Bill Brandt Henry Moore Martina Droth, Paul Messier, Lynda Nead, Nicholas Robbins, Audrey Sands, Robert Sutton, John Tagg, Alex Potts, Simon Wallis, Carol Armstrong, Sebastiano Barassi, Eleanor Clayton

Format:
Hardback
Publication date:
11 Feb 2020
ISBN:
9780300251050
Imprint:
YC British Art
Dimensions:
256 pages: 330 x 248mm
Illustrations:
285 color + b-w illus.
Sales territories:
World

Categories:

A close look at the work, relationship, and shared influences of two masterful 20th-century artists

“The camera,” said Orson Welles, “is a medium via which messages reach us from another world.” It was the camera and the circumstances of the Second World War that first brought together Henry Moore (1898–1986) and Bill Brandt (1904–1983). During the Blitz, both artists produced images depicting civilians sheltering in the London Underground. These “shelter pictures” were circulated to millions via popular magazines and today rank as iconic works of their time. This book begins with these wartime works and examines the artists’ intersecting paths in the postwar period. Key themes include war, industry, and the coal mine; landscape and Britain’s great megalithic sites; found objects; and the human body. Special photographic reproduction captures the materiality of the print as a three-dimensional object rather than a flat, disembodied image on the page.

Martina Droth is deputy director of research, exhibitions, and publications and curator of sculpture at the Yale Center for British Art. Paul Messier is director of the Lens Media Lab at the Yale Institute for the Preservation of Cultural Heritage.
 

The Hepworth Wakefield
(February 7–November 1, 2020)

Sainsbury Centre for Visual Arts, Norwich
(November 21, 2020–February 28, 2021)

Yale Center for British Art
(April 15–July 18, 2021)

“Well worth picking up…A real treat for nostalgia and history buffs”—Amy Davies, Amateur Photographer


“[A] fascinating and beautifully illustrated book”—Roderick Conway Morris, The Lady


“The book takes an unusual approach to the reproduction of photographic works, capturing the materiality of the print as a singular, three-dimensional object rather than a flattened image on the page.”—Norfolkchamber.co.uk