“An extraordinary record of a great artist in his studio, it also describes what it feels like to be transformed into a work of art.” —ARTnews Lucian Freud (1922-2011), widely regarded as the greatest figurative painter of our time, spent seven months painting a portrait of the art critic Martin Gayford. The daily narrative of their encounters takes the reader into that most private place, the artist’s studio, and to the heart of the working methods of this modern master—both technical and subtly psychological. From this emerges an understanding of what a portrait is, but something else is also created: a portrait, in words, of Freud himself. This is not a biography, but a series of close-ups: the artist at work and in conversation at restaurants, in taxis, and in his studio. It takes one into the company of the painter for whom Picasso, Giacometti, and Francis Bacon were friends and contemporaries, as were writers such as George Orwell and W. H. Auden. The book is illustrated with many of Lucian Freud’s other works, telling photographs taken by David Dawson of Freud in his studio, and images by such great artists of the past as van Gogh and Titian who are discussed by Freud and Gayford. Full of wry observations, the book reveals the inside story of how it feels to pose for a remarkable artist and become a work of art.

Martin Gayford’s masterful account of painting in London from the Second World War to the 1970s, illustrated by documentary photographs and the works themselves The development of painting in London from the Second World War to the 1970s has never before been told before as a single narrative. R. B. Kitaj’s proposal, made in 1976, that there was a “substantial School of London” was essentially correct but it caused confusion because it implied that there was a movement or stylistic group at work, when in reality no one style could cover the likes of Francis Bacon and also Bridget Riley. Modernists and Mavericks explores this period based on an exceptionally deep well of firsthand interviews, often unpublished, with such artists as Victor Pasmore, John Craxton, Lucian Freud, Frank Auerbach, Allen Jones, R. B. Kitaj, Euan Uglow, Howard Hodgkin, Terry Frost, Gillian Ayres, Bridget Riley, David Hockney, Frank Bowling, Leon Kossoff, John Hoyland, and Patrick Caulfield. But Martin Gayford also teases out the thread weaving these individual lives together and demonstrates how and why, long after it was officially declared dead, painting lived and thrived in London. Simultaneously aware of the influences of Jackson Pollock, Giacometti, and (through the teaching passed down at the major art school) the traditions of Western art from Piero della Francesca to Picasso and Matisse, the postwar painters were bound by their confidence that this ancient medium could do fresh and marvelous things, and explored in their diverse ways, the possibilities of paint.

When we look at a painting hanging on an art gallery wall, we see only what the artist has chosen to disclose--the finished work of art. What remains mysterious is the process of creation itself--the making of the work of art. Everyone who has looked at paintings has wondered about this, and numerous efforts have been made to discover and depict the creative method of important artists. A Giacometti Portrait is a picture of one of the century's greatest artists at work. James Lord sat for eighteen days while his friend Alberto Giamcometti did his portrait in oil. The artist painted, and the model recorded the sittings and took photographs of the work in its various stages. What emerged was an illumination of what it is to be an artist and what it was to be Giacometti--a portrait in prose of the man and his art. A work of great literary distinction, A Giacometti Portrait is, above all, a subtle and important evocation of a great artist.

“Librarians often say that every book is not for every child, but The True Blue Scouts of Sugar Man Swamp is” (The New York Times). Meet Bingo and J’miah, raccoon brothers on a mission to save Sugar Man Swamp in this rollicking tale and National Book Award Finalist from Newbery Honoree Kathi Appelt. Raccoon brothers Bingo and J’miah are the newest recruits of the Official Sugar Man Swamp Scouts. The opportunity to serve the Sugar Man—the massive creature who delights in delicious sugar cane and magnanimously rules over the swamp—is an honor, and also a big responsibility, since the rest of the swamp critters rely heavily on the intel of these hardworking Scouts. Twelve-year-old Chap Brayburn is not a member of any such organization. But he loves the swamp something fierce, and he’ll do anything to help protect it. And help is surely needed, because world-class alligator wrestler Jaeger Stitch wants to turn Sugar Man swamp into an Alligator World Wrestling Arena and Theme Park, and the troubles don’t end there. There is also a gang of wild feral hogs on the march, headed straight toward them all. The Scouts are ready. All they have to do is wake up the Sugar Man. Problem is, no one’s been able to wake that fellow up in a decade or four… Newbery Honoree and Kathi Appelt’s story of care and conservation has received five starred reviews, was selected as a National Book Award finalist, and is funny as all get out and ripe for reading aloud.

The Indigo Scarf chronicles the crossing lives of escaped slaves Jedediah James and George Sharpe as they flee with their white wives into the wilderness of Pennsylvania's Sinnemahone country, on the upper reaches of the West Branch of the Susquehanna River, during the frontier decades after Pennsylvania's last Indian purchase. The novel opens, however, in 1882 in Washington's Baltimore and Potomac Railroad station. Narrator Anna Maria Sharpe is departing for the backwoods of north-central Pennsylvania, which she fled in her teens doubtful of her identity. She encounters Benjamin James, now a drifting, alcoholic longshoreman, who'd been implicated in the murder of his brother during Anna Maria's childhood. Benjamin decides to join her on the journey. Along the way, we follow the tale of the founders of their sordid hideaway settlement: his father, the infamous ex-slave Jedediah James; George Sharpe, a former indentured grist-miller whom Anna Maria believes was her grandfather; and the white women they had escaped with to the wild Sinnemahone country, Sarah James and Rosanna Sharpe. Through the story, Anna Maria learns that the man Benjamin had been accused of murdering had been her father, and the murderer, her half-brother. Benjamin's account of the life of Jedediah James reveals a fatal obsession with ownership driving this freed slave toward his reckoning. Hostilities build to a head between James and his wife's father-the august revolutionary war veteran Samson Starret-as well as Sarah's ex-suitor, Williamsport's Thomas Tillman, a man fixated on this woman whom an ex-slave stole from him on the eve of their arranged marriage. The scenes of The Indigo Scarf take the reader from a plantation in Virginia's tidewater region to the tragic end of a whiskey and timber-pirating operation on the Susquehanna's un-peopled and feral West Branch during the frontier decades after Pennsylvania's last Indian purchase.

"A memoir about the author's relationship with renowned painter Lucian Freud that includes interviews with many close friends and family members as well as critical analyses of Freud's art"--Provided by publisher.