Bonnard found early fame among the Nabis, the radical young disciples of Gauguin, and went on with Vuillard to create a new intimist art of psychologically charged interiors. But from 1900 he turned back toward Impressionism, and his art recreates moments of heightened subjectivity, color and space. This new account shows how these beautiful and lyrical pictures sometimes emerged from terrible circumstances; as Bonnard himself wrote shortly before his death in 1947, "one does not always sing out of happiness." Bonnard's reassessment over the past thirty years has centered on the extraordinary late pictures that were inspired by Mallarme and Symbolism, by Jarry and anarchism, and by the philosophy of Bergeson. These works are among some of the most enduring images of the twentieth century. 169 illus., 50 in color.

Bonnard (World of Art)

Arts & Photography

Hyman, Timothy

History & Criticism

Thames&Hudson

A practicing artist, author, and curator, Timothy Hyman guides us through the golden age of Sienese painting, offering a new perspective on some of the world's most beautiful paintings, including Duccio's Maesta and Ambrogio Lorenzetti's famous Good Government frescoes. A sound understanding of the art and history of the period underpins the author's clearly conveyed love of the works. He takes a broadly chronological approach, with each chapter looking at one particular artist or group of artists from the late thirteenth century to the late fifteenth. Perceptive visual analysis is combined with clear discussion of the social, political, and religious climate of late medieval Italy. The impact of the Black Death on Siena's population and artistic production is discussed along with the profound effect of the Franciscan movement and the cults of local saints such as St. Catherine. Important throughout is Siena's civic self-consciousness, felt in the many cityscapes of Sienese art, from the fortified towns of Simone Martini's Guidorricio da Fogliano to the tiny schematic villages of Giovanni di Paolo's St. John the Baptist cycle. Hyman's enthusiastic tour of Sienese painting looks at its defining characteristicsrich color and spatial inventivenessand challenges the view that favors Florentine over Sienese art. An epilogue concludes with a look at the continuing renewed interest in Sienese painting and a discussion of its impact on contemporary artists such as R. B. Kitaj. Anyone interested in the art and culture of Italy, including those already familiar with Sienese painting, will find inspiration in this book. 180 illustrations, 80 in color.

Sienese Painting: The Art of a City-Republic (World of Art)

An essential visual overview for students and readers with an interest in Sienese art, history and Renaissance culture. For two centuries, the city-republic of Siena was home to a brilliant succession of painters who created some of the greatest masterpieces of all time; an imagery unmatched in colouristic intensity and spatial experimentation. This overview, now revised and updated, is an essential introduction to this extraordinary artistic tradition. Taking a broadly chronological approach, it moves from the 14th-century Siena of Duccio, Simone Martini and the Lorenzetti brothers, to the 15th-century city of Sassetta and Giovanni di Paolo. Perceptive visual analysis of the distinctive styles and conventions of Sienese painting is combined with clear explanations of traditional techniques such as fresco and tempera. The works are also placed in their social and religious context through discussion of Siena's system of government, its civic consciousness, the importance of the Franciscan movement and the cults of local saints. An accomplished writer as well as a practising artist, Timothy Hyman brings breadth of knowledge and experience to this extensively illustrated book, brilliantly conveying his personal enthusiasm for Sienese art.

Sienese Painting (World of Art)

A bold new critique of the accepted history of figurative painting in the twentieth century
For thousands of years pictorial representations have engaged humankind, yet in the twentieth century, with the arrival of abstraction and the accompanying liberation of painting from figuration and bourgeois tradition, figurative painting became fraught with difficulty. For some thirty years, from the early 1950s to the early 1980s, modern art and abstraction were almost synonymous, with figurative painters cast as “backward children,” conservative throwbacks, and outdated survivors.
In The World New Made, critic Timothy Hyman argues that abstraction was just one of the means by which artists renewed pictorial language. Focusing on those painters who bucked tradition and opted for a new kind of figuration, Hyman presents them as a countermovement to the sometimes oppressive stylistic imperative that set in as Cubism became a movement. Around the world, artists such as Max Beckmann, Fernand Léger, Balthus, Paula Rego, Marc Chagall, Stanley Spencer, R. B. Kitaj, Philip Guston, Picasso, Matisse, Lucian Freud, and others found an idiom for human-centered painting. Together they offer a counterargument to Western formalism, but also a foundation for the figurative painters of the twenty-first century. 142 color illustrations

The World New Made: Figurative Painting in the Twentieth Century

A bold new critique of the accepted history of figurative painting in the twentieth century For thousands of years pictorial representations have engaged humankind, yet in the twentieth century, with the arrival of abstraction and the accompanying liberation of painting from figuration and bourgeois tradition, figurative painting became fraught with difficulty. For some thirty years, from the early 1950s to the early 1980s, modern art and abstraction were almost synonymous, with figurative painters cast as “backward children,” conservative throwbacks, and outdated survivors. In The World New Made , critic Timothy Hyman argues that abstraction was just one of the means by which artists renewed pictorial language. Focusing on those painters who bucked tradition and opted for a new kind of figuration, Hyman presents them as a countermovement to the sometimes oppressive stylistic imperative that set in as Cubism became a movement. Around the world, artists such as Max Beckmann, Fernand Léger, Balthus, Paula Rego, Marc Chagall, Stanley Spencer, R. B. Kitaj, Philip Guston, Picasso, Matisse, Lucian Freud, and others found an idiom for human-centered painting. Together they offer a counterargument to Western formalism, but also a foundation for the figurative painters of the twenty-first century. 142 color illustrations

The World New Made (Paperback) /anglais

Carnivalesque explores the history of humor and the grotesque imagination in Western art from the Middle Ages to the present day. It is structured around four themes: the Tumultuous Crowd, the World Turned Upside-down, the Comic Mask, and the Grotesque Body. Illustrations range from medieval woodcuts and misericords to drawings, paintings, and prints by Brueghel, Jacques Callot, the Tiepolos, James Gillray, and Francisco Goya. Popular imagery from the nineteenth and twentieth centuries is set alongside satirical prints by Daumier, James Ensor, and Max Beckmann. Recent and contemporary works include sculpture by Louise Bourgeois and Paul McCarthy, paintings by Paula Rego and Red Grooms, and video installations by Marisa Carnesky and Leigh Bowery. The book includes approximately seventy illustrations, with essays by co-curators Timothy Hyman and Roger Malbert.

Carnivalesque

Malbert, Roger

University of California Press

Stanley Spencer (1891-1959) was the most original British painter of his era. This catalogue celebrates the achievements of an artist who continued to explore and develop over five decades. By 1914, aged only twenty-two, Spencer had completed a series of important religious works set in the Thameside village of his childhood. He experienced the First World War as a loss of Eden, yet his art was opened to complexities unguessed at in his Cookham innocence. An essay by Patrick Wright focuses on Spencer in the 1920s, uncovering a new cultural milieu and pointing to hidden themes in the murals he painted for Burchclere Chapel. Timothy Hyman charts Spencer's work as a process of autobiographical revelation, tracing his transition from the monumental Christian idealism of Giotto to his confrontation with raw reality and sexual fantasy in the crisis years of the 1930s. Both essays locate Spencer alongside his contemporaries, such as Otto Dix, Max Beckmann and Diego Rivera. Reproducing a large selection of his finest works, including several that are little known, this book offers fresh perspectives based on current research and presents a ground-breaking survey of the artist.

Stanley Spencer

Wright,Patrick

Tate

Andrzej Jackowski: A Drawing Retrospective 1963-2003

University of Brighton / Purdy Hicks Gallery

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