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1997. The Age of Rossetti, Burne-Jone & Watts. Symbolism in Britain 1860-1910
1963. Art of China, Korea and Japan by Peter C. Swann
1993. Art of the Soviets: Painting, Sculpture and Architecture in a One-Party State, 1917-1992 by Matthew Cullerne-Bown
1995. The Benefits of Public Art: The Polemics of Permanent Art in Public Places by Sara Selwood
2012. Danger! Women Artists at Work by Debra N. Mancoff
1995. The Dynamics of Now (Issues in Art and Education) by William Furlong (editor)
1953. Feeling and Form: A Theory of Art Developed From Philosophy in a New Key by Susanne K. Langer
1986. Forty Years of Modern Art 1945-1985; each chapter introduced by Ronald Alley
1996. George Stubbs 1724-1806 by Judy Egerton
2011. Hand Made Illustration. Selected by Eva Minguet
2000. Helen Allingham's England by Helen Allingham
1962. Hogarth and His Place in European Art by Frederick Antal
2006. Islamic Art and Archaeology of Palestine by Myriam Rosen-Ayalon
2002. Landscape and Power edited by W. J. T Mitchell
1991. Master Drawings from the Courtauld Collections by William Bradford and Helen Braham
1988. The Physicist as Artist: The Landscapes of Pierre Duhem by Stanley L. Jaki
2002. Piero della Francesca by Marilyn Aronberg Lavin
2007.RADAR: Texts on Contemporary Art; Essays and Interviews by Peter Stohler
1987. Trog. Forty Graphic Years. The Art of Wally Fawkes by Frank Whitford

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• The Age of Rossetti, Burne-Jones & Watts: Symbolism in Britain 1860-1910 [top]
  Edited by Andrew Wilton and Robert Upstone with contributions from Barbara Bryant, Christopher Newall, Mary Anne Stevens and Simon Wilson
  Introduction by Andrew Wilton, Keeper of the British Collection at the Tate Gallery
  Published in 1997 in Great Britain in hardback by Tate Gallery Publishing, 304pp, ISBN 1854371967
  Front Cover: Edward Burne-Jones 'Night', 1870
  Back Cover: Charles Ricketts 'Oedipus and the Sphinx', 1891
  Frontispiece: Simeon Solomon 'Love in Autumn', 1866
  

About this book: In the last 25 years, Symbolism has been much investigated, but British artists have usually been accorded a marginal role in the movement. It has always been assumed that Symbolism was essentially a continental phenomenon, having only slight links with what happened in Great Britain in the late 19th Century. This new examination of the subject revises that view by focusing on key British artists, some of whom predate their continental colleagues in dealing with the characteristic themes of Symbolism. These were above all, Death, Sleep and the erotic impulse. Sometimes the Europeans were a decade or more behind their British counterparts, who provided important precedents for their innovations. It has been overlooked that both Watts and Burne-Jones exhibited in Paris to critical acclaim, that the young Picasso admired Burne-Jones, and that the leading Belgian Symbolist, Fernand Khnopff, wrote articles for the London art magazine 'The Studio'. There was in fact a far greater exchange of ideas between British and continental artists than might at first be imagined. Published to accompany the major exhibition at the Tate Gallery conceived by Andrew Wilton, Keeper of the British Collection, an exhibition which gives a fascinating insight into the background whence modern art emerged, this catalogue examines some central themes of Symbolist art, and includes important works by Rossetti, Burne-Jones, Watts, Whistler, Beardsley, Moreau, and Khnopff. All the works in the exhibition are shown in colour in the book and that amounts to more than 130 paintings, drawings and sculpture. The contributors to this volume have also written the detailed catalogue entries for each of the works (listed below) - we can't stress this enough about this book - if you want to have a detailed and expert description of the paintings listed in the catalogue, this book is the one for you. Art aficionados should find this a must-have work of reference, fascinating and often revelatory.

Contents:
Sponsor's Foreword from Sir Peter Davis, Group Chief Executive of Prudential Corporation PLC
Foreword; Acknowledgements
1. Symbolism in Britain by Andrew Wilton
2. Themes of Love and Death in Aesthetic Painting of the 1860s by Christopher Newall
3. Symbolism - A French Monopoloy by MaryAnne Stevens
4. G. F. Watts and the Symbolist Vision by Barbara Bryant
5. Symbolism in Three Dimensions by Robert Upstone
6. Catalogue
Liliath and her Daughters
The Suppression of Meaning
Private Thoughts I
Reinventing Mythologies
The Symbolist Landscape
Music and Poetry
Private Thoughts II
The Climax
Epilogue: A New Century
Notes; Bibliography; Index of Works

List of Illustrations and Plates (in the sections they come from)
Introduction
p10. Full colour page of detail from D. G. Rossetti, Paolo and Francesca da Rimini 1855 (no. 30)
p15. Fig 1, b&w, margin - Gustave Moreau 'Salome Dancing Before Herod' c.1876
p17. Fig. 2. b&w, top - Fernand Khnopff 'Les Caresses' (The Sphinx), c1896, oil on canvas
p19. Fig. 3. b&w, margin - John Everett Millais 'The Bridesmaid', 1851, oil on wood
p20. Fig. 4. b&w, margin - D. G. Rossetti, 'How They Met Themselves' c. 1850-60, pen & ink
p21. Fig. 5. b&w, margin - Fernand Khnopff, 'Vivien' 1896, painted plaster (photograph)
p21. Fig. 6. b&w, margin - Frederick Sandys, 'Amor Mundi' 1865, woodcut
p22. Fig. 7. b&w, margin - William Blake Richmond, 'The Watchers' 1873-6
p22. Fig. 8. b&w, bottom - Fernand Khnopff, 'I Lock my Door upon Myself', 1891, oil on canvas
p24. Fig. 9. b&w, margin - Edgar Degas 'Woman at her Toilet', c.1894, pastel on tracing paper
p25. Fig. 10. b&w, margin - William Blake 'The Resurrection of Pious Souls', 1806, pencil and watercolour
p26. Fig. 11. b&w, margin - John Roddam Spencer Stanhope, 'Love and the Maiden', 1877, oil on canvas
p27. Fig. 12. b&w, margin - George Frederic Watts, 'Physical Energy', statue cast in 1906 in bronze, photograph of statue in Kensington Gardens
p29. Fig. 13. b&w, margin - Jacques Delville, 'The Love of Souls' 1900, Tempera on canvas
p31. Fig. 14. b&w, top - Paul Gauguin, 'D'Ou venons-nous? Que sommes nous? Ou allons-nous?' 1897, oil on canvas
p32. Fig 15. b&w, margin - Edward Burne-Jones, 'Miss Amy Gaskell', 1893, oil on canvas
p32. Fig 16. b&w, margin - Pablo Picasso, 'Girl in a Chemise', c.1905, oil on canvas
p33. Fig 17. b&w, margin - Pablo Picasso, 'The Old Guitarist', 1903, oil on wood

Themes of Love and Death in Aesthetic Painting of the 1860s by Christopher Newall
p34. Full page in colour showing detail from Edward Burne-Jones 'The Lament', 1865-6 (no.25)
p36. Fig. 18. b&w, margin, John Everett Millais, 'Autumn Leaves', 1855-6, oil on canvas
p37. Fig. 19. b&w, margin, Dante Gabriel Rossetti, 'The Maids of Elfen-Mere', 1855, engraved by the Dalziel Brothers, woodcut
p38. Fig. 20. b&w, margin, photo - interior view of West House, home of George Pryce Boyce - shows Bocca Baciata third from left on the lower row of paintings on the wall
p38. Fig. 21. b&w, margin, J.A.M. Whistler, 'The White Girl' (Symphony in White, No. 1), 1862, oil on canvas
p39. Fig. 22. b&w, margin, photograph, an early one showing J.A.M. Whistler's Symphony in White No. 2: The Little White Girl, 1864 (no.15)
p40. Fig. 23. b&w, margin, Edward Burne-Jones, 'Green Summer', 1864
p41. Fig. 24. b&w, margin, Edward Burne-Jones, 'The Wine of Circe', 1863-9, watercolour and bodycolour
p41. Fig. 25. b&w, margin, Edward Burne-Jones, 'Phyllis and Demophoon', 1870, watercolour and bodycolour
p43. Fig. 26. b&w, margin, Simeon Solomon, 'The Bride, the Bridegroom and Sad Love', 1865, pencil
p43. Fig. 27. b&w, margin, G. F. Watts, 'The Wife of Pygmalion', 1868, oil on canvas

Symbolism - A French Monopoly? by MaryAnne Stevens
p48. Full page in colour of details from Gustave Moreau's 'Oedipe Voyageur (L'Égalité devant la mort), c.1888 (no.54)
p57. Fig. 32. b&w, margin, Edward Burne-Jones, 'The Beguiling of Merlin', 1874, oil on canvas
p58. Fig. 33. b&w, margin, Fernand Khnopff, 'Lawn Tennis' (Memories), 1889, pastel on paper pasted on canvas
p61. Fig. 34. b&w, margin, Gustave Moreau, 'The Apparition', 1876, watercolour

G. F. Watts and the Symbolist Vision by Barbara Bryant
p64. Full page in colour of detail from G. F. Watts, 'Hope', c.1885-6 (no.76)
p65. Fig. 35. b&w, margin, G. F. Watts, 'Hope', 1886, oil on canvas
p66. Fig. 36. b&w, margin, J. Benwell Clark, after G. F. Watts, 'Pallas, Juno and Venus', 1880, etching
p67. Fig. 37. b&w, margin, John Watkins after G. F. Watts, 'Orpheus and Eurydice', 1879, etching
p67. Fig. 38. b&w, margin, D. G. Rossetti, 'Study for the Roman Window', 1874, black, red, and white chalk
p68. Fig. 39. b&w, margin, D. G. Rossetti, 'A Sea Spell', 1877, oil on canvas
p69. Fig. 40. b&w, margin, G. F. Watts, 'Eveleen Tennant, later Mrs. F. W. H. Myers
p71. Fig. 41. b&w, margin, G. F. Watts, 'Uldra', 1884, oil on canvas
p72. Fig. 42. b&w, margin, G. F. Watts, 'The Judgement of Paris', Olympus on Ida', 1885, oil on canvas
p73. Fig. 43. b&w, margin, photograph of G. F. Watts's studio, Limnerslease, February 1896
p74. Fig. 44. b&w, margin, G. F. Watts, 'The Messenger', c.1884-5, oil on canvas
p74. Fig. 45. b&w, margin, G. F. Watts, 'The Court of Death', c.1870-1902, oil on canvas
p75. Fig. 46. b&w, margin, G. F. Watts, 'The Sower of the Systems', c.1902-3, oil on canvas
p80. Fig. 47. b&w, margin, G. F. Watts, 'Violet Lindsay (Marchioness of Granby), 1879, oil on canvas

Symbolism in Three Dimensions by Robert Upstone
p82. Full page in colour of detail from George Frampton, 'My Thoughts are my Children', 1894, cast c.1900 (no.116)
p85. Fig. 48. b&w, margin, Alfred Gilbert, 'Study of a Head', 1883, bronze
p86. Fig. 49. b&w, margin, G. F. Watts, 'Love and Life', c.1884-5, oil on canvas
p87. Fig. 50. b&w, margin, Alfred Gilbert, 'The Kiss of Victory', 1878-81, marble
p88. Fig. 51. b&w, margin, Fernand Khnopff, 'Sibyl', 1894, wax - now untraceable and thought to have been destroyed
p91. Fig. 52. b&w, top, Harry Bates, 'The Story of Psyche', 1887, silvered bronze
p92. Fig. 53. b&w, margin, Harry Bates, 'Mors Janua Vitae', 1899, bronze, ivory and mother of pearl
p92. Fig. 54. b&w, margin, Harry Bates, 'Mors Janua Vitae', 1899, close up of the detail on the base

p93. The Catalogue - all pictures reproduced in colour, not necessarily full page
Lilith and Her Daughters
1. Pavonia, 1859-9, oil on canvas by Frederic, Lord Leighton 1830-1896
2. Bocca Baciata, 1859, oil on panel by Dante Gabriel Rossetti 1828-1882
3. Helen of Troy, 1863, oil on panel by Dante Gabriel Rossetti
4. Fazio's Mistress (Aurelia), 1863, oil on panel by Dante Gabriel Rossetti
5. The Beloved ('The Bride'), 1865-6, oil on canvas by Dante Gabriel Rossetti
6. Lady Lilith, 1864-8, oil on canvas by Dante Gabriel Rossetti
7. Mary Magdalene, c.1859, oil on panel by Frederick Sandys 1829-1904
8. A Study with the Peacock's Feathers, c.1862-5, by George Frederic Watts 1817-1904
9. Jo, the Beautiful Irish Girl (La Belle Irlandaise) 1865-6, oil on canvas by Gustave Courbet

The Suppression of Meaning
10. Lieder ohne Worte, c.1860-1, oil on canvas by Frederic, Lord Leighton
11. Azaleas, exhibited 1868, oil on canvas by Albert Joseph Moore, 1841-1893. Full page colour
12. Love in Autumn, 1866, oil on canvas by Simeon Solomon, 1840-1905
13. Gentle Spring, 1863-5, oil on canvas, by Frederick Sandys
14. The Three Goddesses, c.1865-72, oil on canvas, by George Frederic Watts
15. The Little White Girl: Symphony in White No. 2, 1864, oil on canvas by James Abbott McNeill Whistler 1834-1903
16. Three Figures: Pink and Grey, 1868-78, oil on canvas by James Abbott McNeill Whistler
17. Le Recueillement, 1867, oil on canvas, by Pierre Puvis de Chavannes, 1824-1898

Private Thoughts
18. Three Women Plucking Mandrakes exhibited 1870, bodycolour on paper laid onto canvas, by Robert Bateman, 1842-1922
19. The Dead Knight, c.1870, watercolour, by Robert Bateman, 1842-1922
20. Sidonia von Bork 1560, 1860-1, watercolour and bodycolour, Edward Burne Jones 1833-1898
21. Clerk Saunders 1861, watercolour, by Edward Burne-Jones
22. The Madness of Sir Tristram, 1862, bodycolour by Edward Burne-Jones
23. Going into the Ark, c.1863, pen and ink on woodblock by Edward Burne-Jones
24. The Return of the Dove to the Ark, c.1863, pen and ink on woodblock by Edward Burne-Jones - b&w plate at bottom of page 126.
25. The Lament, 1864-6, watercolour and bodycolour on paper laid down on canvas by Edward Burne-Jones
26. Vesper, or The Evening Star 1872, watercolour, bodycolour and gold paint on canvas, by Edward Burne-Jones - full page colour plate on page 129
27. Night, 1870, watercolour and bodycolour on canvas by Edward Burne-Jones, full page colour plate on page 131
28. The Wheel of Fortune, c.1871, bodycolour, by Edward Burne-Jones
29. The White Knight, 1870, watercolour, by Walter Crane 1845-1915
30. Paolo and Francesca da Rimini, 1855, watercolour, by Dante Gabriel Rossetti
31. Dantis Amor, 1860, oil on mahogany panel, by Dante Gabriel Rossetti
32. Golden Head by Golden Head, 1861, pen and black ink with traces of pencil by Dante Gabriel Rossetti. Small b&w plate at the top of page 137
33. Woman Combing her Hair 1864, watercolour, by Dante Gabriel Rossetti
34. Morgan le Fay, c.1862-3, ink and brush, with scratching out, by Frederick Sandys, 1829-1904
35. Heliogabalus, High Priest of the Sun, 1866, watercolour, by Simeon Solomon
36. The Sleepers, and the One that Watcheth, 1870, watercolour, by Simeon Solomon
37. Orpheus and Eurydice 1872-7, oil on canvas, by George Frederick Watts

Reinventing Mythologies
38. Pygmalion and the Image (second series) 1868-78 by Edward Burne-Jones
a) The Heart Desires, 1875-8, oil on canvas
b) The Hand Refrians, c.1868, oil on canvas
c) The Godhead Firest, 1875-8, oil on canvas
d) The Soul Attains, 1868-78, oil on canvas
39. Souls on the Banks of the River Styx, c.1873, oil on canvas, by Edward Burne-Jones
40. King Cophetua and the Beggar Maid, 1884, oil on canvas
41. Love among the Ruins, 1893-4, oil on canvas, by Edward Burne-Jones
42. Sleep and Death Carrying the Body of Sarpedon into Lycia, c.1875-6, oil on canvas, by Wililam Blake Richmond, 1842-1921
43. Venus Verticordia, 1864-8, oil on canvas by Dante Gabriel Rossetti
44. Beata Beatrix, c.1864-70, oil on canvas, by Dante Gabriel Rossetti
45. Astarte Syriaca, 1875-7, oil on canvas, by Dante Gabriel Rossetti
46. Proserpine, 1877, oil on canvas, by Dante Gabriel Rossetti
47. Medea, 1866-68, oil on panel, by Frederick Sandys, 1829-1904
48. Paolo and Francesca, c.1872-1884, oil on canvas, by George Frederic Watts
49. Chaos, c.1873-82, reworked later, oil on canvas, by George Frederic Watts
50. Four Maquettes for 'Chaos', late 1860s-1870s, plaster casts, height varying from 10-15, by George Frederic Watts
51. Love and Death, c.1874-7; reworked until 1887, oil on canvas, by George Frederic Watts
52. Mammon: Dedicated to his Worshippers, 1884-5, oil on canvas, by George Frederic Watts
53. Idyll, 1884, oil on canvas, by Gustav Klimt, 1862-1918
54. Oedipe Voyageur (L'Égalité devant la mort), c.1888, oil on canvas, by Gustav Moreau
55. Death and the Maidens, 1872, oil on canvas, by Pierre Puvis de Chavannes

The Symbolist Landscape
56. Clytie, c.1890-2, oil on canvas, by Frederic, Lord Leighton
57. Dew-drenched Furze c.1889-90, oil on canvas by John Everett Millais
58. Near Via Reggio, where Shelley's Body was Found, 1875, oil on canvas, by William Blake Richmond
59. The Island of Cos, 1883, oil on canvas, by George Frederic Watts
60. After the Deluge: The Forty-First Day, c.1885-91, oil on canvas, by George Frederic Watts
61. Neptune's Horses, 1888-92, oil on canvas by George Frederic Watts
62. Sunset on the Alps: A Reminiscence, 1888-94, oil on gilded canvas, by George Frederic Watts
63. Vision at Sea, 1896, oil on canvas, by Arnold Bocklin 1827-1901
64. Memory, 1870, oil on mahogany panel, by Elihu Vedder, 1836-1923
65. The Sphinx of the Seashore, 1879-80, oil on canvas, by Elihu Vedder

Music and Poetry
66. The Third Tableau of Das Rheingold, 1896, ink over pencil by Aubrey Beardsley, 1872-1898
67. The Fourth Tableau of Das Rheingold, 1896, pen and black ink, by Aubrey Beardsley
68. The Golden Stairs, 1872-80, oil on canvas by Edward Burne-Jones
69. Lamia, 1899-1900, bronze, ivory, opals and glass, by George Frampton, 1860-1928
70. Sancta Lilias, 1874, oil on canvas, by Dante Gabriel Rossetti
71. The Lover - Study for 'The Blessed Damozel', c.1878, black chalk, pencil and red chalk, by Dante Gabriel Rossetti
72. Ligeia Siren, 1873, coloured chalks, by Dante Gabriel Rossetti
73. Veronica Veronese, c.1870-2, oil on canvas, by Dante Gabriel Rossetti
74. The Poet in the Flames of First Love, 1883, pen and ink by Henry John Stock, 1853-1930
75. The Dweller in the Innermost, c.1885-6, oil on canvas, by George Frederic Watts
76. Hope, c.1885-6, oil on canvas, by George Frederic Watts
77. The Happy Warrior, c.1884, oil on canvas, by George Frederic Watts
78. The Genius of Greek Poetry, late 1850s-c.1878, oil on canvas, by George Frederic Watts
79. Nocturne: Blue and Silver - Chelsea, 1871, oil on panel, by James Abbott McNeil Whistler
80. Nocturne: Blue and Silver - Cremorne Lights, 1872, oil on canvas, by James Abbott McNeill Whistler
81. The Sphinx, 1894, written by Oscar Wilde, designed and illustrated by Charles Ricketts 1854-1900 (The Sphinx was published by Elkin Matthews and John Lane, 1894). Colour plate at top of page 209 shows pages 29-30 from the book 'Still from his chair of porphyry gaunt Memnon strains his lidless eyes...' with the associated Charles Ricketts illustration
82. La Damoiselle élue, 1893, lithograph in three colours, by Maurice Denise 1870-1943. Dedicated in a handwritten message to Roger Marx
83. Siegfried, Act III: The Invocation of Erde, 1886, lithograph by Henri Fantin-Latour, 1836-1904
84. Parsifal, Act II: The Invocation of Kundry, 1886, lithograph by Henri Fantin-Latour
85. The First Scene from Das Rheingold, 1888, oil on canvas (full page in colour on page 215) by Henri Fantin-Latour
86. Who Shall Deliver Me? (Christina Georgina Rossetti), 1891, coloured chalks, by Fernand Khnopff
87. The Rubaiyat of Omar Khayyam by Edward FitzGerald, 1884, book shown open at stanzas 37-9; drawings (including these) by Elihu Vedder, 1836-1923
88. The Cup of Death, 1885, oil on canvas, by Elihu Vedder

Private Thoughts II
89. The Toilette of Salome, 1893, pen and black ink and wash, by Aubrey Beardsley
90. How King Arthur Saw the Questing Beast and thereof Had Great Marvel, 1893, pen and black ink and wash by Aubrey Beardsley
91. La Femme Incomprise, 1892, pen and ink and wash by Aubrey Beardsley
92. The Climax, 1893, line block reproduction, by Aubrey Beardsley
93. Designs for 'The Story of Perseus': The Call of Perseus; Perseus and the Graiae; Perseus and the Nereids, 1875-6; bodycolour, gold paint and pen and ink on buff paper, by Edward Burne-Jones
94. The Finding of Medusa; The Death of Medusa (The Birth of Pegasus and Chryasor); Perseus Pursued by the Gorgons, 1875-6, bodycolour, gold paint and pen and ink, by Edward Burne-Jones
95. Atlas Turned to Stone; The Rock of Doom and the Doom Fulfilled; The Court of Phineas; The Baleful Head, 1875-6; bodycolour, gold paint, pencil and chalk on buff paper, by Edward Burne-Jones
96. Head of a Woman, 1890, red, black and white chalks on buff paper, by Edward Burne-Jones
97. The Worship of Mammon, c.1909, oil on canvas, by Evelyn Pickering de Morgan, 1855-1919
98. The Sleeping Princess, c.1895-6, pastel, by Frances Macdonald, 1873-1921
99. Autumn, 1898, pencil and watercolour on vellum, by Frances Macdonald
100. Part Seen, Imagined Part, 1896, pencil and watercolour on tracing paper, by Charles Rennie Mackintosh, 1868-1928
101. Ignis Fatuus, bronze, 1889, by Henry Pegram, 1862-1937
102. Oedipus and the Sphinx, 1891, pen and ink, by Charles Ricketts
103. The Head of Medusa, 1884, coloured chalks, by Simeon Solomon
104. Grotesque, 1897, two impressions, etched mezzotint, William Strang, 1859-1921
105. Mother Earth, 1897, etched mezzotint by William Strang
106. The Recording Angel, c.1890, red chalk on buff paper, by George Frederic Watts
107. Silence, 1890, pastel, by Fernand Khnopff
108. Study of a Woman, 1896, pencil on grey paper heightened with white chalk by Fernand Khnopff
109. Four Illustrations for Ver Sacrum, 1898, bound set of 12 issues for 1898 by Gustav Klimt
110. The Beheaded, c.1885, charcoal and black chalk with incising, stumping, rubbing out and brush work on cream paper prepared with a buff ground, by Odilon Redon, 1840-1916
111. Fatalism, 1893, pencil and black and coloured chalks heightened with white, by Jan Toorop, 1858-1928

The Climax
p246. Fig. 57. b&w, margin, Walter Crane, 'The Mower', 1901, tempera on canvas
p246. Fig. 58. b&w, margin, Auguste Rodin, The Kiss 1901-4 in Pentelican marble
112. Pandora, c.1890, marble, ivory, bronze and gilt, by Harry Bates, 1850-1899
113. The Rock of Doom, 1885-6, oil on canvas, by Edward Burne-Jones
114. The Dream of Sir Lancelot at the Chapel of the Holy Grail, 1896, oil on canvas by Edward Burne-Jones
115. Mysteriarch, 1892, polychrome plaster, by George Frampton, 1860-1928
116. My Thoughts are my Children, 1894, bronze relief, partly gilded in oak frame, cast c.1900, by George Frampton
117. Icarus, 1884, bronze statue, by Alfred Gilbert, 1854-1934
118. The Virgin, 1899, painted bronze statue high on a wooden base, by Alfred Gilbert
119. Solitude, c.1889-90, oil on canvas, by Frederic, Lord Leighton
120. 'And the Sea Gave Up the Dead where Were in it', c.1891-2, oil on canvas, by Frederic, Lord Leighton
121. The Spirit of the Summit, 1894, by Frederic, Lord Leighton
122. Sibylla Fatidica, 1904, by Henry Pegam, 1862-1937
123. Time, Death, Judgement 1870s-1886, oil on canvas, by George Frederic Watts, full colour page plate
124. 'She Shall Be Called Woman', c.1888-1892, reworked later, oil on canvas, by George Frederic Watts
125. 'The All-Pervading', 1887-c.1893, oil on canvas by Geoge Frederic Watts
126. 'Sic Transit', 1890-2, oil on canvas by George Frederic Watts
127. Paolo and Francesa, c.1901, oil on canvas, Gaetano Previati, 1852-1920

Epilogue: A New Century
128. Girls Singing Music by Gabrial Fabre, c.1903, oil on canvas by Louis Welden Hawkins
129. Melampus and the Centaur, 1919, oil on canvas, by Glyn Warren Philpot
130. Bacchus in India, c.1913, oil on canvas, Charles Ricketts
131. Cain and Abel, c.1913, pencil, watercolour, crayon and pastel on board, by Frederick Cayley Robinson, 1862-1927
132. Youth, 1923, charcoal, watercolur, gouache, pastel, oil and pencil on panel prepared with a gesso ground, by Frederick Cayley Robinson
133. The Golden Age, 1921-2, oil on canvas by Charles Shannon, 1863-1937
134. The Sower of the Systems, c.1902, oil on canvas, by George Frederic Watts
135. The Dream, 1897/1903, pencil, ink, chalk, watercolour, bodycolour and oil on brown paper laid down on board by Ferdinand Hodler, 1853-1918 - full page in colour of this on page 282
136. Spring, 1901, oil on canvas by Ferdinand Hodler
137. Madonna, 1895-1902, coloured lithography by Edvard Munch
138. Horse of Hell, 1893, bronze, by Gustav Vigeland
139. Young Girl and Boy under a Tree, 1905, bronze, by Gustav Vigeland
Notes; Bibliography

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• Art of China, Korea and Japan [top]
  Written by Peter Swann
  First published in 1963 in Great Britain by Thames and Hudson, London, in hardback with dustjacket, 287pp, No ISBN

Contents: Contains 51 colour plates and 208 black & white illustrations. Familiarity with the art of these three Asian countries has for too long been considered a field for experts only. Here is a much needed introduction to the art of all three in a profusely illustrated volume that serves three main purposes. First of all, it is informative and readable and, like all good introductions, makes one want to inquire further into the subject. (Here the extensive bibliography will be of great help). Secondly the 259 plates enticingly cover the best examples of the art of these countries and are closely related to the text. Their beauty itself needs no introduction. Thirdly, and surprisingly for the first time in one volume, the arts of China, Korea and Japan are treated together. Their close relatedness can now be easily appreciated. Naturally, Chinese art dominates and is the major source of inspiration. But in many fields, such as the Japanese art of Portraiture, the source is surpassed, and the author makes a point of bringing out the originality and vigour of the national cultures as well as the way they were influenced from the outside and influenced each other. The interplay of the sources of influence, political and cultural, make a vivid and dramatic history. The author has taken care to choose the illustrations himself and they include many never reproduced before [1963] as well as the most famous subjects.

Chapters:
1. The Beginnings
2. The first Chinese Empire - Beginnings of Korean and Japanese Cultures
3. Disunion in China - Buddhism - Japan enters the Chinese orbit
4. China unites again - The power of Chinese culture in the T'ang Dynasty over Great Sillan Korea and Nara Japan
5. The East divided - The Fujiwara in Japan
6. Three Great Periods: the Sung Dynasty in China, the Koryo Dynasty in Korea, and the Kamakura Dictatorship in Japan
7. China and Korea under Mongol domination
8. The Ming Dynasty: tradition and decoration
9. Japan and Korea c. 1400-1600: the Ashikaga Period and the beginning of the Yi Dynasty
10. The Momoyama Period: Japanese taste
11. The Ch'ing Dynasty, 1644-1911 - The Second Hafl of the Yi Dynasty in Korea
12. Japan 1600-1868: The Tokugawa Period

Postscript: The Twentieth Century - International Art
Text References
Chronological Table
List of Illustrations; Bibliography; Index

About the Author:
Peter Swann, author of 'An Introduction to the Arts of Japan' was born in 1921. He was educated in London and Leiden and afterwards went to Oxford where he studied history and subsequently Japanese, for wartime naval services. His love of Chinese art and culture manifested itself at the age of 15 when he acquired two exquisite Chinese Imperial tea bowls from a London antique dealer
After the war, he returned to Oxford to study Chinese and specialized in the arts of Japan and China. He graduated in 1949 from Oxford University in Classical Chinese and was appointed manager of the Ashmolian Museum, department of Oriental art, Oxford University in 1950. During 1950-1951, his studies took him to Japan and America and after 1956, he edited the Journal Oriental Art.

In 1965, he designed and installed the Eastern Art Galleries, Princeton University. In 1989, he joined the faculty at Renison College, as a professor and founding director of the East Asian Studies program.

He died in 1998

• Art of the Soviets: Painting, Sculpture and Architecture in a One-Party State, 1917-1992 [top]
  Edited; and including articles by Matthew Cullerne Bown; and Brandon Taylor
  First published in 1993 in Great Britain by Manchester University Press in hardback, ISBN 0719037344
  First published in 1993 in Great Britain by Manchester University Press in paperback, 231pp, ISBN 0719037352. Original price when first sold: £14.95. Illustrations: front cover: Eduard Bragovski 'Logging on the Vetluga', oil on canvas, 1964; back cover: Alexander Dushkin with sculptor Matvei Manizer, 'Revolutionary Fighter', 1917 metro station Revolution Square, Moscow, opened March 1938

About this book: Art of the Soviets gives a comprehensive and readable analysis of the wide range and subtlety of Soviet art from 1917-1992. It looks at Soviet art's considerable stylistic complexity, analysing painting, sculpture and architecture of the Lenin, Stalin, Khruschev, Brezhnev and Gorbachev eras. Containing many illustrations of individual works, most of which have never been seen outside the Soviet Union, and written by a distinguished group of British and Russian contributors, Art of the Soviets presents an original interpretation of Soviet visual art that includes official and unofficial art, avant-garde and traditional approaches. The chapters cover Lenin's plan for monumental propaganda, representation of the male body, the Association of Artists of Revolutionary Russia, Socialist Realist architecture, art practice in the 1940s, historicism in the 1970s, Alexander Gerasimov, Ilya Glazunov and the position of art in the Soviet Republics. There is also an assessment of the art in the Gorbachev period, again relating its production to wider political and cultural issues and to art movements outside the Soviet Union, which will give those interested in contemporary Russian art, an invaluable guide. Art of the Soviets provides a critical introduction to art and design in the former Soviet Union which will be essential reading for undergraduate and postgraduate students, lecturers in art and architectural history and those interested in all aspects of twentieth-century Soviet art and culture

Chapters:
List of Illustrations; colour plates
Introduction by Matthew Cullerne Bown and Brandon Taylor
1. Lenin's Plan for Monumental Propaganda by Christina Lodder
2. The 'new man's' body: a motif in early Soviet culture by Toby Clark
3. On AKhRR by Brandon Taylor
4. Allegory and iconography in Socialist Realist Painting by Wolfgang Holz
5. Socialist Realist Architecture: Theory and Practice by Catherine Cooke
6. The Soviet Pavilion in Paris by Sarah Wilson
7. Aleksandr Gerasimov by Matthew Cullerne Bown
8. Painting in the non-Russian Republics by Matthew Cullerne Bown
9. Art in the twilight of Totalitarianism by Aleksandr Kamenski
10. The 'art of memory': Retrospectivism in Soviet Painting of the Brezhnev era by Susan Reid
11. Ilya Glazunov: a career in art by Alexsandr Sidorov
12. Non-conformist art in Leningrad by Aleksandr Borofski
13. Independent Culture: A Soviet Phenomenon by Aleksandr Yakimovich

Includes the following black and white illustrations:
1.1 The unveiling of Aleksandr Matveev's Monument to Karl Marx, 7 November 1918, in front of the Smolny Institute
1.2. Viktor Sinaiski, 'Monument to Ferdinand Lassalle', Nevski Prospekt, Petrograd, 1918
1.3. Lenin Posing for a Propaganda Film in 1920, beneath Nikolai Andreev's monument to Danton, erected on Revolution Square, Moscow, 1919
2.1. An experiment in 'psychotechnics' in a laboratory of the Central Institute of Labour
2.2. Meierhold's biomechanics
2.3. Sports costume designed by Varvara Stepanova, 1924. Photo by Rodchenko
2.4. Aleksei Stakhanov, 1938
3.1. Nikolai Kasatkin, 'Miners Changing Shift', 1923, Oil on Canvas
3.2. Opening Day of the AKhRR exhibition 'Life and being of the peoples of the USSR', Gorki Park, Moscow, 1926
3.3. Viktor Perelman, Blue Blouses, 1926, Oil on Canvas
3.4. Aleksandr Deineka, 'The Defence of Petrograd', 1927, Oil on Canvas. Tretyakov Gallery, Moscow
4.1. Aleksandr Samokhvalov, 'The Shot-Putter', 1933, Oil on Canvas, Tretyakov Gallery, Moscow
4.2. Serafina Ryangina, 'Higher and Higher', 1934, Oil on Canvas, Museum of Russian Art, Kiev
4.3. Arkadi Plastov, 'Collective Farm Festival', 1937, Oil on Canvas, Russian Museum, St. Petersburg
5.1. Boris Iofan with Vladimir Shchuko, final project for the Palace of the Soviets, Moscow, 1933: perspective published in the Moscow 1935 Plan
5.2. Aleksandr Tamanyan, Armenian Agriculture Commissariat, Lenin Square, Erevan, 1929-41 (detail of main elevation)
5.3. A. V. Dobrovolski, Standard Block of Twenty Workers' Apartments, Darnitsa near Kiev, published 1952
5.4. Dmitri Chechulin, High Building (Administrative) on Moscow River Embankment in Zaryade (not built [in 1993]); perspective looking toward the Kremlin, 1949
6.1. Boris Iofan, USSR Pavilion, Paris, 1937, with Vera Mukhina, 'Worker and Collective Farm Girl', stainless steel, 1937
6.2. USSR Pavilion: Interior with Palace of the Soviets Model, 1937
6.3. Sergei Merkurov, Stalin, USSR Pavilion installation view, 1937
7.1. Aleksandr Gerasimov, Self-Portrait, 1934. Oil on Canvas
7.2. Aleksandr Gerasimov in his studio with a general, 1950s
8.1. Vasili Sedlyar (School of Boichuk), 'In the School for Liquidating Illiteracy', 1925. Tempera, Museum of Ukrainian Art, Kiev
8.2. Irakli Toidze, Ilych's Lightbulb, 1927, Oil on Canvas. Museum of Eastern Culture, Moscow
8.3. Aleksandr Bazhbeuk-Melikyan, 'A Wandering Curse', 1939. Oil on Canvas, Armenian Picture Gallery, Erevan
8.4. Mikhail Khmelko, 'Eternal Unity (Eternally with Moscow, Eternally with the Russian People)', 1951-4, Oil on Canvas
9.1. Fedor Shurpin, The Morning of Our Motherland, 1948. Oil on Canvas, Tretyakov Gallery, Moscow
9.2. Aleksandr Gerasimov, The Great Oath, 1950. Oil on Canvas (Collection: The Gerasmimov family, Moscow)
10.1. Pavel Nikonov, 'Geologists', 1962
10.2. Tatyana Nazarenko, 'Moscow Evening', 1978, Oil on Canvas
10.3. Tatyana Nazarenko, 'Pugachev', 1981, Oil on Canvas
11.1. Ilya Glazunov, 'A Russian Beauty', 1968, Oil on Canvas
11.2. Ilya Glazunov, 'Eternal Russia', 1988, Oil on Canvas
12.1. Gleb Bogomolov, 'Megalandscape', 1978, Oil on Canvas
12.2. Vadim Voinov, 'Zoo a la Zoschenko', assemblage, 1988, Russian Museum, St. Petersburg
12.3. Valeri Morozov (Necro-Realist Group), 'Very Cold', 1988
13.1. Erik Bulatov, 'Sky Sea', 1984, Oil on Canvas
13.2. Vitaly Komar and Aleksandr Melamid, 'The Origins of Socialist Realism', 1982-83. Oil on Canvas
13.3. The Pertsy Group, Baby Hitler, late 1980s. Paint on Wood

Colour Plates (pages 72 - 73)
1. Isaak Brodski, 'V. I. Lenin on the Tribune', 1927. Oil on Canvas, State Russian Museum, St. Petersburg
2. Semyon Chuikov, 'A Daughter of Soviet Kirgizia, 1950. Oil on Canvas
3. Aleksei Vasilev, 'They are Writing About Us in 'Pravda', 1951. Oil on Canvas
4. Vladimir Ovchinnikov, 'The Russian Angel', 1988. Oil on Canvas

• The Benefits of Public Art: The Polemics of Permanent Art in Public Places [top]
  Written by Sara Selwood
  First published in 1995 in Great Britain by PSI Publishing (Policy Studies Institute), in paperback, 367pp, ISBN 0853746087
  Please note this does not contain many images; it's largely an academic study

About this book: Contemporary public art is increasingly assuming a more visible presence in Britain. Opportunities for the promotion of public art have been provided by visual arts organisations, concerned to persuade the public that art has a role to play in our everyday lives, and central and local governments' desire to support and stimulate environmental renewal, give people a better quality of life and new hope. But very little is known about the impact of public art and whether it is meeting with success. The central interest of this report is in permanenet rather than transient works of public art, which have been in places for at least 18 months. It focuses on case studies in London, Birmingham, Smethwick, Sheffield and Silkstone, South Yorkshire. The report considers why each of these works had come into being, what kind of impact it was hoped they would have, and how they have benefited the environment, the public the artistic community, and whoever invested in them

Contents:
Illustrations; Abbreviations; Acknowledgements; Executive Summary; Introduction; References to the Introduction

PART 1 BACKGROUND TO PUBLIC ART IN BRITAIN FROM 1977
Introduction
1. The political, economic and cultural background
Central Government Frameworks
The arts in the service of urban policy
Arts in rural areas
Arts funding and development frameworks
The infrastructure for public art
2. Conflicting interests and dilemmas
Intentions
Processes
Reception
References to Part 1

PART 2. THE CASE STUDIES:
3. Introduction and rationale for selecting the case studies: Selection; Presentation; Research
4. London: The Arch, Kensington Gardens, Royal Borough of Kensington and Chelsea
Art at Broadgate, Hackney and the City of London, 1986-1994
5. West Midlands: Art in Centenary Square, Birmingham, 1988-1991
Improvements to Smethwick High Street, Sandwell, 1986-1990
6. Yorkshire and Humberside. The Chantreyland Sculpture Train, Graves Park, Sheffield, 1989-1990
The Silkstone Heritage Stones, Silkstone
A Light Wave, Westgate Station, Wakefield, 1985-1988
References to Part 2

PART 3. OBSERVATIONS, IMPLICATIONS, POLICY ISSUES AND RECOMMENDATIONS
Introduction
7. Observations and Implications
8. Policy Issues and Recommendations

Appendices
Appendix 1. Those Consulted: Members of the Steering Committee; Focus Group Participants; Individuals Interviewed for the Case Studies
Individuals Consulted
Contributors to Surveys
Appendix 2. Interview schedules and topic guides, questionnaires and surveys
Schedules and topic guides; Questionnaires; Surveys
Appendix 3. Analysis of surveys of local authorities. Summary of previous surveys about local authorities and public art
Analysis of survey of chief executives in London, the West Midlands and Yorkshire & Humberside
Analysis of survey of specialist public art officers in local authorities with particular reference to Percent for Art
Appendix 4. Analysis of surveys relating to case studies
Survey of tenants at Broadgate
Survey of users of the International Convention Centre, Birmingham
Appendix 5. Analysis of survey of arts funding bodies
Appendix 6. Interview with Richard Serra
Appendix 7. Agreements
Agreement and schedule agreed between Broadgate Properties and a commissioned artist
Commission for a major artist-designed feature for Centenary Square; Artists Brief
Commission Agreement between the Silkstone Heritage Stones Project and a commissioned artist
Commission Agreement; Contract of Sale; Draft Agreement between the Silkstone Heritage Stones Project and a landowner
Agreement between the British Railways Board, the Commissioned Artist and his agents
Schedule and specification of the work
A Light Wave Sculpture at Wakefield, Westgate; Maintenance schedule

Illustrations:
Henry Moore, The Arch, Kensington Gardens, Royal Borough of Kensington and Chelsea
Henry Moore, The Arch, 1980
Map showing the location of The Arch, taken from the press release issued by the Serpentine Gallery announcing its unveiling, October 1980
Henry Moore, The Arch, 1980, seen from across Longwater
B. Wiseman, Cartoon from the New Yorker, 3 November 1951
Fougasse, Cartoon from Punch, 27 June 1951
Art at Broadgate, London Borough of Hackney and the City of London
Map showing the location of pubic art works at Broadgate from Broadgate: A Working Guide, 1989
Robert Mason. Phase II-Rainy Day, 1989 Collection: Stanhope plc
Broadgate: Visitors' Map showing locations of public art work
Richard Serra, Fulcrum, 1987
George Segal, Rush Hour 1983/1987
Fernando Botero, Broadgate Venus, 1990
Barry Flanagan, Leaping Hare on Crescent and Bell, 1988
Xavier Corbero, The Broad Family
Art in Centenary Square, Birmingham
Map showing the Broad Street Redevelopment Area from the Broad Street Redevevelopment Area: Factpack
Raymond Mason, Forward, 1988-1991
Tess Jaray and members of the Planning and Architecture Team Centenary Square, 1988-1991. Bird's eye view showing Raymond Mason's Forward
David Patten, Monument to John Baskerville - Industry and Genius, 1988-1991
Tom Lomax, Spirit of Enterprise, 1988-1991
Improvements to Smethwick High Street, Sandwell
Plan of Smethwick High Street showing the shops to be redecorated
Standard Jewellers, Smethwick High Street, before redecoration
Standard Jewellers, Smethwick High Streent, after redecoration
Billingham Shoes, Smethwick High Street, after redecoration
Kicker panels, Smethwick High Street, designed by pupils from Shireland High School
Sandwell Surprises, promotional brochure issued by Sandwell Metropolitan Borough Council showing Francis Gomila's Waiting for Halley's Comet?, Smethwick High Street
The Chantreyland Sculpture Trail, Graves Park, Sheffield
Map of Graves Park showing the location of the sculptures in the Chantreyland Sculpture Trail from the promotional brochure issued in 1989 to mark its opening
Rod Powell, The Green Man, 1989
Vega Barmejo, seats, 1989
Wendy Marshall, The 'Poggy' Bench, 1989
The Silkstone Heritage Stones, Silkstone
Tony Slater, The Railway Stone, 1989
Tony Slater, The Huskar Stone, 1989
Charles Quick, A Lightwave, Wakefield Westgate Station, Wakefield
Charles Quick, A Light Wave. Commissioned by British Rail
Charles Quick, A Light Wave. Commissioned by British Rail: A Night Time View

• Danger! Women Artists at Work [top]
  Written and compiled by Debra N. Mancoff
  First published in 2012 in the United Kingdom by Merrell Publishers, in hardback with dustjacket, 158pp, ISBN 9781858945644
  British Library Cataloguing-in-Publication Data
  Mancoff, Debra N., 1950-
  Danger!: women artists at work
  1. Women artists - History
  I. Title
  700.8'2-dc23
  Jacket front: Detail of Mariya Bashkirtseva, In the Académie Julian, 1881 (page 71)
  Jacket back: Detail of Paula Rego, The Artist in Her Studio, 1993 (page 58); detail of Mary Cassatt, In the Loge, 1878 (page 33); detail of Eva Gonzales, Le Chignon, c. 1865-70 (page 69); detail of Sofonisba Anguissola The Chess Game, 1555 (page 8)

About this book: The conventional history of art is one of great men making great paintings, and displaying their works to a predominantly male audience in male-run institutions. Women, however, have always had a rolein the arts, often working behind the scenes or in opposition to prevailing attitudes and practices. In seeking recognition as artists in their own right, they have had to challenge conventions and expectations, steel themselves for confrontation and be unafraid to court danger. Their work, in turn, has often been groundbreaking, defiant and even subversive.

Danger! Women Artists at Work is a compelling selection of more than 60 artists from the early renaissance to the present day, among them Judith Leyster, Mary Cassatt, Frida Kahlo and Louise Bourgeois, who, in their determination to present a woman's point of view, have shaken up the art world. Through a lively introduction and six thematic chapters dealing with such subjects as the ways in which women have challenged the boundaries of expression and how they have viewed the human body, acclaimed art historian Debra Mancoff presents an absorbing tale of those who have struggled and triumphed in their efforts to transfor the visual arts

Contents:
Introduction
In the Company of Men
Blurring Boundaries
Looking at Bodies
Seizing the Narrative
Playing with Danger
In Her Own Image
Notes; Bibliography; Picture Credits; Acknowledgements; Index

Illustrations & Plates:
Chapter: Introduction
p7. Colour plate - French School, 'St Marcia Painting a Self-Portrait' from De Claris mulieribus by Giovanni Boccaccio (MS Fr 124220 f101v), 15th Century, on vellum
p8. Colour plate, oil on canvas 'The Chess Game' by Sofonisba Anguissola (c.1532-1625), 1555
p9. Colour plate, oil on canvas 'Self Portrait' by Elisabeth Vigée-Lebrun (1755-1842), 1790
p10. Colour plate, oil on canvas 'Rosa Bonheur in Her Studio' by Georges Achille-Fould (1865-1951), 1893
p11. Colour plate, pencil, gouache and watercolour on paper, 'A Student of Beauty' by Octavius Oakley (1800-1867)
p13. Colour plate, oil on canvas, 'The Academicians of the Royal Academy' by Johann Zoffany (1733-1810), 1772
p14. Colour plate, oil on canvas, 'The Turkish Bath' by Sylvia Sleigh (1916-2010), 1973
p15. Photo of a concrete cast of the inside of an entire Victorian terraced house by Rachel Whiteread, completed in autumn 1993, exhibited at the location of the original house – 193 Grove Road – in East London. It was destroyed in 1994
p16. Offset lithographic poster entitled 'The Advantages of Being a Woman Artist' by the Guerrilla Girls from 1988
p17. Colour photo of 'The Artist is Present' by Marina Abramovic (born 1946), an installation view of performance held in The Museum of Modern Art in New York from 14th March 2010 - 31 May 2010
Chapter: In the Company of Men
p18. Full page in colour of detail of Judith Leyster from 'Man Offering Money to a Young Woman', 1631
p21. Full page in colour of 'Virgin and Child with St John the Baptist' by Barbara Longhi (1552-c.1638), c.1595-1600, oil on canvas
p22. Full page in colour of 'Man Offering Money to a Young Woman', oil on panel by Judith Leyster (c.1609-1660), 1631
p24. Colour plate of 'Self-Portrait of the Artist Hesitating Between the Arts of Music and Painting' oil on canvas by Angelica Kauffman (1741-1807), 1794
p26. Colour plate of 'The Horse Fair' oil on canvas by Rosa Bonheur (1822-1899), 1853
p27. Black and white photograph of Rosa Bonheur
p28. Full page colour plate of 'The Wounded Dove' watercolour on paper by Rebecca Solomon (1832-1886), 1866
p30. Colour plate of 'Summer's Day (Le Lac du bois de Boulogne)', oil on canvas by Berthe Morisot (1841-1895), c.1879
p31. Black and white photograph of Berthe Morisot
p32. Black and white photograph of Mary Cassatt
p33. Full page colour plate of 'In the Loge' oil on canvas by Mary Cassatt (1844-1926), 1878
p34. Full page colour photograph of the sculpture in white marble on a red marble base 'Vertumnus and Pomona' by Camille Claudel (1864-1943), 1905
p35. Black and white photograph of Camille Claudel
p36. Black and white photograph of Georgia O'Keeffe
p37. Full page colour plate of 'Ram's Head, White Hollyhock-Hills', 1935, oil on canvas
p38. Full page colour plate of 'Milkweed' by Lee Krasner (1908-1984), 1955; oil, paper and canvas on canvas
p39. Black and white photograph of Lee Krasner
Chapter: Blurring Boundaries
p43. Full page colour plate of a self portrait of Marietta Robusti (c.1554-1590), c. 580, oil on canvas
p44. Small pencil sketch of Maria Sibylla Merian
p45. Full page colour plate of 'Philaethria Dido' and 'Chilocorus cacti', a drawing for plate 2 of 'Metamorphosis insectorum Surinamensium' by Maria Sibylla Merian (1647-1717), drawn before 1705. The media used is watercolour on vellum
p46. Small black and white photograph of Elizabeth Siddal
p47. Full page colour plate of 'Sir Patrick Spens' by Elizabeth Siddal (1829-1862), 1856, watercolour on paper
p48. Small black and white photograph of Julia Margaret Cameron
p49. Full page print of 'Pomona', an albumen print from 1872 by Julia Margaret Cameron (1815-1879)
p50. Black and white photograph of Sonia Delaunay
p51. Full page colour plate of a block-printed silk crepe de Chine from 1927 (printed by Ferret) entitled 'Tissu simultané no. 204' by Sonia Delaunay (1885-1979)
p53. Full page colour plate of a half naked Amrita Sher-Gil (1913-1941), oil on canvas, painted in 1934. It's entitled 'Self-Portrait as a Tahitian'
p54. Full page colour plate of a mesmerising work in emulsion on hardboard called 'Blaze 4', created in 1964 by Bridget Riley (born 1931)
p55. Small colour photo of Bridget Riley in front of another of her works
p56. Full page black and white photo of 'Untitled Film Still #21' by Cindy Sherman (born 1954), 1978. Media used is a gelatin silver print.
p58. Full page colour plate of the amazing 'The Artist in Her Studio' by Paula Rego (born 1935), painted in 1993 in acrylic on paper laid on canvas
p59. Small colour picture of the artist Paula Rego, in front of two pieces of her work
p60. Beautiful full page colour chromogenic print of a photograph taken along a gallery of the 'National Library of the Czech Republic, Prague II' by Candida Hofer (born 1944), created in 2005
p61. Small colour photo of Candida Hofer
p62. Small colour photo of Isabelle de Borchgrave
p63. Incredible full page colour photo of 'Flore', a paper costume by Isabelle de Borchgrave (born 1946) inspired by the allegorical figure of Flora in Sando Botticelli's painting 'Primavera' (c.1478) and made in 2007. It's from the series 'Splendour of the Medici'
Chapter. Looking at Bodies
p67. Full page colour plate of 'Minerva Dressing', 1613, oil on canvas by Lavinia Fontana (1552-1614)
p69. Full page colour plate of 'Le Chignon', c.1865-70, oil on canvas by Eva Gonzales (1849-1883)
p70. Small black and white photograph of Mariya Bashkirtseva
p71. 2/3 of a page colour plate of 'In the Académie Julian', 1881, oil on canvas, by Mariya Bashkirtseva (1858-1884)
p72. Full page colour plate of 'Girl with Bare Shoulders', c.1909-1910, oil on canvas by Gwen John (1876-1939)
p73. Small portrait painting of Gwen John by the English painter Ambrose McEvoy (1878-1927), which was probably painted some time between 1898-1900 when the two artists were romantically attached
p74. Small black and white photograph showing Suzanne Valadon pictured with her son, Maurice (1883-1955) in about 1895. He also pursued a career as a painter, adopting the name of a family friend to become Maurice Utrillo
p75. Half page colour plate of 'Reclining Nude', 1928, oil on canvas, by Suzanne Valadon, (1865-1938)
p76. Small colour photograph of Rebecca Horn
p77. Full page colour photograph of a modern art work (featuring a live model) called 'Arm Extensions', 1968, in fabric, wood and metal by Rebecca Horn (1944-)
p78. Full page colour plate of 'Self-Portrait', 1980, oil on canvas by Alice Neel (1900-1984)
p80. Small colour photograph of Jenny Saville
p81. Two thirds of a page colour plate of 'Shift', 1996-1997, oil on canvas by Jenny Saville (born 1970). 'Shift' is a picture of six naked female bodies lying face up along side each other
p82. Small colour photograph of Vanessa Beecroft standing in front of many standing naked female models
p83. Half page colour photograph of VB62, 12 July 2008 bh Vanessa Beecroft (born 1969). Performance, Santa Maria dello Spasimo, Palermo
Chapter. Seizing the Narrative
p84. Full page section from Emily Mary Osborn's 'Nameless and Friendless', 1857
p87. Half page plate of the entire painting of 'Nameless and Friendless', oil on canvas, 1857 by Emily Mary Osborn (1828-1925)
p88-89. Half page, long full colour plate of 'The 28th Regiment at Quatre Bras', 1875, oil on canvas by Elizabeth Thompson, Lady Butler (1846-1933)
p89. Small black and white portrait photograph of Elizabeth Thompson, Lady Butler
p90. Colour photograph, full page, of the marble sculpture 'The Death of Cleopatra', sculpted by Edmonia Lewis in 1876. Edmonia Lewis was born in 1844/45 and died after 1911.
p91. Small black and white photograph of Edmonia Lewis seated in an ornate tasselled chair
p92. Small black and white photograph of Natal'ya Goncharova with the Russian painter Mikhail Larionov (1881-1964). After working and living together for several decades, they married in 1955, a year before the photograph shown was taken
p93. Colour plate filling two thirds of a page showing 'Bleaching the Sheets', 1910, oil on canvas by Natal'ya Goncharova (1881-1962)
p94. Full colour plate of 'Tidying Up', 1941, oil on Masonite, by Isabel Bishop (1902 - 1988)
p95. Small black and white photograph of Isabel Bishop seated at a table covered in art materials and brushes with a sketched canvas in the background
p96. Small black and white photograph of Judy Chicago seated on a bike with various hand tools hanging on the wall in the background
p97. Full colour, full page photograph of 'The Dinner Party' (detail; Susan B. Anthony place setting), 1974-79 by Judy Chicago (1939-)
p98. Small black and white photograph of Louise Bourgeois with her marble sculpture 'Femme Maison' (1981) at her retrospective exhibition in 1982-83 at the Museum of Modern Art, New York
p99. Full page, full colour photograph of the bronze wall piece 'Spider II', 1995 by Louise Bourgeois (1911-2010)
p100. Small colour photograph of Kara Walker standing in front of a cut paper and adhesive picture on the wall
p101. Two thirds of a page colour plate of 'Slavery! Slavery!' (detail), 1997, cut paper and adhesive on the wall by Kara Walker (1969-)
p103. Full page black and white plate of 'Speechless' from the series 'Women of Allah', 1993-1997, in RC print and ink, by Shirin Neshat (1957-)
p104. Small colour photograph of Kiki Smith
p105. Full page, full colour plate of 'Born', 2002, lithograph, by Kiki Smith (1954-)
Chapter. Playing with Danger
P108. Full page, full colour plate of 'Judith and Her Maidservant', c.1618-19, oil on canvas, painted by Artemisia Gentileschi (1593-1654)
p110. Plate covering two thirds of page showing 'Storming the Gate', plate 5 from the series 'A Weavers' Revolt', 1897, an etching overworked with sandpaper, by Kathe Kollwitz (1867-1945)
p111. Small black and white photograph of Kathe Kollwitz
p112. Small black and white photograph of Meret Oppenheim
p113. Half page colour photograph of 'Object (Le Déjeuner en fourrure)', 1936, a fur-covered cup, saucer and spoon. The cup was a diameter of 10.9cm (4.25 inches); the saucer was a diameter of 23.7cm (9 3/8 inches) and the spoon was a length of 20.2cm (8 inches) with an overall height for the piece of 7.3cm (2 7/8 inches). The piece was made by Meret Oppenheim (1913-1985)
p114. Full page, black and white plate of 'Sharecropper', 1968-70, linocut, by Elizabeth Catlett (1915-2012)
p115. Small colour photograph of Elizabeth Catlett
p117. Full page, black and white photograph of a nude female and male couple standing against a wall facing each other with a small gap between them and a woman (the artist?) squeezing her way towards the camera between the two of them, facing but not looking at the male on the right of the picture. Both the female and male models have their hair crudely tied back. The piece is called Imponderabilia from a June 1977 performance and was by Marina Abramovic (born 1946)
p118. Small black and white photograph of Renée Stout
p119. Full colour, full page photograph of a mixed media and plaster body cast made in 1988, by Renée Stout (1958-). The plaster cast displays full nudity and has a picture frame and picture stuck over the area where the belly button is
p121. Small full colour bright yellow poster which takes up the top half of p121, called 'Do Women Have to Be Naked to Get into the Met. Museum?', 1989, offset lithographic poster.
The poster asks 'Do women have to be naked to get into the Met. Museum. Less than 4% of the artists in the Modern Art sections are women, but 76% of the nudes are female
p123. Full page, full colour photograph of Catherine Opie (1961-), a chromogenic print from the series 'Portraits', 1993-97
p124-125. 5 small colour plates of 'Yo Mama's Last Supper', 1996, colour coupler prints, five panels, each 50.5 x 50.5 cm by Renée Cox (1960-)
p125. Small colour photograph of Renée Cox
p126. Small colour photograph of Tracey Emin standing in front of a picture on an easel with 'You inspire me with your determination and I love you' written on a white background
p127. Nearly full page, full colour photograph of the famous 'My Bed', 1998, showing a mattress, linens, pillows and miscellaneous objects by Tracey Emin (1963-)
Chapter. In Her Own Image
p131. Full page, colour plate of 'Self Portrait', 1556, oil on canvas, by Sofonisba Anguissola (c.1532-1625)
p133. Full page, colour plate of 'Self-Portrait', before 1746, oil on paper, by Rosalba Carriera (1675-1757)
p135. Full page, colour plate of 'Self-Portrait with Two Pupils', 1785, oil on canvas, by Adelaide Labille-Guiard (1749-1803)
p137. Full page, colour plate of 'Madame Vigée-Lebrun and Her Daughter Julie (Maternal Tenderness), 1786, oil on panel by Elisabeth Vigée-Lebrun (1755-1842)
p139. Full page, colour plate of 'The Artist and Her Mother', c.1816, oil on panel, by Rolinda Sharples, (1793/94-1838)
p141. Full page, colour plate of 'Self-Portrait', 1871 in charcoal and white chalk on paper, by Marie Spartali Stillman (1844-1927)
p143. Half page, colour plate of 'Self-Portrait (The Inn of the Dawn Horse), c.1937-38, oil on canvas, by Leonora Carrington (1917-2011)
p145. Full page, colour plate of 'Birthday', 1942, oil on canvas, by Dorothea Tanning (1910-2012)
p146. Two thirds of a page, colour plate, of 'The Two Fridas', 1939, oil on canvas, by Frida Kahlo, (1907-1954)
p148. Full page colour plate of 'E.P. Reading (Self-Portrait)', 2005, oil on board, by Elizabeth Peyton (1965-)
Notes, Further Reading, Bibliography & Index

• The Dynamics of Now (Issues in Art and Education [top]
  Papers submitted at conferences held at the Tate Gallery in 1995, 1996, 1997 and 1998, organised by the Wimbledon School of Art in collaboration with the Tate Gallery
  Edited by William Furlong, Polly Gould and Paul Hetherington
  First published in 1995 in Great Britain by Wimbledon School of Art in Association with Tate Publishing, 213pp, ISBN 185437270x

Synopsis: Since 1991, Wimbledon School of Art has organised a series of conferences in collaboration with the Tate creating a major focus for national debate about the current issues facing fine art in education. This volume includes papers and transcripts from the conferences held in 1995, 1996, 1997 and 1998: these contributions, which stimulated lively debate when first presented, offer as a whole a thought-provoking cross-section of views and opinions on some of the most immediate questions that concern those involved in art and education today

Chapters: Introduction
Chapter 1: Fine Art Education and the Museum
Introductory address by Richard Humphreys
Welcome by Colin Painter
Chair's Introduction by Christopher Frayling
The emerging artist and the museum by Victoria Miro
Locations and strategies by William Furlong
The museum as a catalyst by Sutapa Biswas
Back to the Future by Colin Wiggins
Accelerate architecture: the new museum and electronic culture by Sean Cubitt
Pirates in the museum: new strategies for fine art by Jill Morgan
Chair's summing up by Christopher Frayling

Chapter 2: What Art School Did and Didn't Do for Me:
Introductory address by Andrew Brighton
Welcome by Colin Painter; A Peculiarity of Constitution or Temperament by Stephen Farthing
Sarah Kent in conversation with Jake and Dinos Chapman
Sacha Craddock in conversation with Richard Wentworth
Andrew Brighton in conversation with Helen Chadwick
Chair's Summing Up by Christopher Frayling

3. What Do You Think You Are Doing?: Intention In Making, Understanding and Teaching Art
Introductory Address by Andrew Brighton
Welcome by Colin Painter
Chair's Introduction by Christopher Frayling
Clear Intentions and Withered Promises by Michael Baldwin
I need art like I need God by Tracey Emin
On intention by Craigie Horsfield
Avoiding the object by Cornelia Parker
With intent: the burden of proof by Patricia Bickers
Students' intentions, achievement and evaluation by Sylvia Wicks
The value of vision by Gray Watson
Beginning with Intention by Fred Orton
Three mistakes about intention by Richard Wollheim
Chair's summing up by Christopher Frayling

4. From Varying Positions
Introductory Address by Andrew Brighton
Welcome by Rod Bugg
Chair's Introduction by Marjorie Allthorpe-Guyton
New Labour, Tony Blair and the future of fine art by Brian Sedgemore
'I do it because I want to': fine artists, self-sufficiency and the arts economy
Burning questions, fiery answers by Gavin Jantjes
Teaching ignorance: a one-step programme by Francis McKee
Mighty Baby by Matthew Collings
Travelling Light: A Brief analysis of the end of work and the triumph of the photographic colour transparency by Phyillida Barlow
The invisible subject: views from the missionary position by Brian Catling
This is tomorrow by Ute Meta Bauer
The atelier: mixes, crossovers, displacements by Guaddalupe Echevarria
At the end of the day by Mel Gooding
Chair's summing up and plenary session by Marjorie Allthorpe-Guyton

• Feeling and Form: A Theory of Art Developed from Philosophy in a New Key [top]
  Written by Susanne K. Langer
  First published in England in 1953 by Routledge & Kegan Paul
  1959: 2nd impression; 1963: 3rd impression; 1967: 4th impression; 1973: 5th impression; 1976: 6th impression
  1977: Published in New York by Charles Scribner’s Sons in paperback, 431pp, ISBN 0684155389
  1979: 7th impression, 431pp, ISBN 0710017154
• IT IS RECOMMENDED THAT THE READER READS THE AUTHOR'S FIRST WORK, 'Philosophy in a New Key: Study in the Symbolism of Reason, Rite and Art (Harvard paperbacks)' BEFORE READING THIS VOLUME

About this book/synopsis: The author gives here her philosophy of art, a work which she begs the reader to see as a follow-on (volume 2) to her earlier work 'Philosophy in a New Key', which was a study in symbolism, including an analysis of music that is the foundation of the theory of aesthetics in this book. In fact this book does presuppose that the reader is acquainted with the first work.

The author suggests that among all the theories and philosophies of art there is no clear answer to the problem of what art creates, but that once you have answered this question, all the further questions of why and how, personality, talent and genius should emerge in a new light from the central thesis. All the arts are in some way analysed in relation to this question, and the result is a definition of art which connects it on one side with manual skill and on the other with feeling and expression. Art is the creation of forms which are symbols of human feeling. The book is written simply, and the argument explained clearly. There can be no doubt about the importance of its contribution to aesthetic theory.

Chapters:
Part 1: The Art Symbol:
1. The Measure of Ideas
Philosophy the study of basic concepts-rival doctrines a sign of inadequate concepts-art theory full of confusions-its basic problems not formulated-"fallacy of obvious abstraction"-methodology and method-generalities and generalizations-requirements of philosophical thinking-principle of generalization-principle of fecundity-function of a central problem-problem of artistic creation-systematic emergence of general concepts and special problems-difficulties and promises of this undertaking
2. Paradoxes
Key ideas in aesthetics heterogeneous-each gives rise to a special type of theory-further complications due to two standpoints-expression and impression-tendency of theories to be paradoxical-"polarity" of feeling and form-feelings in art not felt-paradox of "objective feeling"-Baensch on feeling as quality-his distinctions-old issue of "Significant Form."
3. The Symbol of Feeling
Several meanings of "expression" - all kinds found in art-most kinds not peculiar to art-summary of special theory of music in Philosophy in a New Key -music, a symbolic expression of feeling - summary of semantic theory - articulated forms - vital import - meaning of "significant form" in music - Clive Bell and plastic art - Bell on "aesthetic emotion" - "aesthetic attitude" - source of the concept - supposed difficulties of attitude - criticism of psychological approach - the art of symbol - technique -definition of "art."

Part 2: The Making of the Symbol
4. Semblance
"Aesthetic attitude" elicited by the work-illusion-images-their virtual character-semblance-Schiller on the function of Schein-abstraction of form-form and content-import as content of artistic forms-Prall on sensuous forms-on feeling in art-limitation of his principles-creation of virtual forms-design as logic of artistic vision-relation to feeling-movement and growth-"living form"-creation
5. Virtual Space
Motifs-not works, but devices-suggestive shapes-form and representation-pure decoration expressive-representation as motif-visual articulation the aim of all plastic art-shaping of space-actual space and virtual space-primary illusion of plastic art-its autonomous character-Hildebrand on "perceptual space"-"architectronic process"-the picture plane-third dimension-"actual form" and "perceptual form"-unity of perceptual space-visual values-imitation and creation-space made visible-"life" in works of art-expression of vital feeling-nature of "expressiveness"-primary illusion the basic creation-elements and materials-modes.
6. The Modes of Virtual Space
Virtual "scene"-Hildebrand's generalization false-organic form of sculpture-"kinetic volume"-subjective space objectified-architecture and virtual space-arrangement and creation-"ethnic domain"-organic articulation of place-relation between sculpture and architecture-autonomy and unity of the arts
7. The Image of Time
Interest in materials-theories of sound and audition-not musical theory-nervous responses-vibrations-musical elements are audible forms-their motion illusory-primary illusion is virtual time-difference from "clock time"-not one-dimensional-passage not succession of "states"-incommensurable tensions-musical time and pure duration-Bergson's failing-music and Bergson's durée réelle-musicians his really constructive critics-fear of "spatialization" unfounded-"musical space"-parallels with plastic space -conceptions-further problems
8. The Musical Matrix
Composition and presentation-organic whole the essential conception-"commanding form" and composition-not the same as the Urlinie -principles of art and major devices-many kinds of music-definition of rhythm-greatest rhythm the "commanding form"-objectivity of musical matrix
9. The Living Work
Ambiguity of "the piece"-inward hearing and physical hearing-poetry and music not simply comparable -essential factors in physical hearing-in inward hearing-composition incomplete -performance its completion-controlled by musical matrix-utterance -artistic expression and self-expression-actual feeling for the piece-pathos of the voice-formalization-musical imagination versus "mere technique"
10. The Principle of Assimilation
Words and music-theory and practice often at variance-words become musical elements-but not mere sounds-"aesthetic surface" not the perceptual form-form "swallows" foreign materials-poetic forms broken down-music swallows drama-Staiger on Wagner and Gluck-program music-hermeneutic principles as motifs-irrelevance of associations-daydream "swallows" music-other arts may do so.
11. Virtual Powers
Aesthetics of dance presents special difficulties-dance as a musical art-contrary evidence and views-dance as plastic art-Noverre-as dramatic art-objections-dance an independent art-gesture its basic abstraction-complex nature of gesture-subjective and objective-actual gestures as material-virtual gesture-vital forces-dance-forces as virtual powers-dancers on self-expression-confusion of actual and virtual aspects-dance-personages as virtual beings-Scheingefuhle-analysis of problems involved-mythical statements resolved-value of the theory
12. The Magic Circle
Primitive conception of Powers-the Spirit World-Cassirer on the "mythic consciousness"-sense of power objectified in dance-prehistoric evolution of dance-Curt Sachs on types of mind-natural forms as motifs-what is created-illusion of freedom from actual forces-ballet-dance as apparition-dancer and his "world"-music as dance-element-balletic time and space-effect of passive audience-effects of secularization-entertainment-effect of dance on music-confusion of thought and clearness of intuition in dancers-dance as pure art
13. Poesis
Literature called art, but treated as statement-discourse its material-ways of saying things-criticism and paraphrase-I. A. Richard on understanding poetry-saying and creating-poetic illusion made by discourse-virtual life-all literary art poetic-two senses of "life"-semblance of events-subjective form-events the basic abstraction-philosophy in poetry-fiction and fact-dialect-Tillyard on "direct" and "oblique" poetry-fallacy of "deeper meanings"-no poetry is statement-moral themes legitimate-laws of logic and of imagination-art and life
14. Life and Its Image
Imagination as miscarriage of reason-Cassirer on language and imagination-Barfield on language and myth-Freud on non-discursive symbols-psychoanalytic "meanings" not artistic import-artistic import not hidden-Freud's study of non-discursive "logic"-principle of over-determination-of ambivalence-of absence of negatives-of condensation-"dream work" and art work-poetic devices and schools-the ideal of "pure poetry"-poetry defined as an experience-as a kind of language-inadequacy of such treatments-poetry as semblance of events admits all poetic works-all good poetry "pure" reality of its import-souces in actual life-no subject taboo-transformation of fact-prose a poetic form
15. Virtual Memory
Lyric poetry the clearest case of creative language-not a pre-eminent art-present tense of the lyric-narrative a major literary device-change to perfect tense-closed form of past-virtual memory-apparent vagaries of tense have creative functions-mixed tenses in ballads-myth and legend literary materials-no composition without personal authorship-poetry not necessarily oral-literacy and poetic arts
16. The Great Literary Forms
Poetic conventions-literary forms spring from special devices-no absolute literary "values"-techniques and creative purposes-strong means make others superfluous-ballad technique-romance-verse becomes dispensible-prose fiction-novel a recent form-often viewed as comment, not art-illusion of "felt life"-story and story-teller-character creation-Clive Bell on Proust-secondary illusions in literature-fact as the "model"-non-fiction as applied art-exploiting discursive form as motif-specialization of forms-the epic as matrix of all literary forms
17. The Dramatic Illusion
Drama is poetry, but not "literature"-basis abstraction the act-mode of memory and mode of Destiny-virtual future-Morgan on "form in suspense"-wholeness of dramatic action-organic form-situation-"setting" versus "environment"-drama a collaborative art-poet furnishes speeches-speech as culmination of action-must be enacted-real and fictive feeling-theory of dramatic make-believe-Bullough on "Physical Distance"-drama as a ritual-as amusement-as work-of-all-arts-Hindu theory-belied by Hindu stage practice-drama as dance-drama "swallows" dancing-Rosa-Oriental drama enacts physical objects-all elements of drama poetic
18. The Great Dramatic Forms: The Comic Rhythm
Moralism in dramatic theory-comedy as social criticism-tragic and comic as points of view-really different structures-universal sense of life-life and death-the comic rhythm-destiny as Fortune-the tragic rhythm-destiny as Fate-serious comedy-"Divine Comedy"- the Nataka-heroic plays-comedy and humor-theories of laughter-all ignore "psychical Distance"-humor a structural element in comedy-the buffoon-humor as brilliance of drama-many sources of comedy-audience response not ordinary laughter-the rhythm of universal life
19. The Great Dramatic Forms: The Tragic Rhythm
The tragic rhythm-potentiality and fulfillment-life as a total action-Fate-tragedy not known everywhere-"commanding form" of action-condensed life-the "tragic error"-tragedy does not illustrate fate, but creates its image-comic elements-comic substructure-function of spectacle-mere spectacle-drama not a hybrid art-its real relation to life.

Part 3. The Power of the Symbol
20. Expressiveness
Art symbol not symbolism-central questions in philosophy of art-non-temporal projections of feeling-life of feeling-all vital patterns organic-associated ideas may vary-perception of import intuitive-Bergson on intuition-Croce on intuition and expression-consequences of his theory-Cassirer on abstraction and insight-art symbol does not "refer" or "communicate"-Collingwood on art as "language"-on candor and corruption-on irrelevance of technique-criticism of his book-fear of symbol-theory-dangers and strength of such theory-art and craft-art and personality-the artist's understanding
21. The Work and Its Public
Artist and public-objectivity-the ideal beholder-problems of art-perception-artistic import not comment-always held in the symbol-percipient's relation not to artist, but to the work-real nature of "aesthetic emotion"-beauty-primacy of responsiveness-freedom and frustration of response-anticipation of form-effect of art on life-education of feeling-art and religion-effects of secularization-entertainment-not the same as amusement-art criticism-talent and genius-"artistic temperament"-art as cultural heritage
Appendix: A Note on the Film
Motion picture not drama-not pantomime-not a plastic art-"swallows" all materials-is a separate poetic mode-"virtual present," the dream mode-basic abstraction is "giveness"-moving camera-creative character of film
Bibliography; Index

• Forty Years of Modern Art 1945-1985 [top]
  First published in 1986 in Great Britain by The Tate Gallery, in paperback, 120pp, ISBN 0946590362
  Front cover: David Hockney's 'A Bigger Splash', 1967. Plates included are in colour and black and white
  There are altogether 80 full-page colour plates, plus another six in black and white

About this book: The Tate Gallery's collection of art since 1945 is now a particularly strong one and includes a number of outstanding and world-famous works. This publication has been produced to coincide with a special exhibition of the Tate Gallery's holdings of the painting and sculpture of the second half of the 20th Century -it serves both as a review of what has happened in art since the Second World War and as an opportunity for the visitor to assess the strengths and weaknesses of The Tate Collection at that point in time. When published, The Tate intended that this book should be of lasting value, and to serve not only as a souvenir of the Gallery's own collection, but as a helpful, lucid introduction to the principal new art movements since the war. Each section or chapter within this book has a brief introduction by Ronald Alley, the Keeper [in 1986] of the Tate's Modern Collection

Chapters:
Foreword
Introduction
American Abstract Expressionism
Europe at the End of the War
Henry Moore and Eight Younger British Sculptors
Tachism and Cobra
Rothko
Giacometti
Dubuffet
Nicholson, Pasmore and British Abstract Art
British Artists and Abstract Expressionism
Caro and Colour-Field Painting
Op and Kinetic
Fontana, Klein and Nouveau Réalisme
Francis Bacon and Figurative Painting in Britain
Minimal and Conceptual Art
British Pop Art
British Post-Pop
American Pop Art
Art as Photography
Post-War Prints
Neo-Expressionism in Recent Painting
New British Sculpture

Art Included:
Front Cover: A Bigger Splash by David Hockney, 1967
p.15. Waterfall by Arshile Gorky, 1943
p.16. Untitled (Yellow Islands) by Jackson Pollock, 1952
p.17. The Visit by Willem de Kooning, 1966-7
p.18. Adam by Barnett Newman, 1951-2
p.19. Pompeii by Hans Hofmann, 1959
p.20. Around the Blues by Sam Francis, 1957/1962
p.22. The Discussion by Renato Guttuso, 1959-60
p.23. Horseman by Marino Marini, 1947
p.24. The Fortune Teller by Robert Colquhoun, 1946
p.25. Working Model for 'The Unknown Political Prisoner' by Reg Butler, 1955-6
p.27. King and Queen by Henry Moore, 1952-3
p.28. People in a Wind by Kenneth Armitage, 1950
p.29. Mobile Stabile by William Turnbull, 1949
p.30. Black Crab by Bernard Meadows, 1952
p.32. Composition 1950 by Nicolas de Stael, 1950
p.33. T1963-R6 by Hans Hartung, 1963
p.34. Apres Nous la Liberté by Constant, 1949
p.35. Letter to My Son by Asger Jorn, 1956-7
p.37. General view of Rothko room by Mark Rothko
p.38. Red on Maroon by Mark Rothko, 1959
p.39. Black on Maroon by Mark Rothko, 1959
p.40. Man pointing by Alberto Giacometti, 1947
p.41. Bust of Diego by Alberto Giacometti, 1955
p.42. Seated Mun by Alberto Giacometti, 1949
p.43. Caroline by Alberto Giacometti, 1965
p.45. Monsieur Plume with Creases in his Trousers (Portrait of Henri Michaux) by Jean Dubuffet, 1947
p.46. The Busy Life by Jean Dubuffet, 1953
p.47. Nimble Free Hand to the Rescue by Jean Dubuffet, 1964
p.48. The Ups and Downs by Jean Dubuffet, 1977
p.50. August 56 (Val d'Orcia) by Ben Nicholson, 1956
p.51. Square Motif, Blue and Gold: The Eclipse by Victor Pasmore, 1950
p.52. Relief Construction by Anthony Hill, 1960-2
p.53. Chance, Order, Change 12 (Four Colours) by Kenneth Martin, 1980
p.55. Sacrifice by Alan Davie, 1956
p.56. Horizontal Stripe Painting: November 1957-January 1958 by Patrick Heron, 1957-8
p.57. The Wreck by Peter Lanyon, 1963
p.58. Oi yoi yoi by Roger Hilton, 1963
p.60. Riverfall by Richard Smith, 1969
p.61. Saracen by John Hoyland, 1977
p.62. Early One Morning by Anthony Caro, 1962
p.63. Tra-La-La by Phillip King, 1963
p.65. Supernovae by Victor Vasarely, 1959-61
p.66. Study for Homage to the Square: Departing in Yellow by Josef Albers, 1964
p.67. Hesitate by Bridget Riley, 1964
p.68. 16 Balls, 16 Cubes in 8 Rows by Pol Bury, 1966
p.70. IKB 79 by Yves Klein, 1959
p.71. Portrait of Patrick Waldberg by César, 1961-2
p.72. Spatial Concept by Lucio Fontana, 1958
p.73. Venus of the Shaving Brushes by Arman, 1969
p.75. Girl with a White Dog by Lucian Freud, 1950-1
p.76. Study for Portrait on Folding Bed by Francis Bacon by 1963
p.77. The Sitting Room by Frank Auerback, 1964
p.79. Broadway by Ellsworth Kelly, 1958
p.80. Six Mile Bottom by Frank Stella, 1960
p.81. Equivalent VIII by Carl Andre, 1966
p.82. Site Sculpture Project, Windham College Pentagon, Putney, Vermont by Douglas Huebler, 1968
p.84. $he by Richard Hamilton, 1958-61
p.85. Isaac Babel Riding with Budyonny by R.B. Kitaj, 1962
p.86. Self Portrait with Badges by Peter Blake, 1961
p.87. The Battle of Hastings by Allen Jones, 1961-2
p.88. A Bigger Splash by David Hockney, 1967
p.90. After Lunch by Patrick Caulfield, 1975
p.91. Benches by Tom Phillips, 1970-1
p.92. Dinner at Smith Square by Howard Hodgkin, 1975-9
p.94. Almanac by Robert Rauschenberg, 1962
p.95. Zero Through Nine by Jasper Johns, 1961
p.96. Whaam! by Roy Lichtenstein, 1963
p.97. Marilyn Diptych by Andy Warhol, 1962
p.99. Camera Recording its own Condition (series of b&w photos: 7 Apertures, 10 Speeds, 2 Mirrors), 1971
p.100. France on the Horizon by Hamish Fulton, 1975 [black and white photograph]
p.101. A Line in Bolivia - Kicked Stones by Richard Long, 1981 [b&w photograph]
p.102. Balls: The evening before the morning after - Drinking Sculpture, by Gilbert and George, 1972
p.103. Coal Bunkers by Bernhard and HIlla Becher, 1974 [series of b&w images]
p.105. Sketch from Untitled II by Jasper Johns, 1974
p.106. As is When: Wittgenstein in New York by Eduardo Paolozzi, 1964
p.107. Pool Mantra by Joe Tilson, 1976
p.108. Picabia II (Forgot) by Jim Dine, 1971
p.109. Farm Animals I by Marcel Broodthaers, 1974
p.111. Black Sea by Philip Guston, 1977
p.112. Untitled (Vitrine) by Joseph Beuys, 1983
p.113. Parsifal III by Anselm Kiefer, 1973
p.114. Water Bearer by Sandro Chia, 1981
p.115. Adieu by Georg Baselitz, 1982
p.116. 'For Those Who Have Ears' No. 2 by Richard Deacon, 1983
p.118. As if to celebrate, I discovered a mountain blooming with red flowers by Anish Kapoor, 1981
p. 119. Making It by Julian Opie, 1983

• George Stubbs 1724 - 1806 [top]
  Selected, catalogued and written by Judy Egerton
  1996 edition: foreword by Nicholas Serota, director of the Tate Gallery in 1996
  First published in 1984 in Great Britain in hardback with dustjacket by Tate Gallery Publishing, 246pp, ISBN 1-85437-187-8

About this book: This volume was first published as the catalogue of the great Stubbs exhibition held at the Tate Gallery in 1984-5 and subsequently at the Yale Centre for British Art. As Alan Bowness and Duncan Robinson, the then directors of these institutions, wrote in their original Foreword, Stubbs is one of the greatest of British Painters, but one who for a long time was under-valued by the label 'Mr Stubbs the Horse Painter'. The 1984-5 exhibition did much to finally remove that label by revealing the full range of Stubbs's interests and his sheer genius as a painter and draughtsman. The exhibition was selected and catalogued by Judy Egerton, then an Assistant Keeper of the British Collection at the Tate Gallery. It remains a standard work on Stubbs. Judy Egerton in her introduction states that nearly all of Stubbs work except for a handful of drawings and the two major series of anatomical drawings has disappeared, which leaves the expert and the reader with a lack of knowledge about Stubbs's working methods - i.e. did he make preliminary studies for his finished pictures? It is inferred that he did. It was hoped though that the exhibition, even on the scant materials it had offered up enough to show Stubbs's genius as a portraitist of human beings as well as of horses and lions, dogs and tigers and that those who find the anatomical drawings gruesome will find abundant solace in the grace-notes in Stubbs's work - in the details of foreground flowers, for instance, and in the beauty of weeds

Chapters:
Foreword;Lenders to the 1984-5 exhibition; Abbreviations; Author's Acknowledgements to the First Edition; Chronology; Introduction
-A Conservator's Note by Robert Shepherd
-The Cleaning of George Stubbs's Hambletonian by Ian McClure and Rupert Featherstone
-Catalogue
-Drawings for the Anatomy of the Horse
-The Lion and Horse Theme
-Creswell Crags
-Mares and Foals
-A Comparative Anatomical Exposition of the Structure of the Human Body with That of a Tiger and A Common Fowl
-Stubbs as Printmaker
Index

Illustrations
p15. Thomas Rowlandson: Members of the Jockey Club, pen and ink and watercolour, 1812
p16. Scene in a Country Town at the Time of the Race: engraving after William Mason, 1789
p17. William Hogarth: Hogarth's Servants c.1750-5. Oil on Canvas
p18. George Stubbs: Self Portrait on a Grey Hunter. Enamel on Wedgwood Biscuit Earthenware, 1782.
p19. The Go-Between or Barrow Man Embarrass'd: by and after George Townly Stubbs, 1787
p20. Stubbs's 'Hambletonian' (No. 138)

Catalogue Works
1. Ozias Humphry R. A. (1742-1810). Portrait Study of George Stubbs, 1777. Black and white chalk on brown paper
2. Ozias Humphry R. A. (1742-1810). Portrait of George Stubbs with 'Phaeton and the Chariot of the Sun', watercolour on paper painted circa 1777
3. Study for the Self-Portrait in Enamel, graphite on paper, 1781
4. Self portrait, enamel on Wedgwood biscuit earthenware, 1781
5. George Dance R. A. (1741-1825), pencil on paper, 1794

The Anatomy of the Horse
6. Working Drawing of A Stage in Dissection Between the Eighth and Ninth Anatomical Table, graphite, red chalk and ink on paper
7. Working Drawing of the Muscles for the Thirteenth Anatomical Table, graphite and red chalk on paper
8. Working Drawing of a Stage in Dissection Between the Thirteenth and Fourteenth Anatomical Tables, graphite, red chalk and red ink on paper
9. Working Drawing of a Stage in Dissection With References To the Thirteenth and Fourteenth Anatomical Tables, graphite and red ink on paper
10. Working Drawing For the Twelfth Anatomical Table, graphite on paper
11. Working Drawing of the Muscles for the Third Anatomical Table, graphite, red chalk and brown ink on paper
12. Working Drawing Close to the Finished Study for the Second Anatomical Table, graphite on paper
13. Finished Study for the Second Anatomical Table, graphite on paper
14. Finished Study for the Fourth Anatomical Table, graphite on paper
15. Finished Study for the Fifth Anatomical Table, graphite on paper
16. Finished Study for the First Skeleton Table, graphite on paper
17. Finished Study for the Seventh Anatomical Table, graphite on paper
18. Finished Study for the Eighth Anatomical Table, graphite on paper
19. Finished Study for the Ninth Anatomical Table, graphite on paper
20. Finished Study for the Tenth Anatomical Table, graphite on paper
21. Finished Study for the Second Skeleton Table, graphite on paper
22. Finished Study for the Thirteenth Anatomical Table, graphite on paper
23. Finished Study for the Fourteenth Anatomical Table, graphite on paper
24. Finished Study for the Fifteenth Anatomical Table, graphite on paper
25. Finished Study for the Second Skeleton Table, graphite on paper

26. James Stanley at the Age of 33, oil on canvas, 1755
27. Sir John Nelthorpe, 6th Baronet as a boy, oil on canvas, 1756
28. The 3rd Duke of Richmond with the Charlton Hunt, oil on canvas, 1759
29. The Countess of Coningsby in the Livery of the Charlton Hunt, oil on canvas, c.1760
30. Henry Fox and the Earl of Albemarle Shooting at Goodwood, oil on canvas, 1759
31. The Duchess of Richmond and Lady Louisa Lennon Watching the Duke's Racehorses at Exercise, oil on canvas, 1760
32. Joseph Smyth Esqr. Lieutenant of Whittlebury Forest, Northamptonshire, oil on canvas, 1762-4
33. Whistlejacket and Two Other Stallions with Simon Cobb, the Groom, oil on Canvas, 1762
34. Whistlejacket, oil on canvas, 1762
35. The Marquess of Rockingham's Scrub, with John Singleton Up, oil on canvas, 1762
36. Foxhounds in A Landscape, oil on canvas, 1762
37. Molly Long-Legs, oil on canvas, exhibited 1762
38. A Horse Belonging to the Rt. Honble. Lord Grosvenor, called Bandy From His Crooked Leg, oil on canvas, 1763
39. The Grosvenor Hunt, oil on canvas, 1762
40. Lustre, Held by a Groom, oil on canvas, c.1760-2
41. Jenison Shafto's Racehorse Snap with Thomas Jackson, His Trainer and Jockey, oil on canvas, c.1762-3
42. Hollyhock, oil on canvas, painted by Stubbs in 1766 with later additions of figures by Boucher and landscape by Vernet
43. Antinous, a Horse Belonging to His Grace the Duke of Grafton, oil on canvas, 1764
44. The Duke of Ancaster's Bay Stallion Blank, Held by A Groom, oil on canvas, c.1762-5
45. The Duke of Ancaster's Bay Stallion Spectator, Held by a Groom, oil on canvas, c. 1762-5
46. Lord Torrington's Hunt Servants Setting Out from Southill, Bedfordshire, oil on canvas, c.1765-8
47. Labourers (Lord Torrington's Bricklayers at Southill), oil on canvas, 1767 with later overpainting of the background by Amos Green
48. Labourers. Enamel on Wedgwoo biscuit earthenware, 1781
49. Lord Grosvenor's Arabian With a Groom, oil on canvas, c. 1765
50. Bay Hunter and Grey Arab with a Groom, oil on canvas, c.1763-8
51. The Duke of Dorset's Hunter with a Groom and a Dog, oil on canvas, 1768
52. Newmarket Heath, with a Rubbing-Down House (pair to No. 53), oil on canvas, c.1765
53. Newmarket Heath, with a Rubbing-Down House (pair to No. 52), oil on canvas, c. 1765
54. Eclipse at Newmarket, with a Groom and a Jockey, oil on canvas, c.1770
55. Gimcrack on Newmarket Heath, with a Trainer, Jockey and a Stable-lead, oil on canvas, c.1765
56. Gimcrack with John Pratt Up, at Newmarket, oil on canvas, c.1765
57. Turf, with Jockey Up, at Newmarket, oil on canvas. c.1765
58. Otho, with John Larkin Up, oil on canvas, dated 1768
59. Italian School, eighteenth century: Horse Attacked by a Lion. Stubbs's treatment of the lion and horse theme was indebted to sculptures like this, copies of the original antique sculpture in Rome
60. Horse Attacked by a Lion, oil on canvas, c.1762 (Episode C)
61. Lion attacking a Stag, oil on canvas, painted 1765?
62. Horse Frightened by a Lion, oil on canvas, exhibited 1763 (Episode A)
63. Horse Devoured by a Lion, oil on canvas, exhibited 1763 (Episode D)
64. Lion Attacking a Horse (Episode C), enamel on copper, octagonal, 1769
65. Horse Attacked by a Lion (Episode C), oil on panel, octagonal, c.1768-9
66. White Horse Frightened by a Lion, oil on canvas, 1770
67. White Horse Attacked by a Lion, oil on canvas, 1770
68. Lion and Lioness, enamel on copper, octagonal, 1770
69. Lioness and Lion in a Cave, oil on canvas, c.1770

Creswell Crags
70. A Grey Hunter with a Groom and a Greyhound at Creswell Crags, oil on canvas, c. 1762-4
71. A Grey Horse with an Arabian Groom at Creswell Crags, oil on canvas, c.1763-4
72. The Marquess of Rockingham's Arabian Stallion Led by a Groom at Creswell Crags, 1766
73. Two Gentlemen Going A Shooting, with a View of Creswell Crags: Taken on the Spot, oil on canvas, 1767

74. Two Gentlemen Going A Shooting, oil on canvas, dated and exhibited 1768
75. Two Gentlemen Shooting, oil on canvas, exhibited 1769
76. A Repose After Shooting, oil on canvas, dated and exhibited 1770
77. Zebra, oil on canvas, 1763
78. Leopards at Play, oil on canvas, c.1763-8
79. Cheetah and Stag with two Indians, oil on canvas, exhibited 1765
80. Hound Coursing a Stag, oil on canvas, c.1762-5
81. Blackbuck, oil on canvas, c.1770-8
82. The Duke of Richmond's First Bull Moose, oil on canvas, dated 1770
83. The Duke of Richmond's Second Bull Moose, Pencil, datable 1773
84. Marmaduke Tunstall's Mouse Lemur: Three Sheets of Studies, in pencil, 1773
85. Portrait of a Monkey, oil on panel, 1774
86. Sleeping Leopard, enamel on Wedgwood biscuit earthenware, dated 1777
87. Rhinoceros, oil on canvas, painted in 1790 or 1791
88. Mares and Foals Without a Background, oil on canvas, paid for in August 1762
89. Mares and Foals in a River Landscape, oil on canvas, c.1763-8
90. Mares and Foals Beneath Large Oak Trees, oil on canvas, c.1764-8
91. Mares and Foals Under An Oak Tree, oil on panel, dated 1773
92. Two Shafto Mares and a Foal, oil on panel, dated 1774
93. Stallion and Mare, oil on canvas, exhibited 1769, engraved 1776
94. Eclipse (a horse bred in the Duke of Cumberland's stud at Windsor), oil on canvas, painted in 1770?
95. Mambrino (a horse foaled in 1768 purchased by Lord Grosvenor), oil on canvas, dated 1779?, painted c.1790
96. Dungannon, The Property of Colonel O'Kelly, painted in a paddock with a sheep, oil on canvas, dated 1793
97. White Poodle in a Punt, oil on canvas, c.1780
98. A Water Spaniel, oil on canvas, dated 1769
99. Portrait of a Spanish Dog Belonging To Mr. Conway, oil on panel, dated 1775
100. King Charles Spaniel, oil on panel, no date given
101. Brown and White Norfolk or Water Spaniel, oil on panel, 1778
102. Portrait of a Hound Belonging to William Pitt, 1st Earl of Chatham, oil on panel, 1788
103. Ringwood, a Brocklesby Foxhound, oil on canvas, dated 1792
104. A Couple of Foxhounds, oil on canvas, 1792
105. Fino and Tiny, oil on canvas, dated 1791
106. Lord Pigot of Patshull, canvas, 1769
107. Captain Samuel Sharpe Pocklington with his wife Pleasance and his sister Frances, canvas, dated 1769
108. The Saltonstall Family, oil on canvas, dated 1769
109. Lady Reading in a Park, oil on canvas, c.1768-70
110. The Milbanke and Melbourne Families, oil on canvas, c.1770
111. William Evelyn of St. Clere, oil on canvas, date 1770
112. Sir Frederick Evelyn Riding with a Hound, oil on canvas, dated 1771
113. Sir John Nelthorpe, 6th Baronet, out shooting with his dogs in Barton Field, Lincolnshire, oil on panel, 1776
114. Valentine Knightley with his shooting-pony, monarch, and his pointer, Bell, in Barton Field, Lincolnshire, oil on panel, dated 1776
115. Thomas Smith, Huntsman of the Brocklesby Hounds, and his Father Thomas Smith, Former Huntsman with the Hound Wonder, oil on panel, dated 1776
116. John and Sophia Musters Riding At Colwick Hall, oil on panel, dated 1777
117. John Musters and the Rev. Philip Story Riding Out From the Stableblock at Colwick Hall, oil on panel, dated 1777
118. Two Hunters with a Young Groom and a Dog, oil on panel, dated 1778
119. Two Hunters with a Groom and a Dog, oil on panel, dated 1779
120. Portrait of a Young Gentleman Shooting, enamel on Wedgwood biscuit earthenware, dated 1781
121. Isabella Saltonstall in the Character of Una, from Spenser's Faerie Queen, enamel on Wedgwood biscuit earthenware, dated 1782
122. A Gentleman on a Grey Horse, oil on panel, dated 1781
123. The 5th Earl of Carlisle's Groom, William Shutt, Riding His Master's Favourite Chestnut, oil on panel, dated 1773
124. Haymakers, oil on panel, dated 1785
125. Reapers, oil on panel, dated 1785
126. Reapers, enamel on Wedgwood biscuit earthenware, dated 1795
127. Horses Fighting, enamel on Wedgwood biscuit earthenware, c1781
128. Bulls Fighting, oil on panel, dated 1786
129. The Farmer's Wife and the Raven, oil on panel, dated 1786
130. Warren Hastings on His Arabian Horse, enamel on Wedgwood biscuit earthenware, dated 1791
131. Phaeton with a Pair of Cream Ponies In Charge of a Stable-Lad, oil on panel, c.1780-5
132. Lady and Gentleman in a Phaeton, oil on panel, dated 1787
133. William Anderson with Two Saddle-Horses, oil on canvas, dated 1793
134. Laetitia, Lady Lade, oil on canvas, dated 1793
135. The Prince of Wales's Phaeton, oil on canvas, dated 1793
136. Soldiers of the 10th Light Dragoons, oil on canvas, dated 1793
137. Freeman, the Earl of Clarendon's Gamekeeper, with a Dying Doe and a Hound (A Park Scene At the Grove), oil on canvas, dated 1800
138. Hambletonian, Rubbing Down, oil on canvas, exhibited 1800

p183-184. Works 139-166: A Comparative Anatomical Exposition of the Structure of the Human Body with That of a Tiger and a Common Fowl
p185. Conservation of the Drawings by Lyn Koehnline (Kress Fellow in Paper Conservation; Yale Center for British Art)
152. Owl, Standing Anterior View, With Most of the Feathers Removed, graphite on thin wove paper
153. Leopard, Lateral View, With Skin Removed, red chalk with graphite on thin wove paper
154. Tiger Skeleton, Lateral View: Finished Study for Table IV, graphite on heavy wove paper
155-158: Further Illustrations of a Dissected Tiger
159: Dorking Hen, With Skin and Tissue Removed, red chalk and graphite on thin wove paper
160. Dorking Hen Skeleton, Lateral View, in Walking Posture, graphite on thin wove paper
161. Fowl Skeleton, Lateral View: Finished Study for Table V, graphite on heavy wove paper
162-165: further dissection drawings of fowl
166. A Comparative Anatomical Exposition of the Structure of the Human Body with That of a Tiger and A Common Fowl. Published in parts from 1804-6
167. Shows one of the 18 Copper-Plate prints - Stubbs's first exercise in printmaking, in John Burton's 'An Essay Towards A Complete New System of Midwifery Theoretical and Practical'
168. The Anatomy of The Horse, plate showing the title page; preface. Stubbs published the book by subscription in 1765
169. Review of the Turf - reviewed every horse from 1750 to the completion of the work, which included prints from pictures painted and plates engraved. Published London 1794
170. A Foxhound on the Scent, graphite on paper, engraved 1788
171. Plate showing advertisement sheet stating 'Proposals for Publishing by Subscription, Two Prints, Hay-Makers and Reapers...' dated London, 24 September 1788
172. A Horse Frightened by A Lion, etching and engraving, published September 25th, 1777
173. Leopards (Engraved Title is Tygers) At Play, etching and engraving, published February 25th, 1780
174. A Horse Frightened by a Lion, mixed method, published 1st May, 1788
175. A Horse Attacked by a Lion, mixed method, published 1788
176. A Tiger and a Sleeping Leopard, mixed method, published 1st May, 1788
177. A Recumbent Leopard by a Tree, mixed method, published 1st May, 1788
178. A Lion Resting on a Rock, mixed method, published 1st May, 1788
179. A Sleeping Leopard, Mezzotint, no date given
180. A Recumbent Lion, mixed method, published 1st May, 1788
181. A Foxhound on the Scent, mixed method, published 1st May, 1788
182. A Foxhound Viewed from Behind, mixed method, published 1st May, 1788
183. A Foxhound, mixed method, published 1st May, 1788
184. Two Foxhounds in a Landscape, mixed method, published 1st May, 1788
185. The Farmer's Wife and the Raven, mixed method, published 1st May, 1788
186. Labourers, mixed method, published 1st January, 1789
187. Reapers, mixed method, published 1st January, 1791
188. Hay-Makers, mixed method, published 1st January, 1791
189. A Sleeping Leopard, mixed method, published 1st January, 1791
190. Freeman, The Earl of Clarendon's Gamekeeper, witha Dying Doe and a Hound, mezzotint - engraved surface, published October 16th, 1804

• Hand Made Illustration [top]
  Selected by Eva Minguet
  Published in 2011 in Spain by Monsa Publications in paperback, 128pp, ISBN 9788415223290

About this book/synopsis: UK despatch within 24 hours by 2nd class post; expedited UK delivery available (1st class post); overseas customers will need to contact us to arrange a sale, and shipping price. Very good condition, well looked-after copy. About this book: Illustrators are increasingly turning to digital illustration, relying on popular software such as Photoshop and Illustrator to create their works...but whatever happened to all the tools artists have relied on for years such as paintbrushes, pencils and pens; and their own hands!? The authors of this book here present a selection of artists who still prefer to get their hands dirty in the traditional way creating their own unique works of art from wood, paper, cloth, oils, pastels, paints, plastics, metals, and many many more materials. The authors have chosen to present a collection of artworks, specially selected by artists, from different backgrounds, who adopt various techniques to create these pieces. Every profile is accompanied by a brief interview to get a closer idea of the artist's work and techniques

Contents:
Introduction
Erika Yamashizo
-Carnival. Pencil on paper
-Blessing. Oil on canvas
-Hope. Pencil on paper
-Polka dot. Acrylic on canvas
-Borderline. Acrylic on canvas
-Rabbit hole. Oil on canvas
-Vortex. Oil on canvas

Emma Leonard
-About a Girl. Ink and Watercolour
-Indigo. pencil
-Harlequin 1. Pencil and Watercolour
-Linen & Lace. Pencil and Digital Collage
-A Perfect Mess. Pencil
-Girl Reading. Ink and Watercolour
-Tender to the Blues. Ink and Watercolour

Yosuke-Ueno
-N.N.A. Acrylic on Canvas
-Life with River. Acrylic on Canvas
-Inosent and Something. Acrylic on Canvas
-Life Tree Panorama, The Resurrection. Acrylic on Canvas
-Positive-E. no. 4. Acrylic on Canvas

Denise Van Leeuwen
-Fairytale Planet. Pencil on Paper, Digital Colouring
-Carlos Miele. Pen and Pencil on Paper, Digital Colouring
-Forever Me. Pen and Pencil on Paper, Digital Colouring
-Vasectomy. Pen and Pencil on Paper, Digital Colouring

Sir Mano
-Some where. Pen, acrylic on canvas
-Elasto. Pen, acrylic on canvas
-Carnie. Pen, acrylic on canvas
-Shelly. Pen, acrylic digital colour
-Freddy too tall. Pen, paper and digital colour
-Un alce en un traje. Pen, paper and digital colour

Melissa Contreras
-Limbo. Gouache on watercolour paper
-The Letter. Gouache on watercolour paper
-Tide. Gouache on watercolour paper
-Alex Honey. Gouache on watercolour paper
-Transit. Gouache on watercolour paper

Esra Roise
-Hello. Pencil. watercolour
-Vogue Floral. Pencil, watercolour, ink (Vogue China)
-Scream for Icecream. Pencil, watercolour
-Vogue animals. Pencil, watercolour, ink (Vogue China)
-Stop It. Pencil, watercolour

Brandi Milne
-Grasshopper Puke. Drawing is graphite on paper
-White Fawn Sugar Scape. Acrylic on wood
-Give Me Your Soul, Little One. Acrylic and ink on wood panel
-And Such is Life. Acrylic on wood, framed
-Baron of the Deep. Acrylic on wood, framed
-The Weight. Acrylic and ink on wood panel
-Fill Our Cups. Drawing is graphite on paper
-Wander. Eternal beauty. Acrylic and ink on wood panel

Tetsuya Toshima
-Deer. Pencil, water colour, air brush and acrylic
-Chain. Pencil, coffee and water colour
-Interplay of Mind. Pencil, water colour and acrylic
-Escape and Confusion. Pencil, pen, coffee and water colour
-Saunter/02. India ink, coffee, water colour
-Saunter/03. India ink, coffee, water colour

Daisy Church
-Anemone. Brush pen and marker on paper
-Twins. Brush pen and marker on paper
-Star Catcher. Brush pen and marker on paper
-Elephant Skull. Brush pen and marker on paper
-Cat's Cradle. Brush pen and marker on paper
-Fawn. Graphite on paper
-The Invader. Pencil, watercolour, and laminate on arches paper
-Owl Head. Brush pen and marker on fabriano paper
-Toad Licker. Brush pen and marker on fabriano paper

Kelly Thompson
-Dluxe. Drawn by hand using coloured pencil on recycled card
-Meet me at the beach house. Drawn by hand using coloured pencil on recycled card
-Wanna get icecream. Drawn by hand using coloured pencil on recycled card
-Pillow fight. Drawn by hand using coloured pencil on recycled card
-Your turn. Drawn by hand using coloured pencil on recycled card
-Ruthie_2. Drawn by hand using coloured pencil on recycled card

Claudia Carrillo
-Mosca cojonera. Graphite on paper
-Dora Romero. Graphite on paper
-Corazonada. Hearts are Anna Esparza. Mixed media on paper
-Hitler vive en ti. Graphite on paper
-Sin titulo (Not Titled). Graphite on paper
-Mamiferos y Oviparos. Graphite on paper

Sabine Pieper
-Question. Pencil, ink
-Anything (But). Pencil
-The heart is a sleeping beauty. Pencil, ink, acrylic paint
-Untitled. Pencil, watercolour

Glenn Arthur
-Some Call It An Obsession. Acrylic on wood
-A Mask to Concel with Bandages to Heal. Acrylic on wood
-Her Forbidding Berries. Acrylic on wood
-In Love with Lament. Acrylic on wood
-Her Fatal Fascination. Acrylic on wood
-Time Stands Still When We Embrace. Acrylic on Wood
-Your Love is Paper Thin. Acrylic on wood

Kaoru Sauda
-Leopard and Strawberry Girl. Painted with acrylic paints
-Maiko. Painted or drawn with acrylic paints and water colour pencils
-Santa Claus Marilyn. Painted or drawn with acrylic paints and water colour pencils
-Professional Wrestler. Painted with acrylic paints, by layering colours roughly so that the canvas's texture appears coarser
-Love and Peace. Painted or drawn with acrylic paints and water colour pencils

Carine Brancowitz
-Carmes. Pen on paper
-La nuit du doute. Pen on paper
-Medicis. Pen on paper
-Le Colloque Singulier. Pen on paper
-Milano. Pen on paper
-Diptyquos. Pen on paper
-Orleans. Pen on paper

Nate Frizzell
-Every moment with her was a moment to keep. Oil on canvas
-To see her like you'd see a star. Oil on canvas
-Flying South. Oil on canvas
-It takes all the running she can do just to stay in the same place. Charcoal on paper
-Waiting to be unseen. Oil on canvas

• Helen Allingham's England [top]
  First published in 1990 in Great Britain by Webb & Bower in hardback with dustjacket
  Reprinted in 2000 in Great Britain for Past Times, Oxford, in hardback with dustjacket, 127pp, ISBN 1840670878

About this book: Helen Allingham's paintings of rural England now enjoy enormous popularity and receive greater acclaim than ever before. In this new biography, the first for almost ninety years, the astonishing versatility of Helen Allingham's work is revealed. The 110 colour illustrations show that the 'painter of cottages' in fact produced fine seaside and farmyard scenes, portraits and interiors as well as the much-loved flower borders. Seen also for the first time are some twenty of Helen's early pencil sketches, photographs and examples of her magazine illustrations. Helen Allingham was one of the early women to train at the Royal Academy Schools, the only female on the staff of the Graphic Magazine, and the first woman admitted to the Royal Society of Painters in Watercolours. In 1874, she married the Irish poet William Allingham and the couple lived in London, mixing with other writers and artists such as Tennyson, Burne-Jones and Carlyle. It was, however, the eight years Helen then spent in Surrey which provided her with the greatest inspiration. Hers was a romantic view of rural life with centuries-old cottages, beautiful young women and endless sunny days, all portrayed with fine attention to detail. For us, as much as the Victorians, Helen Allingham's art offers the perfect form of escapism, the tranquil, timeless world we all long for

Contents:
Introduction
1. Childhood and Early Art Training (1848-1866)
2. The London Art World (1866-1874)
3. Marriage and Painting (1874-1881)
4. Country Life (1881-1888)
5. The Established Artist (1889-1926)
Helen Allingham's Technique
Bibliography
Acknowledgements; Index

Illustrations (colour unless otherwise specified):
p6. 'A Cart By A Village Inn', which is a glimpse of village life in Shere, Surrey, painted during the Allingham's summer holiday there in 1878
p8. 'Beside the Church Gate Farm, Smarden, Kent'. A woman stands holding a baby in a shawl in front of a beautiful old timbered house where the gate stands open and a cat watches her whilst doves sit on the roof. Helen usually used toddlers in her pictures so the focus on the baby is unusual. The quantity of detail in her pictures is incredible - there is a house martin's nest visible under the eaves of this house
p9. Picture which shows a mother and todder over the other side of the hedge and a woman gathering eggs this side whilst chicks mill round her feet and a chicken peers out from between the slats of its house
p10. Thatched cottage - Hill Farm - in Symondsbury, Dorset, where Helen sometimes went to paint on visits to her Herford relatives
1. Childhood and Early Art Training (1848-1866)
p12, left. Thatched cottage at Farringford, Isle of Wight, painted during one of Helen's visits to the Tennysons in her later years
p12, right. The lane by Whitley Church, a scene familiar to Helen and her husband when they lived in Surrey and walked that area frequently
p13. Painting of peonies - one of many plant studies that Helen made
p14, left. Black and white pencil drawing of Henry Walter Paterson, Helen's brother who she drew in 1869
p14, right. A faint black and white pencil sketch of Helen's sister Isabel, drawn from a photograph. Isabel had sadly already died with her father from Diphtheria
p15. One of Helen's illustrations (b&w) for 'Six to Sixteen', a girl's story by the popular Mrs. Ewing. Helen's monogram is in the bottom left corner. She illustrated several of Julia Ewing's stories when working in London
p16. 'A Cottage Door' - the young girl watching her kitten was a favourite topic for Helen
p17. 'Early Primroses' - a scene Helen witnessed in a wood close to her later home at Sandhills in Surrey, which was a favourite walk for the family
p18. Helen Paterson's painting of the corner of a house in Verona, which she painted at 20 just before she was about to enter the Royal Academy Schools
p20. Pencil sketch of a lady in preparation for drawing on to a wood block for printing
p21. left, b&w illustration for a story by Mrs Ewing, drawn by Helen Paterson and engraved by one of the leading London engravers, Harral
p21, right, another of Helen Allingham's b&w illustrations for 'Six to Sixteen', serialized in the Aunt Judy Magazine in 1872
p22, a detailed b&w drawing by Helen Paterson for the Saturday September 7th, 1872 cover of the 'Graphic' . She was earning around four hundred pounds a year as an illustrator at this time, which was a lot of money even for a man to earn
p23, full page picture showing 'Gathering Firewood', the composition of which owes much to the wood-block illustrations for books which Helen had recently undertaken
p24, b&w sketch of a group of ladies, assembled for a dramatic reading at Mr. Gladstone's house in Carlton Terrace, for the 'Graphic'. The Prime Minister is visible at the back
p25, top, shows two pages from a handmade sketchbook, only about three inches high. It was used by Helen to make diescreet sketches of the play 'The Wandering Heir' as it was performed at the Prince of Wales Theatre in 1874. From these notes, she compiled her illustration for the Graphic
p25, bottom, b&w portrait of Helen Paterson in her early twenties at the time she worked as an illustrator-cum-reporter on the Graphic
p26, Helen called this picture 'Japonica' after the brilliantly coloured shrub by the door. It was exhibited in 1885
p27, one of Helen Allingham's earlier paintings where the large central figure shows the influence of Frederick Walker
p28, a gentle and tender colour study of Helen's sister Louisa lying in bed with a terminal spinal disease. Helen cared for Louisa up until her death a few days later on 15th November 1871
p29, a self-portrait by Caroline Paterson, Helen's sister, who also trained as an artist and whose portrait work is virtually indistinguishable from her more famous sister's
Marriage and Painting, 1874-1881
p30, colour portrait of her husband which she painted a few months after they got married, when he was fifty. A copy of this picture hangs in the Dublin Portrait Gallery
p32, b&w photograph (studio portrait) of the new Mrs Allingham, taken to celebrate her marriage
p33, b&w pencil sketch of the interior of Limpsfield Church, Surrey, in 1870, showing the box pews. Helen exhibited a watercolour of the church the following year at the Dudley Gallery, Piccadilly
p34, full page painting of the interior of Carlyle's dining room at Cheyne Row, a couple of streets from the Allinghams' house, painted in February 1881
p35, full page illustration of Thomas Carlyle's home in London where Helen made several drawings of the great man. The background detail in this and her other pictures of the house has been of great value to the National Trust and their restoration of the house
p36, left, b&w illustration of 'The Tinsmith's Shop' - Helen's original illustration for 'A Flat Iron for a Farthing', which she later worked up into a watercolour which gained her admission to the Royal Society of Painters in Watercolours in 1875
p36, right, 'This Year, Next Year, Sometime, Never' - given by Queen Mary to the Superintendent of Governesses at Petersham Lodge, Surrey, in gratitude for her services during the 1930s
p37, A rare b&w cartoon by Helen Allingham to illustrate a humorous poem by her husband; both were included in their joint 1885 production Rhymes for the Young Folk
p38, top, a seaside scene 'Near Beachy Head', painted during the Allingham's summer holidays, which is packed with interest
p38, bottom, a scene of two women haymaking, painted in the 1870s. They demonstrate Helen's transition from large central figures to smaller figures set in a landscape
p39, a beautiful painting of the vibrant colours of the bluebells in the woods near Sandhills, Surrey, which inspired Helen to produce several studies
p40, painting of a strange turreted feature over the doorway of a cottage in Brook, Witley, Surrey (also painted by Myles Birket Foster)
p41, painting of a view of Sandhills, Surrey, in the late summer, painted from just above the house where the Allinghams lived in the 1880s
p42, painting of 'At the Cottage Door', an example of one of Helen's earlier cottage studies executed before she settled in Surrey
4. A Country Life 1881-1888
p43, black & white illustration of the only known painting of Helen's home Sandhills, executed in September 1881 soon after her arrival. Her husband William looks out of an upstairs window, while Gerald and Eva walk up the garden path. The present whereabouts of this painting are unknown
p44, left, 'The Caterpillar', a painting, shown here in colour, executed during the 1880s in Surrey. Clematis montana was a particular favourite with Helen and appears in other pictures
p44, right, a colourful study of cottage plants, including roses, daisies and cornflower, made in a Surrey garden and exhibited in 1886
p45, a full page of a cottage in Sandhills which Helen must have liked given that she painted it at least eight times
p46, top, a painting of a cottage in Brook Lane, which was a short walk from the Allinghams' home and which Helen painted on at at least three occasions from various angles
p46, bottom, a rural scene called 'Digging Potatoes' (colour)
p47, colourful scene that shows Helen's cottage gardens, painted in such detail that it is possible to identify every single plant
p48, full page in colour of an especially fine Allingham painting entitled 'Over the Garden Wall', painted around 1880 showing two young girls chatting
p49, painting of Valewood farm, which the Allinghams drove past regularly on their way to visit the Mangles family at Valewood House. Helen painted this lovely medieval house on many occasions
p50, portrait painting of Helen's daughter Eva Margaret, aged eight. Helen Allingham did not generally accept commissions for portraits. Those of her children are considered her best
p51. Helen painted this domestic scene of her son Gerald and daughter Eva receiving lessons in the dining room at Sandhills with their tutor
p52, left, painting of the blond-haired Henry Allingham, aged three, walking into a room at Sandhills
p52, top right, a pencil sketch of Helen's favourite son Henry on a swing under the trees at Sandhills; it was published as a book illustration
p52, bottom right, pencil sketch of Henry looking at himself in a full size pivoting mirror, one of many illustrations of Henry that she drew for 'Rhymes for the Young Folk'.
p54, a sketched stage design, b&w, which Helen made to accompany her husband's play 'Ashby Manor', which was never produced. The sketches actually adapt features from the Allingham's own home and their neighbours homes
p55, painting entitled 'Bubbles', which was inspired by a visit to Tennyson's home in September 1884. Tennyson fetched soap and a pipe to entertain his two grandsons from which he then blew bubbles
p56, cottage study where unusual autumn tints appear. Helen did not normally paint autumn - it did not inspire her
p57, Helen's son Henry being cradled by the children's nanny Elizabeth Haddon in the nursery at Sandhills
p58, painting of an Indian lady who Helen was fascinated by and of whom she made many drawings. This scene is believed to be at Shanklin, Isle of Wight
p59, painting of Vine Cottage, one of Helen's 'Surrey Cottages'
p60, left, a charming portrait of a young girl in lilac sunbonnet. These bonnets were out of fashion when Helen painted the subjects who wore them, but she kept her own stock of rustic costumes
p60, right, a portrait of 'Kitty', which was Helen's pet name for Félicie Keith, a child model who appears in many of Helen's later paintings
p61, painting entitled 'Coming Events', which was exhibited at the Fine Art Society in 1886 as one of Helen's winter scenes. The picture shows an internal scene, probably late afternoon judging by the sunset with a cat looking towards its owner as she approaches with a saucer of milk. We can only see the hand, bowl and the owner's shadow
p62, self-portrait of Helen Allingham painting in 1885 when she was thirty-seven
p63, 'The Clothes Line', a colour painting of the London model Mrs Stewart in 1879, her depicted hanging the washing out. Ruskin objected to the red coloured hankerchief on the line
p64, left, painting of Tennyson, who was notoriously difficult to draw or paint (he hated it)
p64, top right, painting is a portrait of Emily Lady Tennyson, wife of the Poet Laureate
p64, bottom right, Helen's handwritten note recording how and when she made the sketch of Tennyson in 1887 at Aldworth, Blackdown, Haslemere
p65, left, pencil sketch of Tennyson by Helen, taken during one of their first meetings. It was to be ten more years till he let her paint his portrait
p65, right, painting made on 5th August 1880 of Lord Tennyson's favourite dog, 'Old Don', who accompanied his master on many walks over Blackdown
p66, full page of the portrait painting of Alfred Lord Tennyson made in his study at Farringfor in April 1890 with the poet's full cooperation
p67, full page of the painting of 'Tennyson's Woods at Blackdown', made in 1902. Allingham believes it was looking southwards from Tennyson's Road to his woods over Fox Holes
p68, portrait painting of Rhoda Hardy, a local Surrey girl who later became Mrs Burgess, landlady of the Dog and Pheasant at Brook near Sandhills
p69, 'A Spring Garden' - a garden she painted at a house close to her own belonging to Mr. Ayland, a bellringer at Witley Church
p70, a painting of the garden of one of the Allingham's Surrey neighbours. An older child to that normally painted by Helen is depicted holding a yellow posey and admiring the red roses
p71, a painting of a Surrey farmhouse where Helen painted it as it could once have looked, and not how it currently was (i.e. missing its thatch and lattice windows)
p72, 'In a Witley Lane', a painting of one of a series of "Surrey Cottages" which Helen exhibited in London in 1886
p73, painting of an old cottage in Wormley Wood, Surrey, which ended up being demolished. Helen & her husband William were concerned to preserve such buildings
p74, painting of Gerald Allingham, Helen's eldest, in 1880 at Broadstairs, Kent. As an adult, he became an engineer
p75, b&w photograph of the Allinghams' Surrey home taken when W. Graham Robertson lived there
p76, painting of a cottage where Helen has added doves to the roof, something which she frequently did as a mature painter
5. The Established Artist, 1889-1926
p78, painting of a painting by Helen where shadows have been added - something that it was normally rare to see in one of her paintings. This is a picture of a street at East Hagbourne, Berkshire when Helen was visiting fellow artist Robert Anning Bell and his family
p79, painting made in 1891 in Ireland when Helen took the three children to Ballyshannon to see the birth and resting place of their father
p80, painting of the front of a cottage at Pinner, Middlesex painted in the 1890s. The painting on p81 is of the same cottage, but in close up and painted from the right hand side in 1890 on a painting trip with Kate Greenaway
p82, painting entitled 'At School Green, Isle of Wight', which was executed during a spring visit to the Tennysons in the early 1890s
p83, painting showing a view over Freshwater Bay, Isle of Wight, painted during Helen's regular visits to the Tennysons in the 1890s
p84, painting of Stanfield House, Hampstead, in 1899 in a rare urban scene
p85, painting of a timber-framed manor house painted during one of Helen's many excursions to Kent in the early 1900s
p86, 'The Old Beech Tree', painted in Kent. Shows a large-trunked tree covered in scratched-in graffiti and two children looking at the various initials scratched in; whilst deer look on in the background
p87, left, b&w photograph of Helen at work in her studio sat in her favourite painting chair, now preserved in the Hampstead Museum
p87, right, a sunset painting in Venice during Helen's expeditions there in 1901 and 1902
p88, a typically English-looking picture but with 'Venice' pencilled on the back. Probably painted in the garden of Mrs. Eden (sister of Gertrude Jekyll) who lived and gardened there
p89, 'Venetian Fruit Stall', painted in 1902
p90, painting retrieved from an Australian rubbish tip with a smashed frame. Has survived unscathed
p91, top, two pages from Helen's sketchbook which she gave to her grandson Patrick to paste in his album when he was a child
p91, bottom, the gardens of Manor Farm in Yorkshire, which show a more prosperous household than Helen usually portrayed
p92, b&w photograph of Helen in later years. She painted until the end of her life
p93, left, a painting of white campion by Helen's daughter Eva. It is the only known picture by her
p93, right, painting of 'Our Primrose Wood, Brook, Surrey', which was a gift from the artist to her son Gerald and his first wife Emily during the summer of 1913
p94, painting of 'The Little Path, Kitchen Garden, Sharston Manor, Cheshire, 1920'
p95. 'Valewood Farm' from a slightly different agnle from that found in the picture on p49. Birmingham Art Gallery bought this direct from Helen in 1891 for 55 guineas
p96, portrait of Daphne Daffarn, dated 1886 and inscribed 'To Alice' (her mother, née Mangles). The Daffarns lived at Valewood House where Helen was to spend her last few weeks
6. Helen Allingham's Technique
p98, left, 'Under the Malthouse' - it was not the malthouse that caught Helen's eye, but the doorway on the garden. Birket Foster also painted this doorway, but from the road
p98, right, photograph of The Old Malthouse as it is today
p99, most of the original thatches had disappeared from Surrey by the 1880s, so Helen had to travel to Somerset to make her drawings
p100, painting of Hindhead, Surrey, which was a view familiar to Helen. It has an unusual perspective for an Allingham painting
p101, a painting that captures the glories of a summer garden at Brook, Surrey, in such minute detail that it is possible to identify every flower
p102, painting of a garden at Hambledon, Surrey where cabbage plants add realism to this idyllic scene. The young boy in the picture is probably Helen's eldest, Gerald, whilst the baby boy is most likely her younger son, Henry
p103, a painting that really shows Helen's keen observation of country life - note the sticks propped up against the side of the cottage which the man had collected to support his runner beans
p104, a rare study of an old lady - grandmother figures do appear in several of her paintings
p105, this early Allingham farmyard scene uses Chinese White to creat the white effect. The painting is unusual in having two boys as the only and main human focus in the picture
p106, a painting of the sandhills that gave Sandhills and the Allingham's house their name. The cottage at the top of the Sandhills depicted here was lived in by John Hardy, the Allingham's gardener. The woman shown in front of the building holding the baby is John's daughter, Ada
p108, a rare farmyard scene from Helen in that it depicts large animals (here a horse and three bulls)
p109, left, some of Helen's studies of small birds -these sketches were used to help her finish her paintings
p109, right, an 1878 picture painted during one of the Allingham's summer holidays. It uses Chinese White rather than scratching out to achieve the white areas
p110, a study of children at 'A Country House', which was painted in the late 1870s when Helen was using Chinese White rather than scratching out to achieve the whiter shades
p111, 'Cottage at Roundhurst', a painting which has a fine crop of ragwort in the foreground. Helen achieved her bold flower colours by scratching back to the paper and flooding the area with pure pigment
p112, top, a black and white sketch from a page from Helen's 1870 sketchbook, showing her interest in cottage interiors even when she was at art school
p112, bottom, an 1870 sketch (b&w) of a cottage interior where the mantle ruffle is caught up in the same way as in 'Baking the Bread' opposite
p113, 'Baking the Bread' - a stunningly realistic and lifelike picture where Helen has observed every detail of cottage life - even down to the flat iron stored alongside the main beam
p114, painting of a seaside scene which shows an Indian ayah appearing with her charges, this time on 'Dover Beach' in 1878. The picture is small, only four-and-a-half by seven-and-a-half inches
p115, a seaside study depicting a girl sitting on the wooden breakers on the beach looking out to sea still wearing her shawl, bonnet and shoes. It was painted during the family holidays at Broadstairs, Kent in the late 1870s
p116, painting of a cottage with a glorious display of climbing nasturtiums, which was adjacent to the Allinghams' own home at Sandhills. Helen painted this cottage many times
p117, a painting of a charming spring scene where a young girl coming out of the gate is fascinated by a hen and her brood of chicks
p118, painting of a little girl cradling her doll outside a thatched cottage near Crewkerne in Somerset
p119, 'The Fiddler' painting exhibited in 1886 is one of the few paintings Helen did with a man as the main figure
p120, A study of Aitre, St. Maclou in Rouen made in the early 1900s when Helen was travelling to Venice
p121, 'Harvest Fields At Westerham', one of Helen's later landscapes. However, such pictures without figures in them were never popular with the public
p122, 'Cat's Cradle' painting, which is the work of Helen's sister, Caroline Paterson, who followed Helen to art school and into book illustration, but never achieved the same fame as a professional artist
p123, a painting which is regarded by many as one of the finest examples of Helen Allingham's art. It shows Helen's daughter Eva giving the youngest member of the family his first reading lesson

• Hogarth and His Place in European Art [top]
  First published in 1962 in Great Britain by Routledge & Kegan Paul in hardback with dustjacket, xxii, 270pp, indexed, 152 plates, No ISBN. Original UK retail price: 84s. net (84 shillings). Preface by Evelyn Antal, dated to July 1961

Contents/synopsis: The book grew out of a lecture Frederick Antal gave in 1942 at the Courtauld Institute in London on an exhibition at the Warburg Institute illustrating the links between continental (especially Mediterranean) and English art. The author notes in the introduction that the central problem with Hogarth is how he created a totally new form of art in theme and form out of the void that existed at that time.

In this work therefore, the author has made the first attempt to convey the historical relevance, both in its native and European context, of perhaps the most outstanding English painter of the 18th Century. Dr. Antal here applies his method of establishing the close relationship between the political and social history and the arts and letters of the period. Thus the book goes far beyond the limits of art historical appreciation. It gives a panoramic picture of the 1st half of the 18th Century in England with all its social, literary and artistic connotations. He shows how Hogarth was the most progressive artist of his time in an England which had grown to be the most politically and economically advanced power in Europe - and this was despite the somewhat sparse native artistic tradition.

Hogarth's work in fact revealed the views, tastes, activities and behaviours of a wide range of society, some of it showing society stripped down to a fairly stark rendition of reality. The author looks at the stylistic origins of Hogarth's work and traces them back to European sources. He also analyses Hogarth's impact on European and English art as well as the influence his work had on contemporary and future generations.

The book showcases in 152 plates some of the wonderful work of Hogarth and others by foreign artists.

About the author: Frederick Antal was Hungarian, born in 1887; he died in 1954. His interest in art led him to study art history at the universities of Budapest, Berlin, Freiburg, Paris and Vienna; it was at Vienna that he took his doctorate under Professor Dvorak.

Working for a time at the Budapest Museum of Fine Arts, he also lectured at Budapest University, but it was travelling extensively in Italy that allowed him to devote himself to researching Mannerist painting, publishing several papers on the subject.

When he came to England in 1933, he first lectured at the Courtauld Institute of London University; and he published a book on Florentine Painting and Its Social Background in 1948.
Fuseli Studies was published posthumously in 1956, which was a work that analysed Fuseli's style in the European context. Antal traced his style back to Italian mannerism and forward in time to expressionism in the 20th Century.

Contents:
Preface; List of Plates; Introduction
1. Hogarth's World of Ideas
2. Hogarth's Stylistic Development
3. Hogarth's Art and Contemporary Society
4. Hogarth's Representations of the Theatre
5. The Early Phase
6. The Cycles of the 'Thirties and 'Forties
7. Expression and Caricature
8. The Historical Compositions
9. The Late Phase
10. Hogarth's Impact on English Art
11. Hogarth's Impact on European Art
Index; Plates

• Landscape and Power [top]
  Edited by W. J. T. Mitchell
  2nd revised & updated edition published in 2002 in the United States by the University of Chicago Press, 376pp, ISBN 0226532054

About this book: When first published, Landscape and Power reshaped the direction of landscape studies, considering landscape not simply as an object to be seen or a text to be read, but as an instrument of cultural force, a central tool in the creation of national and social identities. This edition adds not only a new preface, but also five new essays from Edward Said, W.J.T. Mitchell, Jonathan Bordo, Michael Taussig and Robert Pogue Harrison.

The aim of the book is to change "landscape" from a noun to a verb - it asks us to think of landscape not as an object to be seen or a text to be read, but as a process by which social and subjective identities are formed. The study of landscape went through two major changes in the 20th Century - the first (linked to modernism) attempted to read the history of landscape primarily on the basis of a history of landscape painting and to turn that that history into a narrative of progressive movement towards purification of the visual field - it's more contemplative because it's aim is to evacuate verbal, narrative, or historical elements and the presentation of an image designed for transcendental consciousness; the second (associated with postmodernism) tended to decenter the role of painting and pure formal visuality in favour of a more interpretative semiotic approach where landscape is decoded in a body of determinate signs, be they trees, stones, water, animals, and dwellings, etc. These signs can be read as symbols in religion, psychological or political allegories.

Landscape and Power aims to absorb these approaches into a more comprehensive model that would ask not just what landscape is or means, but what it does - how it works as a cultural practice. Landscape, it is suggested, does not simply signify or symbolize power relationships, it is an instrument of cultural power; perhaps even an agent of power that is (or frequently represents itself as) independent of human intentions.

Contents:
Preface and Introduction by W. J. T. Mitchell
1. Imperial Landscape by W. J. T. Mitchell
2. Competing Communities in the "Great Bog of Europe": Identity and Seventeenth-Century Dutch Landscape Painting by Ann Jensen Adams
3. System, Order, and Abstraction: The Politics of English Landscape Drawing Around 1795 by Ann Bermingham
4. Turner and the Representation of England by Elizabeth Helsinger
5. "Our Wattled Cot": Mercantile and Domestic Space in Thomas Pringle's African Landscapes by David Bunn
6. Territorial Photography by Joel Snyder
7. The Effects of Landscape by Charles Harrison
8. Invention, Memory and Place by Edward W. Said
9. Holy Landscape: Israel, Palestine, and the American Wilderness by W. J. T. Mitchell
10. Picture and Witness at the Site of the Wilderness by Jonathan Bordo
11. The Beach (A Fantasy) by Michael Taussing
12. Hic Jacet by Robert Pogue Harrison; Contributors; Index

• Master Drawings from the Courtauld Collections [top]
  Catalogue by William Bradford and Helen Braham. Sponsored by Toray Industries, Inc. The colour plates within the volume have been produced by the Toray Waterless Plate, a new technique developed by Toray Industries
  First published in 1991 in Great Britain by the University of London/Courtauld Institute Galleries in hardback with dustjacket, 208pp, ISBN 0904563065. Front cover shows 'A Standing Man' viewed by from the front, whilst the rear of the book shows 'A Standing Man' viewed from the rear - both by Canaletto. Endpapers show details from 'A View from Somerset Gardens looking towards London Bridge' again by Canaletto
  Also published in paperback in 1991 in Great Britain by the University of London/Courtauld Institute Galleries, ISBN 0904563073

About the book: The eighty drawings included in this catalogue are among the most splendid of the Courtauld Institute's treasures, and have been selected from the Princes Gate, Lord Lee of Fareham, Sir Stephen Courtauld, Sir Robert Witt, and Spooner collections. All were given or bequeathed to the Courtauld during the last forty-five years, and are a testimony to the taste, discernment and generosity of the Courtauld's benefactors. The scope of the catalogue has been limited to works covering a period from the early 15th to early 19th centuries. Within this range are the beautiful brush drawing by Hugo van der Goes; pen and ink drawings by Pieter Brugel the Elder; landscapes by Fra Bartolommeo; two Michelangelo sheets, including the enigmatic 'The Dream of Human Life'; and superlative works by Guercino, Claude, Bernini, Canaletto, Rubens and Tiepolo. British art is represented by fine examples of the work of Gainsborough, A. and J.R. Cozens, Francis Towne, Cotman, Girtin and two glorious Turner watercolours (the exhibition from which this catalogue is derived stopped short at the early 19th century of which these two Turners are the climax: The Crook of Lune, looking towards Hornby Castle; and Colchester). The aim of this catalogue is to present in an accessible format the most up-to-date information about the drawings on show, with a descriptive text supported by an illustration of the drawing forming a double spread. Details of provenance and the relevant literature, with extended footnotes, supplementary illustrations and bibliography are published at the end of the main catalogue entries

List of Artists and Works
p10. Allessandro Allori. The Banquet of Cleopatra
p12. Jan Asselyn. Landscape with Ruined Bridge
p14. Federico Barocci. Study for the Doctor in 'The Circumcision'
p16. Fra Bartolommeo. A Town on the Banks of a River
p18. Fra Bartolommeo. View of Florence seen from the Valle del Mugnone (?)
p20. Cornelis Pietersz. Bega. A Seated Woman with a Jug
p22. Giovannia Bellini. The Nativity
p24. Nicholaes Berchem. River Landscape with Tower
p26. Gianlorenzo Bernini. The Louvre, East Facade (First Project)
p28. Abraham Bloemaert. Death and the Lovers
p30. Hans Bol. The City of Jerusalem with Christ as the Good Shepherd
p32. Hieronymus Bosch. S. Christopher carrying the Infant Christ
p34. Paul Bril. Rocky Landscape with Waterfall and Castle
p36. Pieter Bruegel the Elder. Landscape with an Artist Sketching
p38. Pieter Bruegel the Elder. Kermesse at Hoboken
p40. William Buytewech. Landscape with Milkmaid and Goats
p42. William Buytewech. Seated Man
p44. Canaletto. A Standing Man, viewed from the front
p46. Canaletto. A View from Somerset Gardens looking towards London Bridge
p48. Vittore Carpaccio. The Virgin reading to the Infant Christ
p50. Giovanni Benedetto Castiglione. St. John the Baptist Preaching
p52. Claude Lorrain. Landscape with Trees and Buildings
p54. Claude Lorrain. Pastoral Scene in a Clearing in a Wood
p56. Gillis van Coninxloo III. Wood Landscape
p58. John Constable. Lane with Trees
p60. John Constable. East Bergholt Church Tower, from the South-East
p62. John Sell Cotman. Mountainous Landscape with Castle and River
p64. John Sell Cotman. Doorway to the Refectory, Kirkham Priory, Yorkshire
p66. Alexander Cozens. A Blasted Tree in a Landscape
p68. John Robert Cozens. The Castel Sant' Angelo, Rome
p70. Albrecht Durer. One of the Wise Virgins
p72. Allaert van Everdingen. Scandinavian Landscape with Log Cabins
p74. Thomas Gainsborough. Wooded Landscape with Two Peasant Boys, Donkey and Cottage
p76. Thomas Gainsborough. Wooded Landscape with Herdsman driving Cattle over a Bridge, Peasants and a Ruined Castle
p78. Jacques de Gheyn II. Seated Woman holding a Child on her Lap
p80. Thomas Girtin. Peterborough Cathedral from the West Front
p82. Hugo van der Goes. A Seated Female Saint
p84. Jan van Goyen. Dune Landscape
p86. Jan van Goyen. Landscape with Oak Tree
p88. Francesco Guardi. The Feast of Ascension Day
p90. Guercino. Two seated Women drying their Hair in front of a Fire
p92. Guercino. A Child viewed from the rear, standing between its Mother's Knees
p94. Martijn van Heemskerk. The Death of Jezabel
p96. Martijn van Heemskerk. The Magdalene washing Christ's Feet at the House of Simon
p98. Leonardo da Vinci. Studies for a 'S. Mary Magdalene'
p100. Jan Lievens the Elder. Woodland Study
p102. Pieter van Lint. The Belvedere Staircase
p104. Lorenzo Lotto. Portrait of a Young Man
p106. Michelangelo. The Virgin and Child
p108. Michelangelo. The Dream of Human Life
p110. Pieter de Molyn. Landscape with Road and Figures
p112. Joos de Momper. Landscape with Horse and Rider and Standard-Bearer
p114. Parmigianino. Woman seated on the Ground
p116. Parmigianino. The Conversion of S. Paul
p118. Giovanni Battista Piazzetta. The Head of a Boy and of an Old Man
p120. Giovanni Battista Piazzetta. Imaginary View of Quays in a City
p122. Jacopo Pontormo. Seated Youth
p124. Rembrandt van Rijn. Saskia with her first Child Rumbartus (?)
p126. Rembrandt van Rijn. View of Diemen
p128. Hubert Robert. Terrace in an Italian Garden
p130. Sir Peter Paul Rubens. Head of the Farnese Hercules
p132. Sir Peter Paul Rubens. The Three Graces
p134. Pieter Saenredam. South Ambulatory of the St. Bavokerk, Haarlem from West to East
p136. Stefano da Verona. Female Heads
p138. Stradanus. Fishing with Hammers and Dragnets on the River Arno
p140. David Teniers the Younger. Rocky Landscape
p142. Giovanni Battista Tiepolo. Glorification of the Porto Family
p144. Giovanni Battista Tiepolo. The Annunciation
p146. Jacopo Tintoretto. Studies after Michelangelos's 'Samson and the Philistines'
p148. Francis Towne. In the Valley of the Grisons
p150. J.M.W. Turner. The Crook of Lune, looking towards Hornby Castle
p152. J.M.W. Turner. Colchester
p154. Lucas van Uden. Wooded Landscape with Monastery
p156. Willem van de Velde. Estuary Scene: three Galliots, a Barge and a Frigate firing a salute
p158. Adriaen van de Venne. A Lady and Gentleman Skating
p160. Paolo Veronese. Studies for Christ carrying the Cross
p162. Martin de Vos. The Dream of Jacob
p164. Antoine Watteau. A Satyr pouring Wine
p166. Antoine Watteau. Studies of Three Seated Women
p168. Gasper van Wittel. View of Tivoli

• The Physicist as Artist: The Landscapes of Pierre Duhem [top]
  Written by Stanley L. Jaki
  First published in 1988 in Great Britain in hardback with dustjacket, 188pp, ISBN 0707305349
  British Library Cataloguing in Publication Data
  Duhem, Pierre, 1861-1916
  The physicist as artist: the landscapes of Pierre Duhem
  I. French Landcape Painting. Duhem.
  Pierre, 1861-1916. Illustrations
  I. Title II. Jaki, Stanley L, 1924-
  759.4
  ISBN 0-7073-0534-9
  Watercolour on dustjacket: 'Falaises de Bidart et Cote des Basques 12 Avril 1903'
  Pierre Duhem was born on 9 June1861 and died 14 September 1916

About this book/synopsis: Physicists are often accomplished musicians but, surprisingly, excellence in physics is rarely matched with creative ability in the visual arts. One might reasonably expect physicists to draw or paint well because the physicist's ability to see a wealth of ramifications in a single formula is akin to the painter's ability to grasp instantaneously the message of a scene. Someone who had immense ability in physics and art and was therefore an exception to the rule was Pierre Duhem whose stature as a theoretical physicist and as a philosopher and historian of science has not ceased to grow ever since his death in 1916 at the age of fifty-five. The vastness of his publications in those fields is matched by well over four hundred landscapes, the principal part of his artistic output. A substantial number of these is presented in this album by Stanley L. Jaki who, in his Uneasy Genius: The Life and Work of Pierre Duhem, has already given a glimpse of Duhem the artist. In this special study, Professor Jaki draws a detailed parallel between Duhem's ideas on physics and his landscapes. He shows, by citing many passages from Duhem's writings, that the mathematically abstract and the visually concrete can convey a similar message if both stem from a consistent commitment to realism. He also puts Duhem the landscapist in the context of a dignified realism that has never been absent in the long history of landscape painting.
Whilst the purpose of this book is to present the universality of Duhem's genius in that hitherto unexplore aspect in which he appears as an artist, it should be emphasised that such a purpose is supremely merited. Duhem's genius as an artist was widely recognised by his contemporaries, for example by Jean-Gabriel Lemoine, the director of the Musée des Beaux Arts, who referred to Duhem as "the master" and frequently mentioned the word "genius" about him. This was high public praise indeed.
Duhem's landscapes reflect strength, balance and dignity although they were inspired by a wide variety of scenes: the rugged coasts of Brittany, the gentle banks of the Meuse, the broad plains around Lille, the prehistoric valleys of the Dordogne and the Brian, the gorges of Tarn and La Jonte, the arid plateaus of the Cevennes, the hills of Provence, the peaks of the Pyrenees and last, but not least, the sombre mountains around Cabrespine, a village north-east of Carcassonne where Duhem spent many of his summer vacations. The section on landscapes is preceded by selections from Duhem's childhood drawings, from his aquarelles of mushrooms and from the the illustrations (in 1883) for 'Au Pays des Gorilles', a politico-cultural satire. Drawing and painting had been among young Pierre Duhem's first ambitions and he had already drawn a scene of soldiers amidst their tents and a series of uniformed soldiers (in colour) when he was six and nine respectively. These drawings show his natural talent for proportion, perspective and clarity of contours.
As a teenager of 12-15 years old, he showed talent in observing shapes, such as molluscs, dolphins, rocks, trees, buds, houses and churches and filled five sketchbooks which show his developing skills in drawing men and animals: both solitary figures and groups. Most of these sketches were drawn in the summer vacations which young Pierre spent in those years in St. Gildas de Rhuys on the Gulf of Morbihan. In his middle teens, he drew his parents, sister, self, and other subjects, moving towards being a competent caricaturist.
From 1877-1878, he spent much time drawing mushrooms of all kinds from the Carnel forest which he had gathered with his younger sister Marie and he did this with amazing accuracy and perception, correctly linking them with their Latin names which he wrote on the pictures and thereby methodically producing more than one hundred aquarelles. He produced a small 167 page notebook called Mycologia in 1877 featuring a beautifuly drawn title page and many colour illustrations. It is all part of the Pierre Duhem blossoming as a scientist and artist and helps the reader understand why Louis Pasteur many years later would have wanted him to become his assistant - the drawing skills Duhem had would have been highly sought after at a time when microscopic photography did not not (yet) exist
Duhem turned to painting landscapes at about the same time as he turned to physics - the year: 1884. He was at the time completing the first draft of his ill-fated doctoral dissertation and was spending part of the summer at his mother's ancestral home in Cabrespine. That summer, he turned his attention to drawing landscapes and produced a half dozen large-size inkwashes of the mountains and valleys. He also drew a smaller pen drawing of the village itself where it is clear he realized that this technique allowed him to render scenes in incredible detail and a village scene provided plenty of such details.
In around 1890, Pierre Duhem started to change from inkwash to pen drawings in India Ink. Album I, begun in July 1890 comprises mostly inkwashes. Album XII contains only pen drawings and pencil sketches not completed in pen. Between 1890 and 1904, Duhem's artistic activity produced about three hundred landscapes, yet, during the next twelve years to 1916, his production level sank drastically. However, the one hundred landscapes he produced are special for three reasons - technical: he completely abandoned inkwash and aquarelle for pen drawing; secondly, the execution and composition are much more robust; thirdly, the landscapes are exceptionally high in quality. Overall strength and a firm grasp of detail are chief characteristics of Duhem's landscapes. They embody emphasis on the real, the tangible, the vast, and the solid together with a firm balance. It leaves the reader speculating endlessly on how such physicists as Einstein, or Bohr would have represented external reality. These questions will remain unanswered of course because no famed physicists were master of the pen and brush. Duhem was unique among them and for this his artistic production should be all the more appreciated

List of Illustrations and Plates
1. Soldiers and their tents, signed "1867 pierre"
2. Generals in uniform, watercolour, 1870
3. Photographs of Pierre Duhem at 7 years of age
4. B. Porpoises sighted from St. Gildas, signed "11 aout 1874 P.Duhem".
5. Two Chinese warriors, 4.8 * 6.1cm, signed "1 Fevr. 1874 P D".
6. Photograph of Pierre Duhem at about twelve in the uniform of College Stanislas
7. Crying boy with broom, 8.5 * 5cm, c 1874
8. B Church of St. Gildas de Rhuys with adjoining buildings, 1874
9. Still life, 15 * 18cm, signed "28 juin 1874 P D"
10. D Sketches taken on stagecoach-ride from St. Gildas to St. Gildas de Rhuys, 17-22 aout 1875
11. D Family outing: Pierre Duhem draws his paretns and sister, 1875
12. D Portrait of Colas, called Pere Ilono, with a résumé of his pursuits, 1875
13. D Oxcarts at the seashore by St. Gildas de Rhuys, 1875
14. D Three local figures in St. Gildas de Rhuys, partly in watercolour, 1875
15. Village feast, 14 * 24 cm, c. 1875
16. D Breton cottage, 1875
17. E Study of head for a group of Breton card players
18. E Group of Breton card players, 1876
19. E Heads of three brothers, identified as M.B., L.B., and J.B., 1876
20. E Breton goatherd, 1876
21. E Verger in cope, 1876
22. Mail delivery, 10.8*12.7cm, c 1876
23. Small child on a chair, 18.5 * 13cm, c 1876
24. Village inn, 10 * 12cm, c 1876
25. Horse riders taunted, 6.5 * 7.5cm, c 1876
26. Photograph of Pierre Duhem in the uniform of College Stanislas, c 1877
27. Man seated in an inn, with his pipe and drink, 20 * 29.5cm, c 1877
28. E Young girl (most likely Marie, Duhem's sister) at the piano with instructor (most likely her mother), c 1877
29. E Duhem's fater and mother, c 1877
30. Paramecium under microscope (700 *), white tempera on black paper, 16.4 * 24.6cm
31. Protozoa under microscope (700 *), white tempera on black paper, 16.4 * 24.6cm
32. "Sycon Raphanus, Calcispongiae", detail, in pen and watercolour, 35*26.2cm, c 1877
33. Title page of handwritten notebook on mushrooms, with illustrations in watercolour, c 1877
34. "Agarius Muscarius, Fausse oronge, oronge insecticide, Carnelle, Septembre 1877", watercolour, 27.3 * 18.4cm
35. "Boletus Scaber, Bolet, ou Cepe Rude", watercolour, 26.2 * 19cm (1877)
36. "Morchella Esculenta, Morille Comestible, St. Martin [du Tertre] Mai 1877", watercolour, 25.4 * 17.2cm
37. "Agaricus Rachodes, St Martin, Septembre [1877]", watercolour, 27 * 18.6cm
38. "Pholiota Radicans, Pholiote a Racines", watercolour (1877?), 25.2*17.2cm
39. "Polyporus, foret de Carnelle", watercolour (1877?), 25.4 * 17cm
40. "Nyctalis Parasitica, F.[oret] de Carnelle, Aout 1878", watercolour, 25.5 * 17.2cm
41. "Chantarellus Cornucopiodes. Chantarelle en Corne d'Abondance", detail (1877?), watercolour, 25.2 * 17.1cm
42. Duhem's father (Pierre-Joseph Duhem), c 1879, 22.3 * 15.2cm
43. Duhem's mother (née Marie-Alexandreine Fabre), on verso of 44, 24 * 17.4cm
44. Signed "Marie Duhem, dessiné par Pierre 1879"
45. Self portrait, signed on verso "Pierre Duhem dessiné par lui meme 1879", 29 * 19.7cm
46. E Men Fishing, c.1880
47. Man fishing, seated in a chair, 16 * 11.3cm, c.1880
48. Self Portrait, 41.8 * 26.8cm, c.1880
49. Photograph of Pierre Duhem in the uniform of College Stanislas, c.1880
50. Photograph of Pierre Duhem from a group photo of students at the Ecole Normale Superieure, c.1884
51-52. The two lives of Jo Récamier, c.1881
53-54. Illustrations to a poem by his friend Jo Récamier, 14 Aout, 1881, signed "P D"
55-62. Postcards of heavy cardboard sent by Duhem to Jo Récamier (55 is verso of 56)
63-66. Scenes of sailor's life from Récamier Album
67. Au Pays des Gorilles, title page, 38.3 * 27.7cm, 1883
68. Au Pays des Gorilles, Table Nr. 6, see 75
69. Au Pays des Gorilles, Table with no Nr. Arrival of President Protopitheck and his committee in Africa, 16*20cm. The size is the same for 70-80
70. Au Pays des Gorilles, Table 10. After months of stay in Paris gorillas Jokko, Jokka and Jokkina recall happier life in Africa to President Protopitheck
71. Au Pays des Gorilles, Table 4. Gorilla Jokko's triumphant entry in Paris
72. Au Pays des Gorilles, Table 5. Gorilla Jokko ascends to the Pantheon
73. Au Pays des Gorilles, Table 15. President Protopitheck grants citizenship to gorilla Jokko and family
74. Au Pays des Gorilles, Table 9. Gorilla Jokko instructs his jurors
75. Au Pays des Gorilles, Table 6. Chief ministries of France administered by gorillas
76. Au Pays des Gorilles, Table 7. Banking in the hands of gorillas
77. Au Pays des Gorilles, Table 14. Student gorillas clamour for human rights in classroom
78. Au Pays des Gorilles, Table 13. Student gorillas after school
79. Au Pays des Gorilles, Table 11. Gorilla Jokkas sets polic station on fire
80. Au Pays des Gorilles, Table 16. Young gorillas storm the barricades
81. "La derniere mauvaise action d'un Caricaturiste", printed by G. Téqui, Paris, 23*31.2cm, c.1884
82. The valley of Cabrespine with its ruined castle, 44*61cm, 1884
83. Approach to Cabrespine, 32*50.2cm, 1884
84. Bridge in the centre of Cabrespine, 33*40.4cm, 1884
85. Same, detail
86. "Entrée du Parc de St. Cloud a Ville d'Avray (1884)", 40.8*30cm on grey mat of 62.8*47.8cm
87. Mountain road outside Cabrespine, 60.8*44cm, 1884
88. Copy in pen of oil painting described on mat at "Etrétat d'apres A. Leloir 1884", 45.5*31.2cm on grey mat of 62.2*47.3cm
89. Copy in pen of oil painting by A. Leloir (?), 43.5*24.8cm, 1884(?)
90. "Entrée de Pors Goulphar, Belle Ille, 26 7bre 1888", 43.9*61cm
91. "Roches de Pern. Ouessant, 26 aout 1887", 44.5*61.3cm
92. "Les Youch'hs. Ouessant, 8 7bre 1888", 44.1*61.3cm
93. "Roc'h Voullard, Ouessant - Creac'h, 2 septembre 1887", watercolour, 44.2*61.3cm
94. I-3 "Heyst, 21 Juillet 1890"
95. I-5 "Heyst, 22 Juillet 1890"
96. I-15 "Heyst, 30 Octobre 1890"
97. I-22 "Rocher Bayard a Dinant, 4 Aout 1891"
98. I-27 "Chateau de Walzin, 25 Aout 1891"
99. II-43 "Chateau de Guildo, 3 Oct. 1894"
100. I-20 "Bruges. 5 Nov. 1890, Masures de l'Hopital St Jean".
101. Signed on verso "Heyst, 30 Aout 1892", 18.6*32.8cm (detail)
102. Signed on verso "Blankenberghe, 7bre 1892", 12.6*17cm
103. Signed on verso "Heyst 28 aout 1892", 15.8*33.4cm
104. Signed on verso "Heyst I 7bre 1892", 19*27.6cm
105. II-2 "Remparts de Lille - Eglise St André. Avril 1893"
106. II-3 "La Tour Noble. Construite en 1402. Brulée le 29 mars 1896. Lille 15 avril 1893".
107. II-21 "Le soir, a l'entrée de la Manche. Argenton. 5 juillet 1894".
108. II-32 "Moulin de St. Briac. 22 aout 1894".
109. II-9 "Le Moch [Morbihan] 5 nov. 1893".
110. II-29 "Pointe de la Garde Guérin. 10 aout 1894"
111. II-47 "Dinan. Rue de Jersual. 13 Octobre 94".
112. II-46 "Dinan. Tour de l'Horloge et Rue de la Poissonnerie, 13 Octobre 1894"
113. II-48 "Rennes. Place de Ste Anne. 4 Nov 1894".
114. II-49 "Rennes. Moulin sur l'Ille. 4 Novembre 1894".
115. III-5 "V. La muraille de Larzac au Pas de l'Escalette 10 Sept [1895] 4 heures".
116. III-14 "XV. Les Roques Altes vues des environs du Maubert 14 7bre 1895 (matin)".
117. IV-2 "Le Larzac, pres du Caylar. 8 Aout 1896"
118. III-8 "VIII. La Couvertoirade. 11 Sept 1895"
119. III-9 "X. Le Larzac entre la Cavalerie et L'Hospital. 12 Septembre 7h du matin".
120. IV-4 "Le Causse Noir entre le Maubert et Peyreleau. 11 aout 1896".
121. III-12 "XIII. Montpelier le Vieux, vu de la Serre des Nouquettes. 13 7bre 1895 matin".
122. III-16 "XVII. Le Causse Noir, pres due Maubert. 14 Septembre 1895 (apres-midi)
123. III-22 "XXI. Gorges du Tarn. Le pas de Souci. 16 Sept. 1895 (apres midi)
124. III-24 "XXV. Gorges du Tarn. Le Detroit. 18 Septembre 1895 (matin)"
125. III-17 "XVIII. Gorges de la Jonte pres du Rozier. Peyreleau. 15 Septembre 1895 (matin)"
126. III-18 "XIX. Roches du Causse Méjan au dessus de la Jonte. 15 Septembre 1896".
127. III-3 "III. Pégairolles de l'Escalette. 10 Septembre 1895 10hr".
128. III-27 "XXVIII. Gorges du Tarn. St Chély du Tarn. 19 Sept. 1895".
129. III-26 "XXVII. Gorges du Tarn. Les Pougnadoires. 19 7bre 1895".
130. III-29 "XXX. Gorges du Tarn. Castelbouc, 20 Septembre 1895".
131. IV-14 "Cabrespine, vue du Chemin de St Martin. 23 Aout 1895".
132. IV-20 "Vieux chemin de Cabrespine a Pradelles 5 7bre 1895".
133. V-5 "Capluc et l'Entrée de Gorges du Tarn 11 Aout 1896".
134. V-10 "Le Ruisseau de Trévésel (Aigoual). 16 Aout 1896"
135. V-I "Le Saut de l'Escalette. 8 Aout 1896"
136. V-6 "Roche du Causse Noir au dessus de la Jonte. 11 Aout 1896"
137. V-17 "Un ravin a Moureze. 23 Aout 1896"
138. V-II "Le lit de la Vis, entre Vissec et la Foux. 18 Aout 1896"
139. IV-35 "Le Pouzadou, a Cabrespine. 28 Septembre 1896"
140. IV-28 "Les Eyzies. La Laugerie haute. 16 Juillet 1896"
141. IV-25 "Une rue des Eyzies. 12 Juillet 96"
142. IV-24 "Vallée de la Vézere, pres des Eyzies"
143. IV-30 "Ponts naturels de la Cess a Minerve. Sortie du petit pont; vue prise sous le grand pont. 15 Septembre 1896"
144. IV-29 "Gorges du Brian, pres de Minerve. 15 Septembre 1896".
145. IV-32 "Minerve. 16 Septembre 1896"
146. IV-22 "Rue des Tanneries a Montignac, 10 Juillet 1896"
147. IV-38 "St Emilion. Arceau de la Cadene. 12 Avril 1897"
148. IV-26 "Chateau de Beynac. 13 Juillet 1896"
149. IV-6 "Brantome - Le Marché. 15 Juillet 1895".
150. V-12 "Vallée de la Bueges - Vieux Brissac et Brissac le Bas. 20 Aout 1896"
151. V-13 "St. Jean de Bueges. 21 aout 1896"
152. VI-1 "Rocamadour. 9 Juillet 1897"
153. VI-5 "Rocamadour et l'Hospitalet, vus de la Cote de Mazieres. 13 Juillet 1897"
154. VI-2 "Une porte de Rocamadour. 9 Juillet 1897"
155. VI-6 "Maison a Rocamadour. 12 Juillet 1897"
156. VI-6 "Place de Bretenoux. 15 Juillet 1898"
157. VI-12 "La Passe d'Arcachon vue de la Pointe du Sud. 14 Avril 1898"
158. VI-29 "L'Alouette (Pessac). 16 mars 1899"
159. VI-26 "La Roquebrou. 16 Juillet 1898"
160. VI-34 "Valcarlos. 9 Juillet 1899"
161. IX-17 "Le Grand Vignemale vu de la Descente de la Hourquette vers le lac de Gaube. 10 Juillet 1901"
162. VII-9 "Bois de Paiolive. Ravin de la Glaizasse. 9 Septembre 1897"
163. VII-11 "Gorges de l'Ardeche. Le pont d'Arc. 10 Septembre 1897"
164. VII-42 "Fontarabie, vue de falaises du Figuier", n.d. (c avril 1901)
165. VII-34 "Sare. Place du jeu de pelote. 15 Juillet 1900"
166. VIII-8 "Aigues-Mortes. Tour Constance et canal de la Gde Roubine. 21 Septembre 1899"
167. VII-39 "La Haya. Vue prise du corps de garde de Guéthary. 7 Avril 1901" (central part)
168. VIII-10 "Saint-Gilles. 22 Septembre 1899".
169. VIII-13 "Les Saintes Marie de la Mer 24 Septembre 1899"
170. ? "st Rémy de Provence. Le Mausolée. 21 Septembre 1905" (possibly part of a page cut out from Album X)
171. VIII-11 "Arles. Les Alyscamps. 22 Septembre 1899"
172. VIII-15 "En Camargue. 24 Septembre 1899"
173. IX-20 "pres de Guéthary. 12 Avril 1903"
174. VIII-4 "Montée de Valgorge au Tamargue. 20 Septembre 1898"
175. VIII-16 "Maguelonne. 20 Septembre, 1899"
176. VIII-19 "Guéthary. 26 Avril 1905"
177. VIII-17 "Ruines des Baux. 25 Septembre 1899"
178. VIII-18 "Les Baux. 25 Septembre 1899"
179. IX-5 "Gorges de la Vis. Madieres, vu du port. 10 Septembre 1900"
180. IX-4 "St Guilhem-le-Désert. L'Eglise, l'Abbaye et le Chateau du Verdus. 6 Septembre 1900"
181. IX-7 "La Foux (Source de la Vis). 11 Septembre 1900"
182. VI-35 "Fontarabie. 14 Juillet 1899"
183. IX-11 "Luz. Eglise de Templiers. 5 Juillet 1901"
184. IX-32 "Pena de Diazas (Vallée d'Arazas), vue de la Gorge du Rio Ara. 6 Juillet 1902"
185. IX-13 "Gavarnie. 7 Juillet 1901"
186. X-1 "Les vieux hetres du Battut, a Pradelles Cabardes. 20 Aout 1904"
187. X-2 "Chateigners a Cabrespine. Aout 1904"
188. X-22 "Eyguieres. 28 Aout 1906"
189. X-12 "Gorges de la Jonte, vues du Capluc. 28 Aout 1905"
190. X-9 "Le Gardon au Pont du Gard. 13 Septembre 1904"
191. X-13 "Gorges de la Jonte (a droite, le village du Truel) 26 Aout 1905
192. X-18 "Vaucluse. Le Chateau de Petrarque. 22 Aout 1906".
193. X-14 "Falaises du Causse Méjan au dessus de la Jonte 31 Aout 1905".
194. X-44 "Mas de Marin. Maison du Baile. 24 Oct. 1911".
195. X-3 "Graveson. Le Grand portail. 8 Septembre 1904".
196. X-24 "Chateau des Baux. 29 Aout 1906".
197. X-23 "Chateau des Baux. 29 Aout 1906".
198. X-19 "Eygalieres. 27 Aout 1906".
199. X-26 "Peyreleau. 8 Septembre 1906".
200. X-31 "Falaises du Causse Méjan. 28 Septembre 1906
201. X-28 "Gorges de la Jonte. Les Terrasses. 22 Sept. 1906".
202. X-33 "Barbentane. 24 Avril 1907".
203. Photograph of Pierre Duhem among his wife's relatives, c 1902.
204. X-37 "Montmajour. 4 Septembre 1907".
205. VII-24 "Route de Rozier aux Vignes. 2 Septembre 1908".
206. VIII-23 "Montpellier le Vieux. 17 Septembre 1907".
207. X-39 "Montpellier le Vieux. 23 Septembre 1907".
208. X-38 "Bords du Tarn, en amont de Rozier. 19 Sept. 1907".
209. X-42 "Confluent du Tarn et de la Jonte vu du nouveau pont de la Muse. 11 Sept. 1908".
210. X-43 "Le Tarn en aval Du Rozier (au fond le Rocher de Capluc et le Causse Noir). 18 Septembre 1908".
211. XI-2 "Vallée de Cabrespine, vue du chemin de Serremijan. 14 Septembre 1910".
212. XI-3 "Vallée de Cabrespine. 26 Septembre 1910".
213. XI-22 "Lastour. Le Chateau de Quertinheux. 8 Septembre 1915".
214. XI-7b "Cabrespine. Le vieux chateau. 28 Septembre 1911".
215. XI-7 "Cabrespine. Metairie de Rigas. 19 Sept. 1911" (central part)
216. XI-9 "Cabrespine. Le Moulin de Laval. 27 Septembre 1912".
217. XI-10 "Cabrespine. Dans la Grave. 4 Octobre 1912".
218. XI-4. "Le Calmous en amont de Laval. 26 Aout 1911".
219. XI-5 "Cabrespine. 18 Aout 1911".
220. XI-13 "Le Roc del Lioun. 23 Septembre 1913".
221. XI-17 "Montagne de Nore. 11 Octobre 1913".
222. XI-19 "Cabrespine, vu des chataigneraies du Bouillous. 13 Aout 1914".
223. XI-21 "La Vallée de Serremijane. 8 Octobre 1914".
224. XI-20 "Cabrespine. Le Roc de l'Aigle et les ruines du Chateau, vus de chataigneraies du Bouillous. 29 Aout 1914".
225. XI-18 "Le Roc Pesoul. Cabrespine. 18 Octobre 1913".
226. XII-5 "Vallée de Cabrespine, vue de St Martin. 24 Septembre 1915".
227. XII-3 "Route de Villeneuve a Cabrespine. Le Malepas. 25 Aout 1915".
228. XI-14 "Cabrespine. Le chemin de St Martin. 22 Septembre 1913".
229. XI-7 (not specified).
230. XI-1 "La Croix d'Estresse, a Cabrespine (au revers, Chris en croix). 4 Septembre 1912".
231. XII-6 "La Croix de la Condomine. 21 Aout 1916"
232. XII-8 "29 Aout 1916" (most likely the Roc de Lioun, drawn on 220, from a different angle).
233. XII-9 "2 Sept. 1916" (not specified)
234. Photograph of Pierre Duhem, c1913, with the wall of the old Université behind him.
235. Photograph of Pierre, c1915, taken in the sitting room of l'Oustal des Alegres, his mother's ancestral home in Cabrespine

Plates (Watercolours)
1. IX-23 "Le Mont Perdu et le couloir de Tuqerouy vus des paturages de Coumélie. 9 Juillet 1902" (Frontispiece).
2. IX-5 "Gorges de la Vis. Madieres, vu du port. 10 Septembre 1900".
3. Unmarked [Clytocibe flaccida] (c1878) 26.5*35cm
4. Unmarked [Boletus edulis - Amanita caesarea] (c1878), composite of two sheets 27.3*32cm and 22.8*29cm
5. (a) "Amanita rubescens. Route des Fourmillons, Aout 1878", 27*18.5cm (b) "Coprinus atramentarius" (c1878), 27*18.5cm
6. (a) "Boletus Chrysenteron, Bolet Tete d'Or. Suspect" (c1878), 29.5*22.8cm (b) Unmarked [Lactarius lilacinus - Gomphidius maculatus] (c1878), 23*29.3cm
7. IX-19 "Le Casque du Marboré vu du Col de Tantes. 8 Juillet 1902".
8. XI-13 "Montagnes de Salarus vues de la Casa de Ordesa (Vallée d'Arazas) 7 Juillet 1902".
9. IX-38 "Fontarabie vue d'Hendaye. 14 Avril 1903".
10. IX-42 "La Rhune et la Nivelle - vue prise de la route de St. Jean de Luz a Ascain. 6 Avril 1904"

• Piero della Francesca [top]
  Written by Marilyn Aronberg Lavin
  Published in 2002 in Great Britain by Phaidon Press Ltd, in paperback, 352pp, ISBN 0714838527
  Published as part of Phaidon's Art&Ideas series, which seeks to provide comprehensive introductions to world art, which are recommended for students and anyone curious about art. The volumes are written by internationally respected scholars with up-to-date and informative facts, figures, opinions and reviews that provide an enjoyable and jargon-free way to read about art. The books explore the ideas behind visual forms and put art into its historical context to provide better understanding of the environment that gave birth to them

About this book: Few artists of the fifteenth century are as revered today as Piero della Francesca (c.1413-92). The 'favourite artist' of many painters and sculptors of our own time, he is admired especially for the balance of his compositions, the geometric perfection of his forms and the emotional coolness of his style. The secret of these qualities lies in part in Piero's achievements as a mathematician - one of the greatest of his age who wrote three treatises on the subject. Even so, most of his paintings were commissioned to serve a religious function and were appreciated by his contemporaries for their spiritual value. In this comprehensive survey, which benefits from superlative new photography of recently cleaned frescos, Marilyn Aronberg Lavin offers detailed analyses of all of Piero's surviving works. Situating his images within the context of early Renaissance art, religion and politics, she skilfully links past and present to offer an understanding of the artist's timeless appeal. Marilyn Aronberg Lavin, an outstanding authority on Early Italian Renaissance Painting, has taught at Princeton and Yale

Contents:
Introduction
1. Pietro da Borgo: The Painter and his City
2. Places, Patrons and Portraits: Piero's Commissions around 1450
3. Surface and Distance: Piero's Treatment of Pictorial Space
4. Fresco as Epic: The Cycle of the True Cross in Arezzo
5. Ideal Women: Mary Magdalene and the Madonna
6. Numbers and Shapes: Piero the Mathematician
7. Court of Law and Royal Court: Later works for Sansepolcro and Urbino
8. In the End a Mystery: Piero's Last Paintings
Epilogue & Glossary
Brief Biographies; Key Dates; Map; Futher Reading; Index; Acknowledgements

Pictures included in the book:
Chapter 1: Pietro da Borgo: The Painter and his City
Frontispiece: Resurrection of Christ, 1463-5, fresco
p6. Sheba Venerates the Wood, full page
p9. Black and white drawing of the portrait of Piero della Francesca. Woodcut
p12. Madonna della Misericordia, central panel of the Misericordia Altarpiece
p15. Giovanni di Leoni - The Confraternity of the Crucifix. Ministering to the Dying Man, after 1523. Oil on panel
p18. Sassetta, St. Francis Altarpiece, photographic reconstruction, 1438-44. Tempera on panel
p19. Page of an account book, dated 12 September 1439, State Archives, Florence. There is an entry referring to Pietro at the top of the page
p20. View of Florence printed from a woodcut, attributed to Francesco Rosselli
p21. Dome of Florence Cathedral 1418-36, by Filippo Brunelleschi
p22. Marble tomb of Lionardo Bruni c.1446-8, Santa Croce, Florence, by Bernardo Rossellino
p24. Drawing in pen and brown ink on paper of Emperor John VIII Palaeologus on Horseback and Three Byzantine Figures, 1438-9 by Pisanello
p25. Bronze medal depicting Emperor John VIII, Palaeologus, 1438-9 by Pisanello
p26. Marble carving of St. George and the Dragon, c.1415-17, by Donatello
p27. Fresco at Brancacci Chapel, Santa Maria del Carmine, Florence, of The Tribute Money, c.1427 by Masaccio
p28. Fresco of The Trinity c.1425-7 by Masaccio. Fresco at Santa Maria Novella, Florence
p29. Fresco of Sir John Hawkwood, 1436, by Paolo Uccello. Fresco transferred to canvas. At Florence Cathedral
p31. Tempera on panel of Madonna and Child (the Tarquinia Madonna), 1437 by Fra Filippo Lippi
p32. Tempera on panel of Madonna dn Child with Saints (the St. Lucy Altarpiece), c.1445-7
p33. Tempera on panel of Young St. John in the Desert, predella panel from the St. Lucy Altarpiece, c.1445-7 by Domenico Veneziano
p34. Singers, a marble relief from a cantoria (singing-gallery) by Luca della Robbia
p35. Fresco of the Last Supper, 1447-8 by Andrea del Castagno at the Refectory, Sant'Apollonia, Florence. Includes a panel of detail from the fresco
p36. Tempera on panel of Annunciation, c.1432 by Fra Angelico
p38. Misericordia Altarpiece, 1445-62, tempera on panel (reconstructed), Pinacoteca Comunale Sansepolcro
p40. Misericordia Altarpiece of St. Sebastian and St. John the Baptist. This is the left wing of the altarpiece
p42. Crucifixion from the Misericordia Altarpiece
p43. Crucifixion from the Pisa Altarpiece, 1426, tempera on panel, by Masaccio
p44. St John the Evangelist and St. Bernardino of Siena from the right wing of the Misericordia Altarpiece
p46. Fresco of Madonna della Misericordia, c.1428. Fresco Santa Maria delle Grazie, Arezzo by Pari Spinelli

Part 2. Places, Patrons and Portraits: Piero's Commissions around 1450
p48. Detail of a fresco from Chapel of the Relics, Tempio, Malatestiano, Rimini of Sigismondo Pandolfo Malatesta before St. Sigismund, 1451
p49. Oil on panel of Battle Scene, c.1540 by the Ferrarese School
p52. St. Jerome in Penitence, 1450, tempera on panel
p53. Girolamo Amadi before St. Jerome, c.1450. Tempera on panel
p56. Last Supper, c.1317 - a fresco at the Refectory, Pomposa Abbey, by Giuliano da Rimini
p58. View of the facade of Tempio Malatestiano, Rimini, c.1454-60
p59. Bronze foundation medal of the Tempio Malatestiano (reverse side), after 1450
p60. View of the nave of the Tempio Malatestiano, showing the Chapel of the Angels and the door to the Chapel of the Relics
p61. Left. Outline plan of the chapels in the Southwest nave of the Tempio Malatestiano
p61. Right. Wall with grille dividing the Chapel of the Relics from the Chapel of St. Sigismund
p62. Fresco from Chapel of the Relics, Tempio, Malatestiano, Rimini of Sigismondo Pandolfo Malatesta before St. Sigismund, 1451
p63. Diagram of Piero's fresco of the Relics, Tempio Malatestiano (after M. A. Lavin, J. Guthrie and P. M. Schmitt)
p64. Fresco of Bishop Teobaldo Pontano before St. Mary Magdalene, c1320, attributed to Giotto. At the Lower Church, San Francesco, Assisi
p65. Scene from the bronze doors of St. Peter's, the Vatican, 1449 showing Pope Eugenius IV (far right) crowning Sigismund of Hungary as Holy Roman Emperor
p66. St. Sigismund. Detail of a fresco from Chapel of the Relics, Tempio, Malatestiano, Rimini of Sigismondo Pandolfo Malatesta before St. Sigismund, 1451
p67. Tempera on vellum of Emperor Sigismund of Hungary, c.1433 attributed to the Hungarian School
p68. Photo of the Chapel of St. Sigismund, Tempio Malatestiano, Rimini
p69. Left. Castellum Sismundum - detail of a fresco from Chapel of the Relics, Tempio, Malatestiano, Rimini of Sigismondo Pandolfo Malatesta before St. Sigismund, 1451
p69. Right. Bronze medal showing the Castellum Sismundum, c.1450 by Matteo de' Pasti
p70. Mosaic at San Vitale, Ravenna showing Christ with St. Vitalis, Bishop Ecclesius (far right, holding a model of the church) and angels, c.530
p73. A page from folio 97v showing Jean, Duc de Berry, before the Virgin and Child, the 'Petites Heures', c.1384-90 by Jacquemart de Hesdin
p74. A marble relief of Putti riding Dolphins, 1449-56 by Agostino di Ducchio from Tempio Malatestiano Rimini
p74. Transcription of Greek inscription on exterior of Tempio Malatestiano (after M. A. Lavin and S. Walsh)
p76. Sigismondo Pandolfo, 1450-1, tempera on panel

3. Surface and Distance: Piero's Treatment of Pictorial Space
p80. Full page detail from the Baptism of Christ, c.1455, tempera on panel
p83. Baptism of Christ, c.1455, tempera on panel
p84. Altarpiece showing the Baptism of Christ (photographic reconstruction) from Pinacoteca Comunale Sansepolcro. The wings and predella are by Matteo di Giovanni
p86. Stone relief of the Baptism of Christ, 1221 by Marchionne. Pieve di Santa Maria, Arezzo
p88. Page from Epiphany folio 60v, showing the Missal of Odarichus from the first half of the 12th Century
p89. Detail of Three Angels, full page of colour illustration from the Baptism of Christ, c.1455, tempera on panel
p92. Left. Baptism of Christ with geometric overlay of an equilateral triangle (after B. A. R. Carter)
p92. Right. Baptism of Christ with geometric overlay of a pentagon and circle (after B. A. R. Carter). Point A. on the diagram shows a chord created by the 15-sided polygon
p93. Diagram showing the construction of a 15-sided equilateral, equiangular polygon, from Euclid's Elements
p95. Tempera on wood panel of the Flagellation of Christ, 1458-60
p98. Close up, full colour page of detail from the tempera on wood panel of the Flagellation of Christ, 1458-60
p99. Flagellation of Christ, c.1320-5 - a fresco at Lower Church, San Francesco, Assisi by Pietro Lorenzetti
p100. Flagellation of Christ, c.1346-8 by Niccolo di Segna, shown on a predella panel from the Resurrection Altarpiece, tempera on panel. Sansepolcro Cathedral
p101. Left. Plan and elevation of the Flagellation of Christ, showing a reconstruction of the floor patterns (after R. Wittkower and B. A. R. Carter)
p101. Right. Plan of the Flagellation of Christ, showing the depth of the piazza (after M. A. Lavin and T. Czarnowski)
p103. Diagram of the praetorium in the Flagellation of Christ, showing intersecting planes of shadow that locate the position of the secondary light source (after M. A. Lavin and T. Czarnowski)
p104. Axonometric view of the praetorium in the Flagellation of Christ, showing the position of the secondary light source (after M. A. Lavin and T. Czarnowski)
p106. Detail of the blond youth from the Tempera on wood panel of the Flagellation of Christ, 1458-60 (p.95)
p107. Top. Marble roundel of Ottaviano Ubaldini, 1474 from the Facade of San Francesco Mercatello by anonymous
p107. Bottom. Oil on panel, formerly Berlin-Dahlem (destroyed). Ottaviano as Ptolemy Accepting and Armillary Sphere from the Personification of Astrology c.1475
p108. Scene from the bronze doors of St. Peter's, the Vatican showing the arrival of Emperor John VIII Palaeologus in Italy by Filarete
p110. Full colour page of detail of a foreground figure from the Tempera on wood panel of the Flagellation of Christ, 1458-60 (p.95)
p111. Bronze bust of Ludovico II Gonzaga, Marquis of Mantua, c.1450, attributed to Donatello

4. Fresco as Epic: The Cycle of the True Cross in Arezzo
p114. View of the Apse (the Cappella Maggiore) in San Francesco, Arezzo showing Piero's Legend of the True Cross fresco cycle, c.1452-66 (before restoration)
p118. Upper Church, San Francesco, Assisi
p120. Santa Croce, Florence. View of the apse, showing the Legend of the True Cross fresco cycle by Agnolo Gaddi, 1388-93
p121. 'Death of Adam' from the Legend of the True Cross fresco cycle 1410 by Cenni di Francesco di ser Cenni. Fresco Cappella della Notte, San Francesco Volterra
p123. Fresco at the Upper Church, San Francesco, Assisi of St Francis exorcizing the devils from Arezzo, c.1290-1300 attributed to Giotto
p125. Diagram showing the disposition of scenes in Piero's Legend of the True Cross fresco cycle: a) Adam's Soliloquy on Death; b) Seth at the Gates of Paradise; c) Seth Plants the Sacred Wood; d) Sheba venerates the wood; e) Meeting of Solomon and Sheba; f) Burial of the Wood; g) Annunciation; h) Vision of Constantine; i) Victory of Constantine; j) Raising of Judas; k) Finding of the Cross; l) Proofing of the Cross; m) Battle of Heraclius; n) Judgement and Execution of Khosrow; o) Exaltation of the Cross
p127. Marble relief from the Arch of Titus, Rome
p128-9. Fresco telling the Story of Adam from the Apse, San Francesco, Arezzo. p129 - shows detail from the fresco on p128
p131. Fresco of the Beheading of St. John the Baptist, 1452-66 by Fra Filippo Lippi. Pieve di Santo Stefano, Prato
p132. Fresco of the Prophet Jeremiah from the Apse, San Francesco, Arezzo
p133. Two children of Adam, detail from the Story of Adam on p128
p136-137 - two full colour pages of the fresco 'Sheba Venerates the Wood: Meeting of Solomon and Sheba' from the apse at San Francesco, Arezzo
p138. Solomon and Sheba - detail from the fresco shown on p136-137
p140. Fresco of 'Burial of the Wood' from the apse, San Francesco, Arezzo
p143. Annunciation fresco from the apse, San Francesco, Arezzo
p144. Full colour page of detail of the Virgin Mary from the Annunciation fresco from the apse, San Francesco, Arezzo
p146. Fresco of 'Vision of Constantine' from the apse of San Francesco, Arezzo
p147. The triumphal cross, c.1235, painted wood from the Wechselburg Schlosskirche
p148-149. Two page, full colour fresco of the 'Victory of Constantine' from the apse, San Francesco, Arezzo
p149, bottom, watercolour of a copy after Piero's Victory of Constantine, c.1820 by Johann Anton Ramboux
p151. Fresco of St. Benedict receiving Totila, c.1387-8. Sacristy, San Miniato, Florence
p154. Fresco of Raising of Judas from the Apse, San Francesco, Arezzo
p155, top. Print from a woodcut showing The Story of Andreuccio, from Boccaccio's Decameron, Book 2, 1492
p155, bottom. Wooden panel from the doors of Santa Sabina, Rome showing the Habakkuk carried by an angel, c.432
p157. Detail from the Proofing of the Cross on p158-9, showing Helena's entourage
p158-9. Double-page full colour. Finding of the Cross fresco from the Apse of San Francesco, Arezzo. Left: Finding of the Cross. Right: Proofing of the Cross
p162-3. Double-page full colour of the fresco showing the Battle of Heraclius; Judgement and Execution of Khosrow (far right), from the Apse of San Francesco, Arezzo
164. Fresco from the Apse of Santa Croce, Florence showing the blasphemy of Khosrow and the Dream and Battle of Heraclius, 1388-93
p166-7. Detail from the Battle of Heraclius on p162-3 focusing on the knight in armour with the sword held menacingly out in front
p168. Pen and ink drawing of Byzantine Rider, MS 35, folio 144v, c.1440 attributed to Cyriacus of Ancona
p169. Marble relief showing battle scene. c.110AD. incorporated into the Arch of Constantine, Rome
p170. Full colour page of detail from the Battle of Heraclius on p162.3 focusing on the rider with the blue helmet on the white horse, rearing up over the crouching figure of a man with a cut to his neck
p171. Detail from the Battle of Heraclius on p162.3 focusing on the judgment and execution of Khosrow
p173. Fresco from the Apse of San Francesco, Arezzo, showing Exaltation of the Cross
p174. Full colour page of detail (specifically Jesus carrying the cross) from the Exaltation of the Cross fresco on p173
p175. Fresco from the Apse of Santa Croce, Florence showing Exaltation of the Cross 1388-93 by Agnolo Gaddi
p177. Diagram showing the narrative sequence of the Legend of the True Cross
p178. Diagram showing the 'Boustrophedori' arrangement of narrative
p179. Diagram showing the 'Cat's Cradle' arrangement of narrative
p180. Diagram showing the 'Up-Down Down-Up' arrangement of narrative
p181. Fresco of St. Luke, c.1459 from D'Estouteville Chapel, Santa Maria Maggiore, Rome
p182. Fresco of St. Louis of Toulouse, 1460 from Pinacoteca Comunale, Sansepolcro
p184. St. Louis of Toulouse Crowning Robert of Anjou, 1317, tempera on panel by Simone Martini

5. Ideal Women: Mary Magdalene and the Madonna
Fresco of St. Mary Magdalene from Arezzo Cathedral, c.1460
p188. Black and white photograph of Arezzo Cathedral showing the St. Mary Magdalene in situ
p189. Oil on panel painting 'Portrait of a Woman as the Magdalene', 1500-10 by Piero di Cosimo
p192-93. Fresco of Madonna del Parto, c.1460, presently in the school building, Monterchi. p193 shows in detail the face and head attire of the Madonna
p194. Madonna del Parto, c.1420 by Rossello di Jacopo Franchi, tempera on panel
p195. Faded and worn fresco of Mary with Saints Pudenziana and Prassede, 9th Century in the Crypt of Santa Prassede Rome
p196. Manuscript illumination of Christ's wound and Instruments of the Passion, c.1320
p197. Colour photo of the bronze and marble Virgin and Child Enthroned with Angels, c.1310-30. Height of main figure, 2m. Can be seen at the Museo dell'Opera dell Duomo, Orvieto
p198. Colour photo of a freestanding altar with mural alterpiece, c.1280, Santa Balbina, Rome
p202. St. Anthony Altarpiece, completed by 1468. Tempera and oil on panel
p204. Mosaic of the Annunciation, c. 1143-51, to be found at the entrance to the apse, Martorano, Palermo
p205. Annunciation, predella panel from the St. Lucy Altarpiece (the altar can also be seen also on page 32), c.1445-7. Tempera on panel
p206. Christ and Ecclesia, folio 69v, from the Frowin Bible, 1143-78
p207. Black and white graphic reconstruction by the Museo Poldi Pezzoli (Milan) of the Sant'Agostino Altarpiece
p209. Oil on panel of Virgin and Child with Saints Peter, John the Baptist, Cosmas and Damian, c.1450 by Rogier van der Weyden
p211. Left. St. Augustine, 1454-69, oil and tempera on panel
p211. Right. St. Michael, 1454-69, oil and tempera on panel
p212. Left. St. John the Evangelist, 1454-69, oil and tempera on panel
p212. Right. St. Nicholas of Tolentino, 1454-69, oil and tempera on panel
p214. Fresco of the Crucifixion with St. Nicholas of Tolentino (far right), c.1340-8. Chapter House, San Nicola da Tolentino, Tolentino. By the Riminese School

6. Numbers and Shapes: Piero the Mathematician
p216. Studies (schematic diagrams) of cranial proportions from De prospectiva pingendi, Book 3, Proposition 8, folio 61r, c.1470-80
p220. Drawing of an octagon in perspective from De prospectiva pingendi, Book 1, Proposition 29, folio 16r, c.1470-80
p221. Drawing of a house in perspective from De prospectiva pingendi, Book 2, Proposition 9, folio 25v, c.1470-80
p222. Drawing of a column capital in perspective from De prospectiva pingendi, Book 3, Proposition 7, folio 57r, c.1470-80
p223. Colour illustration of a column capital from the Meeting of Solomon and Sheba (detail from Sheba Venerates the Wood on p137)
p224. Perspective projection of a tilted head from De prospectiva pingendi, Book 3, Proposition 8, folio 76v, c1470-80
p225. Detail of a head of a soldier from the Resurrection of Christ (on p234)
p227. Perspective study of a vaulted chapel from De prospectiva pingendi, Book 2, Proposition 11, folio 30r, c.1470-80
p228. Diagram of an icosahedron from the Trattato d'abaco, folio 113v. Early 1450s
p229. Diagram of a pentagon inscribed within a circle from the Libellus de quinque corporibus regularibus, folio 17r. c.1482-92
p231. Oil on panel of the Portrait of Fra Luca Pacioli, 1495 by Jacopo de' Barbari

7. Court of Law and Royal Court: Later works for Sansepolcro and Urbino
p234. Fresco: Resurrection of Christ, 1463-5. Pincoteca Comunale, Sansepolcro
p236-7. Fresco: Allegory of Good Government: The Effects of Good Government in the City, c.1338-9. Sala della Pace, Palazzo Pubblico, Siena
p238. Resurrection of Christ, predella panel from the San Zeno Altarpiece (on page 272), 1456-9. Tempera on panel
p239. Oil on panel: Resurrection of Christ, 1475-9, by Giovanni Bellini
p242. Left. The Pantocrator, mosaic, 1180s, Apse, Monreale Cathedral
p242. Right. Detail of a painted wooden crucifix, 9th Century, Sansepolcro Cathedral
p243. The Resurrected Christ Appearing to Mary Magdalene, c.1303-6. Fresco. Scrovegni Chapel, Padua
p245. The modern seal of the town of Sansepolcro
p246. St. Julian, c.1463. Fresco. Pinacoteca Comunale Sansepolcro
p247. Photograph of the still extant house of Piero della Francesco on via Aggiunti, Sansepolcro
p249. Fresco of Hercules, 1460-6
p250-1. Altarpiece of the Miracle of the Profaned Host, predella of the Corpus Domini Altarpiece, 1465-8. Tempera on panel
p252. Communion of the Apostles, main panel of the Corpus Domini altarpiece, 1474, oil on panel by Joos van Ghent
p253. Fresco of Fra Angelico, Communion of the Apostles, c.1440-5
p254. Left. Photograph of the Grand Courtyard of Palazzo Ducale Urbino, c.1468-72, by Luciano Laurana
p254. Right. Same location, view of a loggia on the central facade
p256. Battista Sforza, c.1472-4 - tempera and oil on panel
p257. Federico da Montefeltro, c.1472-4, tempera and oil on panel
p259. Willem Moreel and Barbara van Vlaenderbergh, c.1470 by Hans Memling. Oil on panel
p261. Marbel bust of Battista Sforza, c.1470-5 by Francesco Laurana
p262. The Triumph of Federico da Montefeltro, reverse of the panel on p.257
p263. The Triumph of Battista Sforza, reverse of panel on p256
p265. The Triumph of Chastity, from Petrarch's Trionfi, folio 78v. 1442
p267. Full colour page of the oil on panel of Montefeltro Altarpiece, c.1472-4
p268. Madonna in a Church, c.1425, oil on panel by Jan van Eyck
p270. Hypothetical plan of the Montefeltro Altarpiece
p272. Virgin and Child with Saints - from the San Zeno altarpiece, 1456-9, by Andrea Mantegna. San Zeno, Verona
p274. Detail of the baby Jesus from the Montefeltro altarpiece on p267, focusing on the coral amulet
p275. Diagram of the pulmonary tree
p278. Bonifacio Lupi and his wife presented to the Virgin and Child, 1372-9 by Altichiero da Zevio. Fresco. Cappella di San Giacomo, Basilica del Santo, Padua
p279. Crucifixion, central panel on the Sforza altarpiece, 1458, oil on panel, from the workshop of Rogier van der Weyden
p283. Plan for the interior of San Benardino, after 1545. Pen, ink and wash. Attributed to Girolamo Genga

8. In the End a Mystery: Piero's Last Paintings
p286. Detail of the Virgin Mary from the Nativity (oil on panel) on page 299
p289. Oil on panel of the Madonna and Child with Two Angels (the Senigallia Madonna), 1478-80
p290. Photograph of La Rocca Senigallia
p291. Fragment of a marble showing the Sermon on the Mount, c.300-310AD
p292. Detail of an angel (head and shoulders) from the Senigallia Madonna (p289)
p294. Birth of St. John the Baptist, folio 93v, the Turin Hours, c.1422 by Jan van Eyck
p296. Annunciation, late 1430s, tempera on panel, by Fra Filippo Lippi
p297. Print from a woodcut c.1500, Translation of the Holy House to Loreto
p299. The Nativity after 1483, oil on panel
p301. The Nativity, folio 4v, the Turin Hours, c.1395. Attributed to the Parement and Baptist masters
p302. Top. The Nativity, Central panel of the Bladelin Altarpiece, c.1441, oil on panel by Rogier van der Weyden
p302. Bottom. Fresco of The Nativity, 1460-2, by Alesso Baldovinetti
p304. The Nativity, central panel of the Portinari Altarpiece, before 1483, oil on panel, by Hugo van der Goes
p305. Adoration of the Shepherds (the Sassetti Altarpiece), 1485, tempera on panel by Domenico Ghirlandaio
p306. Full colour page of the Choir of Angels, from the Nativity on p299
p307. Fragment of a marble sarcophagus of the Nativity, early 4th Century AD
p308. Fresco of the Nativity, 1375, by Biagio di Goro Ghezzi
p309. Marble status of Augustus of Prima Porta, c.19BC
p310. Silver denarius of Augustus, reverse showing the portrait of the emperor, 31-29BC, diameter 2cm
p311. Fresco of Augustus and the Tiburtine Sibyl, 1485 by Domenico Ghirlandaio
p311. Bronze statue of a seated figure pulling a thorn from his foot, i.e. Spinario ('Thorn-puller')
p312. Detail of the Magpie from the Nativity on p299

Epilogue
p314. Salvador Dali's Madonna of Port Lligat, 1949, oil on canvas
p316. Virgin and Child with Saints Filippo Benizzi and Florido, 1456 by Giovanni da Piamonte. Tempera on panel
p317. Flagellation of Christ, c.1480 by Luca Signorelli, tempera on panel
p318-319. Ideal City painted by a follower of Piero della Francesca in the last quarter of the fifteenth century, oil on panel
p320. Madonna and Child with Four Angels (the Williamstown Madonna), c.1495. Oil transferred to canvas laid on panel. Painted by a follower of Piero della Francesca
p321. Baptism of Christ by Cima da Conegliamo, 1492-4
p322. View of Gardanne, c.1886, oil on canvas, by Paul Cézanne
p323. Bathers at Asnieres by Georges Seurat, 1883-4, oil on canvas
p324. The Painter and his Muse by Alan Feltus, 2000, oil on linen
p326. Curved plane, Figure III, 1994, Acrylic and pencil on canvas, by Robert Mangold

• Radar: Texte Zur Gegenwartskunst; Texts on Contemporary Art [top]
  First published in 2007 in Germany by Arnoldsche Publishers Stuttgart, in hardback on acid-free paper, no dustjacket, 128pp, ISBN 978-3-89790-278-7
  Written by Peter Stohler; edited by Monika Sturzl, Sylvia Ruttimann and Daniel Walser
  Translation into English by Joan Clough

Chapters:
[Chapter titles in German]
RADAR: Positionen der Gegenwartskunst sichtbar machen by Winfried Sturzl/Monika Hardmeier
KURATORISCHE PRAXIS:
"Ist das Sofa Kunst"? - Kuratiere Ausstellungen in bewohnten Raumen - ein Gesprach zwischen Peter Stohler und Monika Hardmeier
PERFORMANCE/PERFORMATIV:
Luft in Die Lungen Pressen or Mouth to Mouth - eine Videoinstallation von Smith/Stewart
Atmospharische Bilder - Victorine Mueller im Gesprach mit Peter Stohler und Daniel Walser
"Les Protos" - Cyril Verrier im Gesprach mit Peter Stohler

SCHNITTSTELLEN:
"Brand New You're Retro" - Wie Lang/Baumann die 70er-Jahre recyceln
Pumpen und Joseph - Filz in Kunst und Design
Prazische Wucherungen - Valentin Magaros surreale Bildwelten und Tattoos

TRANSGRESSIONEN:
Mannliche Maskeraden in Schwarzweiss - Lyle Ashton Harris' Identitaten: Grenzauflosung als kunstlerische Strategie - Unter Mitarbeit von Monika Hardmeier
"Grenzen Verschieben" - Judith Schonenberger im Gesprach mit Peter Stohler und Sylvia Ruttimann
Zwischen Faszination und Denunziation - Positionen zur Gewalt in der Gegenwartszunst
ANHANG: Bibliografie, Kunstler, Autoren/Herausgeber, Bildnachweis

[Chapter titles in English]
RADAR:
Making Positions in Contemporary Art Visible by Winfried Sturzl and Monika Hardmeier

CURATORIAL PRACTICE: 'Is this Sofa Art?' - Curated exhibitions in lived-in-rooms- a conversation between Peter Stohler and Monika Hardmeier

PERFORMANCE, PERFORMATIVE:
Pressing Air into the Lungs - Mouth to Mouth - a Smith, Stewart Video Installation
Pictures with Atmosphere - Victorine Muller talks to Peter Stohler and Daniel Walser
'Les Protos' - Cyril Verrier talks to Peter Stohler

INTERFACES: 'Brand New You're Retro' - How Lang, Baumann recycle the 1970s
Pumps and Joseph - Felt in art and design
Precision Growths - Valentin Magaro's surreal pictorial worlds and tattoos

TRANSGRESSIONS: Male masquerades in black-and-white - Lyle Ashton Harris's Identities: Blurring Boundaries as an artistic strategy, with the co-operation of Monika Hardmeier
'Pushing Boundaries' - Judith Schonenberger talks to Peter Stohler and Sylvia Ruttiman
Between Fascination and Condemnation - Positions on violence in contemporary art

APPENDIX. Bibliography, Artists, Authors, Editors, Photo Credits

• Trog. Forty Graphic Years. The Art of Wally Fawkes [top]
  Written and introduced by Frank Whitford; Foreword by Raymond Briggs
  First published in 1987 in Great Britain by Fourth Estate in hardback with dustjacket, 191pp, ISBN 0947795170
  Original UK retail price: £12.95

About this book/synopsis: The book describes itself as the first book to celebrate the achievement of Wally Fawkes, a prominent and influential figure in comic graphic art, particularly in post-war cartoon and caricature. Trog is the nom-de-plume of Wally Fawkes, a Canadian born in Vancouver in 1924, who became resident in Britain from 1931, studying at Sidcup Art School and Camberwell College of Art.

In the 40 years prior to this publication coming out, Fawkes has contributed a fine body of political cartoon, comic strip and caricature to periodicals and newspapers such as the Spectator, Private Eye, Punch, the New Statesman, the Observer, The Daily Mail, Today, and the London Daily News . He was the first cartoonist in modern times to depict the Royal Family and helped set the cartoon 'look' of figures like Jimmy Carter and Margaret Thatcher.

He created the popular and sophisticated Flook strip of which this book is the 40 year celebration; and his portraits have made it as leading features in Punch in modern times.

The author of the book is a Fleet Street Cartoonist in his own right and has produced a pioneering account of the comic artist and the man himself. He talks about Fawkes' artistic forebears and his jazz and clarinet-playing (he was a member of the Humphrey Lyttleton band for several years); his work and friendship with George Melly; as well as the technical steps behind the creation of a Fawkes image.

Chapters:
Foreword
Introduction
The Musician
Early Work
Flook
Political Cartoons
Portraits

Some of his works included in this book are: a portrait of Leslie Illingworth; a good selection of Flook strips, which were initially called 'Rufus'; Punch cartoons, a London Daily News cartoon featuring Arthur Scargill from 1987; a cartoon of the Queen and Harold Wilson from the Observer on 24th October 1965; a cartoon of the Roy Lichtenstein exhibition opening in London from the Observer 14th January 1968; a cartoon depicting Vanessa Redgrave being taken into custody after a CND sit-down protest from the Daily Mail 19th March and 11th September 1968; and many many more.

Portraits included in the last chapter are: George Melly, Lech Walesa, Richard Burton, Carl Giles (in gouache), the Queen, Prince Philip, Princess Anne, Hugh Hefner (two page spread) as playmate of the month from 1971, Frank Sinatra (Punch, 1971), Richard Burton and Liz Taylor (Punch, 1971), Humphrey Lyttleton (Punch, 1973), Ilie Nastase and Billie Jean King (Punch,1973), John Wayne (Punch, 1974), Ted Heath (Punch, 1974), Margaret Thatcher (Punch, 1975), Reginald Bosanquet (1978), Gene Wilder (1978), Billy Graham (1978), Ken Dodd (1978), Katherine Helmond (1979), Glenda Jackson (1980), Henry Winkler (alias The Fonz, 1980), Andy Warhol (1980), Alexander Haig (1981), Shirley Williams (1981), Brian Johnston (1981), Malcolm Muggeridge (1981), Robert Morley (1981), Mohammed Ali (1981), George Orwell and Evelyn Waugh (1981), Billy Connolly (1982), Barbara Woodhouse (1982), John Mortimer (1984), Barbra Streisand (1982), Dirk Bogarde (1984), Peggy Lee (1984), Ella Fitzgerald (1984), Robert Maxwell (1984), Andrew Lloyd Webber (1985), Charles Bronson (1985), Norman Tebbit (1985), Sir Roy Strong (1985), George Cole (alias Arthur Daley, 1986), Sophia Loren (1986), Richard Branson (1986), Lenny Henry (1987), Paul Newman (1987), Tom Jones (1987), Jeffrey Archer (1987), Enoch Powell (1987), Norman St. John Stevas (date unknown), Geoffrey Howe (date unknown), Willie Whitelaw (date unknown), Tony Benn (date unknown), Mary Whitehouse (date unknown), Mel Brooks (date unknown),