7 books for « cork richard »Edit

‎In Celebration of David Bomberg 1890-1958‎

‎Cork, Richard and Miles Richmond: In Celebration of David Bomberg 1890-1958. Exhibition: London, Daniel Katz Gallery, 2007. 64 pages, illustrated throughout. Paperback. 24.5 x 28.5cms.‎

‎Wild Thing: Epstein, Gaudier-Brzeska, Gill‎

‎Cork, Richard: Wild Thing: Epstein, Gaudier-Brzeska, Gill. Exhibition: London, Royal Academy, 2009. 191 pages. 96 colour and monochrome illustrations. Paperback. 26.5x20cms.‎

‎Text in English‎

‎Gerhard Richter. Mirrors‎

‎Cork, Richard (intro): Gerhard Richter. Mirrors. 1991. 91 pages, fully illustrated in colour. Hardback. 30 x 25cms. Catalogue of 31 works presented at the Anthony d'Offray Gallery.‎

‎Catalogue of 31 works presented at the Anthony d'Offray Gallery.‎

‎Stephen Snoddy Looking Out‎

‎, Roberto Polo Gallery , 2015 Hardcover ,95pages, Illustrated. ISBN 9791092599121.‎

‎Stephen Snoddy, Looking Out consists of approximately fifty paintings in acrylic, gouache, monotype, and watercolour on paper mounted on blockboard. The exhibition is accompanied by a 98-page illustrated catalogue, featuring an essay by Richard Cork, the innovative British art historian, author, broadcaster, critic, and curator. Stephen Snoddy was born in Belfast, Northern Ireland, in 1959. He lives and works in Manchester. Snoddy graduated from the Belfast School of Art. Despite his undeniable artistic talent, for twenty years, Snoddy has pursued a career as Director of important British museums and contemporary art centres: the BALTIC in Gateshead, where he was the Founding Director; Milton Keynes Gallery; Southampton City Art Gallery; and The New Art Gallery Walsall. In 2012, inspired by the discovery of sixty-four monoprints, which he had created thirty years earlier, Snoddy assiduously resumed his artistic activity. Snoddy is stimulated by a passion for pictorial renewal: he incessantly seeks new shapes and structures to enrich the language of abstract painting. Particularly fascinated by the work of Henri Matisse and Richard Diebenkorn, as well as the Minimalism of Brice Marden and Mark Rothko, Snoddy invites us to consider structure as the absolute key to contemplate visual art. His compositions are determined by a high standard of exactingness in what is a complex conceptual process ? one that must be, neither purely formal, nor totally accidental. The painting must evolve naturally, organically, and by subtle gestural mastery. Snoddy?s paintings ? although mostly modest in format ? nevertheless possess great breath. By using layers of paint to create pentimento, he applies delicate glazes, thus avoiding impasto, and resulting in exceptionally lyrical surfaces. Divulging a passionate and yet methodical will to play on permutations of lines and geometric shapes, Snoddy?s paintings thus generate multiple possibilities. Alternating between vertical and horizontal compositions, the artist invites the viewer to observe the relationship between his canvases and discern the slight variations from one to the other. Snoddy?s paintings work as polyptychs and series, according to specific architectural structures and clearly defined colour schemes. Fascinated by architecture, Stephen Snoddy meticulously treats proportions and the disposition of pictorial elements. The finished work springs from an intelligent balance between line, shape and space.‎

‎Bitter Truth : Avant-garde Art and the Great War‎

‎, Yale University Press, 1994 Hardcover, 336 pages, ENG, 295 x 250 x 30 mm, dustjacket, In very good condition!, 330 b&w illustrations, 70 colour plates, index. ISBN 9780300057041.‎

‎"It is unspeakable, godless, hopeless. I am no longer an artist interested and curious. I am a messenger who will bring back word from the men who are fighting to those who want the war to go on forever. Feeble, inarticulate, will be my message, but it will have a bitter truth." - Paul Nash, 1918, at Passchendaele. The trauma of the First World War had an immensely powerful effect on the painters, sculptors, and printmakers who participated in it. They produced an extraordinary range of striking images that conveyed the immediacy and horror of their experiences and feelings. This arresting book is the first to bring together and examine the full international array of images spawned by the Great War. Richard Cork shows how avant-garde artists from Europe, Russia, and the United States challenged the recruiting posters and other propagandist views of the struggle by producing art that reflected the degradation of the trenches. The conflict was anticipated before hostilities began by the visionary and apocalyptic work of painters such as Meidner and Kandinsky. Chagall, Nevinson, Hartley, Beckmann, Kirchner, and other artists were quick to define war's essential tragedy with objective, expressionist, or allegorical art that alluded to their own wartime experiences. The harshest images of war were made in the latter stages or after the Armistice, when artists such as Dix had time to consider their participation in the war. Ironically, the post-war years also witnessed the redemptive work of Spencer and Brancusi, who after the Armistice produced monumental affirmations of brotherhood, fortitude, and love. This lavishly illustrated book will accompany a major exhibition of art from World War I, to be held at the Altes Museum in Berlin from June 4 to August 28 and at the Barbican Art Gallery in London from September 29 to December 11, 1994.‎

‎Portrait engraving of Richard Boyle , First earl of Cork, Lord High Treasurer of Ireland &c. &c. Obt.. 1643 aet. 77. From the original picture at Chatsworth.‎

‎0. S.l.s.d., original copper engraving, portrait of Richard Boyle, 188 x 140 mm, with engraved caption underneath, mounted on a large thick 19th century paper leaf . Cropped along the engraved borderlines..‎

‎David Bomberg Spirit in the Mass. (Exhibition catalogue Abbott Hall Art gallery Kendal ).‎

‎2. Kendal, UK, Abbott Hal Art Gallery, 2006, in-4°, 96 pp, with coloured ills. , sewn, orig. stiff wrapper.‎