Martin Harrison

Ernst van Alphen

Rebecca Daniels

Margarita Cappock

Twenty years after the artist's death, this new publication presents a timely and rich overview of the life and work of Francis Bacon. The book includes some 60 paintings as well as photographs, ephemera and archival material largely drawn from the artists studio. An introduction and four essays by international experts look at specific aspects of Bacon's work, from detailed analysis of archival material to a study of the influences of Marcel Duchamp. The paintings divide into a thematic chronology of five decades: the 1940s, which looks at the figure studies closely related to Bacon's famous Three studies for figures at the base of a crucifixion; the 1950s, where his work is informed by Velázquez and van Gogh, but is also dominated by ambiguous, shadowy figures in sombre tones; the 1960s and 70s, which focus on the portraits and subsequent memorials to Bacon's lover George Dyer, who died in 1971; the 1980s, while calmer and more naturalistic, reveal more haunted works which make reference to classical mythology and epic poetry. Each decade is defined by influences in his life and motifs which form part of an evolving pictorial language.

Five Decades

Francis Bacon

Michael Bracewell

Jennifer Higgie

Clare Woods

British artist Clare Woods is internationally regarded as one of the most significant painters working today. Her paintings and works on paper are found in important public and private collections around the world, and she has produced many highprofile public commissions in the UK and Europe. Her highly colouristic paintings in oil or gloss paint on aluminium of strange, dark landscapes and anthropomorphic forms hover somewhere between abstraction and representation, expressing both a poetic romanticism and an unnerving psychic charge. This beautifully designed and illustrated volume is the first monograph on Woods' art. It presents all the major works from her career to date, from small-scale intimate paintings and prints to ambitious large-scale architectural projects. The dynamic layout of the book, with a varied mix of close-up detail and installation shots, gives the reader a strong sense of the diverse scale and immersive, push-pull nature of the paintings. Five prominent writers consider various aspects of her practice, including her use of photographic source material; her engagement with the traditions of landscape and figurative art; her relationship with artistic forebears, such as Francis Bacon, Paul Nash and Graham Sutherland; the context of painting practice today and twenty-firstcentury culture; and the connections between her life and work.

Strange Meetings

Though stage directing has traditionally been a male-dominated profession, the number of women directors in the United States has grown significantly in recent years. In this work, 35 contemporary women stage directors, with regional, national and international theater backgrounds, share their views on the creative process and the influences of gender on their artistic decision making. How does it feel to be defined as a woman director rather than simply a director? Does gender affect their authority? These questions and many others are explored in this study.

Exploring the Influence of Gender on Their Work

Women Stage Directors Speak

La doctora Olivia Martin necesitaba un marido... ¡Y deprisa! Después de haberse ofrecido generosamente a ser madre de alquiler, se quedó embarazada y sola, ¡justo antes de una reunión con su familia! El experto en seguridad Lucas McCall se ofreció a ayudar a la hermosa doctora. Después de todo, no podía dejar en la estacada a una damisela en apuros. Solo que esta damisela en particular, con sus suaves rizos rubios, brillantes ojos azules y un niño de camino, hacía que el pulso se le acelerara. Se dijo a sí mismo que debía centrarse en su misión: ¡Proteger a Olivia y a su propio corazón!

Se necesita un marido

Loving the Enemy

Most people don’t realize that during the war in Europe in the 1940s, it took an average of six support soldiers to make the work of four combat soldiers possible. Most of what’s available in the literature tends toward combat narratives, and yet the support soldiers had complex and unique experiences as well. This book is based on personal correspondence, and it is primarily a memoir that creates a picture of the day-to-day realities of an individual soldier told in his own words [as much as he could tell under the wartime rules of censorship, that is] as well as giving insight into what it was actually like to be an American soldier during WWII. It explores the experiences of a non-combat Army utilities engineer working in a combat zone during the war in Europe and takes the protagonist from basic training through various overseas assignments—in this case to England, North Africa, and Italy as a support soldier under Eisenhower and his successors at Allied Force Headquarters. It also includes some reflections about his life after returning to Oregon when the war was over. The soldier involved is Captain Harold Alec Daniels [OSU, Class of 1939, ROTC] and most of the letters were written to his wife, Mary Daniels [attended U of O in the late 1930s]. They are the author's parents, and she inherited the letter collection, photos, and all other primary source materials after her mother’s death in 2006.

Daily Life of a Utilities Engineer at AFHQ in Europe During WWII; or, What to Say in Letters Home When You're Not Allowed to Write about the War

Keeping the Lights on for Ike

"In 1949 Francis Bacon found his subject - the human body - and from then on it remained his principal theme. But he did not paint from life. Instead he appropriated images from the mass media that he manipulated into his 'studies'. His paintings bore witness to the shattered psychology of the time and shot him to a prominence that hardly diminished over the next fifty years, and that continues to rise." "This book presents many of the 'working documents' about which Bacon was entirely secretive but which, it emerges, were integral to his creative process. Culled from thousands of pieces of original material found in his studio, including newspapers, magazines, books and photographs, these items have each been exhaustively and minutely researched, providing for the first time comprehensive details of the artist's sources. This base material - folded, torn, clipped and spattered with paint - underwent an alchemical transformation frond mundane matter into new images." "Nearly all previously unseen, these visually thrilling documents demonstrate Bacon's tactile, visceral relationship with his sources, and his unerring eye for seeking out visual stimulation in the most unexpected places. His paintings emerged from a dialogue between great art of the past and photographic imagery of the present: and, as a painter of the transient, his work also shared the pulse and flicker of his other significant inspiration, early cinema. His fascination with medium itself - the texture of paint, the quality of newsprint, the techniques of mechanical reproduction of both the still and moving image - throws light on the nature of Bacon's points of contact with the twentieth century."--BOOK JACKET.

Rebecca Daniels

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