first purchase of pictures in 1764; more than thirty arrived with the Crozat de Thiers collection that she bought in 1772, and sixteen arrived with Sir Robert Walpole‿s collection from Houghton Hall in 1779. Four famous Claudes were bought by Catherine‿s grandson Alexander I from the estate of the late Empress Josephine at Malmaison in 1815. More than a third of the paintings arrived in the Hermitage after the Revolutions of 1917, some from the collections of noble families established in the eighteenth century (the Yusupovs and the Stroganovs), others from more recent collections formed by statesmen and the growing wealthy middle class (Myatlev and Oliv). Many of the works that arrived in the museum in the 1920s and 1930s had no establishedprovenance: as part of the research for this book, the author has worked with other scholars at the Hermitage to discover the collections from which the paintings derived.

The life and work of Victorian landscape painter Alfred Augustus Glendening, illustrating his rapid rise from railway clerk to an acclaimed artist. Though critics often reviewed Alfred Augustus Glendening's exhibitions, very little has been written about the artist himself. Here, new and extensive research removes layers of mystery and misinformation about his life, family, and career, accurately placing him amid the British art world during much of the nineteenth and into the twentieth century. Glendening was a man from humble origins, working full-time as a railway clerk when he managed to make his London exhibition debut at the age of twenty--a feat that would have been almost impossible before the Victorian era ushered in new possibilities of social mobility. Although his paintings show a tranquil and unspoiled landscape, his environment was rapidly being transformed by social, scientific, and industrial developments, while advances in transport, photography, and other technical discoveries undoubtedly influenced him and his fellow painters. Celebrating his uniquely Victorian story, the book places Glendening within his proper historical context. Running alongside the main text is a timeline outlining significant landmarks, from political and social events to artistic and technical innovations. Thoroughly researched, the narrative explores why and for whom he painted, his artistic training, and his various inspirations. The book uncovers new information about the Victorian art world and embraces such aspects as Royal Academy prejudices, the popularity of Glendening's work at home and abroad, his use of photography, and the sourcing of his art materials.

Explores key sites visited by artist-travellers and investigates the artists.

Drawing on works of art spanning four thousand years and from across the globe, this book explores the fundamental role of touch in human experience, and offers new ways of looking.