Author: Martin Gayford File Type: epub Martin Gayfords masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselvesThe development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitajs proposal, made in 1976, that there was a substantial School of London was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley.Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.**ReviewWell-researched a fascinating look at postwar London artists, filled with entertaining figures. - Kirkus Reviews If you are interested in modern British art, the book is unputdownable. If you are not, read it. You soon will be. - Financial Times Martin Gayford has been talking with artists for 30 years. He doesnt just nip into the studio with a notepad he has a gift for sustaining conversations that unfold across decades Other studies have debated the effects of state art funding and cold war cultural politics this one brings us the expression of Leon Kossoff as he moves through heaven and hell with each brushstroke, Bridget Riley introducing the whisker of white that makes a black painting live, Gillian Ayres and Howard Hodgkin talking hour after hour in the car down to Bath School of Art. - The Guardian [A] superb survey of British painting from 1945 to 1970, London Gayford recounts the artists lives and their travails with sympathy and understanding [a] wonderfully accomplished book, full of anecdotes and apercus. - The Times (London) Superb Gayford deploys Bacons voice to brilliant effect, and you hang on to every word This is a book about community and influence about the connections, sometimes powerfully strong and sometimes only thread-like, between artists of dizzying talent and wildly varying impulses. - Observer ReviewA masterpiece, a major work of modern art history As [Martin Gayford] traces Londons art scene from the 1940s to the 1970s, the configuration of friends and rivals he presents is as lucid as a family tree... filled with vivid anecdotes that might have otherwise disappeared into the Soho air. - The Wall Street JournalAbout the Author Martin Gayford is art critic for The Spectator. His books include Man with a Blue Scarf, A Bigger Message, and Rendez-vouz with Art (with Philippe de Montebello).

Author: Tamara Smithers File Type: pdf Michelangelo in the New Millennium presents six paired studies in dialogue with each other that offer new ways of looking at Michelangelos art as a series of social, creative, and emotional exchanges where artistic intention remains flexible probe deeper into the artists formal borrowing and how it affects meaning regarding his early religious works and consider the making and significance of his late papal painting projects commissioned by Paul III and Paul IV for chapels at the Vatican Palace. Contributors are William E. Wallace, Joost Keizer, Eric R. Hupe, Emily Fenichel, Jonathan Kline, Erin Sutherland Minter, Margaret Kuntz, Tamara Smithers and Marcia B. Hall *