Harold Harvey, a true ‘son of Cornwall’, has been one of the most under-rated and least written about members of the Newlyn ‘School’ of artists which flourished from 1880 to 1930. The son of a bank manager, he grew up in Penance, and after studying under Norman Garstin and a spell in Paris, he settled to a quiet life in Newlyn with fellow-artist Gertrude, painting The Cornwall he knowS from the inside.In his introductory essay, Professor Kenneth McConkey sets Harvey in the context of the art moments of the time, and shows how his early ‘genre’ paintings of rustic and marine life, so characteristic of the early Newlyn artists, gradually gave way to more sophisticated subject matter – Harvey was noted for his sumptuous interiors – and a flatter and more decorative style of painting. His early work might be compared with that of Stanhope Forbes, while his later paintings show clear affinities with those of fellow painters such as Laura Knight and Dod Procter.Professor McConkey’s essay complements the first significant ‘life’ of Harold Harvey, researched and written by Peter Risdon and Pauline Sheppard, which is in turn illuminated by Peter Risdon’s painstakingly compiled catalogue raisonne of over 600 paintings.Harvey’s painting output was prodigious, and this book includes approximately 100 illustrations of his favoured subjects: the Cornish at work, children at play, and intimate interior scenes and conversation pieces. Many of his contemporaries in Newlyn were visiting ‘observers’, but for Harold Harvey, who rarely went outside the county even though a regular exhibitor at the Royal Academy, painting the Cornish world ‘because it was there’ was his whole life.

James Hardiman’s 1820 History of the Town and County of the Town of Galway, is a book treasured as a classic of Irish history and tradition, and the Galway he knew so well has continued to build upon its medieval foundations and cultivate its unique heritage. With an inquiring mind and exceptional diligence, Hardiman paved the way for others to follow — and here in Hardiman & Beyond a host of today’s writers explore two further centuries of Galway’s history; the vibrant cultural and artistic life of this compact and energetic city on the edge of Europe."This intricate cultural history of Galway demonstrates the power of visual and performing arts in vitalising and revitalising our lives. It shines a radiant light across the turbulent decades of the modern Irish story." — Professor Robert Pascoe, Victoria University, Melbourne"This book is full of treasure about the west of Ireland. It is beautifully designed, researched, and illustrated, including a trove of archival photos; absorbing reading not merely for cultural historians anywhere, but especially for anyone living in Ireland. It will become a favourite gift for anyone with a connection to to Galway." — Professor William Lyons, Emeritus Professor of Moral Philosophy and Fellow of Trinity College, Member of the Royal Irish Academy & playwright

This book is a beautiful and engaging presentation of drawings and letters by John Douglas Woodward, (1846–1924), a prominent American artist/illustrator during the 1870s and 1880s. He was on assignment for New York publisher D. Appleton and Co. to make on-the-spot drawings for illustrations for Picturesque Palestine, Sinai and Egypt (1881–1883), which has been called the most important book of illustrations of the region of its time. Some 200 of his compositions appeared in the book as wood engravings, the least expensive mass media of the time, while he contributed the art for 13 steel engravings. Woodward traveled with the somewhat older and better-known artist, Harry Fenn, who was the lead artist for the very successful Picturesque America, published by D. Appleton in parts from 1872–1874. Woodward was the second most prolific contributor to Picturesque America and, like Fenn, also travelled and drew for Picturesque Europe (1878–1879).Woodward’s travels for Picturesque Palestine yielded a treasure trove of unique historical art and correspondence. Most drawings for book and magazine illustrations during this period were discarded by the artist after the printing plates were made. But Woodward saved his, providing a visual record, often in full color, of the region, in addition to the black-and-white illustrations in the book. In presenting them alongside his lively, engaging letters, this book will appeal to those interested in the history and art of the Middle East as well as in the appearance of places of importance mentioned in the Holy Bible and the specifics of travel to the region during the 1870s, when there was almost no tourist infrastructure and limited knowledge of other cultures.Although Picturesque Palestine is well-known to scholars and connoisseurs and available in some libraries and on-line, Woodward’s drawings and letters recording his trip to Palestine are not. The exquisite drawings, rendered in pencil, watercolor, and gouache, belong to the Episcopal Diocese of Virginia and have been stored since 1941 at Shrine Mont, a conference center in Virginia’s Shenandoah Valley (founded by the artist’s nephew). The letters to his wife and mother are in the collection of the Valentine History Museum in Richmond.

This substantial catalogue explores a remarkable collection of medieval European sculpture. Richly detailed with plentiful illustrations and original research, it is a notable contribution to medieval scholarship.The McCarthy collection comprises more than 150 specimens of medieval European sculpture, produced over a period of nearly 600 years. A testimony to the comprehensiveness of Robert McCarthy’s interest in the art and culture of the Middle Ages, its geographical, chronological and typological breadth place it among the most important of its kind in private hands.Including a few early examples from Merovingian France, Anglo-Saxon England and Visigothic Spain, its holdings have a strong focus on Romanesque art, with over fifty capitals and other architectural carvings from Iberia, France and the Italian Peninsula. Some of these pieces are associable with such notable workshops as those of Gislebertus, the Master of Agüero and Compostela’s Master Mateo, while a great number can be closely compared to anonymous works in major and provincial sites. Notable monuments like the monastic powerhouse of Cluny or the abbatial churches of Autun and Savigny are represented through important sculptural fragments — most published here for the first time.The transition to the Gothic style and the period of its splendour, particularly in France, are witnessed by an ample selection of statuary and architectural fragments — some traceable to such important buildings as Noyon cathedral and Paris’ Notre Dame, and others, more loosely, to the artistic circles that gravitated around the great projects of the age. Freestanding sculpture in stone or wood, including a small but precious nucleus of Virgin and Child statuary and some Spanish polychrome figures, constitutes an interesting subset of the collection’s late medieval holdings, as do some especially fine examples of Italian trecento sculpture.Enriched with outstanding photography by Barney Hindle and Mark French, entries aim to provide detailed stylistic, iconographic and contextual analyses, with special attention paid to comparanda in public and other private collections. This approach, complemented in some cases by petrographic analysis, has allowed the authors to connect much of the material presented in these pages with specific buildings, workshops or regional schools, contributing to a better understanding of the pieces themselves, their original settings and their cultural and artistic milieux.This catalogue follows the publication of three volumes dedicated to Robert McCarthy’s vast collection of Western miniatures and manuscript leaves (2018-2021), and is part of an ambitious project to document the entirety of his holdings — which also include notable selections of medieval ivories, stained glass and East Christian Art.

This elegant publication presents for the first time the Eveillard Gift of drawings to the Morgan Library& Museum. It accompanies an exhibition at the Morgan and includes a catalogue of the works with entries by drawings experts.The Morgan celebrates the 100th year of its founding with a series of exhibitions devoted to promised gifts to the museum, including 28 drawings from the holdings of New Yorkbased collectors Jean-Marie and Elizabeth Eveillard, which will be on view during the summer of 2024. The selection comprises drawings from the seventeenth to the twentieth century, and includes a rare compositional study for Rembrandt’s first painting, Greuze’s virtuoso depiction of a young cook made for his friend Georges Wille, Delacroix’s intimate portrait of his confidante and caretaker Jenny Le Guillou, and a spectacular nude by Bonnard. Also in the gift are significant sheets—many rarely seen—by major artists including Rubens, Guercino, Watteau, Constable, Seurat, Cezanne, and Vuillard, among others. In fully illustrated entries, drawing specialists explore the creation and context for each sheet, considering the artist’s choices and the ways in which drawing liberated the imagination in these exploratory studies.

The Wider Goldsmiths’ Trade in Elizabethan and Stuart London is the first book to study all aspects of the Goldsmiths’ trade. It challenges the assumption that the manufacture of silver plate and gold jewellery was the trade's only activity during the sixteenth and seventeenth centuries. It considers associated activities such as refining, wiredrawing, and the making of small-swords and watches, as well as the development of the modern banking system. On Elizabeth I’s accession, England was essentially a ‘third world economy’, with exports mainly of wool, unfinished woolen cloth and some minerals, whilst imports consisted of a great range of goods including luxuries such as silks, fine linens, and even scissors. By the end of the seventeenth century, the situation was transformed: a burgeoning maritime trade with many parts of the world enabled the import of raw materials as well as some luxury goods and a wide range of exports which included certain goods produced in London with an international reputation for quality, such as beaver hats and mathematical instruments. Throughout the period, religious refugees and economic migrants brought their skills and knowledge to England. At the Restoration, Royalists returning to London from the Continent introduced French and Low Country fashions in dress, manners, cuisine and dining practice.Refining, wiredrawing, and the making of plate, smallwares and jewellery were at the heart of the trade and of concern to the Goldsmiths’ Company that had responsibility for ensuring that the correct alloys were used for silver and gold wares. This was not always the case for clocks, watches and swords. Nevertheless, they are included in this study as several members of the Company were instrumental in the development of clock and watch making in the city. Towards the end of the seventeenth century, the great increase in the sale of watches with gold and silver cases forced the Company to become involved in the control of this trade. Similarly, after the Civil Wars, the wearing of the small-sword by all those with aspirations to gentility gave rise to a demarcation dispute between the Goldsmiths’ and Cutlers’ Companies. Further, during the Commonwealth, goldsmith-bankers developed the clearing system which led to modern retail banking.This book considers the wider Goldsmiths’ trade against dynamic changes: the organization and control of its branches and the design, manufacture and sale of its wares. The twelve chapters cover a range of topics – from history and context, to the various branches of the trade.

Orson Welles was once asked which directors he most admired. He replied: "The old masters. By which I mean John Ford, John Ford, and John Ford. " A legend in his own time, John Ford (1894–1973) received a record four Academy Awards for best director, and two of his World War II documentaries won Oscars for the US Navy. He directed 136 films in a career that lasted from the early silent era through the late 1960s. Ford is celebrated throughout the world as the cinema's foremost chronicler of American history, the leading poet of the Western genre, and a wide-ranging filmmaker of profound emotional impact. His classic films - including Stagecoach (1939), The Grapes of Wrath (1940), How Green Was My Valley (1941), The Quiet Man (1952), The Searchers (1956), and The Man Who Shot Liberty Valance (1962) - remain widely popular, and he has been acknowledged as a major influence on filmmakers such as Jean Renoir, Ingmar Bergman, Akira Kurosawa, Howard Hawks, Frank Capra, Samuel Fuller, Elia Kazan, Sidney Lumet, Martin Scorsese, Steven Spielberg, and George Lucas.In this groundbreaking critical study, Joseph McBride and Michael Wilmington provide an overview of Ford's career as well as in-depth analyses of key Ford films. Analyzing recurring Fordian themes and relating each film to his entire body of work, the authors insightfully explore the full richness of Ford's tragicomic vision of history. This new and revised version includes a study of the twenty-seven Ford silent films now known to survive in whole or in part (more than double the number available when the original edition was published); essays on three controversial aspects of Ford: his tragicomic sensibility, his views of race, and the influence of his Irish heritage; and an expanded version of McBride's interview with Ford on the last day of his career.

This gem of a catalogue accompanies an exhibition at Waddesdon Manor, Buckinghamshire, on one of the great painters of 17th-century Italy, Giovanni Francesco Barbieri, known as Guercino (1591-1666). It brings together for the fi rst time Waddesdon’s King David with three paintings of sibyls (female prophets from classical antiquity) on loan from the National Gallery and the Royal Collection. Readers and viewers alike will be immersed in the poetry, colour and majesty of these four works, which were all painted in the year 1651 by the great Italian artist Guercino (‘The Squinter’). They have never before been seen together. The catalogue will investigate the relationship between David, Jewish patriarch, psalmist and prophet, whom Christians believed prefi gured Christ, and the four turbaned, pagan seers, who supposedly foretold Christ’s birth. Guercino’s brilliant depiction of fabrics and materials –silk, fl esh and ermine, paper, wood and stone – evokes ideas about inspiration and contemplation, sight and foresight, poetry and prophecy.

In the New Hollywood Era of the 1960s and 1970s, as weakening studio control granted directors more artistic freedom, the auteur theory, which regards the director as the primary artist among all those who contribute to filmmaking, gained traction. It was embraced by both the media and by directors themselves, who were glad to see their contribution so glorified. One positive was the discovery of filmmakers whose work was under the radar but virtually all the feted directors were white and overwhelmingly heterosexual—only in recent decades have the contributions of marginalized auteur filmmakers been recognized. Mavericks: Interviews with the World's Iconoclast Filmmakers amplifies the voices of a wide-ranging group of groundbreaking filmmakers, including Samira Makhmalbaf, Roberta Findlay, Howard Alk, Ousmane Sembéne, and John Waters, whose identities, perspectives, and works are antithetical to typical Hollywood points of view. Author Gerald Peary, whose experience as a film studies professor, film critic, arts journalist, and director of documentaries culminates in a lifetime of film scholarship, presents a riveting collection of interviews with directors—including Black, queer, female, and non-Western filmmakers—whose unconventional work is marked by their unique artistic points of view and molded by their social and political consciousness. With contextualizing introductions and insightful questions, Peary reveals the brilliance of these maverick directors and offers readers a lens into the minds of these incredible and engaging artists.

In the summer of 1960, director C. Douglas Ramey took his Carriage House Players theater company down the street from their Old Louisville venue to Central Park, where the actors performed scenes from the Shakespeare classic Much Ado about Nothing. Buoyed by the enthusiastic audience response, Ramey's company returned to the park the next year for the first full season of the Kentucky Shakespeare Festival. More than sixty years later, Kentucky Shakespeare is now the oldest free, non-ticketed Shakespeare in the Park festival in the country. To commemorate the sixtieth anniversary of the festival, in spring 2020 Kentucky Shakespeare cooperated with students in the University of Louisville's Department of History to record twenty entertaining and enlightening oral interviews with longtime members of the company.In Under the Greenwood Tree, author Tracy K'Meyer captures the history of Kentucky Shakespeare in a series of carefully selected and edited transcripts of these interviews. In these pages, past and present cast and crew share their memories of the company's history, performances in the park, and the positive impact of its many outreach programs, from its inception in the 1960s, to its slump in the early 2000s, and on to its recent renaissance. An illuminating record of the collaborative artistry that brings Shakespeare's works to life, Under the Greenwood Tree offers readers a peek behind the curtain at the group's steadfast stewardship of the most important literature in the English language.

A vital moment in Kentucky's queer history captured in sumptuous visuals—half a century in the making.The conceptual lovechild of photographer John Denny Ashley and artist Robert Morgan, Pagan Babies has at long last emerged as a vibrant witness to a particular moment in American history, a time when sexual revolution and gay liberation manifested even in small Southern towns like Lexington, Kentucky.Pagan Babies, the name adopted by Morgan and his band of guerrilla-style street artists, was a natural moniker for this collection, which draws inspiration from art-house movies, Greek mythology, Ovid, Shakespeare, the decadence of Weimar Berlin, punk rock, the Pre-Raphaelites, David Bowie, and—above all—the expressive and ingenious realm of queer Kentucky. In Robert Morgan, John Denny Ashley found his archetypal sexual outlaw, and in Ashley, Morgan discovered an artistic collaborator worthy of documenting the emerging free-spirited, sexually adventurous rebels of the American South. Together, they brought forth a collective work that serves as a bracing testament to Morgan's baroque imagination and Ashley's talent for breathing life into his vision.The result is this book. At last.

This book aims to investigate Surrealism’s precedents in visual tradition and to explore its influence on contemporary art. Taking the ideational power of vision as their starting point, these thirteen essays apply different perspectives to themes essential to the Surrealist avant-garde — dreams, magic, madness — but also mystic visions, hybridity and the ongoing relevance of syncretic figures as protean germinations of the irrational. The collection opens with a reconsideration of André Breton’s late book, L’Art magique (1957). The other essays cover a wide array of themes, ranging from witches’ iconography in the early modern period to immersive contemporary video installations, while devoting particular attention to specific Surrealism-related topics. Following the fil rouge traced by Breton, the possibility of an alternative art-historical narrative clearly emerges.

In his award-winning book, American/True Colors, Stephen Marc presents one of the most comprehensive photographic surveys ever conducted about America and Americans. For his efforts–the survey includes both the Obama and Trump presidencies–or his artistry, and for his unique African-American perspective, the Independent Publishers Book Awards gave American/True Colors its 2021 Gold Medal for the Best Book of the Year in Photography.But Stephen Marc was not finished with telling the American story. In Street Cat Tales and Tangled Times, the artist takes us on another sweeping journey, coast to coast, this time straddling before and during the COVID years when America and Americans were confronted by a multitude of unprecedented challenges that affected citizens in every aspect of life no matter where they might live.Introduced by Dr. Carla D. Hayden, 14th Librarian of Congress and the first woman and first African American to hold that distinguished post since its founding in 1802, and featuring 210 new photographs by Stephen Marc, including 85 captivating digital montages, Street Cat Tales and Tangled Times offers a creative and highly insightful look at how Americans have been living their life on the streets during this time of COVID and controversial Supreme Court rulings and the severe impacts of climate change, social injustice, mass shootings and gun violence, inflation, intense political division, the Big Lie, the January 6 insurrection, Russia’s invasion of Ukraine, and so much more.As was the case with American/True Colors, in Street Cat Tales and Tangled Times we see how the American journey continues. How in our ongoing search for a more perfect Union we need to recognize and respect more fully the personal histories that brought us here and the truths we need to face. How in the process of moving forward toward an uncertain future we embrace the joy of living and learn to grow and heal as families, communities, and a nation.

British artist Ian McKeever has been working on the international stage for more than five decades. This, his latest publication, documents Against Architecture – an exhibition that had its first incarnation, curated by Robin Klassnik, at Matt’s Gallery, London (5 February to 19 March 2017) before being reconceived and presented as Against Architecture, Remodelled at TheGallery, Arts University Bournemouth (3 November 2023 to 18 January 2024), curated by Violet M McClean as part of TheGallery’s twenty-fifth anniversary celebrations. McKeever was made an AUB Honorary Fellow in 2002 and launched TheGallery’s text + work programme in 2004. The exhibition was McKeever’s first foray into installation art, seeking to explore the relationships between his photo/painted panels and the physical spaces in which they are presented. For this, along with a team of helpers and student volunteers, he built a structure with 3 x 2-inch stud walling timbers and sheets of plasterboard comprising myriad walls, passageways, openings, ledges and platforms, challenging the conventional white cube gallery space and bringing the viewer’s body into heightened dialogue with both their surroundings and the artworks. The works, a series of the acclaimed artist’s abstract paintings combined with ostensibly abstract photographs, pose formal and theoretical questions about perception, visual languages and modes of representation – ideas explored in an essay by Berlin-based English arts writer Mark Prince.The publication features numerous other text contributions: an introduction by Professor Paul Gough, Principal and Vice-Chancellor, AUB; Sue Hubbard, poet, novelist and art critic; Violet M McClean, Curator at TheGallery, AUB; photography graduate Eliza Naden; interior architecture and design graduate Milly Louise Harvey; Associate Professor Dominic Shepherd, AUB; and Ian McKeever himself. Along with illustrations of the artist’s past exhibitions and examples of his works of art, special attention is given to documentation of both iterations of the Against Architecture exhibition, including newly commissioned photographs of Against Architecture, Remodelled at TheGallery by Eliza Naden. The publication, which has been edited by Violet M McClean and Millie Lake, and designed by Warin Wareesangtip, has been produced in an edition of 1000 copies.Ian McKeever was born 1946, Withernsea, Yorkshire, UK. He lives and works in Hartgrove, Dorset. McKeever has received numerous awards including the prestigious DAAD scholarship in Berlin 1989/90 and was elected a Royal Academician in 2003. He has held several teaching positions including Guest Professor at the Städel Akademie der Kunst in Frankfurt, Senior Lecturer, Slade, University of London and Visiting Professor at the University of Brighton. He has also published many texts on painting.Recent public solo exhibitions include Ian McKeever / Tony Cragg – Painting and Sculpture, Skulpturenpark Waldfrieden, Wuppertal, Germany (2020); Paintings 1992–2018, Ferens Art Gallery, Hull, UK (2018); Hours of Darkness, Hours of Light, Kunstmuseet i Tønder, Denmark (2015); Between Darkness and Light, National Gallery of the Faroe Islands, Tórshavn, Faroe Islands (2015); Hours of Darkness, Hours of Light, Kunst-Station Sankt Peter Köln, Cologne, Germany (2014); and Hartgrove. Malerei und Fotografie, Josef Albers Museum, Bottrop, Germany (2012). McKeever’s work is represented in leading international public collections, including Tate, British Museum, Royal Academy of Arts, London; Museum Moderner Kunst (mumok), Vienna; Museum of Fine Arts, Budapest; Louisiana Museum of Modern Art, Humlebæk; Glyptotek, Copenhagen; Museum of Contemporary Art, Helsinki; Brooklyn Museum of Art, New York; Metropolitan Museum of Art, New York; Boston Museum of Fine Art and Yale Center for British Art, Connecticut.

Threatened by issues of environmental health, climate change, population growth, and industrial demands, the coastal zone of the Great Lakes reflects an increasingly dysfunctional relationship between the people of the basin and the resources that support them. Perhaps no place is the physical manifestation of this struggle more evident than in the basin’s shallow bays. While many regional and local responses to these issues focus on methods of control, Five Bay Landscapes argues that responses should begin with critical, experiential, and pluralistic understandings of place. Through a series of five narratives, each located on a bay within the Great Lakes, the authors share their practice of curious site explorations. These explorations, both written and visual, consider the nuances and systems of these shorelines along with the lessons these findings might offer for future design and planning interventions. Using the Great Lakes as a context, Five Bay Landscapes illuminates a dynamic and robust landscape system and establishes a series of methods for understanding, analyzing, and intervening within the changing landscape.

The distinguished private collection, known as the Griffin Collection, comprises in its entirety examples of every category of ring – signet, devotional, memorial, decorative – dating from antiquity to modern times. This catalogue focuses on about one hundred special rings, chosen as highlights of this extensive collection with the aim to offer the reader a real history of the art of the ring across the ages.Covering as they do so many facets of civilization, rings tell us more about the hopes, aspirations, taste and sentiments of our ancestors than any other jewels surviving from the past. Moreover, the examples from the Griffin Collection, which have been assembled with taste and discernment over several decades, are not only rare but also of unusually high quality and intrinsic value. As well as being aesthetically attractive, these rings offer us a glimpse into the lives of their owners, as becomes evident in the vivid account offered by Diana Scarisbrick, one of the world’s leading jewellery historians.The collection illustrates the many uses of rings—as seals needed for business, in expressing religious belief, political loyalties and personal interests such as theatre going, hunting, classical art and astrology. Some demonstrate high rank and commemorate great historical occasions; others dating from the Middle Ages to Victorian England mark the major events of human existence – love, marriage and death – with rings bearing symbols and inscriptions. Often connected with historical figures, monarchs, notably Charles II and William IV or Isabella Zápolya, Queen of Hungary, but also with popes or artists, such as the Romantic poet Lord Byron. Each ring reveals personal information about the people who wore them and the societies in which they lived. An unusually high proportion of the rings have distinguished later provenance, coming from celebrated collectors: George Spencer 4th Duke of Marlborough, Constantine Ionides, Ernest Guilhou, Ralph Harari and Maurice de Rothschild.