Bøger udgivet af Lund Humphries Publishers Ltd

Offering a radical rewriting of the history of contemporary art from a feminist perspective, four distinguished authors explore the lineages of performance, abstraction, craft and ecofeminism in ways that reveal the debt these important genres owe to the work of pioneering women artists. The painters, sculptors and performance artists featured here have shaped ideas now dominating the art world: the vulnerability of the environment, the rise of activist art, the challenge to the reign of high technology (including digital culture), and the development of a new language of abstraction. Having demolished the linear narrative of modernism, the privileging of a white male ethnocentric vision, the division of high and low art and the separation of art from larger social issues, feminist artists laid the groundwork for the globalised, multi-media, postmodern art world of today. Illustrated with a spread of work from the last sixty years (and including contextual discussion of earlier practitioners), this book makes a compelling case for placing feminist art and artists at the heart of contemporary art.

This book examines the collaborative process that produced the outstanding carving and sculpture on many of the most remarkable buildings of what was Britain's greatest period of wealth and global power. Investigating the processes and methodologies behind these shared artistic endeavours, it reveals the background, education and training of the sculptors, modellers and carvers involved and discusses the relationships between architects and sculptors, the varied nature of their artistic partnerships and the interplay between the two arts in their contrasting control of space and mass. Work by the major architects of the period, including George Gilbert Scott and Alfred Waterhouse, is discussed, as well as their relationship with architectural sculptors Farmer and Brindley. Likewise, the book examines the collaborations between John Belcher and Hamo Thorneycroft and Alfred Drury; Charles Holden and his work with Jacob Epstein and Eric Gill; and Edwin Lutyens, who worked with Derwent Wood and Charles Sergeant Jagger. The emergence and development of Modern architecture and sculpture is traced through the influences of Ruskin, Morris and the European avant-garde.

This lavishly-illustrated book re-assesses the work of the nineteenth-century botanical painter Marianne North (1830-1890) and the purpose-built gallery that houses her paintings at the Royal Botanical Gardens, Kew. Lynne Howarth-Gladston, a trained botanical illustrator and scholar, re-examines North's working methods, which extend beyond those of conventional botanical illustration, and discusses North's painterly techniques, in addition to her use of photography as a possible aid to her extraordinarily prolific output. Marianne North: A Victorian Botanical Painter for the 21st Century situates North both as an unconventional botanical painter and as a technically progressive artist who melded differing stylistic approaches, techniques and media from both scientific and aesthetic perspectives. The study presents North as a progressive, multi-faceted individual who was rooted in the complex circumstances of her own time. Yet it also reveals how her legacy continues to resonate with the concerns of the present day, such as contemporary intersections between art and science, artistic uses of multi-media, feminism, and climate change. Drawing on North's travel writing as well as her visual record, the book offers a unique view of one of the most intriguing figures in the history of botanical art.

Coming of age in the 1920s, Stella, as she was known to her friends, cast off societal expectations of a working-class immigrant family in New England and moved through the studios, galleries, and nightclubs of New York. Following an unprecedented 18,000 km bicycle trip across Europe in 1927, where she kept a daily journal and made hundreds of sketches, Pressoir developed an expressionistic style that straddled figuration and abstraction. She made provocative renderings of the female nude that challenged historical models, including unabashed self-portraits and intimate depictions of her longtime muse, a dancer from Harlem named Florita. Pressoir's work is illuminated here in an examination of her private travel journal, letters, and numerous paintings, prints and drawings, some of which were recovered from the veritable time capsule of her art studio after she died. Placing Pressoir's work in relation to trailblazing contemporaries such as Alice Neel, Florine Stettheimer and Suzanne Valadon, this book establishes Pressoir as a force to be reckoned with in the decades of emergent feminism and modern art in America and restores her to her rightful place in the expanding canon of art

Londoners Making London tells the story of nine projects that have re-defined local community-driven urban regeneration. Countering the expectation that the development of cities is controlled only by powerful developers, this book demonstrates that transformational change is increasingly driven not by architects or planners, but by individuals who, through their conviction and determination - often against all odds - have created better places for and with their communities. In areas such as Wandsworth, Shoreditch and Wood Green, young and old can be seen working together to create more cohesive, attractive and prosperous pockets of their city. Colourful street parties, urban gardening, activated shop fronts, invigorated empty spaces, or re-designed neighbourhoods are some of the stories which illustrate what can be done when people work together. In-depth interviews with instigators, community activists, campaigners and self-builders illuminate the projects, reveal what we might learn from them and how we might scale up their impact.

Belonging to the wider circle of Calvinist exiles from Catholic Flanders working in the Saint-Germain des-Prés area of Paris, Moillon was the sole female practitioner of a group that included Sébastien Stosskopf, Jacques Linard, and Lubin Baugin. Louise Moillon reassesses the importance of this painter of still-life (and occasional genre) paintings through a consideration of the context in which she was working; the centrality of the genre of still life in the Saint-Germain-des-Prés area of Paris in the earlier part of the seventeenth century; and provides close visual analyses of her works. Moillon offers a useful case study of a supremely talented artist whose relative posthumous invisibility may be explained by three key features: her gender; the genre of still life at which she excelled but which became increasingly overlooked after the foundation of the French Académie royale in 1648; and a change in her domestic role after her marriage, when she produced fewer works. This book questions some of the ways in which Moillon's story has been represented since the beginnings of the revival of interest in her work in the early twentieth century. In particular, it draws on more recent scholarship which grants early modern women from Moillon's social class greater agency than was previously assumed and grants her a rightful place alongside her male contemporaries.

Sofonisba Anguissola (c.1532-1625), an Italian Renaissance painter born in Cremona to a noble family, was one of the first women artists of Europe to establish an international reputation during her lifetime. This book explores the evolution of Sofonisba Anguissola's art from her training in Cremona, through her service at the court of Philip II in Madrid, to her later years as a married woman in Sicily and Genoa. It was at the Spanish court that Sofonisba Anguissola secured her reputation as a painter of international renown. Therefore, the volume places special emphasis on the social, political and cultural preconditions surrounding her role and status at the Spanish court, where she became a lady-in-waiting and painting instructor to Queen Elizabeth of Valois. In order to interrogate the circumstances of her service and her painting practice in Spain, and thus to better explain her later artistic career in Italy, the book focuses on her education, her noble status, her family ties, and her connections with noble courts in Spain and Italy. It draws on recent discoveries made by the author, as well as archival documentation, to reinterpret Anguissola and her artistic legacy.

This richly diverse study examines the evolving image and contested status of the artist in late nineteenth-century France through the lens of the artist's studio, which became a central theme in art and literature, stretching from Balzac to Proust and from Corot to Picasso. The studio was a hybrid space that blurred the distinctions between public and private, professional and domestic, artistic production and display. Besides a material space for art making, the studio was a social and commercial nexus and an extension of the artist's persona. Drawing on paintings, prints, photographs, and primary sources ranging from memoirs to popular journals, this book sheds new light on the modern studio's heightened significance as a laboratory of creative struggle and a platform for self-expression and the staging of artistic identity. Breaking new ground in focusing on the intersecting issues of artistic identity and the evolving role of the studio as creative arena, social and commercial locus, and informal exhibition space, McPherson allows us to participate in the popular ritual of visiting the artist's studio.

For sculptors Alfred Gruber (1931-1972) and Jacqueline Stieger (b.1936), their meeting in 1962 marked the start of a bountiful partnership - their artistic chemistry conjuring works that exploited the transformative qualities of common and precious metals. Chronicling their intertwined stories, which saw Gruber reach his pinnacle as a solo artist and Stieger establish innovative sculptural techniques that informed her onward career, their individual achievements are also given due focus in this ambitious publication. Tracing each artist's early history, their meeting in Switzerland and their eventual move to Yorkshire, the book includes assessment of their work with pioneers of modern church architecture in both Switzerland and the UK, their contribution to the development of art jewellery from the mid-1960s, the debt owed by European artistic friends and collaborators - including David Weiss, later of Fischli and Weiss - who worked for both Gruber and Stieger in the 1960s, and the development of Stieger's artistic language after Gruber's untimely death. Drawing on the Gruber Stieger art collection and supporting archive, together with numerous interviews conducted with Jacqueline Stieger, this book sheds much-needed light on the pair's unique oeuvre, both as a couple and as individuals.

Albrecht Dürer (1471-1528) enjoyed European-wide fame during his lifetime. Dürer was not only a brilliant painter, but also a pioneering printmaker, experimental draughtsman, book publisher, first German art theoretician and amateur poet. His art was avidly collected, repeatedly copied in diverse media, and often forged. Then, with his death, the posthumous Dürers were born. This book addresses his afterlife or, more correctly, afterlives. Beginning with the heartfelt eulogies of his friends and the creation of contemporary portraits of the Nuremberg master, Dürer's person, his likenesses, and his art have been celebrated for over five hundred years. Our contemporary Dürer is the subject of intense scholarly discussions on the one hand and of social and commercial popularization on the other hand.

Over a period of forty years, Hé lè ne Binet has photographed both contemporary and historical architecture - this is the complete monograph of her work, with two extensive critical essays. Marco Iuliano details Hé lè ne Binet's background, from her childhood in the Italian fishing village of Sperlonga and in Rome, through her early ' discovery' of architectural photographer Lucien Hervé, to other significant influences, like the Architectural Association in London where she met Zaha Hadid. The essay highlights in detail Binet's approach to photography, her process and archive. Martino Stierli sets Binet's work within the conceptual framework of architectural photography, discussing whether an architectural photograph is an inventory of a building or space, a translation into a two-dimensional image or, rather, an image in its own right; an artifact that loosely relates to the original object or phenomenon. The two essays are followed by a catalogue of Binet's work, which is framed within a series of her recurring themes emerged through dialogues between the authors and the photographer.

The first full-length publication in English on influential modernist landscape designer Mien Ruys, this book offers rich insight into her character and the timeless lessons which can still be learnt from her work. From 1923 until 1980, Mien Ruys created over 3,000 gardens and landscapes. While most of these are in her native Netherlands, the influence of her designs and approaches spread far wider: many of us will have a little bit of Mien in our gardens, be it a railway sleeper, a diagonal line, a Phlomis russeliana or a water ball. Her work was extraordinary in combining two exceptional elements. Firstly, Mien was one of the leading proponents of modernist design: having trained and collaborated with architects such as Ben Merkelbach, Charles Karsten, Aldo van Eyck, Jan Piet Kloos, Hein Salomonson and Gerrit Rietveld, she introduced clean lines, geometric shapes and innovative materials into garden and landscape design. One of the few women members of CIAM, she was also one of the first to call for architects and landscape architects to collaborate fully from initial design onwards. She did so regularly, often on much needed social housing schemes, but also on schools, hospitals and nursing homes. All her projects shared a desire to offer users a better quality of life. One of her most well-known collaborations was with Gerrit Rietveld in Bergeijk on the Ploeg factory and Park, which has since been listed as a historic monument. Uniquely, Mien Ruys combined this modernist design approach with an extensive knowledge of plants and planting, which she learnt from a very early age in her father's Royal Moerheim Nursery in Dedemsvaart. Her father had close links with international gardeners, such as Gertrude Jekyll, who greatly influenced Mien as she developed her own loose, natural style of planting. Her book on perennials, published in 1950, was internationally influential and, in seeking deeper understanding about plants and planting, Mien created more than 20 experimental gardens at Dedemsvaart, many of which are now also historic monuments.

The behemothic global art market is one which few aspiring artists manage to penetrate. How then would a creative person with virtually no arts engagement, maybe with mental or other significant health issues, disability, or difficult social circumstances, find a way in? Providing a means of gaining an understanding and appreciation of largely overlooked artists and their work, Outside In: Exploring the margins of art champions the creatives and artworks produced by those traditionally kept on the periphery of the art world. In the context of the support offered by the charity Outside In, it explores the artists' motivations and approaches to making. In doing so, a robust case is made for the need to break down the significant barriers excluding talented artists from the art world, and to create an inclusive artistic community in turn.

The longstanding collaboration between Aalto and the Church has previously been put down to reciprocal expediency, and the buildings perceived as spatially stirring, yet devoid of religious meaning. By analysing designs for churches, parish centres, funerary chapels and cemeteries in Finland, Denmark, Germany and Italy, this book instead reveals that Aalto's engagement with religion transcended artistic opportunism. Through a detailed analysis of the religious actors and factors that shaped the design and construction of Aalto's sacred works, as well as of previously uncovered archival material, it shows that religious influences were intrinsic and intimately related to it. The resultant buildings neither glorify nor deny institutional religion -- instead, this book argues, they challenge rigid dogmatism in religion as much as in modern architecture.

Art and photography have played a key role in capturing and reflecting on the conditions for the Brexit referendum. Illustrated by a range of work by artists including Cornelia Parker, Wolfgang Tillmans, David Shrigley, Tacita Dean and Jeremy Deller as well as the satirists Cold War Steve and Led By Donkeys, who offer fascinating insights into their work, along with ephemera such as campaign posters and leaflets, and more personal photographs which capture the searing impact of the vote on both UK and EU citizens, this impassioned and compelling book explores the role of the photograph and sometimes moving image in the ongoing consequences of what the author views as a political cataclysm. From Jeremy Deller‿s film of musicians protesting outside the House of Commons and Mark Duffy‿s extraordinary photograph of a debate held inside, to portraits of those whose lives have been changed immeasurably, this art of protest brings together disparate aspects of the bitterly fought battle to remain and the consequences of the decision to leave the EU on 1 January 2021 and serves as a reminder of this political and social schism. In doing so, the book offers insight into our society, exploring issues of national identity, migration, colonialism/decolonialism, racism, the flag, austerity, the border in Northern Ireland, Scotland and how artists can intervene in political debate. It offers an original, visually stimulating and attractive examination of this still topical subject, revealing how art and photography can capture and memorialise key moments in our history.

Examining for the first time the life and work of the sculptor Matt Rugg (1935- 2020), Michael Bird's impeccably researched text vividly charts Rugg's parallel careers as artist and teacher in the context of developments in creative pedagogy in Britain during the second half of the twentieth century, and their implications for practice and teaching today. Highlighting the impressive range of Rugg's output, from his distinctive 'painted drawings' to large-scale metal constructions, and the unifying strands in his thought, this book skilfully draws together Rugg's work, ideas and inspirational role as an educator. Lavishly illustrated, it charts successive phases of Rugg's continuous experimentation with found industrial materials and form, and the subtle interrelationship in his work between two and three dimensions. Dr Harriet Sutcliffe's research into the Basic Course led by Victor Pasmore and Richard Hamilton at King's College, Newcastle, in the 1950s and 1960s provides fascinating insights into both Rugg's oeuvre and wider developments in British art practice and pedagogy.

Hughie O'Donoghue (b. 1953) explores themes of universal human experience, ideas of truth and the relationship between memory and identity. Often standing apart from his contemporaries in the scale and ambition of his paintings, O'Donoghue's work addresses the need to learn the lessons and complexities of recent history through the lens of the often overlooked and anonymous individual. Beautifully illustrated, encompassing four decades of work, this major publication is the broadest survey of the artist to date. Including new writing from the artist alongside four commissioned essays by leading art historians and critics, with a preface by the poet Tom Paulin, this comprehensive book documents O'Donoghue's ambitious vision.

Henry Flitcroft was first employed by the leading aristocratic architect of the time, Richard Boyle, Lord Burlington, who helped him to establish his long career. Flitcroft had about 50 clients over 40 years, working for many dynasties, including the royal family, the Bedfords, the Yorke/Hardwickes and the Malton/Rockinghams. Remarkably, he was employed regularly by the Duke of Montagu and his family from 1725 to 1765, and the Hoare family from 1728 to his death in 1769, and was responsible for some of the great country houses of the period including Wimpole, Woburn Abbey and Wentworth Woodhouse. This is the first book which details his life and examines his complete body of work. It sets Flitcroft within his social context, providing insights into those for whom he worked as well as his fellow architects. Flitcroft waged fierce battles to maintain his professional positions at Westminster Abbey and St Paul's and the documents are revealed here for the first time. The book dissects the dramatic story of Flitcroft's insane son and the legal cases that ensued which link Flitcroft and G.E. Street, who inherited Flitcroft's own house in Hampstead. In addition, Flitcroft's furniture designs are assessed and his notable churches and London buildings including Chatham House, Benjamin Franklin House and Pushkin House. Finally, his last great project at Stourhead is re-examined.

Classicism is ubiquitous, from the facade of Selfridges to the letterhead of The Times, to the pedimented porches of neo-Georgian housing estates. This book invites readers to discover in their surroundings a rich language of form which is there to be revealed.It discusses the pleasures and problems of post-medieval architectural classicism, both its rigour and flexibility, its perfections and incompleteness, its continuities and innovations, and its expressiveness - from the camp to the sublime, and from originality to plagiarism. Abandoning conventional chronological, biographical or stylistic arrangements, the book makes connections between familiar art historical periods, focusing on looking closely at the buildings and their details, from which useful generalisations emerge.The book discusses how Renaissance architects, when faced with the bewildering variety of classical antiquity, produced canonical versions of the orders and thus a systematic method of designing in the antique manner. It asks how the highly regulated language of classicism can sustain the originality of a Michelangelo, a Soane or a John Simpson and looks at the human body in relation to classical architecture. It examines the various treatments of the wall and of lettering on classical buildings, before concluding with a chapter on architectural backgrounds in Quattrocento art, revealing how this can lead to a different kind of looking at painting and sculpture.

Linking histories of women, relationships to the natural environment, material culture and art, Andrea Pappas presents a new, multi-dimensional view of eighteenth-century American culture from a unique perspective. This book investigates how and why women pictured the landscape in their needlework. It explores the ways their embroidered landscapes address the tumultuous environmental history of the period; how their depictions of nature differ from those made by men; and what women's choices of motifs can tell us about their lives and their relationships to nature. Embroidering the Landscape situates these pastoral and georgic needleworks (c. 1740-1775) at the intersection of environmental and social histories, interpreting them through ecocritical and social lenses. Pappas' investigation draws out connections between women's depicted landscapes and environmental and cultural history at a time when nature itself was a charged arena for changes in agriculture, husbandry, gardening, and the emerging discourses of botany and natural history. Her insights change our understanding of the relationship between culture and the environment in this period and raise new questions about the unrecognized extent of women's engagement with nature and natural science.

Throughout the 20th century, there were periods when there was urgent demand for housing to accommodate the rapidly increasing population (or rebuilt following wars). Driven primarily by the need to provide housing as cheaply and efficiently as possible, the ideas developed by the early Modernists have informed housing schemes worldwide. Today, in the context of a very different urban landscape, architects optimistic about high-density living are revisiting these seminal designs as they seek to develop their own solutions to our current housing crisis. Chronologically ordered, this book provides a unique survey of over 80 seminal housing projects from across Europe which were constructed during the 20th century. Together with concise contextual history and analysis, each housing study includes carefully redrawn context plan, plans and sections (some also include elevations) which are presented in a way that makes them readily comparable. Beginning with Parker & Unwin's Hampstead Garden Suburb (1907), case studies include housing by Aalto, Le Corbusier, Moretti, Markelius, Tá vora, Atelier 5, Utzon, Stirling & Gowan, Ungers, Brown, Rossi, Siza Vieira, Valle, Nouvel and MVRDV.

This volume is the first sustained critical analysis of Chris Dyson Architects' philosophy, approach and body of work, focusing on their particular expertise in being sensitive to a sense of place, history and heritage.

Providing a thematic overview of the multifarious work produced by Derek Boshier (b.1937) from the post-war period to the digital age, this fascinating publication reveals how Boshier's deceptively playful imagery offers analytical commentaries on societal issues and the fragility and fragmentation of human identity. Among contemporaries such as Peter Blake, Pauline Boty and Peter Phillips, Boshier was a central figure in the British Pop Art movement. Embracing Pop sensibilities, his early work juxtaposed figurative painting and imagery to call attention to nuclear anxieties and the growing consumerism of 1960s Britain. Yet this is just one aspect of Boshier's remarkable artistic journey, which has drawn in painting, drawing, sculpture, film, graphic design and printmaking. The book's broad sweep includes recent paintings and drawings created in America at the height of the #MeToo and Black Lives Matter movements, and features commentaries by artists, academics, curators and writers who explore how Boshier's ground-breaking activity interrogates truth and logic, fantasy and reality in the modern age.

Comparing the work of Archigram and High-Tech architects thematically, this book explores the historical and cultural context of London to reveal their influences and interconnections and why two such radical groups emerged from a seemingly conservative city. This book examines the relationships between the work of Archigram and that of the British High-Tech architects, groups that were based in London and developing in the 1960s and 70s. While one group consisted of academics and artists known for their humour and eccentricity and the other were a group of deadly serious architects emerging to international proliference, this book argues that they shared uncannily similar impulses. There is the self-evident commonality of language: overblown machines, kits-of-parts of pieces and components, and a disintegration of building as object in favour of the constituent elements. Underlying both movements is a mutual, undying optimism in process and expression. Set within the rich history and culture of London, the book makes its comparisons by exploring central shared ideas: utopia, engineering, theatricality, infrastructure and narrative, and the iconography of war machinery.

Considered by John Singer Sargent to be the best British draughtsman since the Renaissance, Augustus John was the first of the British 'Post-Impressionists'. Such was his importance that Virginia Woolf declared in 1921 that by 1908 'The age of Augustus John was dawning, ' and Wyndham Lewis would dub the ten years leading up to 1914 'the Augustan decade. Handsome, unconventional and full of brilliant promise and Bohemian spirit, John was the man almost every young British art student wanted to emulate. This book reveals why, telling his extraordinary story from his birth in south Wales in 1878 through to the end of his youth in the closing stages of the First World War.Interweaving his biography are the personalities who surrounded John, and the book looks at their influence on him, and his upon them. They include his fellow students at the Slade School of Art - his sister Gwen John and future wife Ida Nettleship, and his friends William Orpen, Ambrose McEvoy, Spencer Gore and Percy Wyndham Lewis - all of whom would become prominent artists in their own right.This book is a long overdue, new interpretation of this singular figure, who was both at the heart of the British artistic milieu, and yet set apart from its movements and manifestos.

Starting his career in commercial lighting design, Bruce Munro (b.1959) later returned to his artistic roots to create large immersive site-specific light installations born from his fertile imagination. Exploring Munro's fascinating career to date, text and images combine to present an artist whose work is an exploration of place, topography and the environments in which the works are set. From the Australian desert to Californian vineyards, through to museums and manor houses in his native England, Munro's spellbinding installations are immersive experiences that engage with the senses, their apparent simplicity belying the thematic and technological complexity behind their conception and realisation. Continually probing the possibilities of light and the considerable emotional pull the medium can create, Munro's enthusiasm for his materials and their relationship with audiences and environments is intelligently and engagingly communicated here. Richly balanced with beautiful reproductions of Munro's spectacular work, Light Field is essential reading for anyone interested in the power of light as an artform.

Exploring the development of Elizabeth Blackadder's art in all its richness, this revised edition of Duncan Macmillan's 1999 book expands the account of an important artist and her significant body of work. With her oeuvre ranging through still life, landscapes and flower painting, Elizabeth Blackadder (1931-2021) was one of the best known and respected artists in the British painting tradition. The first woman to be elected to both the Royal Academy and the Royal Scottish Academy, she exhibited widely from the 1960s and her work has been reproduced extensively. Updated to include new imagery, but including The Lily (1999), an original etching produced especially for the book's first edition, Duncan Macmillan's expert text is essential reading for Blackadder's legion of fans.

Art auctions are spectacular theatres of the contemporary art world. From glittering black-tie events to the anonymity of the digital realm, auctions stage the creation of value and can make or break artists' careers. They are a strange phenomenon: relics from the 18th century which remain at the heart of the art world in our digital age. And yet they have undergone huge transformation in the past decades, adapting to online formats, encroaching on territory which was once the preserve of galleries, and expanding ruthlessly into new regions and categories. Why are they still relevant, and what does their future hold? This accessible new book offers a fresh view of auctions, exploring their multifaceted role in today's international art market.

This publication is a unique manifesto for raising the standard of institutional practices across the world. It suggests that existing art institutions are not equipped to deal with the radical social, economic and environmental change we are living through and engage with advancement in the arts, and that unless they re-focus on their core purpose and fundamentally transform their organisational structure and operational models, they will start to lose their relevance and influence. Built on an extensive study of non-profit visual-arts organisations and the creative industries at large, and incorporating interviews with institutional leaders from throughout the sector, the book expresses a clear outline of change that art institutions will need to undergo in order to maintain their relevance for generations to come.

Arts philanthropy is at a crucial moment: many arts organisations are facing a financial crisis, the 2020-21 Covid-19 pandemic exposed the fragility of existing funding structures, and various social initiatives and causes have thrown renewed focus on how the arts are funded. Around the world, a new generation of philanthropists is emerging with different motivations and priorities. This book offers an open and wide-ranging exploration of philanthropy in the arts from the perspectives of both the donors and the recipients, seeking to improve understanding on both sides, and asks what the future holds for arts philanthropy given the rapidly changing landscape. It provides an essential guide for collectors, philanthropists and patrons, as well as art-market and museum professionals, on the peculiarities of giving and taking in the arts sector.