Studio Lives Architect, Art and Artist in 20th-Century Britain
Produktdetaljer
Biografisk notat
Louise Campbell is Emeritus Professor in Art History at the University of Warwick where she lectured from 1977 until her retirement in 2014. She is a specialist in late 19th- and 20th-century architecture, has edited books on Basil Spence and on Twentieth Century Architecture and has written books on Coventry Cathedral.'The illustrations, so often in a book of this kind an assemblage of what-we-can-get, have been carefully chosen and offer a pithy counterpoint to the themes of the narrative. All-in-all, it’s a worthwhile and informative read.' – Henry Malt, <i>The Artist</i>
'The illustrations, and the author’s passion for the topic, bring the period and its artistic environment to life.' – Karyn Hinkle, Visual and Performing Arts Librarian, Lucille C. Little Fine Arts Library, University of Kentucky, <i>ARLIS</i>
In its scrutiny of the physical surroundings of artistic life during this period, the book sheds insight into how the studio environment articulated personal values, artistic affinities and professional aspirations. Not only does it consider the studio in terms of architectural design, but also in the light of the artist’s work and life in the studio, and the market for contemporary art. By showing how artists navigated the volatile market for contemporary art during a troubled time, the book provides a new perspective on British art.
This book describes how architects collaborated with artists in the creation of studios and studio-dwellings. Looking at the studios of ten individual artists and three artist-couples between 1892 and 1938, it reveals how the illustrated press shaped the image of the modern artist, and the ways in which architecture conveyed personal values, artistic affinities and professional aspirations.
Studios are discussed not simply in terms of architectural design, but as places whose character derived from the tastes and needs of their users. Relationships between artist and architect shifted significantly between the fin-de-siècle and the Second World War. Rather than allowing their architects a free hand, artists proved demanding and opinionated clients. Their interaction illuminates the changing nature of architectural practice in the first part of the 20th century, and how artists survived in a volatile art market. The book – focused on studio life as much as studio architecture – offers a fresh perspective on British art in the modern period.