Rooted in the study of objects, British Art in the Nuclear Age addresses the role of art and visual culture in discourses surrounding nuclear science and technology, atomic power, and nuclear warfare in Cold War Britain. Examining both the fears and hopes for the future that attended the advances of the nuclear age, nine original essays explore the contributions of British-born and ?gr?rtists in the areas of sculpture, textile and applied design, painting, drawing, photo-journalism, and exhibition display. Artists discussed include: Francis Bacon, John Bratby, Lynn Chadwick, Prunella Clough, Naum Gabo, Barbara Hepworth, Peter Lanyon, Henry Moore, Eduardo Paolozzi, Peter Laszlo Peri, Isabel Rawsthorne, Alan Reynolds, Colin Self, Graham Sutherland, Feliks Topolski and John Tunnard. Also under discussion is new archival material from Picture Post magazine, and the Festival of Britain. Far from insular in its concerns, this volume draws upon cross-cultural dialogues between British and European artists and the relationship between Britain and America to engage with an interdisciplinary art history that will also prove useful to students and researchers in a variety of fields including modern European history, political science, the history of design, anthropology, and media studies.

"A graduate of Leon Underwood's Brook Green School of Art in London, Gertrude Hermes (1901-83) trained as a painter and sculptor. Hermes and her husband, Blair Hughes-Stanton, who she met at Brook Green, went on to become leading lights in the early twentieth-century's wood-engraving revival. Although their marriage was short-lived, their exuberant visual inventions for Bunyan;s 'The Pilgrim's Progress' and T.E. Lawrence's 'Seven Pillars of Wisdom' Brought them critical acclaim. Much has been written about Hermes' career as a wood engraver. In contrast, her contribution as a sculptor has been somewhat eclipsed--until now. 'The Sculpture of Gertrude Hermes' presents for the first time a full analysis of the artist's entire sculptural oeuvre. Along with a comprehensive catalogue of Hermes' sculpture, Jane Hill provides a full account of the artist's life in the context of her career as a sculptor. What results is a picture of a pioneering spirit who created busts and heads, functional designs, decorative work and reliefs that are dynamic and unpredictable. Featuring over 140 images, 'The Sculpture of Gertrude Hermes' is a groundbreaking study of an artist so long associated with one art form. This book redresses the imbalance and creates a new and fresh perspective on an important female artist of the twentieth century."--Publisher's website.

Preface by Penelope Curtis. Essays by Yves Abrioux, Michael Archer, Dore Ashton, Paul Atterbury, Nick Baker, Stephen Bann, Anne Barlow, Martin Barlow, Bruce Bateman, Lee Beard, Jonathan Black, Jonathan Blackwood, Iwona Blazwick, Stacy Boldrick, Nigel Boonham, Paul Bonaventura, Alison Bracker, Will Bradley, Tim Brennan, Katrina Brown, Ron Brown, Ann Bukantas, Stuart Burch, Robert Burstow, Eric Cameron, Roger Cardinal, Andrew Causey, Keith Chapman, Zelda Cheatle, Andrew Clay, Elizabeth Clegg, David Cohen, Judith Collins, Judy Collischan, Ann Compton, Lynne Cooke, Suzanne Cotter, Cathy Courtney, Sacha Craddock, J Craig Stirling, Sarah Crellin, Andrew Cross, Penelope Curtis, Simon Cutts, Jo Darke, Fiona Darling-Glinski, Charles Darwent, Amanda Davidson, Richard Deacon, Hilary Diaper, Richard Dorment, Jonathan Drake, Martina Droth, Jason Edwards, Patrick Eyres, Jes Fernie, Ellie Finch, Tina Fiske, Penny Florence, David Fraser-Jenkins, William Furlong, Matthew Gale, Margaret Garlake, Steven Gartside, Sam Gathercole, David Getsy, Liam Gillick, David Gilmour, Alison Glew, Claire Glossop, Tony Godfrey, Mel Gooding, Hilary Gresty, Alastair Grieve, Hans Kurt Gross, John Haldane, Martin Harrison, Tanya Harrod, Arie Hartog, Gill Hedley, Simon Herbert, Jane Hill, Greg Hilty, Antony Hudek, Jonathan Hughes, Celina Jeffery, Alex Kader, Stefan Kalmar, Julia Kelly, Mike King, Catherine Kinley, Gabriel Koureas, Catherine Lampert, Axel Lapp, Margaret Lewis, Jeremy Lewison, Clare Lilley, James Lingwood, Stephen Little, Fran Lloyd, David Lomas, Sue Malvern, Jonathan Marsden, Tim Martin, Miranda Mason, John McEwen, Ray McKenzie, Catherine McMahon, Corinne Miller, Claudine Mitchell, Catherine Moriarty, Catherine Moseley, Paula Murphy, Martin Myrone, Andrew Naylor, Vanessa Nicolson, Claire Obussier, Paul Overy, Lisa Panting, Alexandra Parigoris, Toby Paterson, Lisette Pelsers, Inés Plant, Alex Potts, Cathy Putz, Niru Ratnam, Ben Read, Jasia Reichardt, Margaret Reid, Alastair Rider, Treve Rosoman, Natalie Rudd, Julian Satterthwaite, Alex Seago, Joseph Sharples, Robert Short, Evelyn Silber, Peyton Skipworth, Joy Sleeman, Stephen Snoddy, Robin Spencer, Chris Stephens, Andrew Stephenson, Mark Stocker, Anthony Stones, Angela Summerfield, Adam Sutherland, Allan Swan, Barbara Thompson, David Thorp, Edward Tillotson, Toby Treves, Paul Usherwood, Adriaan van Ravesteijn, Jonathan Vickery, Anne Wagner, Nigel Walsh, Victoria Walsh, Philip Ward-Jackson, Dennis Wardleworth, Stan Whatmore, Michael White, Gillian Whiteley, Alison Wilding, Keith Wilson, Matthew Withey, Jon Wood, Tamsyn Woollcombe, Greville Worthington, Victoria Worsley. This handbook represents the culmination of a long-held ambition. The Henry Moore Institute is proud to represent ''sculpture'' across various media, not simply sculpture itself. We regard graphic, archive and library material as equally important in terms of studying sculpture, and in terms of seeing how it has been studied in the past. Though we have earlier produced concise catalogues of the sculpture, graphics and archive holdings of Leeds Museums and Galleries, it is infinitely preferable to have, here in one handbook, a guide to all the 20th-century holdings and to see them as representing one collectionVolume I Identity, Infrastructures, Aesthetics, Display, Reception Volume II A Guide to Sculptors in the Leeds Collections ¿ Only now can we begin to fashion an understanding of 20th-century Britain, and with it, the meaning of sculpture, in this country, in these years. These two volumes start to retell the story of sculpture in Britain as being as much outside as inside the gallery, by immigrants as much as by the ''British'', and in the form of printed material as much as in primary production. Published to mark the tenth anniversary of the Henry Moore Institute, these books are a sign of the fact that the Institute has come to function as the centre of a network or community of information. - Volume I provides a new survey of the period, drawing on recent scholarship by twenty authors, which examines the various contexts in which sculpture was produced and interpreted. - Volume II offers lively introductions to 175 sculptors practising in 20th-century Britain, and is supplemented by a concise catalogue of the sculpture, archive and library holdings in Leeds.

Explores the 'still life spirit' in modern painting, prose, dance, sculpture and poetryChallenges the conventional positioning of still life a 'minor' genre in art historyProposes a radical alternative to narratives of modernism that privilege speed and motion by revealing forms of stillness and still life at the heart of modern literature and visual cultureProvides the first study of still life to consider the genre across modern literature, visual cultures and danceUncovers connections and cultural exchange between networks of European and American artists including the Bloomsbury Group and Wallace StevensThe late nineteenth and early twentieth centuries have been characterised as the 'age of speed' but they also witnessed a reanimation of still life across different art forms. This book takes an original approach to still life in modern literature and the visual arts by examining the potential for movement and transformation in the idea of stillness and the ordinary. It ranges widely in its material, taking Czanne and literary responses to his still life painting as its point of departure. It investigates constellations of writers, visual artists and dancers including D. H. Lawrence, Virginia Woolf, David Jones, Winifred Nicholson, Wallace Stevens, and lesser-known figures including Charles Mauron and Margaret Morris. Claudia Tobin reveals that at the heart of modern art were forms of stillness that were intimately bound up with movement: the still life emerges charged with animation, vibration and rhythm; an unstable medium, unexpectedly vital and well suited to the expression of modern concerns.