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* This book will accompany an exhibition of the same name which will be held at the Scottish National Gallery of Modern Art, Edinburgh from 3 December 2016 to 21 May 2017* Many of the works in this book have never been published before* Features maps showing the exact locations where the artist completed her works* Includes previously unpublished extracts from the artist's letters* Detailed marketing plan being implemented to promote the book widely. Includes a press release to broad range of print and broadcast media* Bookmarks available for till - please let us know how many you would like* National Galleries of Scotland Publishing shortlisted as Saltire Scottish Publisher of the Year, 2016 (winner to be announced in late November) Joan Eardley (1921-1963) is one of Scotland's most admired artists. During a career that lasted barely fifteen years, she concentrated on two very distinct themes: children in the Townhead area of central Glasgow, and the fishing village of Catterline, just south of Aberdeen, with its leaden skies and wild sea. The contrast between this urban and rural subject matter is self-evident, but the two are not, at heart, so very different. Townhead and Catterline were home to tight-knit communities, living under extreme pressure: Townhead suffered from overcrowding and poverty, and Catterline from depopulation brought about by the declining fishing industry. Eardley was inspired by the humanity she found in both places. These two intertwining strands are the focus of this book, which looks in detail at Eardley's working processes. Her method can be traced from rough sketches and photographs through to pastel drawings and large oil paintings. Identifying many of Eardley's subjects and drawing on unpublished letters, archival records and interviews, the authors provide a new and remarkably detailed account of Eardley's life and art.
Joan Eardley (1921-63) is considered to be one of the most influential Scottish painters of her generation. Her paintings and drawings reflect urban and rural Scotland in an expressive visual language unlike any other artist's. This new, highly illustrated survey of her painting does renewed justice to the range, scale and power of her work.
Geotourism, as a form of sustainable geoheritage tourism, was defined and developed, from the early 1990s, to contextualize modern approaches to geoconservation and physical landscape management. However, its roots lie in the late seventeenth century and the emergence of the Grand Tour and its domestic equivalents in the eighteenth century. Its participants and numerous later travellers and tourists, including geologists and artists, purposefully explored wild landscapes as‘geotourists’. The written and visual records of their observations underpin the majority of papers within this volume; these papers explore some significant geo-historical themes, organizations, individuals and locations across three centuries, opening with seventeenth century elite travellers and closing with modern landscape tourists. Other papers examine the resources available to those geotourists and explore the geotourism paradigm. The volume will be of particular interest to Earth scientists, historians of science, tourism specialists and general readers with an interest in landscape history.
This volume examines the work of five figurative artists working in Britain in the 1950s: they are Joan Eardley (19211963), Sheila Fell (19311979), Eva Frankfurther (19301959), Josef Herman (19112000) and LS Lowry (18871976). Each of them established a strong identification with the place in which they chose to live and work and that represented, for a significant part of their careers, the primary focus of their practice. Each associated themselves with a specific place: Eardley, the Gorbals in Glasgow; Fell, the mining community and landscape of her native Aspatria, Cumbria; Frankfurther, Londons East End and its multi-cultural working-class communities; Herman, Ystradgynlais in South Wales with its indigenous mining community; and Lowry, his hometown of Manchester with its industrial, densely populated cityscape. Each produced a concentrated and coherent body of work imbued with this strong sense or spirit of place and the largely working-class people associated with it, although Eardley and especially Fell also produced powerful landscapes. This volume links these five seemingly disparate artists by uncovering a network of relationships, both personal and professional, and their shared exploration of particular artistic concerns and motifs.
This biography of Joan Eardley is long overdue. First published 25 years after her death, it is the first full-scale biography of one of Scotland's finest painters. Joan Eardley died young, but in less than 20 years of unrelenting commitment, she developed her talent and vision in a way that remains virtually unparalleled North of the Border. Her subject came to be the innate energy of whatever she drew or painted, be it the life of Glasgow street urchins or the coastal landscape in Kincardineshire which increasingly captured her imagination.
First published in 1986 to wide critical acclaim, The Sexual Perspective broke new ground by bringing together and discussing the painting, sculpture and photography of artists who were gay/lesbian/queer/bisexual. The lavishly illustrated new edition discusses the greater lesbian visibility within the visual arts and artist's responses to the AIDS epidemic. Emmanuel Cooper places the art in its artistic, social and legal contexts, making it a vital contribution to current debates about art, gender, identity and sexuality.

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