Bøger udgivet af Liss Llewellyn

For more than fifty years, George Kenney has dedicated himself to the study of European art. George authored a Catalogue Raisonné titled 'The Illustrated Bartsch, Vol. 51' for Abaris Books in 2017. This comprehensive work explores the etchings of Ferdinand Bol, a prominent 17th-century artist and student of Rembrandt.

'Drawings' is a collaborative venture combining two exhibitions that have been timed to coincide: British Drawings: 1890-1990 at Sotheran's, and Drawings 1990-2022 at Purdy Hicks Gallery. Both shows emphasise the importance of drawing to artists of the last 120 years: though many of the artists have used myriad other art forms, they have invariably returned to the honesty of drawing, time and time again. The artists reflect their times. The artists from 1890-1980 are very much associated with strong schools of thought. One school in particular, the Slade School of Fine Art, dominates. Its rigorous process of drawing underpins much that we see, but is of course interpreted differently artist by artist. There was most definitely a British School, and in terms of drawing its greatest, though largely unacknowledged, triumph can be found in the remarkable works produced by the artists of the British School at Rome with their use of drawing techniques dating back to the Renaissance.This catalogue contains outstanding examples by Winifred Knights, Evelyn Gibbs, Anne Newland, Thomas Monnington, Robert Austin, Alan Sorrell and Reginald Brill. Slade student Winifred Knights exemplified the teachings of Henry Tonks, (Professor of Fine Art at the Slade from 1918 to 1930), with her observation of nature and meticulous methodology, working through endless studies, which were in turn painstakingly transferred to create finished works. Gilbert Spencer, another of the Professor's students, recalled how Tonks talked of dedication, the privilege of being an artist, that to do a bad drawing was like living with a lie, and he proceeded to implant these ideals by ruthless and withering criticism. I remember once coming home and feeling like flinging myself under a train, and Stan telling me not to mind as he did it to everyone. Methodology aside, many of the artists in this catalogue share common traits - an obsession with the minutiae of nature, an unbreakable attachment to landscape, an immersion in the narrative tradition, and an inability to resist humour and affection for the quirky and mundane.

This catalogue brings together 100 years of British painting from 1880-1980. Women are at the forefront: the essential process of rewriting their work into the narrative continues. face=Bilo-Light>Among the women celebrated here are Marion Adnams, Averil Burleigh, Hilda Carline, Ithell Colquhoun, Evelyn Dunbar, Margaret Gere, Kathleen Guthrie, Winifred Knights, Rachel Reckitt and Paule Vézelay.

By the end of John Cecil Stephenson's art school training - first a scholarship to Leeds Art School then to The Royal College of Art - he was in a position to produce still lives, landscapes and portraits in a professional capacity. Like many painters of his generation, who had received similarly conventional instruction, he became a competent teacher, appointed in 1922, as Head of Art at The Northern Polytechnic. In this mould Stephenson might have remained a largely undistinguished painter - but in the early 1930s he found himself at the centre of a group of artists with avant-garde credentials, and his own art underwent a remarkable transformation. By 1934 he was exhibiting groundbreaking works such as Mask (CAT. 7), at the 7 & 5 Society, and in 1937 was a key contributor to the watershed publication and exhibition Circle, where his work was showcased alongside that of luminaries such as Kazimir Malevich, Le Corbusier, Fernand Leger, Alberto Giacometti and Pablo Picasso. What led Stephenson to become, in the words of the celebrated art critic Herbert Read, 'one of the earliest artists in the country to develop a completely abstract style'? Between March 1919 and November 1965, John Cecil Stephenson lived in London at No. 6 Mall Studios, off Tasker Road, Hampstead. As the father figure of what Read christened 'a nest of gentle artists', his next door neighbours included, during the course of the decade leading up to World War II, Barbara Hepworth, John Skeaping, Ben Nicholson and Henry Moore. Such fertile ground was further enriched by visits from artists fleeing persecution - including Piet, Laszlo Moholy-Nagy and Alexander Calder - just a few of the many internationally acclaimed artists who, whilst passing through London, formed part of the art set who congregated around Read's house at No. 3 Mall Studios.

Published on the occasion of the exhibition of works on paper by thirty-eight 20th-century British women artists.

A large selection of works which reflect the life of British artists of the first half of the 20th century.

No account of 20th Century British art can overlook the numerous works of the period that were essentially "religious" in their content. Art, Faith & Modernity examines this question.

Co-published with The Fleece Press. This is a collection of about 66 poems written by DPB to his daughters while he was away to do his wartime service.

This exhibition catalogue highlights the work of a cross-section of women artists, active during the first half of the 20th century, whose work deserves more critical acclaim.

It is rare for a creative artist to work in the privacy of his garden shed, in a challenging medium, and almost entirely for his own pleasure, but such a one was the slate-carver, John McKenzie. His day job was working as a steward in the Petty Officers' Mess aboard H.M.S. Condor, at Arbroath, Angus, on the east coast of Scotland.

Victor Hume Moody created timeless images of an Arcadian idyll at a time when most artists had turned their backs on the classical tradition. During almost 70 years he tirelessly researched and worked to revive traditional painting techniques, creating a unique fusion of classical figure composition and the pastoral English landscape.

Born in London in 1903, Archibald Ziegler was a British figurative painter marked by his education at the Royal College of Art in the late 1920s and later influenced by the work of fellow Jewish artist the likes of David Bomberg, Mark Gertler, Joseph Herman etc. Taught drawing and painting at St Martin's School of Art.

Walter Bonner Gash (1869-1928) Edwardian artist known for his works in oil and pastel. Primarily interested in landscape, still life and especially portraiture.

The first book to appear on the 20th century British artist Charles Cundall, this publication examines aspects of Cundall work done at home in England, abroad - Cundall made numerous painting trips to the continent, but also to the United States - and during the war. Well illustrated, the book also includes a chronology and a reproduction of a text by William Gaunt dating from the 1960s and commissioned for a book on Cundall that never came to be.