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A Fine Tomorrow: British Art and Culture in the 1950S | University of Warwick 09/29/21 HA2C5: A Fine Tomorrow: British Art and Culture in the 1950s | University of Warwick HA2C5: A Fine Tomorrow: British Art and View Online Culture in the 1950s (2016/17) Alan Powers (2001) ‘The Expression of Levity’, Twentieth Century Architecture, (5), pp. 48–56. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/41861908?seq=1#page_scan_tab _contents. Alastair Grieve (1990) ‘Towards an Art of Environment: Exhibitions and Publications by a Group of Avant-Garde Abstract Artists in London 1951-55’, The Burlington Magazine, 132(1052), pp. 773–781. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/884544?seq=1#page_scan_tab_c ontents. Allan, J. (1992) Berthold Lubetkin: architecture and the tradition of progress. London: RIBA Publications. Anne Massey (1987) ‘The Independent Group: Towards a Redefinition’, The Burlington Magazine, 129(1009), pp. 232–242. Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/883030?seq=1#page_scan_tab_c ontents. Arts Council of Great Britain (1951) Sixty paintings for ’51. London: Arts Council. Atkinson, H. and Banham, M. (2012) The Festival of Britain: a land and its people. London: I.B.Tauris & Co. Banham, M. and Hillier, B. (1976a) A tonic to the nation: the Festival of Britain 1951. London: Thames and Hudson. Banham, M. and Hillier, B. (1976b) A tonic to the nation: the Festival of Britain 1951. London: Thames and Hudson. Banham, Reyner (2011) ‘The New Brutalism.’, October, pp. 19–28. Available at: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db =aft&AN=513199143&site=ehost-live. Bann, S. (no date a) The Tradition of constructivism. New York, N.Y.: Da Capo Press. Bann, S. (no date b) The Tradition of constructivism. New York, N.Y.: Da Capo Press. Barringer, T. (2011) ‘“I am a native, rooted here”: Benjamin Britten, Samuel Palmer and the Neo-Romantic Pastoral’, Art History, 34(1), pp. 126–165. doi: 1/7 09/29/21 HA2C5: A Fine Tomorrow: British Art and Culture in the 1950s | University of Warwick 10.1111/j.1467-8365.2010.00796.x. Ben Highmore (2006) ‘Rough Poetry: “Patio and Pavilion” Revisited’, Oxford Art Journal, 29(2). Available at: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3841016?seq=1#page_scan_tab_ contents. Bennett, T. (no date) ‘“The exhibitionary complex”’, soundings, (4). Available at: http://banmarchive.org.uk/collections/newformations/04_73.pdf. Berger, J. (1958a) A painter of our time. London: Secker & Warburg. Berger, J. (1958b) A painter of our time. London: Secker & Warburg. Berger, J. (1960) Permanent red: essays in seeing. London: Methuen. Berthoud, R. (1982) Graham Sutherland: a biography. London: Faber. ‘“Buildings revisited: Alton Estate reviewed”’ (no date) Architects’ journal, pp. 593–603. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb1777674. Bullock, N. (2002) Building the post-war world: modern architecture and reconstruction in Britain. London: Routledge. Burstow, R. (1989a) ‘BUTLER’S COMPETITION PROJECT FOR A MONUMENT TO “THE UNKNOWN POLITICAL PRISONER”; ABSTRACTION AND COLD WAR POLITICS’, Art History, 12(4), pp. 472–496. Available at: https://0-onlinelibrary-wiley-com.pugwash.lib.warwick.ac.uk/doi/10.1111/j.1467-8365.1989. tb00371.x. Burstow, R. (1989b) ‘BUTLER’S COMPETITION PROJECT FOR A MONUMENT TO “THE UNKNOWN POLITICAL PRISONER”; ABSTRACTION AND COLD WAR POLITICS’, Art History, 12(4), pp. 472–496. Available at: https://0-onlinelibrary-wiley-com.pugwash.lib.warwick.ac.uk/doi/10.1111/j.1467-8365.1989. tb00371.x. Cherry, D. and Steyn, J. (no date) ‘“The moment of realism”’, Artscribe, pp. 44–49. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb2285864. Conekin, B. (2003) ‘The autobiography of a nation’: the 1951 Festival of Britain. Manchester: Manchester University Press. Conekin, B., Mort, F. and Waters, C. (1999) Moments of modernity: reconstructing Britain, 1945-1964. London: Rivers Oram. Available at: https://contentstore.cla.co.uk/secure/link?id=cd153ce6-8943-e611-80bd-0cc47a6bddeb. Crinson, M. and Zimmerman, C. (2010) Neo-avant-garde and postmodern: postwar architecture in Britain and beyond. New Haven, CT: Yale Center for British Art. Curtis, B. (1985) ‘“One continuous interwoven story”’, Block, (11), pp. 48–52. Available at: https://contentstore.cla.co.uk/secure/link?id=868646a1-8b43-e611-80bd-0cc47a6bddeb. 2/7 09/29/21 HA2C5: A Fine Tomorrow: British Art and Culture in the 1950s | University of Warwick Curtis, W. (1987) ‘Chapter 21: The Unite d’Habitation at Marseilles as a collective Housing Prototype’, in Modern architecture since 1900. 2nd ed. Oxford: Phaidon, pp. 284–295. Available at: https://contentstore.cla.co.uk/secure/link?id=8fb28343-21c3-e811-80cd-005056af4099. ‘“Design for Coventry Cathedral”’ (1963) Churchbuilding. Available at: https://arlir.iii.com/nonret~S0&atitle=’Design+for+Coventry+Cathedral'&title=C hurchbuilding&aufirst=&auinit=&aulast=&issn=&eissn=&co den=&volume=&issue=&spage=&epage=&quarter=&ssn= &date=1963&sid=&reqtype3. Durant, D. N. and Riden, P. (1984) The building of Hardwick Hall. Chesterfield: Derbyshire Record Society. Forty, A. (1995) ‘Being or Nothingness: Private Experience and Public Architecture in Post-War Britain’, Architectural History, 38. doi: 10.2307/1568619. Fullard, G. et al. (1974) George Fullard 1923-1973. London: Arts Council of Great Britain. Fyrth, J. (1995a) Labour’s promised land?: culture and society in Labour Britain 1945-51. London: Lawrence & Wishart. Available at: https://contentstore.cla.co.uk/secure/link?id=337cacec-9543-e611-80bd-0cc47a6bddeb. Fyrth, J. (1995b) Labour’s promised land?: culture and society in Labour Britain 1945-51. London: Lawrence & Wishart. Available at: https://contentstore.cla.co.uk/secure/link?id=337cacec-9543-e611-80bd-0cc47a6bddeb. Garlake, M. and Paul Mellon Centre for Studies in British Art (1998a) New art new world: British art in postwar society. New Haven: Yale University Press. Garlake, M. and Paul Mellon Centre for Studies in British Art (1998b) New art new world: British art in postwar society. New Haven: Yale University Press. Garlake, M. and Paul Mellon Centre for Studies in British Art (1998c) New Art New World: British art in postwar society. New Haven: Yale University Press. Garlake, M. and Paul Mellon Centre for Studies in British Art (1998d) New Art New World: British art in postwar society. New Haven: Yale University Press. Garlake, M. and Paul Mellon Centre for Studies in British Art (1998e) New Art New World: British art in postwar society. New Haven: Yale University Press. Gathercole, S. (2002) ‘“Welfare state constructionism”’, Visual Art in Britiain, 3(2), pp. 57–80. Available at: https://contentstore.cla.co.uk/secure/link?id=cb47ba2c-5c20-e711-80c9-005056af4099. Gillian Whiteley (2002) ‘‘Designing Britain 1945-75’:, ’Art for social spaces: Festival of Britain’. Available at: https://vads.ac.uk/customizations/collection/DCADB/pages/html/festival.html. Glendinning, M., Muthesius, S. and Paul Mellon Centre for Studies in British Art (1994) 3/7 09/29/21 HA2C5: A Fine Tomorrow: British Art and Culture in the 1950s | University of Warwick Tower block: modern public housing in England, Scotland, Wales and Northern Ireland. New Haven: Yale University Press for The Paul Mellon Centre for Studies in British Art. Goldhagen, S. W. and Legault, R. (2000) Anxious modernisms: experimentation in postwar architectural culture. Montréal: Canadian Centre for Architecture. Grieve, A. I. and Paul Mellon Centre for Studies in British Art (2005) Constructed abstract art in England after the Second World War: a neglected avant-garde. New Haven: Yale University Press. Hamilton, R., Tate Gallery and Irish Museum of Modern Art (Kilmainham, Dublin, Ireland) (1992a) Richard Hamilton. London: Tate Gallery. Hamilton, R., Tate Gallery and Irish Museum of Modern Art (Kilmainham, Dublin, Ireland) (1992b) Richard Hamilton. London: Tate Gallery. Hammer, M., Dulwich Picture Gallery and Djanogly Art Gallery (2005) Graham Sutherland: landscapes, war scenes, portraits 1924-1950. London: Scala. Harris, A. (2010) Romantic moderns: English writers, artists and the imagination from Virginia Woolf to John Piper. London: Thames & Hudson. Available at: https://contentstore.cla.co.uk/secure/link?id=db56a000-9b43-e611-80bd-0cc47a6bddeb. Harrison, M. and Barbican Art Gallery (2002a) Transition: the London art scene in the fifties . London: Merrell in association with Barbican Art. Harrison, M. and Barbican Art Gallery (2002b) Transition: the London art scene in the fifties . London: Merrell in association with Barbican Art. Hawkes, J. (1951) A land. London: Cresset Press. Hennessy, P. (2007) Having it so good: Britain in the fifties. London: Penguin. Henry Moore Institute (Leeds, England) (2003a) Sculpture in 20th century Britain. Leeds, England: Henry Moore Institute. Henry Moore Institute (Leeds, England) (2003b) Sculpture in 20th century Britain. Leeds, England: Henry Moore Institute. Henry Moore: Mother and Child (1992). The Henry Moore Foundation. Available at: https://www.amazon.co.uk/Henry-Moore-Mother-Child-H/dp/B00TU2PIGK/ref=sr_1_2?s=boo ks&ie=UTF8&qid=1462800693&sr=1-2&keywords=henry+moore+mother+and+child. Housing Centre (no date) ‘“Alton Esate reviewed after 25 years”’, Housing review, pp. 167–172. Available at: http://encore.lib.warwick.ac.uk/iii/encore/record/C__Rb1276640. Hyman, J. (2001) The battle for realism: figurative art in Britain during the Cold War, 1945-60. New Haven: Yale University Press. Available at: https://contentstore.cla.co.uk/secure/link?id=e5ecfb2c-2050-e611-80c6-005056af4099. Jenkins, D. F. and Imperial War Museum (Great Britain) (2000) John Piper: the forties. London: Philip Wilson Publishers. 4/7 09/29/21 HA2C5: A Fine Tomorrow: British Art and Culture in the 1950s | University of Warwick John-Paul Stonard (2007) ‘Pop in the Age of Boom: Richard Hamilton’s “Just What Is It That Makes Today”s Homes so Different, so Appealing?’’, The Burlington Magazine, 149(1254), pp.
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