Bøker av Andrew Lambirth

Euan Uglow (1932-2000) was one of the finest painters of his generation. For a long time appreciated only by fellow artists and a relatively small band of devoted collectors, his work is now reaching a wider audience, and its innovative nature is finally being recognised and properly understood. He belongs with the best of twentieth-century British artists: with Michael Andrews, Frank Auerbach, Francis Bacon, Lucian Freud and Leon Kossoff. As a radical modern master, he is not out of place with Ben Nicholson and Bridget Riley. The Uglow Papers is a celebration of Uglow's art, life and teaching, recounted by those who knew him as friend, colleague or mentor. The book brings together anecdotes and opinions relating to the various decades of his life, from his years as a student in the late 1940s and early 1950s, to his development and maturity as an artist, and to his tragically early death. His life was a full one, devoted primarily to painting and drawing, but also to teaching (mainly at the Slade School of Art) and to spending time with an unexpectedly wide circle of friends. This is the first monograph on Uglow. Profusely illustrated, it contains much new material about the artist, his teaching and his friendships. Initiated and edited by Andrew Lambirth, who knew the artist well for the last decade of his life, and with contributions from Frank Auerbach, Sir Paul Smith and Cherie Blair among others, this book sheds new light on Euan Uglow's life and work and will be an invaluable source of reference for all those interested in modern art.

In a painting career spanning half a century, Helen Clapcott (b.1952) has remained consistent in both her choice of subject and her disregard of the art establishment's playbook. In this, the first major monograph on the artist, Andrew Lambirth charts Clapcott's unconventional path and presents a painter with an uncompromising vision. Clapcott is a painter pre-occupied with the destruction and regeneration of the landscape of her native North-West England. Depictions of the mutation and evolution of what was once Stockport's industrial valley, now a commuter corridor, are expressions of our developing environments and the growth of vernacular townscapes. Based on numerous conversations with the artist, and an in-depth understanding of Clapcott's oeuvre, Andrew Lambirth's text provides a lively account of the artist's background, training and working methods, including her mastery of tempera. Above all, this is a study of an artist's very personal relationship with the evolving landscape of her childhood and her lifelong artistic engagement with the city that she loves.

An appealing illustrated book of cats in their many moods, depicted with affectionate wit and humor by the artist John Craxton.

, Told in his own words, in response to questions from the writer and art critic Andrew Lambirth, this book chronicles Andrew Logan's life and work through expressive anecdote and factual recollection. Reflections is a look back, but also a look at the present and a look forward: it is about the meaning of Andrew's world and the sculpture he has made to fill it, and about his approach to art, to friendship and to living in London and Wales. The Alternative Miss World, founded by Andrew in 1972, is at the heart of his philosophy, not just the world's greatest drag act (though it is this too), but an exhilarating celebration of the transformative power of the imagination. Andrew's work, which is all about joy and beauty, is inspiring and uplifting. This book, based upon discursive interviews dealing with all periods of his career, explains and contextualises it fully for the first time.,

Charts Diana Armfield's personal and artistic journey with over 200 beautiful reproductions of her work.

An updated version of the first edition. An additional 16 pages and new commentary on this artist.

This book explores the nature of the consistently visionary voice that runs through the art of Richard Eurich (1903-92). Eurich himself characterised this voice as a search for 'that elusive something' which is 'associated with something... very vital' and which is reflected in his stylistically rich (and apparently highly divergent) body of work.

Bryan Robertson (1925-2002) was the greatest director the Tate Gallery never had.

This publication will underline the importance of Bryan Kneale in the development of 20th Century British sculpture and painting.

Reflective Readers take a new approach to providing trainee teachers with challenging and topical theory in a structure which will underpin their reflective learning and practice.