Sansom and co gb (110 resultados)

Hardback. Condición: New. Artist Tessa Newcomb's new book explores her love of Paris in words and paint - 'a more leisurely Paris with fewer cars, less noise and stress' - with elegant ladies walking their dogs, one large and one small, children playing on the carousels in the Tuileries, devotees of boules and chess in the Luxembourg, bars and cafés, hidden squares, shuttered windows, glimpses of interiors, strolling nuns, mysterious courtyards seen through half-open doors. 'I want to do a present-day Atget. Seeing his wonderfully evocative photographs of Paris in the early twentieth-century made me want to revisit this magical city, to find those hidden places still to be explored.' Around 100 oils and watercolour drawings, lovingly painted in the past few years, offer a wonderful visual record of her wanderings in the by-ways of Paris. A world away from Tessa's Suffolk, this is a jewel of a book to bring back treasured memories or to spur a visit.…

Paperback. Condición: New.

Paperback. Condición: New. In the early 1920s Charles Simpson was the leading figure in the St Ives art colony. After running a local art school with his wife, he moved to London in 1924, later returning to Cornwall where he continued to write and illustrate, producing books on photography and art. He was prolific in painting hunting and racing scenes and carrying out commissions for horse-and rider portraits. By then living in Lamorna, Simpson returned to painting the coastline and his favourite subject - ducks on the stream or millpond. …

Paperback. Condición: New.

Paperback. Condición: New. This book showcases one of the treasures of Southampton City ArtGallery's nationally-important Designated fine art collection: SirEdward Coley Burne-Jones's Perseus Series.Burne-Jones (1833-98) was a British artist and designer closelyassociated with the later phase of the Pre-Raphaelite movement. In1875 the politician Lord Arthur Balfour commissioned Burne-Jones,whose work was often inspired by mythology and legend, to create aseries of paintings for his London home. The artist chose to re-tellthe story of the Perseus myth in William Morris's poem 'The EarthlyParadise' and worked on the project for ten years but it was nevercompleted. Southampton City Art Gallery has ten full-size studies ingouache, 'cartoons' which Burne-Jones made to perfect his designsbefore beginning the final paintings in oil.The book includes an essay about Burne-Jones, the commission andan account of the epic Perseus story with detailed descriptions ofeach of the works in narrative form.…

Paperback. Condición: New. This book showcases one of the treasures of Southampton City ArtGallery's nationally-important Designated fine art collection: SirEdward Coley Burne-Jones's Perseus Series.Burne-Jones (1833-98) was a British artist and designer closelyassociated with the later phase of the Pre-Raphaelite movement. In1875 the politician Lord Arthur Balfour commissioned Burne-Jones,whose work was often inspired by mythology and legend, to create aseries of paintings for his London home. The artist chose to re-tellthe story of the Perseus myth in William Morris's poem 'The EarthlyParadise' and worked on the project for ten years but it was nevercompleted. Southampton City Art Gallery has ten full-size studies ingouache, 'cartoons' which Burne-Jones made to perfect his designsbefore beginning the final paintings in oil.The book includes an essay about Burne-Jones, the commission andan account of the epic Perseus story with detailed descriptions ofeach of the works in narrative form.…

Paperback. Condición: New.

Paperback. Condición: New. John Edgar Platt was one of the leading lights of 1920s and 1930s printmaking. This is the first book to consider his place in British 20th century printmaking and investigate the influence of Japanese woodblock printing on the output of Platt and his contemporaries. It features colour illustrations of all his printed work and two essays by print expert Hilary Chapman.A master of the colour woodblock print in the Japanese style, Platt combined eastern technique with a western design sensibility. His use of bold colour inspired one critic to praise the 'gamut of singing hues' found in his prints. Fellow colour woodblock artist Allen Seaby acknowledged that 'There is no doubt that in your hands the wood print has been raised far above its former status'.The fusion of traditional European subject matter with the Japanese woodblock method enabled Platt to create some of the most original images in British printmaking. He found subjects to inspire him among the harbours and fishing boats of Cornwall and Devon and in warmer climes at St Tropez. During the 1930s he adopted a spare style based on blocks of flat colour to create strikingly modern works including Horse (1934), Lapwings (1936) and his masterpiece the triptych The Plough (1937).…

Paperback. Condición: New.

Paperback. Condición: New. John Edgar Platt was one of the leading lights of 1920s and 1930s printmaking. This is the first book to consider his place in British 20th century printmaking and investigate the influence of Japanese woodblock printing on the output of Platt and his contemporaries. It features colour illustrations of all his printed work and two essays by print expert Hilary Chapman.A master of the colour woodblock print in the Japanese style, Platt combined eastern technique with a western design sensibility. His use of bold colour inspired one critic to praise the 'gamut of singing hues' found in his prints. Fellow colour woodblock artist Allen Seaby acknowledged that 'There is no doubt that in your hands the wood print has been raised far above its former status'.The fusion of traditional European subject matter with the Japanese woodblock method enabled Platt to create some of the most original images in British printmaking. He found subjects to inspire him among the harbours and fishing boats of Cornwall and Devon and in warmer climes at St Tropez. During the 1930s he adopted a spare style based on blocks of flat colour to create strikingly modern works including Horse (1934), Lapwings (1936) and his masterpiece the triptych The Plough (1937).…

Paperback. Condición: New.

Paperback. Condición: New.

Paperback. Condición: New.

Paperback. Condición: New.

Paperback. Condición: New. In the 1960s Tim Scott tested the limits of what a sculpture could be. Visionary and audacious, his large-scale constructions radically transformed the inheritance of Constantin Brancusi and Henri Matisse. How spatially expansive could sculpture become whilst retaining its identity as sculpture? Could sculpture incorporate colour and translucency, without abandoning a sense of mass and density? Scott explored these questions in materials new to sculpture including plywood, fibreglass, steel, aluminium, perspex and latex foam. This publication provides succinct commentaries on ten key sculptures by Scott, along with an introduction by his contemporary William Tucker.…

Paperback. Condición: New. In the 1960s Tim Scott tested the limits of what a sculpture could be. Visionary and audacious, his large-scale constructions radically transformed the inheritance of Constantin Brancusi and Henri Matisse. How spatially expansive could sculpture become whilst retaining its identity as sculpture? Could sculpture incorporate colour and translucency, without abandoning a sense of mass and density? Scott explored these questions in materials new to sculpture including plywood, fibreglass, steel, aluminium, perspex and latex foam. This publication provides succinct commentaries on ten key sculptures by Scott, along with an introduction by his contemporary William Tucker.…

Paperback. Condición: New. Geoffrey and Jill, coinciding at the Forbes School, married in 1917 while he was serving in the Navy, and after the war settled in Newlyn, where they remained for the rest of their lives. Geoffrey's prints gained international recognition. He worked in dry-point, line engraving, etching, mezzotint and particularly aquatint, developing new processes and rediscovering old methods. Favourite subjects were the sailing ships of the great era of British sea power, Cornish landscapes and sporting scenes, charming studies of children at play and colourful oriental prints. His versatility extended to calligraphy, bookbinding and fiction writing. Jill continued to paint despite the demands of domesticity, and produced portraits of her children and friends, landscapes and still lifes.…

Paperback. Condición: New. The book offers both the non-specialist and specialist reader an accessible and affordable, concise introduction to the artist's life and work, written by an established expert on British modern art. Alongside a biographical overview, shorter chapters explore key aspects of her work in more depth. Currently no such book on the artist exists.Barns-Graham's contribution to the story of 'St Ives' modernism has been relatively overlooked. The book provides an opportunity to assess her work as a woman artist in an overtly masculine, post-war art world milieu, and tells how, following early promise and success, she overcame personal and professional challenges in mid-career to achieve recognition at the end of her life.…

Paperback. Condición: New. The book offers both the non-specialist and specialist reader an accessible and affordable, concise introduction to the artist's life and work, written by an established expert on British modern art. Alongside a biographical overview, shorter chapters explore key aspects of her work in more depth. Currently no such book on the artist exists.Barns-Graham's contribution to the story of 'St Ives' modernism has been relatively overlooked. The book provides an opportunity to assess her work as a woman artist in an overtly masculine, post-war art world milieu, and tells how, following early promise and success, she overcame personal and professional challenges in mid-career to achieve recognition at the end of her life.…

Paperback. Condición: New. Altdorf's earliest poems, written during military service and as a prisoner of war, reflected on nature, poetry and art. Beginning a new life, post-war, as an artist, Altdorf explored how the human figure might be depicted through increasingly abstract representations. Similarly, he refined his poetry to create 'a new, free, melodic' language' with 'a simple, song-like beauty'. Presenting Altdorf's poetry alongside his art reveals a powerfully interconnected vision shaped but not defined by war: a humanitarian outlook informed by a profound spiritual belief. …

Hardback. Condición: New.

Paperback. Condición: New. Herry Perry (1897-1962) is an important, but neglected, artist of the 1920s-50s. The book brings together all aspects of her art for the first time. She studied at the Central School of Arts and Crafts (now Central Saint Martins) from 1924-7 and was taught wood engraving there by Noel Rooke. Her first love was wood engraving but she quickly moved on to use the wide range of other skills she acquired at the Central. Her best known work is the posters she designed for Frank Pick at London Transport from 1927-38. She produced some sixty witty and inventive posters during this time. Some of these included birds-eye view maps of areas of London. She was also commissioned to paint murals, most famously two on R.M.S. Queen Mary in 1936, and also a map mural for Rothamsted Research Station in 1932 (which can still be seen there). She also illustrated various books, some of which were written by her. The text and illustrations often show her sense of humour. The Second World War and the death of Frank Pick in 1941 put an end to her poster work. After the War she painted a large number of pub signs for various London and Kent breweries.…

Paperback. Condición: New. Herry Perry (1897-1962) is an important, but neglected, artist of the 1920s-50s. The book brings together all aspects of her art for the first time. She studied at the Central School of Arts and Crafts (now Central Saint Martins) from 1924-7 and was taught wood engraving there by Noel Rooke. Her first love was wood engraving but she quickly moved on to use the wide range of other skills she acquired at the Central. Her best known work is the posters she designed for Frank Pick at London Transport from 1927-38. She produced some sixty witty and inventive posters during this time. Some of these included birds-eye view maps of areas of London. She was also commissioned to paint murals, most famously two on R.M.S. Queen Mary in 1936, and also a map mural for Rothamsted Research Station in 1932 (which can still be seen there). She also illustrated various books, some of which were written by her. The text and illustrations often show her sense of humour. The Second World War and the death of Frank Pick in 1941 put an end to her poster work. After the War she painted a large number of pub signs for various London and Kent breweries.…

Paperback. Condición: New. This beautiful book, of paintings by Alice Mumford and poems by Sue Leigh, brings together exciting new work from the two makers. Collaboration is perhaps not the right word for a project in which paintings and poems sit side by side, each illuminating the other. Onlooker and reader are offered another glimpse, another view which may change the experience of looking and reading.The book includes conversations between painter and poet in which they discuss their experience of working in their different media and consider the limitations and possibilities of each. They talk about their sources of inspiration, how they might choose a subject (or does it choose them?), and the process that surrounds the making of their work. What do they share in their creative lives and how do they differ? The work of these two contemporary artists celebrates the intimacy and beauty that can be found in our everyday lives.…

Paperback. Condición: New. Innumerable artists have found refuge in Britain during the past hundred and fifty years, escaping dispossession, torture, intellectual oppression or war. Their arrival frequently enriched art in Britain. Following the isolation of most émigrés in the First World War, artists who escaped Nazism in the 1930s became part of art communities in places as far apart as Hampstead, Glasgow, Merthyr Tydfil, the Swansea valley and St Ives. Gabo and Mondrian influenced Nicholson, Hepworth and Lanyon, while younger artists were inspired by radical ideas of Kurt Schwitters and John Heartfield and by the Expressionists Bloch, Herman, Kokoshcka and Koppel. Lotte Reiniger brought innovations in animation and Bill Brandt and Felix Man showed the potential of documentary photography. Refugees have come since from China, Eastern Europe, Latin America, Africa and the Middle East. The experiences of artist refugees have followed many patterns. Some stayed a short time and moved on, some made their lives in Britain, teaching, exhibiting and inspiring. In the 1940s, refugees contributed to the war effort and the defeat of fascism. The stories of later refugees' contributions to British art are still unfolding. …

Paperback. Condición: New. Innumerable artists have found refuge in Britain during the past hundred and fifty years, escaping dispossession, torture, intellectual oppression or war. Their arrival frequently enriched art in Britain. Following the isolation of most émigrés in the First World War, artists who escaped Nazism in the 1930s became part of art communities in places as far apart as Hampstead, Glasgow, Merthyr Tydfil, the Swansea valley and St Ives. Gabo and Mondrian influenced Nicholson, Hepworth and Lanyon, while younger artists were inspired by radical ideas of Kurt Schwitters and John Heartfield and by the Expressionists Bloch, Herman, Kokoshcka and Koppel. Lotte Reiniger brought innovations in animation and Bill Brandt and Felix Man showed the potential of documentary photography. Refugees have come since from China, Eastern Europe, Latin America, Africa and the Middle East. The experiences of artist refugees have followed many patterns. Some stayed a short time and moved on, some made their lives in Britain, teaching, exhibiting and inspiring. In the 1940s, refugees contributed to the war effort and the defeat of fascism. The stories of later refugees' contributions to British art are still unfolding. …

Paperback. Condición: New. Banksy is always viewed through the lens of the 'whodunnit', as a disruptive street artist who alternates between being hailed a national treasure and urban folk hero; an imposter who has reneged on his graffiti roots. Despite his legendary status, there are many purists who think he has forsaken his street-cred for credit in the bank. But above all, we all remain obsessed by his anonymity, his high-profile invisibility, his status as the world's most famous unknown artist.This illustrated book takes a new approach to Banksy's work: it looks closely at his creative output as an artist, political commentator, and cultural phenomenon. Taking a thematic approach to Banksy's extensive practice as a stenciller, painter, curator and filmmaker, each section explores the craft, context and cultural forebears of 'his' work, setting it within the dominant social and political debates that have determined the artist's visual agenda.The book examines in detail individual artworks and also takes a critical view of the major events that have shaped Banksy's reputation; his highly ambitious inaugural exhibitions in the USA (Barely Legal, 2003); his invasion of some of the world's major collections - The Louvre, the Met in New York, London's Tate Gallery and the British Museum - during 2004-5 to 'donate' his own artworks; the radical remixing of the collection at Bristol Museum and Art Gallery in 2009; the massive exhibition of different artist's works at Dismaland in 2015, and the notorious shredding of his own work during a live auction at Sotheby's. Interposed between these set-piece chapters the book tells the unfolding story of Banksy's emergence as an artist, with detailed analyses of his craft; the particular power of his stencilling, his comic ability to detourne old canvases, and his innovative use of words, lettering and fonts.…

Paperback. Condición: New. Banksy is always viewed through the lens of the 'whodunnit', as a disruptive street artist who alternates between being hailed a national treasure and urban folk hero; an imposter who has reneged on his graffiti roots. Despite his legendary status, there are many purists who think he has forsaken his street-cred for credit in the bank. But above all, we all remain obsessed by his anonymity, his high-profile invisibility, his status as the world's most famous unknown artist.This illustrated book takes a new approach to Banksy's work: it looks closely at his creative output as an artist, political commentator, and cultural phenomenon. Taking a thematic approach to Banksy's extensive practice as a stenciller, painter, curator and filmmaker, each section explores the craft, context and cultural forebears of 'his' work, setting it within the dominant social and political debates that have determined the artist's visual agenda.The book examines in detail individual artworks and also takes a critical view of the major events that have shaped Banksy's reputation; his highly ambitious inaugural exhibitions in the USA (Barely Legal, 2003); his invasion of some of the world's major collections - The Louvre, the Met in New York, London's Tate Gallery and the British Museum - during 2004-5 to 'donate' his own artworks; the radical remixing of the collection at Bristol Museum and Art Gallery in 2009; the massive exhibition of different artist's works at Dismaland in 2015, and the notorious shredding of his own work during a live auction at Sotheby's. Interposed between these set-piece chapters the book tells the unfolding story of Banksy's emergence as an artist, with detailed analyses of his craft; the particular power of his stencilling, his comic ability to detourne old canvases, and his innovative use of words, lettering and fonts.…

Paperback. Condición: New.

Paperback. Condición: New. John Bellany was one of the most significant Northern European Expressionists of the modern era. As with all expressionists his art is highly subjective and autobiographical and his self-portraits range from carefully observed student studies to disguising himself in different roles within his epic pictorial narratives.This book concentrates on the role of self-portraiture in Bellany's art to trace and present the complex development of his artistic and personal obsessions and shows how he portrayed himself through a variety of mediums, including his private sketch books and a wide range of printing techniques as well as drawings and paintings. It includes a foreword by Helen Bellany, the artist's wife, plus an essay and interview from exhibition curators' Bill Hare and Sandy Moffat. Moffat's account charts his long-term friendship and collaboration with Bellany, from their time at art school up until the latter's death.…