Bøger af James Cahill

The collection of essays and reviews published between 1990 and 2020 celebrates the life work of Britain's pre-eminent artist David Hockney (born Bradford 1937). The compendium ranges from a study of his printmaking by author Marina Vaizey, first published in the quarterly review, Cv Journal of Art and Crafts 3/2 June 1990, to a major exhibition 'A Bigger Picture' on the theme of the East Yorkshire Landscape staged at the Royal Academy in 2012. Renowned author, poet and art historian Edward Lucie-Smith considers the artist's presentation of 'Eighty Two portraits and One Still Life', exhibited at the Royal Academ in 2016, while Cv editor Nicholas James reviews 'Drawn From Life', a survey Hockney drawings exhibited at at the National Portrait Gallery London 2020.

Cv/VAR series no.176 reviews 'Jammers' by the celebrated American artist Robert Rauschenberg (1925-2008), in an exhibition held at Gagosian Gallery, Britannia Street London, from 16th February to 28th March 2013. The inspiration for the series came from a month in 1975 when the artist worked in an Ashram (textile factory) in Ahmedabad, India. He developed the loose fabric structures in New York, bringing reference to sails of crafts (Windjammers) and the sense of free natural movement. Born in Port Arthur, Texas in 1925 Rauschenberg attended Academie Julien and Black Mountain College, where he studied under Josef Albers. He was associated with Jasper Johns and John Cage in the early 1950s, when he made the famous 'combines', assemblages of found objects, and created the White and the Black paintings - presaging movements of Pop, Minimalist and Conceptual art of the following decades. The monograph includes an essay by James Cahill in which he surveys some of the recorded interviews Rauschenberg gave, and considers the wider function of artists' statements. An interview by Nicholas James with David White, long time colleague and friend, now Senior Curator of the Robert Rauschenberg Foundation, recalls the artist and his work.

The Compelling Image will delight the art-lover who does not yet realize that Chinese painting can be as original and moving as El Greco or Cézanne. With a graceful authority, James Cahill explores the radiant painting of that tumultuous era when the collapse of the Ming Dynasty and the Manchu conquest of China dramatically changed the lives and thinking of artists and intellectuals. The brilliant masters of the seventeenth century were reconsidering their artistic relationship to nature and to the painting of earlier times, while European pictorial arts introduced by Jesuit missionaries were profoundly influencing Chinese techniques. The reader/viewer is presented with a series of crucial distinctions of style and approach in a richly illustrated book that illuminates the whole character of Chinese painting. Cahill begins with a relatively neglected artist, Chang Hung, who moved traditional forms ever closer to literal descriptions of nature, in contrast with the theorist painter Tung Ch'i-ch'ang, who turned the same traditional forms into powerful abstractions. A chapter focused on Wu Pin offers new and controversial ideas about the impact of European art, as well as a related phenomenon: revival of the highly descriptive early Sung styles. Looking especially at Ch'en Hung-shou, the greatest of the late Ming figure painters, Cahill examines a curious mixing of real people and conventionally rendered surroundings in portrait art of the period. He analyzes the expressionist experiments of the masters known as Individualists, and distinguishes these artists from the Orthodox school, concluding with a bold reassessment of the most eloquent of later Chinese painters, Tao-chi. Over 250 illustrations, including twelve color plates, are drawn from collections in the United States, Europe, Japan, and China. This is a book for anyone interested in China, its past, and its art, and for the enthusiast who wishes to broaden the horizons of enjoyment by exposure to a most engaging writer on an exquisite era.

This is the most comprehensive English-language compilation available on Chinese painters and their works from the late 6th through the mid-14th century. Incorporating the work of Ellen Johnston Laing and Osvald Siren, whom Professor Cahill studied under as a graduate student, the work includes biographical details of the artists, their "style" and "studio" names, where their works are located or have been published, and information on materials, signatures, seals, and inscriptions. An extensive bibliography focuses on reproductions of the works in Chinese, Japanese, and Western publications, making the Index an essential research tool for all students, scholars, collectors, and connoisseurs of Chinese painting.

When it comes to lovemaking, for lots of men, a woman's mind and body are strange, alien territories. There is no reason why any man should know what a woman needs when he makes love to her, or how to go about giving it to her. A typical pattern often emerges in many intimate relationships: a woman is not properly warmed up, sex may become painful, and most often, she does not have an orgasm. When he wants to make love to her again, she resists. However, once a man understands how women tend to think about intimacy - vastly different than the way he thinks about it - and learns a new approach and a few simple but dazzling techniques for effective lovemaking, he will know exactly what to do when he makes love to her. He will not only give her a good warm up, but most importantly, he will give her an orgasm every time they make love. When this occurs, she will become a wildly enthusiastic lover, and will want to make love to him again and again. Her reluctance will be a thing of the past. Most importantly, this book is written for men. The voice and point of view here are male. Two good friends sit down over a beer to discuss women and sex. They are honest, graphic, irreverent, humble and funny as they share their exasperations and frustrations - but most importantly, they solve them. John Lennon said, 'Love To Turn You On'. Gentlemen, there is nothing equal to the otherworldly thrill of giving a woman an orgasm; to witness her shudder with pleasure and to know that you are the man responsible. She will reward you a thousand fold. Happy lovemaking. James Cahill

Cv/VAR 104 reviews 'David Hockney RA: A Bigger Picture', exhibited at the Royal Academy from January to April 2012. The project of creat-ing monumental landscape paintings was based on a small area near the artist's home at Bridlington in East Yorkshire. Works were devel-oped with time-framed films, photographs and i-pad studies, drawings, sketchbooks, oils and watercolours. recording particular motifs and places in the changing seasons. Studies were enlarged on joined canvases in compositions up to 30' wide, designed to immerse the viewer in an intense and personal experience of the landscape. The monograph includes reviews of the exhibition by James Cahill and Michael Lovell-Pank, and recent books on the artist by Marco Living-stone, Martin Gayford and Christopher Simon Sykes, reviewed by Marina Vaizey.

Poetic paintings--works done in response to lyric poems or as pictorial equivalents to them--compose a major category of East Asian art. In this beautifully illustrated book James Cahill, looks at three exemplary traditions in this genre.

Matters of Life and Death is a limited-edition publication documenting the recent paintings of celebrated Dallas-based British artist Richard Patterson (b.1963). Exploring subjects including abstraction and figuration, portraiture and personae, and fetishism and the male gaze, Patterson's paintings are complex, cryptic and, at times, haunting.

In this beautifully illustrated book, Cahill reveals the intricacies of the traditional Chinese painter's life and work, covering such aspects as payment and patronage, in an approach that is largely absent from Asian art history.

James Cahill presents a review of a new exhibition by the renowned artist Francesco Clemente,(b.1952) exploring his first show in London for seven years. The monograph includes a conversation recorded with the artist in which he discusses the new paintings, and the ideas which grounded their development.

Traditional Chinese collectors, like present-day scholars of Chinese painting, have favored the 'literati' paintings of the Chinese male elite, disparaging vernacular works, often intended as decorations or produced to mark a special occasion. This book deals with the field of Chinese pictorial art history.