Walter Sickert (1860-1942) was possibly the most important and influential early modern British artist. He belonged to the generation that absorbed the modernity of late nineteenth-century French art into British painting and printmaking. His outstanding work as a printmaker has been largely overlooked and unexplored until now. This book and catalogue raisonni bring together for the first time the substantial body of 226 prints by Sickert, along with their numerous different states, many in rare or unique impressions, and reveals the unorthodox and experimental techniques Sickert used frequently 'in dialogue' with related paintings and drawings. Ruth Bromberg describes here the subject matter and techniques for each print in relation to Sickert's oeuvre. She also discusses the evolution of Sickert's career in printmaking; the influences on his work of Whistler and Degas, whom Sickert knew; his working procedures; and his innovative techniques and style in engraving, etching, aquatint, soft ground etching, and lithography. She explores the varied settings of his prints - which include early London and Dieppe street scenes, seascapes in Holland and famous views of Venice as well as t

Walter Richard Sickert (1860-1942) was an artist of prodigious creativity. For sixty years, in his roles as painter, teacher, and polemicist, he was a source of inspiration and influence to successive generations of British painters. With his roots in the Victorian era, Sickert broke all taboos. He was uncompromisingly truthful, revealing beauty in the squalid as in the sublime: in cockney music halls, the crumbling streets of Dieppe, the grand sites of Venice, and the low-life of Camden Town. Decades before Warhol, he exploited the potential of photo-based imagery and of studio production lines to create iconic portraits of the grandees of theatrical, social, and political life. This catalogue is divided into two parts: essay chapters describe Sickert's chronology in terms of stylistic and technical development, and a fully illustrated catalogue presents more than 2800 drawings and paintings, many of which have never been published before.

“I am trying to find out why a subject does look so marvelous, and trying to make that sensation manifest on a flat surface.”—Euan Uglow

First major life of the British painter; it re-appraises his talent and demolishes Patricia Corwell's assertions that he was Jack the Ripper.

The first volume of National Book Award finalist David Plante's extraordinary diaries of a life lived among the artistic elite in 1960s London. “Nikos and I live together as lovers, as everyone knows, and we seem to be accepted because it's known that we are lovers. In fact, we are, according to the law, criminals in our making love with each other, but it is as if the laws don't apply. It is as if all the conventions of sex and clothes and art and music and drink and drugs don't apply here in London . . .” In the 1960s, strangers to their new city and from the different worlds of New York and Athens, David and Nikos embarked on a life together, a partnership that would endure for forty years. At a moment of “absolute respect for differences,” London offered a freedom in love unattainable in their previous homes. Friendships with Stephen and Natasha Spender, Francis Bacon, Sonia Orwell, W. H. Auden, Christopher Isherwood, Steven Runciman, David Hockney, and R. B. Kitaj, meetings with such Bloomsbury luminaries as E. M. Forster and Duncan Grant, and a developing friendship with Philip Roth living in London with Claire Bloom, opened up worlds within worlds; connections appeared to crisscross, invisibly, through the air, interconnecting everyone. David Plante has kept a diary of his life for more than half a century. Both a deeply personal memoir and a fascinating and significant work of cultural history, this first volume spans his first twenty years in London, beginning in the mid-sixties, and pieces together fragments of diaries, notes, sketches, and drawings to reveal a beautiful, intimate portrait of a relationship and a luminous evocation of a world of writers, poets, artists, and thinkers.

Winner of the 2022 British Association of Irish Studies (BAIS) Book Prize In the years following the Irish Famine (1845–52), London became one of the cities of Ireland. The number of Irish in London swelled to over 100,000 and from this mass migration emerged a distinctive and vibrant culture based on a shared sense of history, identity and experience. In this book, Richard Kirkland brings together elements in Irish London's culture and history that had previously only been understood separately or indeed largely overlooked (as in the case of women's' contributions to London Irish politics and culture). In particular, Kirkland makes resonant cultural connections between Irish and cockney performers in the music halls, Irish trade fairs, temperance marches, the Fenian dynamite war of the 1880s, St Patrick's Day events, and the later cultural agitation of revivalists such as W.B. Yeats and Katharine Tynan. Irish London: A Cultural History 1850–1916 is both a significant contribution to our understanding of Irish emigrant communities in London at this time and an insightful case study for the comparative fields of cultural history and urban migration studies.