This catalogue, the first of its kind in the UK, accompanying the 2024 exhibition at Dulwich Picture Gallery, explores the important contribution to Japanese woodblock printing of the Yoshida family, from patriarch Hiroshi down to the current generation, led by Yoshida Ayomi. The story of the Yoshida family has been woven into the story of Japanese printmaking across two centuries, with each generation infusing this traditional art form with their sensitivity and imagination.Trained as a painter and watercolourist, Yoshida Hiroshi (1876–1950) was a pioneer of the shin hanga artistic movement, which revived the traditional ukiyo-e prints (‘pictures of the floating world’) focusing on beautiful landscapes and landmarks and combined them with Western influences. His incredible corpus of woodblock prints, inspired by his travels across Japan but also in Europe, Southeast Asia, Africa and North America, greatly contributed to the popularity of Japanese prints in the West. A rare instance in the early twentieth-century Japanese art world, the Yoshida legacy relies also on the important contribution of its women: first Fujio (1887–1987), Hiroshi’s wife, a watercolourist, painter and printmaker, who was the first Japanese woman artist to gain international acclaim. Her style developed over time from naturalism towards greater stylization and organic abstraction, with her late still lifes strikingly balancing boldness and sensuality.Tōshi (1911–1995) and Hodaka (1926–1995), Hiroshi and Fujio’s sons, represent the second generation of this artistic dynasty; Tōshi introduced post-war abstraction to the Japanese printmaking process, while Hodaka pushed these modernist instances further, achieving a unique personal style inspired by the sōsaku hanga movement of artistic self-expression. His wife Chizuko (1924–2017) co-founded the first group of female printmakers in Japan, the Women’s Print Association. Her works sapiently connect popular art movements like Abstract Expressionism with Japanese printmaking.The youngest member of the Yoshida family is Ayomi (b. 1958), daughter of Hodaka and Chizuko, whose practice bridges the gap between ukyio-e and contemporary art thanks also to the exploration of organic materials. She has been exhibited at major international institutions and will contribute an original installation to the Dulwich show.

The 2023 volume of Ceramics in America is filled with content of interest to students of American ceramics history. The articles cover a wide range of topics and regions, including ceramics made in Louisiana, South Carolina, and Virginia. Of particular importance is the analysis of a small porcelain snuff box from the so-called “A”-marked group of porcelains made in London ca. 1745 from china clay obtained in America’s Cherokee Territory. A featured essay on the remarkable ceramics of John Wesley Carpenter offers for the first time an in-depth look at this nineteenth-century potter, who worked in the back country of North Carolina and Virginia. Several articles present thematic discussions about historic ceramics made and used to promote the abolition of slavery in both America and England. The use of ceramics to effect social change continues to this day, as is illustrated in the words and works of ceramic artist David Mack of Baltimore, Maryland.

Iceland is best known for its stunning scenery and majestic landscapes. When photographer Nancy Libson first visited Iceland for a hiking trip some twenty years ago, she immediately fell in love with the country and its dramatic landscape. She vowed to return again, camera in hand. Beginning in 2015, Libson did just that, revisiting Iceland for four additional summers to photograph the land and its people.When Libson began her project, she chose to get to know the Icelandic people in rural areas. As she continued to experience this remote and beautiful land, she developed an awareness of the unique qualities of childhood in Iceland, and so her emphasis shifted from people of all ages to children at home and at play. Libson noticed that Icelandic children were granted an unusual level of freedom while living securely in close-knit families and supportive communities. She was further inspired to capture Iceland’s remoteness and beauty and its impact on the children who live there.As portrayed in Children in Iceland, Libson’s photographs provide an intimate and evocative view of the lives of the children surrounded by Iceland’s natural landscape. By photographing Iceland’s children, Libson began to better understand not only the children, but through them the culture and spirit of growing up in this remarkable country. The book is further enhanced by an afterword by Kristín Helga Gunnarsdóttir, the well-known Icelandic children’s author, who shares her thoughts about the freedom that Icelandic children feel from living with and close to nature.

Belleroche was an integral part of the Parisian art scene during the Belle Époque - he was a close friend of the artist John Singer Sargent with whom he shared studios in Paris and London; he was admired and collected by luminaires such as Degas and Renoir - anbdchampioned by the art critic Roger Marx. With Toulouse-Lautrec he shared the celebrated model Lily Grenier. And it is even said that Oscar Wilde's Picture of Dorian Gray was inspired by Belleroche. Belleroche was considered by his contemporaries to be an innovator. In the art of lithography he developed techniques that built on the experiments of Degas and other Impressionist, (with whom he shared a fascination for monotypes). Despite all these fascinating facets of his life and art, his story remains largely unknown.

This fascinating volume presents a wide-ranging overview of one of the lesser known yet fundamental disciplines of Art History: conservation. What happens when art ages? By bringing together some of the leading experts in the field, the essays chart a journey through the theoretical, aesthetic and technical debates surrounding the conservation of Old Masters. The problem of how to look after paintings as they grow old is a historically complex one. Should they be ‘restored’ to their original glory, or should the patina of time be acknowledged? What is to be done with damp and dirt, with rotten panels and yellowing varnishes? The development of conservation is profoundly entwined with the development of Art History itself, as both deal in the interpretation of the past and its preservation for the future. The seventeen essays collected by editors Jane Martineau and David Bomford, which originally appeared in The Burlington Magazine, explore how these questions have been answered from the mid-sixteenth century to the present day. Masterpieces like Jan and Hubert van Eyck’s Ghent Altarpiece or Rembrandt’s Night Watch have been treated and mis-treated many times in their long lives. By the nineteenth century, the growing knowledge of the techniques employed by the old masters had a profound influence on the treatments applied to their works. In the same period, the birth of national galleries as public institutions entrusted with the collective heritage led to the need to preserve large numbers of paintings and establish conservation departments rooted in scientific research. By the mid-twentieth century, the materials and techniques of painting were utterly transformed, demanding fresh approaches to their preservation. A discipline that sits uniquely at the crossroads of art, science, philosophy and technology, modern conservation is the result of an ongoing collaboration between conservators, scientists and art historians following rigorous ethical standards and training programmes.

This new series will enchant seasoned country house visitors and amaze people new to art and architecture as they read about surprising snippets of history that occurred at, or because of, a country house in England, Scotland, or Wales. Three volumes in total, the first covering the letters A through H, each book will contain fascinating content and beautiful illustrations.Curt DiCamillo’s series of three high quality hardback books use the alphabet to frame an astonishing variety of material as a backdrop to endless, beguiling stories. Curt’s series of crisp, zesty entries dive into fascinating moments of British cultural history—from tea to bananas, from Canaletto to Agatha Christie, from porcelain to ghosts. The text is an exhilarating whistle-stop tour—perfectly pitched for pleasurable sampling that will enchant both newcomers and seasoned visitors to country houses.

Ray Atkins (b.1937) is one of the least well known major painters of his generation. He studied at Bromley College of Art in Kent before gaining a post graduate place at the Slade despite having failed the National Diploma in Design in 1961. His first teaching post was at Reading University in 1965 where he lived and recorded in paint the huge upheavals that the town was undergoing, leading to a one person exhibition at the Whitechapel Gallery, London in 1974.A teaching post at Falmouth Art School in 1974 led to a thirty four year stay in Cornwall where he painted the extraordinary landscape of the china clay country around St Austell with its collossal pits and mounds of micae.The desolation left over by the demise of the tin mining industry was also a major theme, The more intimate subjects of children, gardens, family life and inevitably the sea were also part of the oevre. The nineties also saw a long series of works on the theme of dance.To celebrate the uncelebrated was his dictum.Peter Davies follows Atkins’ journey from the dark but creative London period to the high spots in the eighties with a retrospective at the Royal West of England Academy and with work selected for the John Moores in Liverpool, a room at a Serpentine summer Show, and representation in shows at the Hayward gallery.The book also follows the tensions and problems arising from Atkins’ insistence on working direct from his subjects and places the artist’s career in the wider context of the twists and turns of events in the art world in the UK, Europe and beyond.In addition, David Stoker gives a personal account of his discovery of Atkins in France, leading to a growing friendship and a deep understanding and respect for the work.

This beautifully illustrated and scholarly catalogue presents a selection of exceptional drawings from the Clement C. Moore Collection. It accompanies an exhibition at the Morgan Library & Museum. The drawings assembled by Clement C. (“Chips”) Moore constitute one of the preeminent private collections of Dutch drawing in America. The collection also includes works by Flemish, French, Italian and British artists, ranging from the sixteenth to the twentieth centuries. These works have long been intended to join the collections at the Morgan Library & Museum, and this exhibition – timed to coincide with the Morgan’s centennial celebrations – makes formal the promised gift. Accompanying the exhibition, this catalogue will demonstrate the breadth of the Moore Collection with a selection of around eighty works that highlight the principal themes of Dutch art, the various functions and techniques of Dutch drawings, and the connections between the Dutch and other European artistic traditions. Works by Hendrick Goltzius, Jacob de Gheyn, Jan Bruegel, Rembrandt van Rijn, Aelbert Cuyp, Jacob van Ruisdael, Peter Lely, Claude Lorrain, Thomas Gainsborough and John Constable are among those featured. The catalogue includes an introductory essay by Jane Turner and entries authored by an international team of specialists.

Winner, 2018 SAH Alice Davis Hitchcock Award Mexico City became one of the centers of architectural modernism in the Americas in the first half of the twentieth century. Invigorated by insights drawn from the first published histories of Mexican colonial architecture, which suggested that Mexico possessed a distinctive architecture and culture, beginning in the 1920s a new generation of architects created profoundly visual modern buildings intended to convey Mexico’s unique cultural character. By midcentury these architects and their students had rewritten the country’s architectural history and transformed the capital into a metropolis where new buildings that evoked pre-conquest, colonial, and International Style architecture coexisted. Through an exploration of schools, a university campus, a government ministry, a workers’ park, and houses for Diego Rivera and Luis Barragán, Kathryn O’Rourke offers a new interpretation of modern architecture in the Mexican capital, showing close links between design, evolving understandings of national architectural history, folk art, and social reform. This book demonstrates why creating a distinctively Mexican architecture captivated architects whose work was formally dissimilar, and how that concern became central to the profession.

THE COMMONALITY OF HUMANS THROUGH ART: HOW ART CONNECTS MANKIND THROUGH THE AGES explores how art has linked different cultures over the past 30,000 years. Organized thematically rather than chronologically or geographically, it traces how all humans are connected from birth to death. Ten leading scholars offer essays on how the language of art has been used by cultures to explain human behavior. The book begins with a discussion of the brain and art, aesthetics and human cultures, and creation myths. With these important subjects as a foundation, it moves into explorations of lived experiences: motherhood and the family, the world around us, conflict and warfare, portraying ourselves and others, sickness and healing, religion and rituals, and death. Each chapter is illustrated by outstanding artworks showing the commonality between cultures as they expressed their lives to their own people and those who followed them. The essays are written to the lay reader so the book can be a beautiful showcase on a coffee-table, an important art reference book in a library, or an introductory textbook in archaeology, cultural anthropology, and art history classes.

Focusing on the British virtuoso Rex Whistler (1905–1944), who was linked to many of the most illustrious figures of the inter-war period, this book explores an exceptional case of artistic patronage in the twentieth century. In weaving together social and art history, this beautifully illustrated volume will be as much about the artist as it is about his patrons. It accompanies a major exhibition at the Salisbury Museum, which holds the Rex Whistler Archive. Whistler’s cast of patrons reads like the Who’s Who of his time: the art collector and poet Edward James, the avid diarist and socialite Sir Henry ‘Chips’ Channon, Lord and Lady Louis Mountbatten, Cecil Beaton, Duff and Diana Cooper, author and poet Lady Dorothy Wellesley and many others for whom Whistler worked on a diverse range of commissions, from murals, portraits and bookplates to architectural improvements and even book illustrations. The exchange with his patrons, the book argues, gave Whistler an opportunity to explore a rich variety of subjects, materials and techniques.The artworks discussed in the volume range from a recently re-discovered painting for Sir Malcolm Bullock, a substantial history painting unique in Whistler’s oeuvre, to the magnificent murals at Port Lympne and Trent Park designed for Sir Philip Sassoon, one of the greatest hosts of the age, to Plas Newydd, where Whistler created one of the largest private mural schemes in the inter-war period for the 6th Marquess and Marchioness of Anglesey. It culminates with Maud Russell’s mansion at Mottisfont, where in 1938–39 the artist was painting one of his fi nest works in trompe l’oeil as war loomed over Europe, the war in which Whistler gave his life for his country.Whistler’s commissioning circle were both diverse and privileged, with many embracing the sexual fluidity of the time, and the book deepens our understanding of how the elite were protected by their wealth and position from the strict societal mores of the 1920s and 30s. The artist understood the importance of creating beautiful private spaces for all his clients; but, for some, at a time when homosexuality was still illegal, he was painting murals in houses that were acknowledged havens where sexual preferences could be expressed without fear of discrimination.Dr Nikki Frater, an expert on Whistler’s work, draws on extensive archival research and newly available material to present a fresh interpretation of the relationship between the artist and his milieu. Frater’s behind-the-scenes approach illuminates Whistler’s creative methods and techniques and includes many previously unseen drawings and sketches. The book speaks not only of his patrons, but also paints a nuanced portrait of his oeuvre and the artist himself, as he tried to combine his challenging career with a complicated romantic life. This is a timely re-examination, given the recent controversy surrounding his mural at the Tate Gallery Restaurant, and offers an opportunity to understand fully Whistler’s place in and contribution to the arts and culture of his time.

This catalogue sheds new light on the Paris Olympics of 1924, often considered the first international games. From their origins in ancient Greece to their modern transformation into a visually powerful event on the world stage, the Olympics have retained their unique place in sport and culture. Published to coincide with the Paris Olympics of 2024, the book accompanies a major exhibition at the Fitzwilliam Museum. The summer of 2024 will see the Olympics return to Paris after a century. The Olympics in 1924 were arguably the first truly international games, the first games to transmit live radio broadcasts and the first to have an Olympic village. They incorporated an art competition as well as sporting events, and yielded thirty-five medals for Britain, including for Cambridge sprinter Harold Abrahams of Chariots of Fire fame. This catalogue explores the Olympic games from a visual perspective, investigating the tensions between their classical beginnings and their representation in 1924 and across the modern era. How were the 1924 Olympics shaped by the visual culture of the period? And how, in turn, were the arts shaped by them? From plaster casts of fifth-century BCE athletic statues to Hollywood cinema, and from classic portraits of the protagonists to more abstract art, this catalogue brings together painting, sculpture, film, photography, posters, letters, medals and other memorabilia to tell a story of sporting endeavour that equally mirrored and shaped its times. Issues of gender, race and class, as well as an exploration of celebrity and spectatorship, show that the debate around sport was as complex and momentous in the past as it is today. The exhibition catalogue offers readers the opportunity to explore some of the key themes of the show in more depth. It comprises essays by specialists from the fields of Classics, art history, French history, sports history and medicine, each of whom will focus on key themes in the exhibition and key protagonists in the Olympic story. The wide range of art will appeal to fans of classicism, modernism, Cubism, Surrealism and Futurism, as well as Art Deco, while the subject matter will also chime with sports fans – and tap into the enthusiasm for all things Olympic in 2024.

**Henry Spencer Moore (1898–1986) was one of the most influential British artists of the twentieth century. This catalogue considers Moore’s celebrated Shelter drawings as the point of departure for a new reading of the artist’s fascination with images of walls, during and immediately after World War II. It accompanies a focused exhibition at the Courtauld Gallery. **After the destruction of his London studio early in World War II, Henry Moore began drawing figures sheltering from bomb raids in the London Underground. This catalogue and exhibition consider Moore’s celebrated series as the point of departure for a new reading of the artist’s fascination with images of walls, during and immediately after World War II. In the London Underground, where Moore drew these figures, the walls of these sheltered spaces came to absorb his attention in an altogether new way, becoming scene-setters, and key components of his drawings. This fascination with the bricks and the presence of walls, their texture, mass and volume, became especially important after his project to illustrate the wartime radio play The Rescue, based on Homer’s Odyssey. Henry Moore: Shadows on the Wall, a collaboration with the Henry Moore Foundation, suggests for the first time that the walls in his drawings offer a new way to understand some of his most individual and monumental Post-War sculpture projects.

"The stories and testimonies in this book are not only photographs. They are beautiful, brutal, present, and personal – photographic adjectives, filled with content that is deeper and more relevant than most news photography can ever hope to be. But, perhaps most importantly, they are historical documents, visual evidence to be presented in a future where the fog of war has cleared. And just ice once again prevails." Swedish Photojournalist Paul Hansen wrote in the foreword for the book. In it, he emphasises the relevance of the images, the depth these testimonies bring to the reader, and how they initiate a deeper conversation about the impact of military violence on Ukraine.Ukrainian Warchive published its first book 13 Stories of War to mark the second year full-scale Russian invasion.The book features individual visual essays accompanied by text created by 13 Ukrainian photographers and artists, members of the Ukrainian warchive. Their photographic testimonies are beyond conventional narratives and together with text they give readers a nuanced and personal perspective that goes beyond typical media coverage. The essays delve into themes of resistance, loss and hope and provide a vivid account of the human experience in the midst of war."Despite the backdrop of ongoing military violence, these documentary photographers and artists have been courageously living, working, and sharing the realities of Ukraine with the world since the Russian Invasion. As the photo editor, curating these powerful photo stories represents the photographers’ resilience and resistance to me. Each essay varies in approach, style, and subject matter. We chose to pair each essay with personal texts to convey awareness and immediacy." - says Emine Ziyatdinova, co-editor of the book and director of the Ukrainian Warchive.The book has been supported by the Institute for Human Sciences in Vienna (Institut für die wissenschatten vom Menschen, I M) within the Documenting Ukraine program, the Hasselblad Foundation, and the Swedish Institute.

For the first time, National Museums Scotland’s important collection of Renaissance jewellery from Scotland is considered together in this fully illustrated volume alongside significant items from the Royal Collection. The book was inspired by the acquisition by NMS of the extraordinary Fettercairn Jewel: the fine iconography of this exquisitely enamelled locket held coded messages for its sixteenth century owners, and continues to intrigue its viewers today. Renaissance jewellery like this in Scotland is particularly notable given the rare survival of such jewels from the sixteenth century. Some of these owe their survival thanks to their association with Mary, Queen of Scots.Elite Renaissance men and women commissioned, wore and gifted intricate and valuable pieces of jewellery. For most, this was not simply adornment, but used to communicate messages and display status. These were intimate personal possessions and suggest the meanings invested in them by their owners, that resonate with audiences today. Such jewels are evocative objects.This lavishly illustrated book brings together expert voices from the key Scottish collections (National Museums Scotland, National Galleries of Scotland, Royal Collection Trust) to explore the making, meaning and function of such jewellery in sixteenth century Scotland, and features an interpretation of the Fettercairn Jewel by the jewellery expert Geoffrey Munn. It reveals hitherto underappreciated evidence of goldsmithing in Scotland while considering significant continental influences in the design and production of jewellery. Given the ephemeral nature, and rare survival of Renaissance jewellery, its authors also suggest alternative ways of tracing the gems that have gone, in the portraits and inventories of Scottish men and women.

George Lucas is an innovative and talented director, producer, screenwriter, and filmmaker whose prolific career spans decades. While he is best known as the creative mind behind the Star Wars franchise, Lucas first gained notoriety with his 1973 film American Graffiti, which received five Academy Award nominations, including Best Director and Best Picture. When Star Wars (1977) was released, the groundbreaking motion picture won six Academy Awards, became the highest grossing film at the time, and started a cultural revolution that continues to inspire generations of fans. Three decades and countless successes later, Lucas announced semiretirement in 2012 and sold his highly successful production company, Lucasfilm, to Disney. His achievements have earned him the Academy's Irving G. Thalberg Award, the American Film Institute's Life Achievement Award, induction into the Science Fiction Hall of Fame and the California Hall of Fame, and a National Medal of Arts presented by President Barack Obama. Lucas: His Hollywood Legacy is the first collection to bring a sustained scholarly perspective to the iconic filmmaker and his legacy beyond the Star Wars films. Edited by Richard Ravalli, this volume analyzes Lucas's overall contribution and importance to the film industry, diving deep into his use and development of modern special effects technologies, the history of his Skywalker Ranch production facilities, and more. With clearly written and enlightening critiques by experts consulting rare collections and archival materials, this book is an original and robust project that sets the standard for historical and cultural studies of Lucas.