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Online Catalogue | Regional Titles | Cornwall | Cornwall - Non-Fiction | Cornwall - Art and Artists
Alfred Wallis spent most of his life in the Cornish ports of Newlyn, Penzance and St Ives, and went to sea as a young man. His main occupation was as a dealer in marine supplies and he was in his seventies before he took up painting for company . He sold his works for a few pence, and died in the poorhouse. Wallis is now recognised as one of the most original British artists of the twentieth century, the directness of his primitive vision and the object-like quality of his paintings being highly valued. This book revises previous accounts of Wallis s life in the light of new research and traces the development of his painting over seventeen years. It also looks at the mythology that grew up around Wallis and at the sustained interest in the irascible eccentric whose work affected a generation of British artists.
Twenty-two cleverly rendered black and white line drawings of Wallis's most famous paintings for colouring. A brilliant introduction to the art of Alfred Wallis.
Drawing on the West Cornwall Art Archive and many other sources, this profusely illustrated book is the most comprehensive survey ever compiled of painters, draughtsmen and women, sculptors and craftspeople working in Newlyn.
Barbara Hepworth began her career as a sculptor in London in the late 1920s, and quickly established herself in the vanguard of the modern movement. Caught in St Ives by the outbreak of the war, she went on to spend thirty-six years - exactly half her life - in the town. Hepworth came to value the sense of community she found in St Ives, but it was this very rootedness that allowed her to develop sculpture for the national and international stage. Hepworth remains a central figure in British twentieth-century art, and this book describes her life and work, giving an up-to-date survey of the contexts in which she can currently be understood. Penelope Curtis describes the impetus behind the formal clarity of her sculpture, an attempt at 'holding the beautiful thought' amidst the difficult times in which she lived. Reissued in the brand new hardback British Artists format this is an overview of life and key works of one of Britain's most loved modernist artists. It includes full colour photographs of Hepworth's most famous sculptures.
Barbara Hepworth's work and ideas are illuminated in her own lucid and eloquent words in this first collection of her writings and conversations. The book makes available much that is out of print and inaccessible, and includes a significant number of unpublished texts. A surprisingly large body of work, it spans almost the whole of Hepworth's artistic life, showing her innate gift for language and desire to communicate to the public. Alongside the writings are Hepworth's lectures and speeches, a selection of interviews and conversations with writers as well as radio and television broadcasts. The collection sheds new light on Hepworth's life, her working practices, the sources of her inspiration, the breadth of her intellectual interests and her deep engagement with contemporary politics and society. The illustrations include manuscripts and archive photographs from Hepworth's own collection.
Ben Nicholson (1894-1982) was one of the greatest British artists of the twentieth century, first coming to international prominence with his famous 'white reliefs' of the 1930s. A pioneer of abstract art in Britain, he played a significant role in the European avantgarde, forming close links with Picasso, Braque, Arp, Mondrian and others. At the same time he had a strong sense of tradition, maintaining a life-long attachment to landscape and still-life forms. Central to the establishment of a modernist art community in St Ives, Nicholson's importance as a disseminator of international avant-garde ideas in Britain cannot be overstated. His career spanned more than 60 years and embraced carved reliefs, paintings, drawings and prints. Virginia Button's engaging, fully illustrated survey provides a detailed examination of Nicholson's life and work in St Ives, giving a thorough introduction as well as new insights into the evolving practice of this major artist over a period of six decades.
Bernard Leach was a pre-eminent artist-potter of the twentieth century. In the early part of his career he spent twelve formative years in Japan, during a period of febrile excitement in the arts. In 1920 he returned to England to set up a studio in St Ives. Leach s influence on the growth of the studio pottery movement, both in Japan and in the West, has been profound. His making of ceramics and his teaching of some of the foremost aritst-potters of the period gives him a central place in the international history of the decorative arts.
I delight in the mark-making of Alice Mumford. Her brush strokes animate the surface of paper, canvas and board. These brush strokes,laden with colour, focus on the ways in which colour intensifies the expression of light falling on any surface. The light of day is a basicand integral part of Creation. Alice Mumford sees it as a blessing. She knows full well that it has the capacity to reveal the innate natureof visual reality. It transforms our concept of the temporal passage of time to lead us to the consideration of the eternal timespace.Alice Mumford should be regarded as a gifted choreographer. Her chosen objects are certainly not still. They have a shimmeringquality suggesting almost imperceptible movement.Professor Richard DemarcoAlice Mumfords focus on paint, colour and light, along with her predominant subject matter of still life, place her in a tradition that includes Bonnard and Winifred Nicholson.Born in 1965, Mumford trained at Camberwell School of Art and later at Falmouth College of Art. For the past fifteen years or so, she has lived and worked in Cornwall, where alongside her studio practice she also teaches at the St Ives School of Painting. This first -ever monograph traces the development of the artists work and describes her passionate commitment to painting from life.
First monograph on this prolific Cornish artistDraws on the rich artistic heritage of Cornwall whilst maintaining a unique and contemporary perspectivePublished to coincide with an exhibition to be held at Cornwall Contemporary: 17th October 14th November 2020A Cornish Perspective takes an in depth look at the life of Daphne McClure, from her early childhood, through to raising a family and the impact that Cornwall has had on her career as an artist. McClures life in art has been prolific and varied from exhibiting alongside Hepworth and Nicholson in St Ives in the early 1950s, to making costumes for Margot Fonteyn at the Royal Opera House in Covent Garden. She later spent time at the Albers Foundation in Connecticut USA on a prestigious artist residency and was also invited by Tate St. Ives to design a piece of work for their inaugural exhibition.Her love for the coastline, moorland and fields of Cornwall has been fundamental to her desire to paint. Whether painting houses at Porthleven, abandoned mine stacks at Levant or fishing boats at Newlyn Harbour, Cornwall has always provided the inspiration behind her most quintessential work.
David Mankin is a contemporary painter of abstract landscapes based in Cornwall. A series of sell-out shows and a fast-expanding international following has generated widespread interest in how Mankin creates his evocative paintings. David Mankin: Remembering in paint explores his creative process in detail providing the reader access to the sources and influences that inform his work.Reeve-Edwards looks into Mankins continually evolving studio practice: his sources, both external and internal, his methods, tools, and his materials. She places Mankins work and approach to painting within the wider context of the Action Painters and Abstract Expressionists of the mid-century, as well as exploring Mankins individual approach to abstract painting.Through its pages the reader can gain a remarkable insight into the artists work, process, and his profound attachment to the Cornish landscape.
Through their close friendships, Ella and Charles Naper helped define the Lamorna art colony in its heyday. Ella had learned handicrafts at the Camberwell School of Arts, in the tradition of C R Ashbee. She joined Frederick Partridges jewellery workshop at Branscombe in South Devon, where she developed and refined her feel for art nouveau.She married a young architect and painter, Charles Naper. They moved to Lamorna, becoming part of the Samuel J Birch circle. Charles was an accomplished landscape painter, later concentrating on the geometry of cliffs and rock formations. Ella set up the Lamorna Pottery with Kate Westrup, producing beautifully modelled ceramic figures. But the enduring artistic legacy is Ellas elegant jewellery, today highly regarded by connoisseurs and collectors.
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.Geoffreys 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.
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