David Bomberg, Dora Carrington, Mark Gertler, Paul Nash, C.R.W. Nevinson and Stanley Spencer - six of the most important and distinctive British artists of the twentieth century - had all been students together at the Slade School of Art in London. They formed part of what their drawing teacher, Henry Tonks, described as the school's last 'crisis of brilliance'. For young British artists working in the years immediately before the Great War it was an exciting and demanding time as various Modernist movements fought for precedence: Primitivism, Futurism, Cubism, Vorticism and Expressionism. Each of the six artists found their own distinctive response. David Boyd Haycock's group biography, A Crisis of Brilliance, was published to much acclaim in 2009. Jenny Uglow wrote in her review in the Guardian, 'We should call for a joint exhibition of [their] work, to complement the moving portrayal of their lives in this engrossing and enjoyable book.' This book marks the fulfilment of that wish. It features Haycock's selection of 70 works, ranging from their early student drawings, watercolours and oil paintings, to the first great mature works that they made during and immediately after the Great War of 1914-18. AUTHOR: David Boyd Haycock is a freelance writer, lecturer and curator specialising in British and European art and culture of the early twentieth century. He is the author of a number of books, including A Crisis of Brilliance: Five Young British Artists and the Great War (2009) and I Am Spain (2012). SELLING POINTS: *Illustrated follow-up to the author David Boyd Haycock's first book on the subject, a group biography, A Crisis of Brilliance, which was published to much acclaim in 2009 *Includes contributions by Frances Spalding, the leading art historian and biographer of the Bloomsbury Group, and by Alexandra Harris, whose Romantic Moderns won the Guardian First Book award in 2010 110 colour illustrations

The formative years of five of the most important British artists of the 20th century.

Drawing on untapped archives, as well as aggregating a wide range of existing published sources, this book recalibrates the understanding of women artists’ roles, outputs and receptions in London during what was indubitably a vibrant and innovative period in the history of British art, and in which the work of their male contemporaries is so well understood. The book takes its starting point from Alicia Foster’s article “Gwen John’s Self-Portrait: Art, Identity and Women Students at the Slade School,” published in 2000, where the expression “a talented and decorative group” was coined to describe common attitudes towards women artists in the late 19th and early 20th century London. This pejorative attribution strongly implied a status less significant to that of their male counterparts. The author challenges this statement's basic tenet by casting a wide net in examining women’s art education from the Slade School of Fine Art, through to the role of its graduates within a selection of London’s exhibition groups, societies and publications. This book also reconstructs ‘from scratch’ the role of the Women’s International Art Club (WIAC), hitherto entirely overlooked in art historical studies of the era. This book will be of interest to students and researchers in art and cultural history, gender studies,and in sociological studies of pre-War World War Britain.

Named one of Entertainment Weekly’s 12 biggest music memoirs this fall. “An artful and wildly enthralling path for Bowie fans in particular and book lovers in general.” —Publishers Weekly (starred review) “The only art I’ll ever study is stuff that I can steal from.” ―David Bowie Three years before David Bowie died, he shared a list of 100 books that changed his life. His choices span fiction and nonfiction, literary and irreverent, and include timeless classics alongside eyebrow-raising obscurities. In 100 short essays, music journalist John O’Connell studies each book on Bowie’s list and contextualizes it in the artist’s life and work. How did the power imbued in a single suit of armor in The Iliad impact a man who loved costumes, shifting identity, and the siren song of the alter-ego? How did The Gnostic Gospels inform Bowie’s own hazy personal cosmology? How did the poems of T.S. Eliot and Frank O’Hara, the fiction of Vladimir Nabokov and Anthony Burgess, the comics of The Beano and The Viz, and the groundbreaking politics of James Baldwin influence Bowie’s lyrics, his sound, his artistic outlook? How did the 100 books on this list influence one of the most influential artists of a generation? Heartfelt, analytical, and totally original, Bowie’s Bookshelf is one part epic reading guide and one part biography of a music legend.

This title was first published in 2000. Founded in 1914 by Wyndham Lewis and christened by Ezra Pound, the Vorticism movement was a sustained act of aggression against the moribund Victorianism seen as stifling to artistic energies. Inspired by the example of F.T.Marinetti and the Futurists, the Vorticists were nevertheless harshly critical of the Futurists' naive enthusiasm for modernity. They created their own style of geometric abstraction to celebrate the new consciousness of humanity in a mechanized urban environment. But their splintered and discordant style also measured the cost of the psychic disruption that modernity caused. This illustrated guide to the movement covers topics including sculpture, painting, literary Vorticism, women in Vorticism and Vorticist aesthetics.

Presents a "first history" of the artist and his work within the literary and sociocultural context of contemporary London, Paris, Milan, and New York. This work also emphasizes a re-evaluative positioning of Nevinson's work within a modernist framework in literature and art in the first half of the twentieth century in northwest Europe.

This Cambridge History of Modernism is the first comprehensive history of modernism in the distinguished Cambridge Histories series. It identifies a distinctive temperament of 'modernism' within the 'modern' period, establishing the circumstances of modernized life as the ground and warrant for an art that becomes 'modernist' by virtue of its demonstrably self-conscious involvement in this modern condition. Following this sensibility from the end of the nineteenth century to the middle of the twentieth, tracking its manifestations across pan-European and transatlantic locations, the forty-three chapters offer a remarkable combination of breadth and focus. Prominent scholars of modernism provide analytical narratives of its literature, music, visual arts, architecture, philosophy, and science, offering circumstantial accounts of its diverse personnel in their many settings. These historically informed readings offer definitive accounts of the major work of twentieth-century cultural history and provide a new cornerstone for the study of modernism in the current century.