Gwen John and Augustus John
Gwen John and Augustus John

Author: David Fraser Jenkins

Publisher: Tate

Published: 2004-12-07

Total Pages: 232

ISBN-13:

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Augustus John (1878-1961) was a hugely charismatic and colourful figure, his technical skill as a draughtsman matched by his bohemian manners and dashing appearance. In the pre-war years he epitomised the rebellious artist, travelling the country in a caravan and learning Romany as a result of the time he spent with gypsies. An official War artist during the first war, he subsequently took up a career as a portraitist, painting the leading literary figures of his day as well as inheriting Sargent's mantle as a painter of Society. Gwen John (1876-1939) studied at the Slade along with Augustus, leaving in the same year (1898). She then studied in Paris under Whistler, adopting his remarkable control of colour. In 1904 she settled permanently in France, where she earned a living as a model for artists including Rodin, who became her lover. The opposite of her brother both in personality and artistically, she favoured introspective subjects, and led a reclusive life.

R.B. Kitaj
R.B. Kitaj

Author: R. B. Kitaj

Publisher:

Published: 1994

Total Pages: 248

ISBN-13:

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This exhibition catalogue surveys 35 years of Kitaj's art in whihc he has examined themes of love, exile, sex, tragedy, comedy, death art, literature, politics and the love of books and cities. He interweaves his own life story and identity as a Jew with reflection on the grave moral issues of the 20th century, in particular the Holocaust. His media include collage, pastels, and oils.

British Paintings in the Metropolitan Museum of Art, 1575-1875
British Paintings in the Metropolitan Museum of Art, 1575-1875

Author: Metropolitan Museum of Art (New York, N.Y.)

Publisher: Metropolitan Museum of Art

Published: 2009

Total Pages: 322

ISBN-13: 1588393488

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Covering the period between the late 16th century through to the third quarter of the 19th century, this book features paintings by English, Scottish, Welsh and Irish artists which are part of the collection of the Metropolitan Museum of Art.

Pour l'Art !
Pour l'Art !

Author:

Publisher: Musée Beaux Arts (Montreal)

Published: 2007

Total Pages: 274

ISBN-13:

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Collectionneurs : Appel, Carol; Appel, David; Azrieli, David J.; Bailey, Bruce; Bédard, Élaine; Benjamin, Gerald; Bertounesque, Jean-Claude; Birks, F. Ann; Black, Herbert; Bourgie, Pierre; Brossard, Michel; Browns, Irwin; Côté, Robert; De Bothuri Bathory, Alexandre; Dobrin, Mitzi; Finkelstein, Seymour; Finkelstein, Ursula; Fortin, Franceline; Goldman, Arlene; Goyette, Nathalie; Greenberg, Phoebe; Heenan, Roy L.; Hornstein, Michal; Ivory, Neil; Jodoin, Maurice; Joussemet, Guy; Joyal, Serge; Kursman, Seth; Laliberté, Guy; Lamarre, Philippe; Lambert, Phyllis; Landau, Robert; Lazare, Jack; Ludmer, Irving; Mauer, Lillian; Mauer, William; Meakins, Jonathan; Mendel, Anna; Mendel, Joe; Miller, Lois; Murphy, Sean B.; Odermatt, François; Plamondon, Guy; Renaud, Carolyn; Renaud, Richard; Rochon, François; Rosshandler, Léo; Roy, François R.; Stewart, Liliane M.; Taillefer, Alexandre; Tapiero-Lawee, Martha; Tardif, Yvon M.; Wait, Juliet; Weider, Ben.

The Making of Women Artists in Victorian England
The Making of Women Artists in Victorian England

Author: Jo Devereux

Publisher: McFarland

Published: 2016-08-02

Total Pages: 265

ISBN-13: 1476626049

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When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.