As known for her fraught personal life as her chart-topping songs, Amy Winehouse who died at the age of 27 in July 2011 was one of the most compelling vocalists in the world. But despite this fact, it was her self-destructive excesses that made headlines. Drinking binges, self-harm, eating disorders, drug abuse, and a turbulent marriage overshadowed her music even as her record sales soared, and the media watched eagerly as Amy’s world imploded. This richly illustrated biography tells her story in full, from childhood through to the pleasures and pains of superstardom, her blazing talent, the years she lost to her addictions, the final days before her death, and the legacy of her raw and heartfelt music.
Richard Smith: Artworks 1956-2016
The first monograph on Richard Smith, a key figure in the development of British art.Richard Smith (1931-2016) was one of the most original painters of his generation, and one of the most underrated. As Barbara Rose said of Smith’s major Tate Gallery retrospective in 1975, he was ‘at once in and out of touch with the currents of the mainstream … au courant and aloof at the same time.’ That he latterly slipped under the radar to some extent is partly explained by his detachment from the mainstream as well as by his frequent switching of studios between England and the USA, although this helped charge his creative batteries. He is the only artist of his stature who has not been represented by a monograph, which the dazzling presentation of images in Richard Smith: Artworks now fulfils. It has been produced with the generous collaboration of the Richard Smith Foundation. Richard Smith: Artworks traces Smith’s entire career, from the breakthrough lyrical abstraction of the early Pop-inflected paintings, through the radical shaped canvases and three-dimensional works that he produced in the 1960s, to the ‘Kite’ works beginning in 1972 and, eventually, his return to the flat canvas. As a Senior Curator at Tate, Dr Chris Stephens knew Smith well, and he contributes a wide-ranging introduction to Smith’s art and life. Prof David Alan Mellor investigates and explains the Anglo-American cultural contexts that drove Smith’s art, while Alex Massouras’s two themed essays, ‘Young and British’ and ‘From Motion Pictures to Flight’, explore Smith’s originality from fresh perspectives. The book is completed with an Afterword by its editor, Martin Harrison.
Across almost 50 years, Winston Churchill produced more than 500 paintings. His subjects included his family homes at Blenheim and Chartwell, evocative coastal scenes on the French Riviera, and many sun-drenched depictions of Marrakesh in Morocco, as well as still life pictures and an extraordinarily revealing self-portrait, painted during a particularly troubled time in his life. In war and peace, Churchill came to enjoy painting as his primary means of relaxation from the strain of public affairs.
In his introduction to Churchill: The Statesman as Artist, David Cannadine provides the most important account yet of Churchill’s life in art, which was not just a private hobby, but also, from 1945 onwards, an essential element of his public fame. The first part of this book brings together for the first time all of Churchill’s writings and speeches on art, not only ‘Painting as a Pastime’, but his addresses to the Royal Academy, his reviews of two of the Academy’s summer exhibitions, and an important speech he delivered about art and freedom in 1937.
The second part of the book provides previously uncollected critical accounts of his work by some of Churchill’s contemporaries: Augustus John’s hitherto unpublished introduction to the Royal Academy exhibition of Churchill’s paintings in 1959, and essays and reviews by Churchill’s acquaintances Sir John Rothenstein, Professor Thomas Bodkin and the art critic Eric Newton. The book is lavishly illustrated with reproductions of many of Churchill’s paintings, some of them appearing for the first time. Here is Churchill the artist more fully revealed than ever before.
This historic edition is an invaluable memoir to those who wish to study this most English of poets and to give him his rightful place in his literary heritage. Much of the work was prepared by Hardy himself and reconstructed from his notes and letters.
David Lean’s films were nominated for an astonishing 57 Academy Awards, of which 27 won Oscars. He made unique movies on a grand scale, with huge stories on vast canvases. He was aided by hundreds of technicians, thousands of extras and the most talented actors in the world. Yet he singularly controlled this vast army giving pleasure and inspiration to millions.
His films reflected his own life – the single brooding perfectionist force to a great endeavour – whether they be Lawrence of Arabia, The Bridge on the River Kwai, Doctor Zhivago or Brief Encounter. Collated by his widow, Lady Sandra Lean, this is a highly personal account in text and images by the people that came into contact with David through his work and his private life.
Thousands of words have been written about David Lean the film director and the work he created. Yet until now, very little has been said about the man who sacrificed his private life for his art. Six marriages are proof of a man whose preferred family was the film crew and whose personal life was always subservient to making films. Yet, without a strong understanding of human emotion, how could a man make so many productions that touched the hearts of millions?
In this fascinating book, the answers are presented in both text and pictures. David always said that a good book should contain “Really good pictures…That’s all. Just bloody good pictures.” Illustrated throughout with over 300 well-known and previously unpublished photographs, which are complemented by David’s inspiration: letters, quotations, memorabilia or an anecdote relating to his travels or his films David Lean – An Intimate Portrait is a unique study, containing a wealth of fascinating photography, of a man who continues to entertain millions.
“Gripping and at times ineffably sad, this book would be poetic even without the poetry. It will be the standard biography of Hughes for a long time to come” -Sunday Times
“Captures the great poet in all his wild complexity. Powerful and clarifying, richly layered and compelling” -Melvyn Bragg, Observer
Ted Hughes, Poet Laureate, was one of the greatest writers of the twentieth century. He is one of Britain s most important poets, a poet of claws and cages: Jaguar, Hawk and Crow. Event and animal are turned to myth in his work. Yet he is also a poet of deep tenderness, of restorative memory steeped in the English literary tradition. A poet of motion and force, of rivers, light and redemption, of beasts in brooding landscapes.
Ted Hughes left behind him a more complete archive of notes and journals than any other major poet, including thousands of pages of drafts, unpublished poems and memorandum books that make up an almost complete record of Hughes s inner life, preserved by him for posterity.
Renowned scholar Sir Jonathan Bate has spent five years in his archives, unearthing a wealth of new material. Shortlisted for the Samuel Johnson Prize, his book offers for the first time the full story of Ted Hughes’s life as it was lived, remembered and reshaped in his art. It is a book that honours, though not uncritically, Ted Hughes s poetry and the art of life-writing, approached by his biographer with an honesty answerable to Hughes s own.
Volume Two covers the early years of his editorship of The Criterion (the periodical that Eliot launched with Lady Rothermere’s backing in 1922), publication of The Hollow Menand the course of Eliot’s thinking about poetry and poetics after The Waste Land. The correspondence charts Eliot’s intellectual journey towards conversion to the Anglican faith in 1927, as well as his transformation from banker to publisher, ending with his appointment as a director of the new publishing house of Faber & Gwyer, in late 1925, and the appearance of Poems 1909-1925, Eliot’s first publication with the house with which he would be associated for the rest of his life.
It was partly because of Eliot’s profoundly influential work as cultural commentator and editor that the correspondence is so prolific and so various, and Volume Two of the Letters fully demonstrates the emerging continuities between poet, essayist, editor and letter-writer.