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The survey documents four leading artists, Lubaina Himid, Yinka Shonibare CBE, Hew Locke and the film maker Steve McQueen, exploring their work and ideas in development, in reviews and recorded conversations, drawn from Cv/Visual Arts Research Archive. Firstly a review of Lubaina Himid exhibition 'Nuance and Interpretation' at Tate Modern recorded 28th June 2022. Explores the artist's paintings, sculptures and sound environments in the broad ranging survey of work made since 1997.

Small Histories is a collection of essays and reviews by Nicholas James, 1993-2011, on examples of Western art: The Trinity by Masaccio at Santa Maria Novella, Florence, Vermeer's The Maid and Woman Weighing Pearls; Velázquez court portraits, Cézanne and Salvador Dalí, Francis Bacon, Anthony Caro, Damien Hirst and Andy Warhol, with reviews of exhibitions in London's public and private galleries. A collection of over seventy pieces reveals strands and connections that bind the continuum of classic and contemporary art.

An interview recorded at 'The Work of Angel' with Dr Michael Ryan of the National Museum Dublin, at the British Museum November 1989. The monograph is illustrated in colour with Celtic artefacts.

Documentary and fictions of daily experience, encounters and episodes: the streets, shoppers, external and internal worlds.

Despite his short span of activity, from 1423 to 1428, Masaccio can be posited as the signifier of a radical break with the period of Italian painting known as the Trecento, and alone among his contemporaries, in his use of dramatic realism, points the way to the spectacular creations of the High Renaissance, in which artists such as Michelangelo, Raphael and Palladio, achieved a fusion of classic and humanist ideals in painting, sculpture and architecture. Masaccio's Trinity at the Church of Santa Maria Novella in Florence is analysed in an essay initially prepared for the MA programme of History of Art at Kingston University in 1995. It considers the conditions of belief and patronage that informed the work, a powerful and original representation of The Crucifixion which in its striking effect became the key to unlock the major pictorial revolution of the Italian ArtisticRenaissance.

What is highly original is the fact that these drawings, often extremely ambiguous in meaning, form a meditative sequence, not apparently intended for public consumption, but entirely selfreflexive. They record the artist's dreams and fantasies, but strictly for his own contemplation. As such they represent a major psychological breakthrough, a next step forward from the late self-portraits of Rembrandt. Their successors are the images created by major Surrealist artists such as Salvador Dalì and Max Ernst. The exhibition enables us to see our contemporary ideas about the nature of the self at the very moment of their first formation. These are the issues Edward Lucie-Smith will discuss in his text about this pioneering show, which not only reconstructs Goya's long-dispersed album, but places it In the context of other drawings and prints by the same great artist

The Rembrandt and Turner exhibitions, one at London's National Gallery, the other at Tate Britain, are populist homages to two of the undoubted giants of the European cultural tradition. They do not attempt complete surveys. Instead they seek to found themselves on a now well-established but in fact comparatively recent myth: that of a 'late style', wherein a great artist, nearing the end of his life, somehow transcends all the works he has made previously. Titian and Michelangelo have also been the subjects of the same kind of mythologisation. The facts are, of course, that neither Rembrandt nor Turner attained a very great age by 21st century standards. The Rembrandt show covers the artist's last decade-and-half, roughly speaking from the time when he went bankrupt in 1656 to his death in October 1669, aged 63. Turner had a longer life, but the show at Tate Britain covers about the same amount of ground - from 1835, when the artist was sixty, until his death in 1851, aged 76. The idea of the 'late style', as a very special, magical phase in the evolution of the work of a great artist, is, as I have just said, a comparatively modern invention.

An index of three hundred Stately Homes and Country Houses in England, Scotland and Wales. Illustrated with historical and architectural data with family lineage in the properties.

Attending life classes each week studies of professional models, actresses and dancers, were made in watercolour, oil and charcoal pencil. About fifteen sketches were made each session, often in bespoke ornamental leather bound books. Studies feature the models Agnieszka, Bethan, Caroline, Esther, Jess, Gilda, Ella, Mairi, Maya, Lydia, Natasha, Serelyn, Erica, Sassy, Sophie, Sol, Stella, Susannah, Sylvette, Fatima, Marika, Maya Magdalena, Mercy, Tiziana and Vanessa. The oils are made on linen canvas or canvas board, oil painting paper in small scale from 6x4" to 60x40".

The first edition of Curators and Collections, published in 1997, was based on interviews and features published in the quarterly review: Cv Journal of Art and Crafts (1988-91). These recorded the launch of the Irish Museum of Modern Art in 1991, the construction of Tate Modern in 1997, as well as exploring special collections at The National Gallery, Courtauld Gallery, The British Museum and Royal Photographic Society. The book contained a comprehensive guide to public and private collections in England, Scotland and Wales, which is revised and updated in this volume. The landscape of the arts has radically transformed in the intervening years, with a tremendous growth in audiences for contemporary art. The study recognises the important role of private foundations and the activity of curators and gallerists in their independent initiatives. Interviews with Keepers of National collections consider aspects of arts management: conservation, acquisition and collection development, with the growth of the institution in relation to the general culture.

Cv/VAR series no.176 reviews 'Jammers' by the celebrated American artist Robert Rauschenberg (1925-2008), in an exhibition held at Gagosian Gallery, Britannia Street London, from 16th February to 28th March 2013. The inspiration for the series came from a month in 1975 when the artist worked in an Ashram (textile factory) in Ahmedabad, India. He developed the loose fabric structures in New York, bringing reference to sails of crafts (Windjammers) and the sense of free natural movement. Born in Port Arthur, Texas in 1925 Rauschenberg attended Academie Julien and Black Mountain College, where he studied under Josef Albers. He was associated with Jasper Johns and John Cage in the early 1950s, when he made the famous 'combines', assemblages of found objects, and created the White and the Black paintings - presaging movements of Pop, Minimalist and Conceptual art of the following decades. The monograph includes an essay by James Cahill in which he surveys some of the recorded interviews Rauschenberg gave, and considers the wider function of artists' statements. An interview by Nicholas James with David White, long time colleague and friend, now Senior Curator of the Robert Rauschenberg Foundation, recalls the artist and his work.

With its eccentric shape, tacked on like a long medieval shoe to Southern England, Cornwall is not the easiest shape of an area to research. I began by driving north to Kilkhampton and Morwenstow, then south via Bude to Bodmin and Padstow. From there I moved east to Launceston, visiting Antony and St Germans near the Tamar Valley, and down to Looe and St Austell. The centre of Cornwall disclosed the working face of mining towns such as Bugle and Camborne, their clusters of Victorian terraced cottages built around great quarries and industrial sites. My route around the southern peninsula brought me past some fabulous aspects of the coastline; the uncompromised rocky landscape of Sennen and St Just, or the delightful flower filled vale of Lamorna and the dramatic headland of The Lizard. Cornwall is like another country, carrying its own culture and history, though its energy keeps it moving forward in a present reality. It can provide a blissful escape and equally opens itself to enterprise and new connections. Nicholas James

With national coverage of the first edition in 1997 Tracks found an eager audience, including many parents needing to inform their children's choices for the future. Over fifteen annual editions the title has been revised and updated. The new edition carries several work descriptions per page, listing pay scales and qualifications to degree level, with advice from professionals in the field, and chartered institutes. The contact pages cross-reference with web-linked files in Tracks DVD. The 2023 edition Work Bank, covers over one hundred and fifty career paths in fourteen sections from banking and financial services to sports and fitness. Tracks aims to provide a reliable source of information, that also gives an idea of the technical operation of each area. "I never knew there were so many opportunities," a school student enthused at a presentation of the guide; an excitement we hope to preserve in the continued development of Tracks.

Andy Warhol: Art, Design & SocietyThe 2013 monograph republished on the occasion of the 2020 Andy Warhol retrospective at Tate Modern London featuring: Campbell's Soup Cans, 1960s portraits; Suicides and Car Crashes; Sex Parts; Latinx Trans Portraits and the finnale Sicty Last Suppers 1986. Includes Andy Warhol at the NGMA Edinburgh, October 2007, A Celebration of Life..and Death. Magdalena Wasiura on Andy Warhol: Brigid Bardot portrait at Gagosian Gallery 2013; meeting Andy and his team at his Broadway office in May 1976; Vanitas at Anthony d'Offay 1996 and an interview with New Zealand artist Billy Apple¿, his recollections of Andy at the outset of his Pop Art before The Factory, in 1962-3.

Cv/VAR 104 reviews 'David Hockney RA: A Bigger Picture', exhibited at the Royal Academy from January to April 2012. The project of creat-ing monumental landscape paintings was based on a small area near the artist's home at Bridlington in East Yorkshire. Works were devel-oped with time-framed films, photographs and i-pad studies, drawings, sketchbooks, oils and watercolours. recording particular motifs and places in the changing seasons. Studies were enlarged on joined canvases in compositions up to 30' wide, designed to immerse the viewer in an intense and personal experience of the landscape. The monograph includes reviews of the exhibition by James Cahill and Michael Lovell-Pank, and recent books on the artist by Marco Living-stone, Martin Gayford and Christopher Simon Sykes, reviewed by Marina Vaizey.

Cv/VAR series 152 publishes an anthology of essays and reviews by the eminent art historian and writer, Edward Lucie-Smith. The articles cover a broad span, from the Italian Renaissance of Giotto and Antonello da Messina, Leonardo and Michelangelo, progressing to Rubens, Velazquez and Ingres, with essays on William Hogarth, John Constable and John Everett Millais for British Art. With the experience of his landmark publications on modern art, several of which remain in print, the author sweeps the reader on a fabulous journey of perception, disclosing the strands that bind the continuum of classic and contemporary art

The coincidence of two exhibitions in major London institutions, one at the National Portrait Gallery, devoted wholly to Giacometti's work as a portraitist, the other a retrospective devoted to the career of Frank Auerbach, with a high proportion of portraits, on view at Tate Britain, prompts some reflections on the role of portraiture in modern and contemporary art

The thirty parts of The Landscape Series were developed in two phases: sixteen sets were made from February 2002 to June '03 and a further fourteen in February 2006 totalling some 1,500 panel paintings. The uniform size of a 30cm square panel grew from the idea of one painting being all painting,or one landscape becoming all landscapes.With gesso and emulsion, mounds and hollows were formed by sweeping and dividing poured paint, using cardboard strips cut from cartons.The panels were laid on a framed base board which also served as a container for pools of colour washed over the textured surface. Two inch square wooden cubes were used to stack the paintings in small towers to dry out.Various factors steered the series: thoughts about load bearing pressures on a place, tracks and crossing points, air flow, water, spaces and intervals, the nature of settlement in the land. Offset corner marks in the panels from the cubes stood for a house, rounds for a moon. Titles were assigned later to the line of production. The identity of a place emerged not by literal description but as an equivalent found by coincidence in the passage of an abstract process.

He uses elaborate systems of arbitrary rules to regulate his patterns of markings - the absolute opposite of the freewheeling calligraphy typical of Abstract Expressionist predecessors such as Jackson Pollock. Where images are present, they are often mirrored or doubled. Or else camouflaged and concealed. His paintings therefore take on the character of being not simply objects to be looked at, but puzzles to be solved by the viewer. This aspect of his work perhaps explains by his work has had such a solid, long-lasting appeal to professional commentators on contemporary art. They feel great satisfaction in solving the riddles he sets them, and perhaps too, a bit of schadenfreude in contemplating those who are not sophisticated enough to crack the code. ELS In his introductory essay The Enigma of Jasper Johns author and art hist Edward Lucie-Smith considers the art of Jasper Johns, pivotal figure in the development of American contemporary art, whose sixty years activity is represented in a major exhibition at the Royal Academy London. The study is illustrated by key works along with a room by room view of the exhibition.

London Review publishes a collection of reviews by Nicholas James visiting museum and gallery exhibitions between January and June 2019. Recording his responses and observations the author then composes pieces based on these on-site records. This allows accuracy and spontaneity to enliven the texts, which are supported by additional biographic information of the individual artists. Reviews in this volume include Mantegna and Bellini (National Gallery), Pierre Bonnard (Tate Modern), John Ruskin (Temple Place), Vincent van Gogh (Tate Britain), Jeff Koons (Ashmolean), Mary Quant (V&A), Anish Kapoor (Lisson Gallery), RA Summer Exhibition 2019; William Blake (Tate Britain), Frieze Masters (Regents Park), Pre-Raphaelite Sisters (NPG), Nam June Paik (Tate Modern), Antony Gormley (RA).

The survey began in 1988 as interviews with artists, jewellers, fashion designers and furniture restorers, based at Old Loom House Studios, Whitechapel, launching a quarterly review Cv Journal of Art and Crafts. Cv Journal was published to 1992 and the collection of interviews, features and reviews provided the foundation of the Cv/Visual Arts Research archive and subsequent publications. In Cv/VAR 104 the celebrated artist David Medalla gives an extensive interview, in which he discusses his advent to the literary and art scenes of Paris and London at a significant point of change in 1960. He recalls his introduction in Paris by Man Ray, Marcel Duchamp, Raymond Duncan and Gaston Bachelard, who admired his original kinetic sculpture, The Bubble Machine.

The essays by Edward Lucie-Smith, Marina Vaizey and James Cahill explore the development of the Pre-Raphaelite movement in the mid 19th century: a flowering of new voices that produced works which figure amongst the most enduring and generally popular in British art. The eminent writer and critic, Edward Lucie-Smith contributes a study of the Brotherhood's formation by seven artists, their inter-connection and absorption by the establishment of the time; their effect on the French School, Symbolism, the Aesthetic Movement and Surrealism. James Cahill has a special interest in the movement, having studied Dante Gabriel Rossetti and William Holman Hunt. He reviews a major exhibition of 180 works at Tate Britain presented from September to January 2012-13.

A study of the celebrated american painter John Singer Sargent explores his public practice as a society portrait painter and thee personal and complex aspects of his own creative drive. Additional essays by the author include: Citizens and Kings, Collecting Contemporary Art, Halfway There With Delacroix and Daumier. Contemporary descriptions of his portraits, often from people who knew the sitters, are at least as often unfavourable as they are favourable, even when he was at the very height of his success. Perhaps this is the fate of all successful portrait painters. The artist often sees his subjects rather differently from the way they would like to be seen. Friends and acquaintances mal also have a different image stored away. So, too, professional commentators, if the subject of the portrait is well known. Two quotes from the artist himself sum up the situation perfectly: "A portrait is a painting with something wrong with the mouth." - "Every time I paint a portrait I lose a friend."

Two of the most interesting and pioneering British artists of the 20th century may be just as crucial in the trajectory of modern art for their private lives, their biographies, as for their painting. Vanessa Bell was a significant woman artist, for whom portraiture was a central preoccupation, and whose personal life, as a member of the Bloomsbury Group, has been the subject of endless study. Her complex life story has almost obscured her art, which is now being newly examined. She experimented early on with abstraction, and then turned to domestic subjects, modifying the lessons of French Impressionism and Post-Impressionism which had so influenced Bloomsbury artistic thinking. David Hockney is a hugely versatile artist - painter, draughtsman, print-maker, writer, stage-designer - who has always been fascinated with new technology, including photography, fax, film and iPad. Yet he too is essentially an autobiographical artist, . MV 04/2017

In this volume Edward Lucie-Smith explores the magnetic poles of post-War modernism, with its figurehead in Europe of Pablo Picasso, and emerging creators in the USA led by Jackson Pollock and others in Abstract Expressionism. The author sets the mutual roots in Surrealism and reflects on the survival of the French artists during the Occupation. He traces Pollock's lasting effect to the later cycles American Pop.

A review of the exhibiton: Late Constable at the Royal Academy London. It explores the family background of the artist, his career development, working methods and technique; noted works including The Leaping Horse, Cottage in East Bergholt, Rainstorm at Sea, Chain Pier Brighton,Stonehenge and The Cornfield..It includes essays by Edward Lucie- Smith (John Constable 2006) and Janet Barber (John Constable: Earth and Sky 2012) 'In his own lifetime, Constable was constantly struggling to catch up with his great rival, J.M.W. Turner, whose astonishing fluency he could never match. Turner has maintained his fame, but, among the British at least, Constable is now more intimately loved. People talk of the 'Constable country' in Suffolk that he made his own artistically, and the images he created appear on calendars, kitchen towels and place mats. You don't have to be an intellectual to love Constable's work - in fact, it is probably better if you aren't.'Edward Lucie-Smith

Renowned artist Lucian Freud (1922-2011) is commemorated in an exhibition of portraits and figure studies, spanning seven decades his working life, held at the National Portrait Gallery London from February to May 2012. The monograph explores the development of his art from acutely observed studies of the 1940s to major paintings in the later phase, where the artist engaged in a complex and sometimes brutal meditation on the human being, drawn from an intimate engagement with the sitter. Freud's unsparing eye maps his subjects, sustaining single handed an almost unique commitmnt to the ambitions of high art, grounded in classical canons of Western tradition. The study includes a review by Marina Vaizey of Freud's drawings, prints and oil studies, exhibited at Blain|Southern Gallery, Hay Hill.Marina Vaizey is an art critic, lecturer and traveller; her books include The Artist as Photographer, 100 Masterpieces of Art; Great Women Collectors. She was the art critic for the Financial Times for four years, and The Sunday Times for eighteen. She has curated several exhibitions and written manycatalogues. She has been a Trustee for several national museums.