Text Box: Giacometti and Frank Auerbach: Portraiture and the Pursuit of the Absolute   In this momograph which compares and contrasts the work of these two exceptional artists, Edward Lucie-Smith examines the changed but still vital role of portraiture in the art of our time.

It is particularly interesting that the  exhibition of Giacometti’s work at the National Portrait Gallery focuses on Giacometti’s activity as a portraitist, in both painting and sculpture. It coincides with a major retrospective exhibition   at Tate Britain  of paintings by Frank Auerbach. Though Auerbach has tackled a range of other subjects, urban landscapes, interiors and nudes, he is perhaps best known for his intensely studied images of people who are in one way or another close to him.

ISBN: 9781910110317    Cv/VAR series 212   
Format: paper, 210 x 148mm, 50pp, ill.  
BIC AGB  GBP12.99
Published  November 2015
Text Box: The Dance of Death

Albrecht Dürer , Pieter Breughel the Elder. Hans Holbein the Younger . Jaques Callot .  Louis Raemaeker . Arnold Böcklin . Edvard Munch .  Ma.x Beckmann . Egon Schiele . Paul Pietka 
 
 In his fascinating study of the pervasive theme of ‘The Dance of Death’ ’Edward Lucie-Smith traces its lineage in art from mosaiics of Pompeii and early Medieval frescos. He cites the celebrated engraving by Albrecht Dürer: The Knight, Death and the Devil’ and an extensive series of woodcuts,’The Dance of Death’ by Hans Holbein the Younger. He explores ‘Les Grand Misères de la Guerre’, by Jaques Callot, the nightmares of Henri Fuseli and bitter social studies of Goya. The story takes in anti-war prints by Louis Raemaeker and iconic works by Puvis De Chavannes, Vincent van Gogh

9781908419835
210x148mm, 56pp, colour and bw ill. 
GBP16.99
h, Edvard Munch and Egon Schiele.

Michael Craig-Martin: A Prophet Honoured At Last

 

Michael Craig-Martin has long been a well-known, very much respected and influential figure in the British contemporary art world, without ever ascending to the  heights of reclame now occupied by some of the so-called Younger British Artists who were his proteges anxd sometimes actually his students. The show of his work now at the Serpentine Gallery is in fact his first at a London official institution since 1989. If a week is a long time in politics, a quarter-of-a-century is an eternity in the always-evolving universe of contemporary art. Craig-Martin, born in 1941, is now in his mid-70s.

 

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