Bøger udgivet af Paul Holberton Publishing

The first book on Peruvian-American artist Andrea Morales, whose photographs honor her community and their activism in Memphis and the surrounding region. This vibrant catalog showcases a decade's work by Peruvian-American photographer Andrea Morales (b. 1984), whose camera captures community life and activism in the American South, particularly in her home city of Memphis, Tennessee. It accompanies her first major exhibition at the Memphis Brooks Museum of Art, represents the first scholarly publication on her work, and the first major museum exhibition dedicated to movement journalism. Memphis has long been a place bubbling with social movements. Roll Down Like Water--a nod to Dr. Martin Luther King, Jr.'s iconic last speech in the city--shows Morales's incredible ability to engage with her subjects. From intimate portraits and records of daily life to the documentation of social and environmental movements with local and national resonance, her photography builds a passionate and tender portrait of this unique part of the South. Morales centers her practice on building long-term relationships with the communities she photographs and views this relationship as one of collaboration rather than detached observation. Her approach is informed by movement journalism, which recognizes that journalism, like the camera, is not totally objective. By establishing a human connection between chronicler and people and rooting it in an ethical and rigorous framework, Morales's community-driven visual storytelling reaches beyond historical injustice to capture the liveliness and joy of the communities she photographs. For Memphis and Morales, King's words loom large. Echoing his description of collective liberation as "an inescapable network of mutuality, tied into a single garment of destiny," Morales's captivating images of the South chart new, sustainable paths in photojournalism, while reflecting upon identity, community, and the power of storytelling.

Explores the rich history of Japanese printmaking passed down through the Yoshida family. This book, accompanying the 2024 exhibition at Dulwich Picture Gallery, explores the Yoshida family's important contribution to Japanese woodblock printing, from patriarch Hiroshi down to the current generation, led by Yoshida Ayomi. The story of the Yoshida family has been woven into the history of Japanese printmaking across two centuries, with each generation infusing this traditional art form with their sensitivity and imagination. Trained as a painter and watercolorist, Yoshida Hiroshi (1876-1950) was a pioneer of the shin hanga artistic movement, which revived the traditional ukiyo-e prints ("pictures of the floating world"). His incredible corpus of woodblock prints contributed to the popularity of Japanese prints in the West. Fujio (1887-1987), Hiroshi's wife, a watercolorist, painter, and printmaker, was the first Japanese woman artist to gain international acclaim. Toshi (1911-1995) and Hodaka (1926-1995), Hiroshi and Fujio's sons, represent the second generation of this artistic dynasty; Toshi introduced post-war abstraction to the Japanese printmaking process, while Hodaka pushed these modernist instances further, achieving a unique personal style inspired by the sōsaku hanga movement of artistic self-expression. His wife Chizuko (1924-2017) co-founded the first group of female printmakers in Japan, the Women's Print Association. The youngest member of the Yoshida family is Ayomi (b. 1958), daughter of Hodaka and Chizuko, whose practice bridges the gap between ukyio-e and contemporary art thanks also to the exploration of organic materials. She has been exhibited at major international institutions and will contribute an original installation to the Dulwich show.

An informative guide to the most iconic works in The Frick Collection honoring the museum's reopening post-renovation. From paintings and sculpture to decorative arts, this publication encapsulates the range and depth of Henry Clay Frick's collection. Organized chronologically and by geographic school, The Frick Collection is designed to offer a sense of the connections between, and diversity among, contemporaneous artistic production across different fields, genres, and media in early modern Europe. When American industrialist Henry Clay Frick (1849-1919) built his New York home on the Upper East Side of Manhattan, he intended for it to one day become a public art museum for the "use and benefit of all persons whomsoever." After his death and that of his wife, Adelaide, in 1931, the house was transformed into a museum and was opened to the public in December 1935. The Frick's daughter Helen Clay Frick (1888-1984), along with a board of trustees, was instrumental in the continuance of her father's legacy and the care of his bequest. Over the years, the collection grew and the number of visitors increased, requiring renovation campaigns in the 1970s and 2020s to accommodate these changes, the latest giving access to the public for the first time to a suite of rooms on the second floor. Originally the Frick family's private quarters, these rooms are now galleries for works of art, providing space for more objects to be on view. The scope of the collection, which spans from about 1300 to 1900, was never intended to be encyclopedic and reflects the taste of the founder, who chose to acquire works for his home that were "pleasing to live with."

Uncovers the significance of walls in the drawings of Henry Spencer Moore after World War II. Henry Spencer Moore (1898-1986) was one of the most influential British artists of the twentieth century. This book and exhibition offer a new reading of Moore's celebrated Shelter series and the artist's fascination with images of walls during and immediately after World War II. Henry Moore: Shadows on the Wall accompanies a focused exhibition at the Courtauld Gallery. After the destruction of his London studio early in World War II, Henry Moore began drawing figures sheltering from bomb raids in the London Underground. The walls of these sheltered spaces came to absorb his attention in an altogether new way, becoming scene-setters and key components of his drawings. This fascination with the bricks and the presence of walls, their texture, mass, and volume, became especially important after his project to illustrate the wartime radio play The Rescue, based on Homer's Odyssey. Henry Moore, a collaboration with the Henry Moore Foundation, suggests for the first time that the walls in his drawings offer a new way to understand some of his most individual and monumental post-war sculpture projects.

The National Pavilion of Saudi Arabia's contribution to the Biennale Architettura 2023's debate on the future of architecture through the concept of materiality. This book invites readers to dive deeper into the captivating dialogue between materiality and imagination, as envisioned by IRTH (pronounced like "earth") at the 18th International Architecture Exhibition--La Biennale di Venezia. Prepared for the Biennale Architettura 2023, for which the theme was "The Laboratory of the Future," IRTH immerses visitors into the profound interplay between material and immaterial. It chronicles the National Pavilion of Saudi Arabia's multi-faceted contribution to the discussion, in which the essence of earth as a material becomes a canvas for envisioning tomorrow's architectural legacies. In a curatorial journey told through essays from visionary architects, researchers, and experimental material alchemists, the book represents the multiple viewpoints and projects emerging from Saudi Arabia and its wider region. It delves into vernacular Saudi architecture, which, meticulously deconstructed and reimagined, forms the key point of reference for this journey. As we navigate the universal challenges of belonging and legacy, this exhibition transcends geographical boundaries, seeking common ground in the tapestry of diverse identities and perspectives. Through the lens of materiality, the National Pavilion of Saudi Arabia compels us to answer collectively the problems of tomorrow, one narrative at a time.

Four works by the great Italian artist Guercino. This gem of a catalog accompanies an exhibition at Waddesdon Manor on one of the great painters of seventeenth-century Italy, Giovanni Francesco Barbieri, known as Guercino (1591-1666). It brings together for the first time Waddesdon's King David with three paintings of sibyls (female prophets from classical antiquity) on loan from the National Gallery and the Royal Collection. Readers and viewers alike will be immersed in the poetry, color, and majesty of these four works, which were all painted by Guercino in the year 1651. This is the first time the paintings have been seen together. The catalog investigates the relationship between David, the Jewish patriarch, psalmist, and prophet whom Christians believed prefigured Christ, and the four pagan seers who supposedly foretold Christ's birth. Guercino's brilliant depiction of fabrics and materials--silk, flesh and ermine, paper, wood, and stone--evokes ideas about inspiration and contemplation, sight and foresight, poetry and prophecy.

Understanding Rex Whistler's place in and contributions to the arts and culture of his time. Focusing on the British virtuoso Rex Whistler (1905-44), who was linked to many of the most illustrious figures of the interwar period, this book explores an exceptional case of artistic patronage in the twentieth century. In weaving together social and art history, this beautifully illustrated volume reveals as much about the artist as it does about his patrons. It accompanies a major exhibition at the Salisbury Museum, which holds the Rex Whistler Archive. Whistler's cast of patrons includes the art collector and poet Edward James, avid diarist and socialite Sir Henry "Chips" Channon, Lord and Lady Louis Mountbatten, Cecil Beaton, Duff and Diana Cooper, author and poet Lady Dorothy Wellesley, and many others for whom Whistler worked on a diverse range of commissions. The exchange with his patrons, the book argues, allowed Whistler to explore a rich variety of subjects, materials, and techniques. Whistler's commissioning circle was both diverse and privileged, with many embracing the sexual fluidity of the time, and the book deepens our understanding of how the elite were protected by their wealth and position from the strict societal mores of the 1920s and 30s. Nikki Frater, an expert on Whistler's work, draws on extensive archival research and newly available material to present a fresh interpretation of the relationship between the artist and his milieu. Frater's behind-the-scenes approach illuminates Whistler's creative methods and techniques and includes many previously unseen drawings and sketches. The book paints a nuanced portrait of his oeuvre and the artist himself as he tries to combine his challenging career with a complicated romantic life.

Sheds new light on the Paris Olympics of 1924, often considered the first international games. From their origins in ancient Greece to their modern transformation into a visually powerful event on the world stage, the Olympics have retained their unique place in sport and culture. The summer of 2024 will see the Olympics return to Paris after a century; the 1924 Olympics, arguably the first truly international games, were the first to transmit live radio broadcasts and the first to have an Olympic village. Published to coincide with the Paris Olympics of 2024, Paris 1924 accompanies a major exhibition at the Fitzwilliam Museum. This book explores the Olympic games from a visual perspective, investigating the tensions between their classical beginnings and their representation in 1924 and across the modern era. How were the 1924 Olympics shaped by the visual culture of the period? And how, in turn, were the arts shaped by them? From plaster casts of fifth-century BCE athletic statues to Hollywood cinema, and from classic portraits of the protagonists to more abstract art, Paris 1924 brings together painting, sculpture, film, photography, posters, letters, medals, and other memorabilia to tell a story of sporting endeavor that equally mirrored and shaped its times. Issues of gender, race, and class, as well as an exploration of celebrity and spectatorship, show that the debate around sport was as complex and momentous in the past as it is today. The book includes essays by specialists from the fields of classics, art history, French history, sports history, and medicine, each of whom will focus on key themes in the exhibition and key protagonists in the Olympic story. The subject matter will appeal to fans of both art and sports and tap into the enthusiasm for all things Olympic in 2024.

Essays by an international team of specialists explore the Dutch drawing tradition. This beautifully illustrated scholarly catalog presents a selection of exceptional drawings from the Clement C. Moore Collection, accompanying an exhibition at the Morgan Library & Museum in New York City. The drawings assembled by Moore constitute one of the preeminent private collections of Dutch drawings in America. The collection also includes works by Flemish, French, Italian, and British artists, ranging from the sixteenth to the twentieth centuries. These works have long been intended to join the collections at the Morgan Library & Museum, and this exhibition--timed to coincide with the Morgan's centennial celebrations--makes formal the promised gift. This exhibition companion demonstrates the breadth of the Moore Collection with a selection of around eighty works that highlight the principal themes of Dutch art, the various functions and techniques of Dutch drawings, and the connections between the Dutch and other European artistic traditions. Works by Hendrick Goltzius, Jacob de Gheyn II, Jan Brueghel, Rembrandt van Rijn, Aelbert Cuyp, Jacob van Ruisdael, Peter Lely, Claude Lorrain, Thomas Gainsborough, and John Constable are among those featured.

Charting developments in conservation from the mid-sixteenth century to the present. This fascinating volume presents a wide-ranging overview of one of the lesser-known yet fundamental disciplines of art history: conservation. What happens when art ages? Bringing together some of the leading experts in the field, seventeen essays chart a journey through the theoretical, aesthetic, and technical debates surrounding the conservation of the work of the old masters. The problem of how to look after paintings as they grow old is a historically complex one. Should they be "restored" to their original glory, or should their appearance acknowledge the patina of time? What is to be done with damp and dirt, with rotten panels and yellowing varnishes? The development of conservation is entwined with the development of art history itself, as both deal with the interpretation of the past and its preservation for the future. Masterpieces like Jan and Hubert van Eyck's The Ghent Altarpiece or Rembrandt's The Night Watch have been treated and mistreated many times in their long lives. By the nineteenth century, the growing knowledge of the techniques employed by the old masters had a profound influence on the treatments applied to their works. In the same period, the birth of national galleries as public institutions entrusted with the collective heritage led to the need to preserve large numbers of paintings and establish conservation departments rooted in scientific research. By the mid-twentieth century, the materials and techniques of painting were utterly transformed, demanding fresh approaches to their preservation. A discipline that sits at the crossroads of art, science, philosophy, and technology, modern conservation is the result of an ongoing collaboration between conservators, scientists, and art historians following rigorous ethical standards and training programs.

The reappraisal of an artist who never managed to escape the shadow of his famous father--until now. Pieter Brueghel the Younger (1564-1638) was a Belgian artist who, despite enjoying great success, was forever eclipsed by his renowned father, Pieter Bruegel the Elder (1525-69). During his career, Brueghel the Younger's prodigious output and business acumen popularized the distinctive depiction of Netherlandish peasant life historians recognize today, yet he was constantly deemed a second-rate, derivative painter. Peasants and Proverbs rewrites this narrative by focusing on recent research into Brueghel the Younger's Two Peasants Binding Firewood. These collected writings highlight the emerging understanding of this under-sung artist and savvy entrepreneur who operated his studio to produce and reproduce paintings, and the extent to which his enterprise was motivated by trends in the contemporary art market.

Sparks fly in this love-against-the-odds romanceEstranged from her mother, cheated on by her ex and grieving the loss of her brother, emotionally distraught Sophie Campbell decides she needs to focus on her career as a researcher for a TV and radio broadcaster. What she doesn't need is a man in her life. And as for marriage and children - definitely not.Honourably discharged from the British army following life-changing injuries sustained while serving in Afghanistan, Steven Jackson is rehabilitated and embracing life to the full. Working as the manager of a support centre for military veterans brings him a great sense of pride and achievement. But he wants more. He wants to meet the love of his life, and to one day be a husband and father. When Sophie and Steven meet through work, there's an undeniable chemistry between the two thirty-somethings. But will Steven's open, caring and patient ways be enough to break down Sophie's barriers and allow a relationship to develop between them?Set in the Scottish city of Glasgow, Baby Steps is a contemporary romance which tells a story of love against the odds.**************Baby Steps is a spin-off novel from Anne Stormont's Skye Series of novels. Sophie is the daughter of Rachel one of the main characters in that series and features as a character in the supporting cast, as does Steven. However, Baby Steps can be read as a standalone.

For more than forty years Linley Sambourne was a cartoonist for the British mangazine Punch. When he died in 1910, a host of obituaries paid tribute to his contribution to late Victorian and Edwardian political satire. His home is now a museum.

Published to accompany an exhibition held at the Hunterian Art Gallery, University of Glasgow, June 15-Dec. 1, 2007.

Catalog of an exhibition of the same title at the Centre Georges Pompidou, Paris, 8 December 2004-6 March 2005. The exhibition also shown at the Museu Picasso, Barcelona, 17 March-19 June 2005, and, in reduced form at the National Academy Museum, New York, 14 July-9 October 2005.

This third volume in the catalogue features 144 paintings and 8 drawings and watercolors, 140 of which date from the 18th century. The collection includes 19 paintings by Boucher, eight by Fragonard and 7 by Watteau. There are also works by Poussin, Claude and Philippe de Champaigne. An introductory essay describes the circumstances in which the 4th Marquess of Hertford, the chief collector of the works represented, collected his French 18th-century paintings.

Studies paintings and watercolors by French artists.

The Courtauld Gallery holds the finest group of works by Paul Czanne (18391906) in Britain. This is the catalogue to an exhibition showing the entire collection together for the first time, marking the culmination of The Courtauld Institute of Arts 75th anniversary. The importance of the collection lies not only in its exceptionally high quality but also in its wide range, with seminal paintings and rarely seen drawings and watercolors from the major periods of the artists long career.

This catalogue of Books of Hours, the 'best seller' of the late Middle Ages and Renaissance, presents two dozen Books of Hours mostly dating from the fifteenth and sixteenth centuries. Examples from France, the Netherlands, and Belgium are presented chronologically with illustrations in color for each entry.

The city of Venice holds a special place in the global imagination. This book explores the creation of one of its largest surviving depictions, which has remained almost unknown to the wider public since its creation exactly four centuries ago.

Peterborough Cathedral - one of the finest Romanesque cathedrals in Northern Europe - was ravaged by fire on 22 November 2001.