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Publications 2018–19 New Books Publications 2018–19 New Books The National Galleries of Scotland’s award-winning Victoria Crowe: Beyond Likeness exceptional skill of this remarkable artist’s portraits and Victoria Crowe, herself, publishing house is committed to producing books Duncan Macmillan, Victoria Crowe contributes many insightful accounts of on the visual arts which are engaging, accessible & Julie Lawson her own thoughts and perceptions as each and affordable, combining high-quality writing and 220 X 245MM | 96PP work developed. rigorous research with the best in design. As well as 65 COLOUR ILLUSTRATIONS This book also tells Crowe’s own story 978 1 911054 22 1 | £14.95 PAPER producing books that provide access to the national – both professional and personal – through collection and accompany exhibitions, we publish ‘The most important portraits to me are the her art. She has developed an approach ones of people who have enriched my own to portraiture that seeks to do more than a number of titles on different aspects of art, art thinking or awareness. Areas of philosophy, record the outward appearance of a person; practice and art history, furthering the Galleries' religion, psychological perspectives, poetry, she aims to represent something of the programme of scholarly research. Our publications music, art history, women’s roles and the inner life. are designed to enhance the visitor experience and inner life are important issues for me – and With eighty illustrations, the portraits to reflect and extend the Galleries’ educational and all have been nurtured by these people whom include the artist’s family, composer scholarly activities. I have met through portraiture.’ Ronald Stevenson, pioneer medical Victoria Crowe scientist Dame Janet Vaughan, poet Our publications encompass new academic research; Victoria Crowe is one of Britain’s most Kathleen Raine, actor Graham Crowden, fresh perspectives on well-known and loved art; books vital and original figurative painters. psychiatrist R.D. Laing, physicist Professor aimed at introducing those outside Scotland to our Here, Duncan Macmillan explores the Sir Peter Higgs and many others. national collection, and the Scottish public to artworks from home and abroad; lectures; full catalogues and bite-sized introductions. Most of our titles are highly illustrated and we are dedicated to ensuring the finest production values. NEW BOOKS | 3 Raqib Shaw Reinventing the Old Masters Patrick Elliott Patrick Elliott RAQIB SHAW REINVENTING THE OLD MASTERS 240 X 330MM | 48PP 50 COLOUR ILLUSTRATIONS 978 1 911054 20 7 | £16 PAPER NATIONAL GALLERIES OF SCOTLAND Edinburgh · 2018 Raqib Shaw is one of the most extraordi- nary and sought-after artists working in the world today. Born in Calcutta in 1974 and raised in Kashmir, he came to London to study in 1998 and has lived there ever since. RAQIB SHAW Inspired by a broad range of influences, including the old masters, Indian miniatures, Persian carpets and the Pre-Raphaelites, his paintings are infused with memories and longing for his home- land in Kashmir. Fig.3 | Lucas Cranach the Elder (1472–1553) Cupid Complaining to Venus, c.1525 Oil on wood, 81.3 x 54.6 cm His technique constitutes a completely National Gallery, London: purchased 1963 Fig.4 | Raqib Shaw (b.1974) After Lucas Cranach the Elder, 2001 Oil, acrylic, enamel and glitter on board, 166 x 104 cm unique kind of enamel painting. Spending Central Saint Martins College of Art and Design, London months on preparatory drawings, tracings and photographic studies, he then transfers the composition onto prepared wooden panels, establishing an intricate design with acrylic liner, which leaves a slightly raised line. He adds the enamel paint using needle-fine syringes and a porcupine quill, with which he manoeu- vres the paint. The finished works are intricate, magical and breathtaking in 20 21 their colour and complexity. 4 Self-portrait in the Sculpture Studio at Peckham (After Gerolamo Mocetto) II, 2015–16 Acrylic liner and enamel on birch wood, 213.3 x 152.5 cm Courtesy of Raqib Shaw and White Cube Shaw’s painting is based on a rather grand-tour aristocrats in the Grand Duke In Shaw’s painting, his own Garden of obscure work by Gerolamo Mocetto, a of Tuscany’s Tribuna of the Uffizi in Earthly Delights III, 2003, hangs on the minor Venetian artist who is better known Florence. The room is stuffed full of the far wall. The bronzes in the foreground as a printmaker. Mocetto’s The Massacre Grand Duke’s collection of masterpieces, are Shaw’s own sculptures, which are of the Innocents is a fragment; another which the British diligently admire. Shaw based on Florentine mannerist bronzes, section depicting Herod is also in the also researched other Dutch eighteenth- particularly those of Giambologna National Gallery collection. Shaw’s century paintings of this type, showing (1529–1608). Shaw’s bronzes – entitled painting adopts Mocetto’s architectural magnificent collections hung from floor Duo, Trio, Quintet and Sextet, depending scene, but its theme is based on Johann to ceiling in vast rooms. This version on the number of figures each contains Zoffany’sTribuna of the Uffizi, 1772–77 standing over 200 centimetres tall was – formed the core of an exhibition held (Royal Collection, Windsor Castle), a preceded by a smaller version measuring at the Galerie Thaddaeus Ropac in celebrated painting which shows British 155 x 104 centimetres. Paris in 2013. Books on Giambologna and Rodin, and the catalogue of the Royal Academy’s extraordinary Bronze exhibition of 2012, lie amongst the studio detritus on the floor. The picture of the centaur fighting a man in the lower right corner is taken from one of the metopes of the Parthenon Frieze in the British Museum. The skeletal artist, holding one of his dogs while the other is at his A feet, is robed in a Kashmiri Kani shawl, and is half-hidden behind a pillar. Some of the busts placed high up in niches are based on friends and studio assistants. Through the arch, in the distance, we glimpse architect Renzo Piano’s London skyscraper The Shard (completed 2012). As Britain’s tallest building, it can actu- ally be seen from Shaw’s studio. The tree which is also visible through the arch is based on a bonsai growing in Shaw’s garden. High up on the balcony, a peacock surveys the scene. This is a ‘quote’ from Carlo Crivelli’s The Annunciation, 1486 (National Gallery, London: see fig.9), as is the carpet hanging over the bannister. Peacocks are native to India and have a rich symbolic significance, sometimes associated with vanity. In Hindu culture, Lord Kartikeya, the god of war, and his wives, ride a peacock. Fig.14 | Gerolamo Mocetto (c.1458–1531) The Massacre of the Innocents, c.1500–25 Oil on canvas, 67.9 x 44.5 cm National Gallery, London: purchased 1888 34 4 | NATIONAL GALLERIES OF SCOTLAND NEW BOOKS | 5 Rembrandt & Britain This absorbing introduction to the story of Rembrandt’s rampant fame and influence in Christian Tico Seifert Britain is filled with beautiful images. REMBRANDT 200 X 220MM | 36PP The story of ‘Rembrandt mania’ began BRITAIN’S DISCOVERY OF THE MASTER 26 COLOUR ILLUSTRATIONS in 18th-century Britain with passionate, 978 1 911054 26 9 | £7.95 PAPER and often eccentric, collectors acquiring artworks by any and every means. As the craze for Rembrandt ebbed and flowed, each new wave of enthusiasm brought him ever- greater fame and influence, and collectors became increasingly ingenious. This master’s impact not only on collec- tors and the public but also on British artists over the last four centuries is explored, with lavish paintings, drawings and prints from artists such as Henry Raeburn, Joshua Reynolds and James Abbott McNeill Whistler shown alongside some of Rembrandt’s most famous masterpieces. Rembrandt: Britain’s Discovery In this book, some of the world’s leading of the Master experts reveal how the taste for Rembrandt’s paintings, drawings and prints evolved, Christian Tico Seifert with Peter Black, growing into a mania that gripped collec- Stephanie S. Dickey, Patrick Elliott, tors and art lovers across the country. This Donato Esposito, M.J. Ripps reached a fever pitch in the late 1700s, before & Jonathan Yarker the dawn of a new century ushered in a 280 X 240MM | 176PP re-evaluation of Rembrandt’s reputation and 145 COLOUR ILLUSTRATIONS opportunities for the wider public to see his 978 1 911054 19 1 | £22 PAPER masterpieces for themselves. This is the exceptionally rich story of The story of Rembrandt’s profound Rembrandt’s fame and influence in Britain. and inspirational impact on the British No other nation has witnessed such a imagination is illustrated by over 130 passionate – and sometimes eccentric – works by the master himself, as well as enthusiasm for Rembrandt’s works. His by some of Britain’s best-loved artists, imagery has become ubiquitous, making including William Hogarth, James Abbott him one of the most recognised artists McNeill Whistler, Eduardo Paolozzi and in history. John Bellany. 6 | NATIONAL GALLERIES OF SCOTLAND NEW BOOKS | 7 Pin-ups: Toulouse-Lautrec and the Art of Celebrity Hannah Brocklehurst and Frances Fowle ANDY WARHOL & 170 X 300MM | 120PP | OCTOBER 2018 100 COLOUR ILLUSTRATIONS EDUARDO PAOLOZZI 978 1 911054 21 4 | £19.95 PAPER This book offers a beautiful I WANT TO BE exploration of Henri de Toulouse- A MACHINE Lautrec’s works in lithography. It explores the new artistic approach to the poster at the end of the 19th century, which bridged visual and popular culture and turned the relationship between ‘high’ and ‘low’ art on its head. Technical PIN-UPs innovations in lithography pioneered by Lautrec and other artists produced larger sizes, more Andy Warhol & Eduardo Paolozzi: Neither artist made the logical next step varied colours and new effects and I Want To Be A Machine and used a truly mechanical means to create their own artworks until the early 1960s.
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