This catalogue presents a view of the First World War through a multifarious record of two and three dimensional works of art: paintings, drawings, prints, sculpture, reliefs, posters, postcards, photographs, silhouettes and ceramics appear in the following pages. The material has been grouped into 14 subsections under the general headings of Combat, The Home Front and The Aftermath. These groupings highlight the themes that inspired both the fine and popular arts, although some are looser in association than others, and none are mutually exclusive. The introduction gives a more general...

Kenneth Rowntree has always been highly regarded by those familiar with his work. The essays in this catalog, which embrace new research and scholarship, reveal him to be an artist of great scope and variety. His early work reflects the inspiration and creative dialogue that came out of his friendship with Eric Ravilious (1903-1942) on account of whom Rowntree moved to Great Bardfield during the 1940s. During this period he was particularly preoccupied with Kenneth Clark's Recording Britain project. At the end of the war he joined the teaching staff at the Royal College of Art. In 1951 he was...

In January 2013, Dunbar's painting 'Autumn and the Poet' (1960) appeared on the BBC Antiques Roadshow, leading Ro Dunbar, a relative of the artist, to explore the extraordinary hoard of over 500 paintings, drawings and studies hidden in the attic of her Kent home. The unrecorded works were identified with the help of the artist's nephew Christopher Campbell-Howes, who had been tracking contents of the 'lost studio' - dismantled in its entirety after Dunbar's death in 1960 - for over 20 years. The discovery doubled the known body of Dunbar's work overnight. The book highlights a selection of...

The first book to appear on the 20th century British artist Charles Cundall, this publication examines aspects of Cundall work done at home in England, abroad - Cundall made numerous painting trips to the continent, but also to the United States - and during the war. Well illustrated, the book also includes a chronology and a reproduction of a text by William Gaunt dating from the 1960s and commissioned for a book on Cundall that never came to be.

Ever since Linda Nochlin asked in 1971, `Why have there been no great women artists?', art history has been probing the female gaze. Through scholarship and exhibitions, readings have been put in place to counter prevailing assumptions that artistic creativity is primarily a masculine affair. 50/50 functions as a corrective to the exclusion of women from the `master' narratives of art. It introduces fifty artworks by known and lesser-known women - outstanding works that speak out. Fifty commentaries by fifty different writers bring out each artwork's unique story - sometimes from an...

Which artists in British 20th century art painted religious images? Broadly speaking there seem to have been two categories: The first concerns artists who created religious images when the religious content was in response to a set subject, for example The Deluge in the 1920 Rome Scholarship in Decorative Painting, or who responded to a specific commission, for example Thomas Monnington`s works for The Ormond Chapel, Bradford, Kippen Church and Stations of the Cross for Brede Church in Hastings. The second category concerns a small minority off artists who were committed believers such as...

Phyllis Dodd was born in Chester and studied firstly at Liverpool School of Art 1917-21 After winning a Royal Exhibition scholarship spent a further four years at the RCA in the company of her life-long friends Henry Moore, Raymond Coxon and Edna Ginesi. After gaining her diploma and winning the Drawing Prize in her final year she went on to teach part-time at Walthamstow Technical College 1925-30. Dodd exhibited at the RA, NEAC, RP, RSA and at the Walker Art Gallery. Her ninetieth birthday was celebrated with a major retrospective exhibition held at the Hatton Gallery, Newcastle University...