"Mrs. Robinson, you're trying to seduce me. Aren't you? " These famous lines from The Graduate (1967) would forever link Anne Bancroft (1931–2005) to the groundbreaking film and confirm her status as a movie icon. Along with her portrayal of Annie Sullivan in the stage and film drama The Miracle Worker, this role was a highlight of a career that spanned a half-century and brought Bancroft an Oscar, two Tonys, and two Emmy awards. In the first biography to cover the entire scope of Bancroft's life and career, Douglass K. Daniel brings together interviews with dozens of her friends and colleagues, never-before-published family photos, and material from film and theater archives to present a portrait of an artist who raised the standards of acting for all those who followed. Daniel reveals how, from a young age, Bancroft was committed to challenging herself and strengthening her craft. Her talent (and good timing) led to a breakthrough role in Two for the Seesaw, which made her a Broadway star overnight. The role of Helen Keller's devoted teacher in the stage version of The Miracle Worker would follow, and Bancroft also starred in the movie adaption of the play, which earned her an Academy Award. She went on to appear in dozens of film, theater, and television productions, including several movies directed or produced by her husband, Mel Brooks. Anne Bancroft: A Life offers new insights into the life and career of a determined actress who left an indelible mark on the film industry while remaining true to her art.

For artists, creativity plays a powerful role in understanding, confronting, and negotiating the crises of the present. Seeding the Tradition explores conflicting creativities in traditional music in Hõ Chí Minh City, the Mekong Delta, and the Vietnamese diaspora, and how they influence contemporary southern Vietnamese culture. The book centers on the ways in which musicians of đón ca tài tù, a "music for diversion," practice creativity or sáng tạo in early 21st-century southern Vietnam. These musicians draw from long-standing theories of primarily Daoist creation while adopting strategically from and also reacting to a western neo-liberal model of creativity focused primarily - although not exclusively - on the individual genius. They play with metaphors of growth, development, and ruin to not only maintain their tradition but keep it vibrant in the rapidly-shifting context of modern Vietnam. With ethnographic descriptions of zither lessons in Hõ Chi Minh City, outdoor music cafes in Cãn Thơ, and television programs in Đõng Tháp, Seeding the Tradition offers a rich description of southern Vietnamese sáng tạo and suggests revised approaches to studying creativity in contemporary ethnomusicology.

This fascinating and richly illustrated book accompanies The Medieval Body, the third in a series of vanguard exhibitions that places medieval masterpieces within a contemporary context.The title of the exhibition refers to both a literal thread of figuration that runs throughout the works in the presentation, as well as the complex and often shifting symbolism of the human body in the medieval period. For thinkers and artists of that time, the human body served as a rich source of religious and philosophical significance, one that was in a constant state of flux between idealism anddisfigurement. While the early Middle Ages reserved representations of suffering bodies to the margins of their world, the later Middle Ages displayed wounded bodies in the most central spaces of public life. The crucified body of Christ and the wounded bodies of saints assumed important positions as they were displayed on altars, in processions, and on the exteriors of churches.The Medieval Body tells a unique story about the human form as both a physical entity and a recognizable metaphor. Presenting works spanning the course of a thousand years, this exhibition offers insight into the body as an essential imagemaking tool with far-reaching implications for the development of art in the European Middle Ages.

Hal Wallis might not be as well known as David O. Selznick or Samuel Goldwyn, but the films he produced—Casablanca, Jezebel, Now Voyager, The Life of Emile Zola, Becket, True Grit, and many other classics (as well as scores of Elvis movies)—have certainly endured. As producer of numerous films, Wallis made an indelible mark on the course of America's film industry, but his contributions are often overlooked and no full-length study has yet assessed his incredible career. A former office boy and salesman, Wallis first engaged with the film business as the manager of a Los Angeles movie theater in 1922. He attracted the notice of the Warner brothers, who hired him as a publicity assistant. Within three months he was director of the department, and appointments to studio manager and production executive quickly followed. Wallis went on to oversee dozens of productions and formed his own production company in 1944.Bernard F. Dick draws on numerous sources such as Wallis's personal production files and exclusive interviews with many of his contemporaries to finally tell the full story of his illustrious career. Dick combines his knowledge of behind-the-scenes Hollywood with fascinating anecdotes to create a portrait of one of Hollywood's early power players.

This beautiful publication presents a facsimile of a sketchbook by the Dutch artist and illustrator Peter Vos (1935-2010), along with a volume of introductory essays. The title derives from the sketchbook's detailed drawings of 333 birds. From time immemorial people have been fascinated by birds and have created images of their winged companions. The artist Peter Vos was one of them. He kept bird diaries in which he noted down the birds he came across and captured them in pen and ink and watercolour. He took pleasure in entrusting all elements of a bird to paper - their characteristics, but mostly their characters. Hunched down or in full stretch, in the water and on land, on their behinds, their necks turned ninety or a hundred and eighty degrees, foreshortened or in three-quarter view, preening their plumage and their wings poised for flight: Peter Vos often depicted his birds several times on one sheet so that you really get to know them. 333 birds was a project, a task Vos set himself: fill an empty book with 333 birds drawn as beautifully as possible. He completed it over a period of eighteen months - from June 1980 to December 1981. He began by going to zoos to sketch the birds. Days later the sketches were worked out in the book. With the meticulous layout and the Latin names, Vos was referencing the field guides and the nineteenth-century books of plates. But he, unlike the creators of those books, was trying to draw the individual bird not the species. Crooked feathers are not straightened, an odd pose uncorrected and the blind eye simply drawn. Peter Vos's drawings are records of his encounters with individual birds. We should see 333 birds as an expression of curiosity for his companions. He loved those winged friends he presents to us in a long line in all their glory and individualities - true to nature and with an understanding of their characters, honestly, as befits friends.

Throughout his long career, David Hockney has insistently explored diverse ways of depicting the visible world. He has scrutinised the methods of the old masters, and explored radical departures from their cherished assumptions. The exhibitions accompanied by this volume are the first to focus on this central theme in his art. 'Western art' from the Renaissance until at least the late 19th century has been dominated by the depiction of nature. Was this to be accomplished by direct looking (called “eyeballing” by Hockney) or with the assistance of optical theory and devices, such as cameras? Hockney has experimented with the full range of existing strategies, overtly using perspective in some of his classic pictures and rigorously investigating optical aids for the imitation of nature, including the camera obscura and camera lucida. Yet he has come to reject the photograph as the definitive image of what we see. Along the way, he has identified a 'camera culture' in European painting from 1400, arguing very controversially that the supreme naturalism of painters like Jan van Eyck are the product of optical devices. His book, Secret Knowledge (2001), with its majestic panorama of paintings over the course of five centuries, claims that art historians have missed the central aspect of painters’ practice. The 'Hockney thesis' has been received more favourably outside the professional world of art history than in it. His own artistic practice has been in vigorous dialogue with his radical thesis, and he has progressively demonstrated new and dynamic ways of characterising the visual world without perspective and other conventional techniques. This quest results a series of joyous challenges to our ways of seeing in the major exhibition in Cambridge at the Fitzwilliam Museum and in the Heong Gallery (Downing College). It will look at the whole span of Hockney’s varied career and at the nature of the optical devices he has tested. His vision will be explored in the setting of traditional masterpieces of naturalistic observation, and in the context of modern sciences and technologies of seeing. The first section of the book looks at his thrilling experiments in seeing and representing in broad historical and contemporary contexts. This is followed by discussions of pre-photographic devices for capturing the appearances of things by optical means. The third section includes essays on Hockney’s experiments from the perspectives of neuroscience and computer vision. In short, it reveals in a new way the working of Hockney’s unique eye.

When winter snows cover Iceland in a sea of white, this volcanic island is transformed into an enchanting visual masterpiece that precariously rests on two tectonic plates in the North Atlantic just below the Arctic Circle. Ironically, the white blanket reveals more clearly the landscape's incredible geological formations and remote human settlements, eliciting a natural human response of wonderment. David Freese's profound, ongoing concern for our environmental predicament is once again manifested in his photographs of Iceland. By showing us what humankind is on the brink of losing, his images share and preserve his vision of this unique and special place.The award-winning Icelandic novelist, poet, and playwright Auður Ava Ólafsdóttir contributes a heartfelt afterword that adds her voice to the persistent warnings and alarms that have gone unheeded by too many for too long. As a citizen of Iceland, her testimony is that of a compelling witness. A small jewel of a book, Iceland Wintertide becomes a powerful coda to David Freese's Trilogy of North American Waters as the threats and ramifications of a warming climate steadily increase before our eyes. His photographs provide an added inspiration to act even in the face of those who purposefully deny only to protect their special interests.

A new catalogue to accompany the exhibition of a new body of work titled The Fire Paintings, 12 – 28 September 2018. This publication accompanies the exhibition of an exciting new body of work by John Blackburn titled The Fire Paintings at OsborneSamuel Gallery, 12 – 28 September 2018. 56 printed pages with colour images throughout. Including an enlightening essay by John’s closefriend Mark Pulsford.

This, London-based painter Sarah Medway’s second publication from Anomie Publishing, is devoted to the subject of the River Thames. The publication presents a series of twenty-eight oil paintings created in Medway’s canal-side studio in central London during the Covid-19 lockdowns of 2020-21. The Thames is beautiful, terrifying, powerful, alluring and dangerous. Medway captures the river’s eclectic dynamics, rhythms and energy through the language of abstract painting, the ripples, bubbles, eddies and currents, the reflections and refractions denoted through sinuous lines, ellipses and spots, dots and loops, flecks and swirls. Referencing 20th-century modernist movements such as De Stijl, Tachisme and post-war American Abstract Expressionism, Medway’s own, lyrical, often graphic approach to painting the Thames results in a vivid interplay between pattern and colour. The paintings have overt musical resonances – tempo, rhythm and dynamics as might be encountered in an orchestral score. Like the river, the paintings are at times joyous and playful, at other times brooding and menacing, yet always moving, in flux, traveling onwards towards the sea. An introductory text by critic and writer Sue Hubbard takes readers through the series, exploring how the paintings engage with the qualities and complexities of the river. An in-person conversation between Medway and writer, editor and curator Anna McNay provides insight into the artist’s life and work, discussing the processes by which Medway makes her paintings and the thinking behind them. Designed and produced by Peter B. Willberg, this foil-blocked, cloth-bound hardback publication with a special dustjacket also features an illustrated chronology documenting Medway’s life and career. Sarah Medway (b.1955, Seaton Carew, UK) is a painter based in London. As well as group exhibitions at institutions such as Tate Britain, the Whitechapel, the Royal Academy, the World Trade Center and Austin Museum of Art, Medway’s solo shows include Flowers East, London, Chelsea Hotel, New York, Kienbaum Gallery, Frankfurt, The Mandalai, Thailand, and Atelier Gallery, Spain. She has works in many public, private and corporate collections in the UK, US, Germany, Italy, Spain, Belgium, Hong Kong and Thailand.

This stunning catalogue presents The Courtauld's outstanding collection of works by Renaissance artist Girolamo Francesco Maria Mazzola, better known as Parmigianino (1503-1540). This catalogue accompanies a display of works by Parmigianino at The Courtauld, including his famous and enigmatic painting of the Virgin and Child, as well as drawn studies for his most ambitious projects such as the Madonna of the Long Neck and the frescoes of the church of Santa Maria della Steccata in Parma. The latter was the last and most important commission of his life and would have been his triumphal homecoming. Instead, Parmigianino became entangled in his experimental processes and failed to complete it, leading to his brief imprisonment for breach of contract. Fundamentally a draftsman at heart, Parmigianino drew relentlessly during his relatively short life, and around a thousand of his drawings have survived. The Courtauld's collection comprises twenty-four sheets. In preparation for the catalogue, new photography and technical examinations have been carried out on all the works revealing two new drawings that were previously unknown, hidden underneath theirhistoric mounts. They have also helped to better identify connections between some of the drawings and the finished paintings for which they were conceived. The catalogue illustrates the whole Courtauld collection, which also includes two paintings and more than ten prints. As a printmaker, Parmigianino is considered to have been the first to experiment with etching in Italy and was a pioneer of the chiaroscuro woodcut technique. His refined and graceful compositions were much appreciated by his contemporaries and exalted by the artist and biographer Giorgio Vasari (1511-74). This catalogue and display have been curated by Gottardo and Rebecchini in collaboration with former and current research students at The Courtauld, and technical research has been conducted by members of The Courtauld Conservation Institute. A truly collaborative project, the catalogue sheds light on an artist who approached every technique with unprecedented freedom and produced innovative works which were studied and admired by artists and collectors for many years to come.

Paris Park Photographs features spectacular images from a dozen public parks and gardens in and near France's capital city. Exploring many of the same places that photographer Eugène Atget (1857–1927) made famous a century ago, Michael Kolster references the pleasures and pitfalls of wandering alone amongst trees and plants and sculpture, unkempt and formally designed places, tempered by the knowledge that the modern world with all its congestion is only a few short steps away. These intimate yet inherently expansive views of Paris’s parks invite closer scrutiny of the encounters awaiting us at the edges of the well-worn paths defining our daily lives. Few people venture into the frame of Kolster's photographs, but the promise of a renewed sense of hope and community resides in the details of his visual encounters and the moments of his heightened attention. Each picture speaks to us as a moment in time, even as the sequence suggests a choreography of place, one that can vary daily along with the changing moods and light of each park. Paris Park Photographs is presented in a bilingual English/French edition and concludes with an afterword by Michelle Kuo. Of note is how the book’s design is inspired by Walker Evans's 1938 classic work, American Photographs, making Kolster's book of immediate interest to photo and book collectors.

By the end of John Cecil Stephenson’s art school training – first a scholarship to Leeds Art School then to The Royal College of Art – he was in a position to produce still lives, landscapes and portraits in a professional capacity. Like many painters of his generation, who had received similarly conventional instruction, he became a competent teacher, appointed in 1922, as Head of Art at The Northern Polytechnic. In this mould Stephenson might have remained a largely undistinguished painter – but in the early 1930s he found himself at the centre of a group of artists with avant-garde credentials, and his own art underwent a remarkable transformation. By 1934 he was exhibiting groundbreaking works such as Mask (CAT. 7), at the 7 & 5 Society, and in 1937 was a key contributor to the watershed publication and exhibition Circle, where his work was showcased alongside that of luminaries such as Kazimir Malevich, Le Corbusier, Fernand Léger, Alberto Giacometti and Pablo Picasso. What led Stephenson to become, in the words of the celebrated art critic Herbert Read, ‘one of the earliest artists in the country to develop a completely abstract style’? Between March 1919 and November 1965, John Cecil Stephenson lived in London at No. 6 Mall Studios, off Tasker Road, Hampstead. As the father figure of what Read christened ‘a nest of gentle artists’, his next door neighbours included, during the course of the decade leading up to World War II, Barbara Hepworth, John Skeaping, Ben Nicholson and Henry Moore. Such fertile ground was further enriched by visits from artists fleeing persecution – including Piet, László Moholy-Nagy and Alexander Calder – just a few of the many internationally acclaimed artists who, whilst passing through London, formed part of the art set who congregated around Read’s house at No. 3 Mall Studios.

At centre stage in this volume is the Royal Clock Salt, an exceptional national treasure from the courtly culture of the Renaissance. Most probably made in Paris around 1530 by Pierre Mangot, the royal goldsmith to Francis I, the Clock Salt is somewhere between a jewel and a table ornament. Now part of the collection of the Goldsmiths’ Company in London, it is one of only a handful of treasures surviving from the renowned Jewel House of Henry VIII. It is unknown whether it was a diplomatic gift from Francis I or whether Henry VIII bought the Clock Salt himself; regardless, the object raises interesting questions about the role of diplomatic gifts at the Tudor court which is a subject addressed by a number of the authors. Many questions still remain about the Clock Salt’s history following its sale in the aftermath of the English Civil War, but this publication presents the fullest account to date of what is known about the object. Importantly, the authors also place it within a wider European Renaissance context by comparing it with other similar objects known to have been made or designed by Mangot and his contemporaries such as Hans Holbein. A secondary strand in the volume places the Clock Salt in the context of nineteenth- and twentieth-century taste in England and, in particular, reflects recent trends in scholarship by considering the influence of European collectors such as the Rothschilds on the British taste for historic silver. The volume therefore sheds new light on an exquisite object that has beguiled and fascinated owners and viewers for centuries. It also marks the completion of a collaborative research project between the British Museum, the Goldsmiths’ Company and The Rothschild Foundation.

The high mountains is a world that remains unknown to most. A few seasoned climbers have access to it, but some do not associate this dizzying passion with a practice of artistic photography. Thomas Crauwels is an award-winning photographer and a mountaineer. With ABOVE, he gives us access to these extraordinary landscapes and images of summits all located more than 4,000 meters above sea level. The repetition of black and white images underlines the fascination he feels for the vertigo of a summit, the pure line of a ridge, the white light of a hanging glacier, the harmony of a peak, the slope of a precipice, or the verticality of a wall. ABOVE proves to what extent geography and photography are closely intertwined when the mountain becomes the theatre of their union; a territory of beauty and of chaos to be overcome. Crauwels’s mastery of contrasts and lights and a maturity acquired through his explorations allow him to capture the mountain without ever freezing it in a stereotypical representation. Each of his images is the result of a decisive moment, carefully thought out and elaborated, whether it concerns the organisation of his expeditions, cartographic studies, keen awareness of weather, or the mental construction of the images he creates. ABOVE is not a mountain book like any other. Above all, it tells the story of a photographer’s consuming passion for a massif whose sumptuous beauty he has captured.

Charming and classically handsome, John Gilbert (1897–1936) was among the world's most recognisable actors during the silent era. He was a wild, swashbuckling figure on screen and off, and accounts of his life have focused on his high-profile romances with Greta Garbo and Marlene Dietrich, his legendary conflicts with Louis B. Mayer, his four tumultuous marriages, and his swift decline after the introduction of talkies. A dramatic and interesting personality, Gilbert served as one of the primary inspirations for the character of George Valentin in the Academy Award-winning movie, The Artist (2011). Many myths have developed around the larger-than-life star in the eighty years since his untimely death, but this definitive biography sets the record straight. Eve Golden separates fact from fiction in John Gilbert: The Last of the Silent Film Stars, tracing the actor's life from his youth spent travelling with his mother in acting troupes to the peak of fame at MGM, where he starred opposite Mae Murray, Norma Shearer, Joan Crawford, Greta Garbo, and other actresses in popular films such as The Merry Widow (1925), The Big Parade (1925), Flesh and the Devil (1926), and Love (1927). Golden debunks some of the most pernicious rumours about the actor, including the oft-repeated myth that he had a high-pitched, squeaky voice that ruined his career. Meticulous, comprehensive, and generously illustrated, this book provides a behind-the-scenes look at one of the silent era's greatest stars and the glamorous yet brutal world in which he lived.

This is the first volume concerned solely with the archaeology of a major late 17th-century building in London, and the major changes it has undergone. St Paul's Cathedral in the City of London was built in 1675–1711 to the designs of Sir Christopher Wren and has been described as an iconic building many times. In this major new account, John Schofield examines the cathedral from an archaeological perspective, reviewing its history from the early 18th to the early 21st century, as illustrated by recent archaeological recording, documentary research and engineering assessment. A detailed account of the construction of the cathedral is provided based on a comparison of the fabric with voluminous building accounts which have survived and evidence from recent archaeological investigation. The construction of the Wren building and its embellishments are followed by the main works of later surveyors such as Robert Mylne and Francis Penrose. The 20th century brought further changes and conservation projects, including restoration after the building was hit by two bombs in World War II, and all its windows blown out. The 1990s and first years of the present century have witnessed considerable refurbishment and cleaning involving archaeological and engineering works. Archaeological specialist reports and an engineering review of the stability and character of the building are provided.