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Books on the topic 'British surrealism'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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Consult the top 36 books for your research on the topic 'British surrealism.'

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1

Art, Blond Fine, ed. British surrealism. London: Blond Fine Art, 1989.

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2

Remy, Michel. Surrealism in Britain. Aldershot, Hants, England: Ashgate, 1999.

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3

Coombs, Neil. The phantoms of surrealism. Rhos-on Sea: Dark Windows Press, 2012.

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4

(Gallery), Minories, Blond Fine Art Ltd, and Ferens Art Gallery, eds. A Salute to British Surrealism 1930-1950. Colchester: The Minories, 1985.

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5

Gavin, Delahunty, Wilson Andrew, and Middlesbrough Institute of Modern Art, eds. British surrealism & other realities: The Sherwin Collection. Middlesborough: Middlesborough Institute of Modern Art, 2008.

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6

Leeds (England). City Art Gallery, ed. British surrealism in context: A collectors eye : the Sherwin Collection. Leeds: Leeds Museums and Galleries, 2009.

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7

1959-, Lambirth Andrew, and Pallant House Gallery, eds. Eileen Agar: An eye for collage. Chichester, West Sussex: Pallant House Gallery, 2008.

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8

University of Hull. Middleton Hall. and Ferens Art Gallery, eds. Surrealism in Hull: British surrealist art from the Ferens Art Gallery, Hull and the University of Hull Art Collection. Hull: University of Hull, 1989.

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9

Julian Trevelyan: Picture language. Farnham: Lund Humphries, 2013.

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10

Ltd, Christie's South Kensington. The poetry of crisis: The Peter Nahum collection of British surrealist and avant garde art 1930-1951. London: Christie's, 2006.

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11

Turner, Silvie. Julian Trevelyan: Catalogue raisonné of prints. Farnham: Lund Humphries, 2010.

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12

Gallery, Mayor, ed. British surrealism - fifty years on: March-April 1986 : an exhibition to celebrate the half centenary of the International Surrealist Exhibition held at the New Burlington Galleries in Burlington Gardens, June 11th to July 4th, 1936. London: Mayor Gallery, 1986.

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13

Creative portrait photography. New York: Pixiq, 2012.

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14

Gallery, Mayor, New Burlington Galleries, and International Surrealist Exhibition (1936 : London), eds. British Surrealism: Fifty years on : an exhibition to celebrate the half centenary of 'The International Surrealist Exhibition' held at the New Burlington Galleries in Burlington Gardens, June 11th to July 4th 1936 : Mayor Gallery, London, March-April 1986. London: Mayor Gallery, 1986.

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15

HAYCOCK, Llewellyn. British Surrealism: British Surrealism. Antique Collectors' Club, 2020.

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16

Remy, Michel. Surrealism in Britain. Taylor & Francis Group, 2021.

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17

Desmond, Morris. British Surrealists. Thames & Hudson, 2022.

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18

Desmond, Morris. British Surrealists. Thames & Hudson, 2022.

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19

Surrealism in Britain. Taylor & Francis Group, 2019.

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20

Remy, Michael. Surrealism in Britain. Taylor & Francis Group, 2019.

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21

Remy, Michael. Surrealism in Britain. Lund Humphries, 1999.

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22

Remy, Michael. Surrealism in Britain. Taylor & Francis Group, 2019.

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23

Self, Will, and David Shrigley. What the Hell Are You Doing?: The Essential David Shrigley. Canongate Books, 2010.

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24

Shrigley, David. What the Hell Are You Doing?: The Essential David Shrigley. Canongate Books, 2010.

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25

Self, Will, and David Shrigley. What the Hell Are You Doing?: The Essential David Shrigley. Canongate Books, 2012.

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26

Lee Miller and Surrealism in Britain. Lund Humphries, 2018.

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27

So Exotic, So Homemade: Surrealism, Englishness and Documentary Photography (The Critical Image). Manchester University Press, 2007.

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28

Roland Penrose: The Life of a Surrealist. Edinburgh University Press, 2016.

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29

Tyson, Nicola. Nicola Tyson: Paintings 1993-2021. Petzel Gallery, Friedrich, 2023.

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30

Nicola Tyson: Dead Men Letters... Sadie Coles, 2015.

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31

Nicola Tyson: Works on Paper. Petzel Gallery, Friedrich, 2016.

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32

Stevenson, Jane. Modern Times. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0005.

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This chapter examines city life, mass culture, and the ways that cities were a challenge to modernism in that they were theatres of memory, both individual and collective: it is no accident that modernism was best received in those cities so damaged by the First World War that many links with the past were broken, which was not the case in Paris or London. It argues the importance of Charlie Chaplin, whose art descended from the commedia dell’arte via the slapstick tradition of British harlequinade (loved by the Sitwells), and also examines the popular surrealism of some early cartoons (notably Felix, Krazy Kat, and Betty Boop). Ideas cycled back and forth between high and low, expanding the basis of modernism’s audience. Both cubism and surrealism were interpreted as styles, while artists, poets, and ballet designers drew on popular culture, quoting and reinterpreting.

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33

Moore, Daniel. Insane Acquaintances. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266755.001.0001.

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Insane Acquaintances charts the varied encounters between artistic modernism and the British public in the years between ‘Manet and the Post-Impressionists’ (1910) and the Festival of Britain (1951). Through a range of case studies which explore the work of the ‘mediators’ of modernism in Britain – those individuals, groups and organisations which facilitated the introduction of modernist art and design to public audiences during the first part of the twentieth century – Insane Acquaintances explores the social, political and cultural impact of visual modernism over the course of four decades. Focusing on the efforts to legitimise, explain and make authentic the abstract (and often continental) modernist aesthetics that shaped British artistic culture during the years 1910-1951, this study charts the changing taste of the nation, through chapters on Postimpressionist art and crafts, modernist art in schools, the home design and decoration, Surrealism and revolution and the post-War institutionalisation and funding of the arts.

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34

Vint, Sherryl. Dystopian Science Fiction and the Return of the Gothic. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198749394.003.0024.

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This chapter explores the connections between dystopian science fiction and gothic fiction. It links science fiction to a tradition of European utopian and surrealist writing, situating the genre equally within discourses of science and the gothic. This perspective, the chapter argues, was perhaps more possible from the vantage point of 1973 than it would have been for earlier critics: the scientific romance tradition was rooted in a Victorian culture that believed in empire, technology, and progress, even if it was not always convinced by their contemporary instantiations. The dramatic shifts in British culture during the Blitz and in the immediate post-war period looked back on such optimism with a rather jaundiced eye: British global hegemony was distinctly at an end. It is little wonder, then, that the speculative fictions of this period turned toward darker tones of dystopia and the gothic.

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35

Bulson, Eric. Little Magazine, World Form. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231179768.001.0001.

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Little magazines made modernism. These unconventional, noncommercial publications may have brought writers such as James Joyce, T. S. Eliot, Ezra Pound, Marianne Moore, Mina Loy, and Wallace Stevens to the world but, as Eric Bulson shows in Little Magazine, World Form, their reach and importance extended far beyond Europe and the United States. By investigating the global and transnational itineraries of the little-magazine form, Bulson uncovers a worldwide network that influenced the development of literature and criticism in Africa, the West Indies, the Pacific Rim, and South America. In addition to identifying how these circulations and exchanges worked, Bulson also addresses equally formative moments of disconnection and immobility. British and American writers who fled to Europe to escape Anglo-American provincialism, refugees from fascism, wandering surrealists, and displaced communists all contributed to the proliferation of print. Yet the little magazine was equally crucial to literary production and consumption in the postcolonial world, where it helped connect newly independent African nations. Bulson concludes with reflections on the digitization of these defunct little magazines and what it means for our ongoing desire to understand modernism's global dimensions in the past and its digital afterlife.

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36

Massey, Drew. Thomas Adès in Five Essays. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199374960.001.0001.

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The British composer, conductor, and pianist Thomas Adès (b. 1971) has achieved a level of recognition and celebrity within the concert world shared by very few living musicians today, and his compositions enjoy a degree of widespread acclaim that places him among the most widely heard composers working now. His critical and popular successes, at least inside the insulated world of classical music, place him within the absolute mainstream of concert life today. Is he merely pecking over the carcass of a tradition, soon to be subsumed by or abandoned in favor of some other cultural practice? Or does his work suggest possibilities for a concert world waiting to be born? This book, which is the first full-length study of Adès’s work as a whole in English, seeks to answer—or at least articulate the terms of response to—these questions and others. In recognition of the diversity of Adès’s output, this book is structured as a series of essays. These essays are organized thematically. The first two essays considers Adès’s arrangements and serialist compositions, respectively. The third looks at how his opera The Tempest illuminates much of his music’s beguiling contradictions. The fourth considers how Adès has been understood as a “surrealist” composer, and the final chapter considers the cosmic sweep of some of his most recent works.

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