John Piper, Myfanwy Piper : lives in art
著者
書誌事項
John Piper, Myfanwy Piper : lives in art
Oxford University Press, 2009
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 557-563) and index
内容説明・目次
内容説明
This book is about a shared journey made by John and Myfanwy Piper who early on settled down in a small hamlet on the edge of the Chilterns, whence they proceeded to produce work which placed them centre stage in the cultural landscape of the twentieth century. Here, too, they fed and entertained many visitors, among them Kenneth Clark, John Betjeman, Osbert Lancaster, Benjamin Britten, and the Queen Mother. Their creative partnership encompasses not only a long marriage and numerous private and professional vicissitudes, but also a genuine legacy of lasting achievements in the visual arts, literature and music. Frances Spalding also sheds new light on the story of British art in the 1930s. In the middle of this decade John Piper and Myfanwy Evans (they did not marry until 1937) were at the forefront of avant-garde activities in England, Myfanwy editing the most advanced art magazine of the day and John working alongside Ben Nicholson, Barbara Hepworth, Henry Moore, and others.
But as the decade progressed and the political situation in Europe worsened, they changed their allegiances, John Piper investigating in his art a sense of place, belonging, history, memory, and the nature of national identity, all issues that are very much to the fore in today's world. Myfanwy Piper is best known as 'Golden Myfanwy', Betjeman's muse and for her work as librettist with Benjamin Britten. John Piper was an extraordinarily prolific artist in many media, his fertile career stretching over six decades and involving him in many changes of style. Having been an abstract painter in the 1930s, he became best known for his landscapes and architectural scenes in a romantic style. This core interest, in the English and Welsh landscape and the built environment, developed in him a sensibility that took in almost everything, from gin palaces to painted quoins, from ruined cottages to country houses, from Victorian shop fronts to what is nowadays called industrial archeology.
His capacious and divided sensibility made him defender of many aspects of the English landscape and the built environment, while in his art he became an heir of that great tradition encompassing Wordsworth and Blake, Turner, Ruskin, and Samuel Palmer. He was torn between the pleasures of an abstract language liberated from time and place and those embedded in the locale, in buildings, geography, and history. Today, this expansive contradictoriness seems quintessentially modern, his divided response finding an echo in our own ambivalence towards modernity. Both Pipers created what seemed to many observers an ideal way of life, involving children, friendships, good food, humour, the pleasures of a garden, work, and creativity. Running through their lives is a fertile tension between a commitment to the new and a desire to reinvigorate certain native traditions. This tension produced work that is passionate and experimental. 'Only those who live most vividly in the present', John Russell observed of John and Myfanwy Piper, 'deserve to inherit the past'.
目次
- Preface
- PART I
- 1. John
- 2. 'That's Painting!'
- 3. Stained Glass and Coastal Gaiety
- 4. Orchard's Angel
- PART II
- 5. Going Modern
- 6. Axis
- 7. Abstract and Concrete
- 8. 'Look, Stranger, at this island now'
- PART III
- 9. New and shattered circumstances
- 10. Decrepit Glory, Pleasing Decay
- 11. 'The Weather in Our Souls'
- 12. Fawley Bum
- PART IV
- 13. War Artist
- 14. Stormy Weather
- 15. Renishaw and the Sitwells
- 16. Topographical mania
- 17. Sly Liaisons
- 18. Stern Watching and Mysterious Sympathy
- PART V
- 19. Return to Peace
- 20. Working for the Stage and with Britten
- 21. 'A firm shape among shadows'
- 22. Cranko and Britten
- 23. The Turn of the Screw
- 24. Textiles, Mosaics, Murals, and early Stained Glass
- 25. Coventry and Cranks
- PART VI
- 26. Ambiguous Venice
- 27. Dark Glasses at Evensong
- 28. Church Commissions
- 29. Owen Wingrave
- 30. Shell Guides
- 31. Pottery, Tapestries, and Fireworks
- 32. Death in Venice
- PART VII
- 33. Deaths and Entrances
- 34. An English Garden
- 35. Myfanwy
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