Bøger udgivet af Lund Humphries Publishers Ltd

The art of Paule Vézelay (1892-1984), celebrated in this groundbreaking publication, is remarkable in its breadth. Over her long career she created an extraordinarily diverse output encompassing painting, collage, sculpture, constructions, illustration, textiles, photography, poetry, prose, critical writing and even a film script. As a mark of her considerable accomplishments, she was celebrated with a show at Tate in the year before her death. Setting out to bring this bold and accomplished artist to new audiences, this important publication focuses primarily on Vézelay's early years in Paris from the 1920s through to 1939, during which time her work moved from figuration to abstraction, for which she would become best known. The book also brings to light, for the first time in detail, her little-known period as a successful designer of textiles. Uncompromising and clear-sighted in her artistic ambitions, Vézelay became a formidable presence in the international avant-garde scene in Paris and continued to push artistic boundaries throughout her long career. This publication, which includes original research and previously unpublished works, extends our understanding, and appreciation of, this important British artist.

The first monograph entirely devoted to the illuminated manuscripts of Sister Eufrasia Burlamacchi (1478-1548), this book demonstrates that her artistry should not be confined to painting or sculpture alone. Within the convent walls of San Domenico in Lucca where she lived and worked, Burlamacchi attained high levels of artistic proficiency through her knowledge of drawing and colour technique, composition, treatment of space and proportions. This book highlights that Sister Eufrasia was aware of the progress illumination underwent in contact with the artists we now include in the High Renaissance. She quickly established a style which she then passed on to younger sisters in faith to establish a convent workshop where mutual exchange was the norm. Here, for the first time, Eufrasia Burlamacchi is recognized and discussed as an influential and gifted artist in her own right.

The 1960s continues to hold an almost mythical place in Western culture, particularly in Britain, where change was widespread and infiltrated many aspects of life. This included architecture, where its role in a modern democracy and the form it should take was hotly debated. Through an examination of the design of university building, the book discusses this phase of architectural thinking. While there were notable buildings being built in other spheres, no other provided the opportunity to express those ideas as freely, while reflecting innovative new thinking about education and society. Somehow, the university buildings of the 1960s seemed to represent the cutting edge of modern architecture in the U.K. This book provides the first critical analysis and overview of these buildings, designed by some of the leading British architects of the period including Sir Basil Spence, Sir Leslie Martin, Alison and Peter Smithson, Denys Lasdun, Powell and Moya and James Stirling. By placing the buildings in a wider social, cultural and political context, it examines the combination of circumstances and attitudes that produced results that are equally admired and detested and allows us to understand how we might replicate or avoid them in the future.

This books serves to establish Clara Peeters, one of the most talented and creative among the early practitioners of still-life painting in Europe in the early 17th century, as a leader in her field. The book not only discusses the artist's biography but also examines the historical and cultural context of Peeters' art, her artistry and the material culture reflected in her paintings. Part of the first generation of European artists to specialise in still-life painting, Peeters was in fact the only Flemish woman known to have focussed on this genre of painting in the early 17th century. She was also one of the few women to dedicate her professional life to painting in early modern Europe. This timely book sheds light on the limitations that Clara Peeters encountered because of her gender and how she responded to them in her art, while also assessing her importance as a painter of still-life.

This is the first book to examine the art and life of Boston-born artist Francesca Alexander (1837-1917). Francesca and her parents moved to Florence in 1853 and became part of a thriving international community. Her long residence in Italy was important; Francesca was a largely self-taught artist, and both her art and writing focused on Italians and Italian life. Her portraits and nature studies, and her translations of songs and stories, were celebrated by people from all walks of life, including John Ruskin, who published three of her manuscripts and promoted her work to his followers. She used her earnings from the sale of these publications, and her art, to fund her many charitable endeavours; both friends and admirers marvelled at her saintly character, which they linked to a romantic view of Italy itself. Nonetheless, in spite of her celebrity on both sides of the Atlantic, she has been largely forgotten. Drawing on her art and writings, as well as letters, diaries, guidebooks, newspapers, and magazines, this book provides a vivid biography of Francesca Alexander, her art, and her place in history.

In a painting career spanning half a century, Helen Clapcott (b.1952) has remained consistent in both her choice of subject and her disregard of the art establishment's playbook. In this, the first major monograph on the artist, Andrew Lambirth charts Clapcott's unconventional path and presents a painter with an uncompromising vision. Clapcott is a painter pre-occupied with the destruction and regeneration of the landscape of her native North-West England. Depictions of the mutation and evolution of what was once Stockport's industrial valley, now a commuter corridor, are expressions of our developing environments and the growth of vernacular townscapes. Based on numerous conversations with the artist, and an in-depth understanding of Clapcott's oeuvre, Andrew Lambirth's text provides a lively account of the artist's background, training and working methods, including her mastery of tempera. Above all, this is a study of an artist's very personal relationship with the evolving landscape of her childhood and her lifelong artistic engagement with the city that she loves.

Nithurst is a much lauded and multi-awarding winning new-build house, designed for the architect and his family in the South Downs National Park: it won multiple RIBA Awards, was a contender for the EU Prize for Contemporary Architecture/Mies van der Rohe Award and was selected as Wallpaper* Magazine's worldwide Best New House of 2020. This book tells the full story of the house, offering thematic essays written by specialists in the fields of film, architectural history, interiors and art - Geoff Dyer, Takero Shimazaki, Jeremy Musson and Corinna Dean - which explore specific aspects of the story in greater detail. Nithurst intentionally feels both ancient and contemporary, the character of this space is informed by Renaissance drawings and by Palladio's plan for the Villa Barbaro. With influences ranging from Vanbrugh to Tarkovsky, the design has a rich narrative, with multiple layers of reference and association, each informing the whole, enhancing its meaning, whilst creating a beautiful place to live. Central to the book is a detailed and analytical narrative by the architect, illustrated by beautiful colour photography and architectural drawings.

Peter Gregory, Director and then Chairman of Lund Humphries, was at the heart of the avant-garde British art world for nearly thirty years of major change in society, politics, and culture. A pioneering art publisher and printer, he was also a discerning patron and collector and a highly effective champion of contemporary art and design. Valerie Holman's new book is the first to situate Gregory's life and career within the wider context of printing and publishing history, war, and changing perceptions of modern and contemporary art. By drawing for the first time on Gregory's unpublished diaries and correspondence, it offers insights into what motivated him, his political stance and attitude to industry, as well as his views on art and literature.

This publication is the first to cover the entirety of the multivalent art of Pakistan-born American artist Shahzia Sikander, with a particular focus on her painting. It contextualises her art within her early education in Lahore, move to America in 1993, and then her establishment in the New York art world since 1997. Sikander's work is among the most thought-provoking and ambitious in the contemporary art world. Initially transforming the traditional form of miniature painting, she pioneered what is now recognised as the Neo-Miniature movement, and over the past 20 years has sought to diversify a predominant Eurocentricity in contemporary art. Her paintings, video animations, mosaics and sculptures interweave historical and contemporary ideas about narrative, gender, trade, empire, and diaspora while centring on women's lives. This book considers the scope of Sikander's considerable ambition and achievement.

King's Cross is one of Europe's most successful and significant urban regeneration projects. Written by the main architects and developer involved, this book provides the most comprehensive overview, from the urban theories that gave rise to it and the design strategies that shaped its form, to the attitudes and principles that inspired its implementation, as well as more concise studies focusing on key aspects of the project. It details each of the individual buildings with insights from the architects responsible. Throughout, it is generously illustrated with historic photos and maps, drawings and diagrams, graphics summarising key data and photographs of both construction phases and the end results.

In May 1949, the Scottish artist Wilhelmina Barns-Graham (1912-2004) visited the Grindelwald Glacier in Switzerland. It was a trip which would have a profound and lasting impact on her work. Charting the journey, the beautiful work it stimulated and wider questions around glacial landscapes, then and now, this publication provides insights that will expand our understanding of both an acclaimed body of work and the artist who created it. That Barns-Graham produced her final glacier painting in 1994, some 45 years after her sole visit to Switzerland, is testament to the influence that the experience had on her. So too are her 100 or so individual glacier works - made first between 1949 and 1952 and then in revisiting the subject between 1976 and 1994. Including a complete catalogue of the glacier paintings, this book presents the definitive account of a trip that would transform the artistic imagination of one of the foremost British painters of the twentieth century.

The 20 years between First and Second World Wars were a time of dramatic development for English people and their homes. By the end of the 1930s, one family in three was living in an interwar house. But one thing that did not change was the sentimental affection of the English for the idea of the cottage picturesque. This book explores the powerful hold on the national imagination of cottage architecture in the interwar period and its hitherto under-examined influence on the politics and aesthetics of class, council housing, conservation, and on the 1920s and 1930s boom in speculative house-building. The book examines the relationships between working-class council houses specifically steered away from looking like the cottage picturesque; traditional cottages appropriated by middle-class weekenders, adopted by conservationists, and mythologised by politicians in the 1920s; new-build speculative housing that the public bought (in the 1920s and 1930s) and architects deprecated because it was designed to evoke the cottage; and early modernist houses, celebrated by architects but treated with suspicion by the public because their aesthetics were at odds with the Picturesque tradition.

Described by composer Ethel Smyth as brilliant, sociable, amusing and utterly original, Clotilde Brewster defied all the odds by becoming the first woman to work internationally as an architect. She was part of a group of pioneering women in the late nineteenth century who broke down barriers in their chosen professions, including the Garretts: in fact, Agnes Garrett (interior decorator) and her sister Millicent Garrett-Fawcett (founder of Newnham College) guided and aided Clotilde at the start of her life and career in England. Clotilde 'Cloto' Brewster (1874-1937) was born in France to an expatriate American father and an aristocratic German mother. Multilingual and cosmopolitan in her ideas and actions, she spent most of her life in continental Europe before settling in Britain. Her early training was in Florence, Italy where she was mentored by architects Adolf Hildebrand and Emanuel La Roche. Aged 18, Clotilde was chosen to exhibit her work at the 1893 World's Columbian Exhibition in Chicago and the following year, she apprenticed to the architect Reginald Blomfield in London before completing her studies at the Royal Academy of Arts. Undaunted by the difficulties she might face as a woman in a man's profession, she relished the challenge of competing with her male peers. In 1899 she gave a speech at the International Congress of Women on the subject of architecture as a profession for women. Not content to accept the role of designer of homely interiors, Clotilde successfully pursued larger and more complex commissions. In 1901, at the age of 27, she designed what is perhaps her greatest project, the Renaissance revival-style Palazzo Soderini overlooking Piazza del Popolo in Rome. Her buildings can be found in England, France, Germany, Italy and Russia. Her commissions, built and unbuilt, include projects of urban palaces, castles, houses, fountains, mausoleums, chapels, additions and renovations. This book is the first to catalogue her work, which includes over 80 projects, and it features the previously unpublished letters she wrote throughout her life to her father and brother, which reflect her exuberant personality and keen sense of humour. It examines how her early years in Italy so crucially influenced her choice of career and follows her fascinating journey through architecture and the high-society world of her clients.

From source to sea, artist Kurt Jackson's fascination with the rivers of the British Isles and beyond has endured throughout his life. This book explores, for the first time, Jackson's visual and written responses to the rivers that he has followed, from the continent of Africa to his home county of Cornwall. The diversity of the waterways that Jackson has come to know through his travels is echoed in his images, which capture habitats rich in flora and fauna. We can also discern the changing face of our rivers - choked by pollution and straining to survive the abuses inflicted since industrialisation restricted the natural flow of the network of blue lines that trickle, meander and run through our lands. Celebrating those networks common to us all, this important publication reminds us of the splendours of our rivers - powerful and fragile in equal measure.

Zaha Hadid is widely regarded as a visionary and influential architect, who became globally acclaimed by the time of her untimely death in 2016. This book is the first to focus on how painting was fundamental to her practice. During the first 20 years of her career, she earned her reputation through ' paper architecture' projects which were widely published in architecture journals and exhibited, but which remained largely unbuilt. Influenced by the Suprematists, she used her paintings as design tools and abstraction as an investigative structure for imagining architecture. Drawing extensively on interviews with Hadid's contemporaries and her team of assistants and her past presentations and in-depth interviews, this book is the first to focus on the important aspect of Hadid's work. It examines selected paintings in detail, both critically assessing them in the wider context of C20th fine art - in relation to the Suprematists, de Stijl, Cubism and Futurism - and offering insights into how Hadid used the paintings to develop architectural and spatial ideas, which she would later realise in her buildings.

Paul Huxley RA (b.1938) has enjoyed a distinguished career both as a painter and a teacher. Huxley's fascinating artistic life, expertly surveyed by Jeremy Lewison, is at last given the attention that it deserves in this, the first monograph on the artist. Huxley's early interest in abstraction chimed with the dynamism that pulsed through London's art scene in the 1960s. Recognised as a new talent by pioneering curator Bryan Robertson, Huxley enjoyed early success in exhibitions including The New Generation, which opened at the Whitechapel Art Gallery in 1964. Building from this positive critical reception, and immersing himself in the vibrant artistic communities of London and New York, Huxley built a career characterised by an instinct to push boundaries and find new ways to advance the language of abstract painting. Constantly evolving, the artist's rich body of work, highlights of which are presented here, stands as testament to a life committed to tirelessly investigating and challenging form, space and colour.

Designed by Marks Barfield Architects, Cambridge Central Mosque is an innovative building, which is both sustainable and socially and architecturally integrated into its neighbourhood. Illustrated with architectural drawings and photography by Sir Cam, Morley von Sternberg and others, this book details its evolution and realisation, highlighting how the mosque breaks new ground, and reflects ongoing debates about Islam and Britishness. It discusses how geometry is a central feature, and focuses on its timber structure or ' trees', as well as on the many sustainable features of the building and its carbon neutrality. The mosque has become a unique place of community worship, and the book concludes by providing a sense of the day-to-day life of the mosque, as well as the lessons which can be learnt from it.

Nigel Hall: Sculpture & Drawings is an ambitious monograph which looks at his work in relation to sculptural developments in Britain, Europe and North America. It presents the two main strands of Hall's practice - sculpture and drawing - as distinct but also interrelated. Line and space are central to Hall's work, with the artist creating highly refined two- and three-dimensional works that deploy a range of geometrical forms. The works he makes are always meticulous and measured, whilst offering intuitive visual conundrums that encourage looking and thinking. Unpicking the complexities of Hall's work and its display both indoors and outdoors, Wood provides the definitive narrative of one of Britain's most accomplished sculptors working today.

Gesina ter Borch (1631-1690) was a Dutch watercolourist and draughtswoman whose work survives primarily in the form of three albums of watercolours and calligraphy, now held at the Rijksmuseum. Despite the fact that her oeuvre is securely attributed and thoroughly catalogued, Ter Borch has surprisingly never been the subject of a dedicated monograph, until now. For the first time, this book highlights Ter Borch's watercolours and calligraphy in their own right, as well as her work as an art teacher, an archivist, and an artist's model, and questions a historiography of women's art that frequently values oil painting over other media, and work for the market over 'amateur' production. Adam Eaker revisits Gesina ter Borch's role in the genesis of Dutch 'high-life' genre painting and its construction of gender and social class, comparing her art with that of her brother Gerard, and in so doing allows for a more nuanced understanding of the ideologies and achievements of Dutch genre painting.

Published 100 years ago, Le Corbusier's Vers une Architecture was conceived as a way of making sense architecturally of a moment of profound social and technological change. Today, we live at another pivotal moment for architecture and for the wider world. The climate emergency alone requires us to rethink everything we have previously taken for granted about how we conceive and construct buildings. Yet, moments of crisis and transformation are also opportunities for overturning conventions, facing uncomfortable truths and forcing disciplinary and societal ' reset' . What we need is not a new architecture, as Le Corbusier was popularly mistranslated as advocating, but another one: an architecture that is not bound to a single vision or future, but is diverse, pluralist and sustains multiple conversations about the active role that architects might play in the world. Towards Another Architecture brings together contributions from practitioners and thinkers working in a range of fields and geographies to advocate their vision(s) for another architecture.

This is a fascinating analysis of the history, current status and possible future of Hong Kong as an international art hub. Enid Tsui presents a balanced and insightful picture of recent changes in the city which was once the poster-child of artistic freedom in Asia as well as the undisputed leader of the region's booming contemporary-art market. Some of Hong Kong's traditional advantages look precarious following new laws imposed by China curbing freedom of expression and the city's long period of isolation during Covid-19. Yet despite the growing uncertainties over the 'red lines' of censorship, there are more world-class art institutions in the city than ever before and the market has proved resilient, with international auction houses and galleries continuing to expand their presence there. This book lifts the lid on a diverse art scene in a city of fascinating contradictions: a former British colony where artists have long been inspired by the interplay between east and west, and where the new M+ museum and other venues have to tread a tightrope between celebrating a distinct and vibrant culture based on different influences and abiding by the new national security regime.

AI and the Art Market is the first book to offer an approachable introduction to AI for art-market professionals, considering AI's impact on and possible applications within the art world, whether as a business tool or as an artistic medium. The two primary topics of how AI is affecting the art market and the market for AI art are united under the broad theme of how art-market professionals can be better equipped to work with AI in an art-world context, as relative novices. The book discusses questions such as: Can AI benefit your business? If you are open to working with the growing number of artists who use AI, how can you best support their practices and approach selling their work? What risks should you be aware of, and how can you distinguish between truly cutting-edge innovation and outlandish, unsubstantiated claims about AI? More broadly, how/is AI reshaping practices within the art market and what cultural changes should we be prepared for in the long term? AI and the Art Market puts forward a balanced overview of this increasingly Hot Topic, considering the benefits of AI while never shying away from its ethical complications and practical limitations.

This book charts a twenty-year period in theatre design that maps the growth of large-scale adaptable theatre through Charcoalblue's work, alongside the world's leading architects. From the remaking of London's Young Vic Theatre in the mid-2000s, through larger scale projects for the Royal Shakespeare Company, the National Theatre, the Royal Opera House and many other cultural organisations worldwide, the practice have provided specialist expertise. Highly illustrated with photos and drawings, the book includes sections on adaptable theatres, temporary spaces, anti-culture palaces, theatrical transformations, and hidden gems. Each case study provides insightful analysis. There are sections which focus on updating historic theatres and creating performance spaces for leading academic institutions. The book also includes useful technical sections which focus on acoustics, digital environments and even a section which discusses developing seating.

Providing a recent history of Southeast Asian art linked to the social and political contexts in which the illustrated work emerged, this groundbreaking book reveals the innovative creative strategies, often covertly encroaching on public space, developed by regional artists to ensure the communication of sometimes provocative, even seditious, ideas to a general audience. Surveying work created by Vietnamese, Thai, Burmese, Cambodian, Indonesian, Malaysian, Singaporean and Filipino artists, the publication's broad regional spread provides valuable insights for a global audience perhaps unfamiliar with the pioneering utilisation of the street, public locales, and techniques of audience co-opting that have made Southeast Asia, and continue to make it, a region instrumental in facilitating social change through art.

The field of AI Art is a hotbed for strange, uneasy partnerships between big tech, big art and critical culture. Not since Walter Benjamin's Age of Mechanical Reproduction has there been a similar challenge to humanist art criticism. This book examines how a contemporary critic should best engage with, contextualise and effectively critique machine-learning-based art. In considering this question, Nora Khan looks at the rush of institutions to place AI Art within an art-historical lineage while they simultaneously accept significant funding from technology companies. She discusses the scale and speed at which technological production, machine learning, and AI have abraded the individual's capacity for critical evaluation, moving us to consider what a shared, collective criticism of AI might sound like.

Exploring Emily Young's carved works from the 1980s to the present, Jon Wood's thoughtful survey places her sculpture within its resonant contexts, both art historical and more broadly cultural. In doing so, it draws attention to the richness of her sculptural imagination and the issues that charge it, from ecology and environmentalism to poetry and philosophy. The inclusion of Young's early paintings also draws out her long-standing preoccupation with narrative. Probing the relationship between the artist's sculpture and the material life of things, Young's original way of thinking, seeing and feeling is skilfully presented, so enriching our understanding of this important contemporary figure.

Featuring 26 of the most attractive and interesting historic town centres, this book analyses key routes and the urban or visual incidents along them and explains why they might provoke different sensations of joy, interest or containment for the inhabitant or passer-by. Each of the town studies includes two historical maps - one created by John Speed in the C16th, which explains the general overall layout of a town, its shape, size, defensive walls, and river crossings, and the other a first edition OS map from the late C19th, which reveals the extent that medieval arrangements have survived, or not. Key routes within selected towns are then selected and illustrated as a way to explaining the topography and layout of these towns and how one still experiences them. In particular, there is the recurring theme about how the town might naturally draw you through to its centre, the subtlety of character and placing of key buildings as markers, each of which is uniquely different for each town. The drawings which illustrated the town studies are not only beautiful, but can be discriminate in aspects emphasised.

A Circumpolar Landscape demonstrates that Canadian and Scandinavian landscape painting reaches far beyond national identity and a preoccupation with Eurocentrism. This study brings together the work of Emily Carr, the Canadian Group of Seven, Anna Boberg, and Gustaf Fjaestad among others, with each chapter highlighting the high level of interactivity between artists and the environment. Simultaneously, this book highlights the lack of awareness of the respective ecosystems in which many of these works were produced. Working around northern hemispheric latitudinal lines, this book considers how a similar ecology and topography - orientated around the themes of forests, wilderness, lakes, mountains, aurorae, and ice - was depicted and is shared across these northern landscapes. This powerful and timely book takes these respective art histories in the direction of the environmental humanities and an ecocritical art history, recognising the broader transnational and ecological framework of the Circumpolar North.

Speaking Sculptures in Late Medieval Europe explores medieval sculptors' motif of the open mouth. Too often dismissed as an illusionistic artistic device, or as an affective ploy to foster the emotional response of the viewer, ' speech mode', as it is called in this book, is here shown to have a deeper significance as an agent of engagement and persuasion. Through the evocation of sound, speaking sculptures fostered imaginatively an aural relationship between the sculpture and the viewer. Exploring a wide range of geographies, this work demonstrates that the speech mode in sculpture was not an isolated phenomenon but a familiar device in many areas of Late Gothic Europe. By highlighting fourteenth-, fifteenth- and early sixteenth-century examples, as well as key thirteenth-century precedents, Speaking Sculptures in Late Medieval Europe explores the use, effects and purposes of this silent rhetoric, and the agency it implies within the period eye and the period ear of pre-Reformation Catholic Europe.