James Cahill

Based upon advice from a huge roster of artists, dealers and curators; and encompassing every stage of an artist's life--from early works, to debut shows and mid and late-career--this book answers all the key questions that every artist has at some point asked themselves. Do you need a studio or a dealer, and how do you find one? Are artists too competitive? How do they come up with ideas, and what is the point of the private view? Does financial success--or the lack of it--change an artist? Este libro, al abarcar todas las fases de la vida de los artistas -desde las primeras obras hasta las exposiciones de debut y las etapas intermedias y tard as de sus carreras-, les permite responder, o reflexionar, sobre todas estas importantes preguntas. Hace falta tener un estudio o contar con un marchante? Y, de ser as , c mo conseguirlos? Los artistas son demasiado competitivos? C mo se les ocurren las ideas y qu sentido tienen los pases privados? El xito econ mico -o su ausencia- cambia a los artistas? Tiene alguna ventaja envejecer? Deben leerse las rese as? Se pueden retirar los artistas?

El primer y único libro que nos muestra cómo la mitología clásica griega y romana ha servido de inspiración a artistas durante los últimos 2.500 años. Desde en las películas de Woody Allen o los hermanos Coen, hasta para los libros de Margaret Atwood o la

The first major survey to reveal the ways in which Classical mythology has inspired art throughout the last 2,500 years From the films of Woody Allen and the Coen Brothers to Margaret Atwood's books and Arcade Fire's songs, Classical Greek and Roman myths continue to be a source of cultural inspiration. The struggles of heroes, both triumphant and tragic, with gods, monsters, and fate, exert a particular grip on our imagination. Visual artists have long expressed and reworked these foundational stories. This is the first book to unite myth-inspired artworks by ancient, modern, and contemporary artists, from Botticelli and Caravaggio to Jeff Koons and Damien Hirst.

First published in 1980, James Cahill's Index is the most comprehensive English-language compilation available on Chinese painters and their works from the late 6th through the mid-14th century. Incorporating the work of Ellen Johnston Laing and Osvald Siren, whom Professor Cahill studied under as a graduate student, the Index includes biographical details of the artists, their style and studio names, where their works are located or have been published, and information on materials, signatures, seals, and inscriptions. An extensive bibliography focuses on reproductions of the works in Chinese, Japanese, and Western publications, making the Index is an essential research tool for all students, collectors, and connoisseurs of Chinese art.

Piet Mondrian or Andy Warhol – Damien Hirst or Banksy – whose artworks have been the most influential? The most shocking? The most expensive? How about their versatility or critical reception? These playing cards allow art lovers of all ages to play their favourite artists against each other to discover who rules the art world.

Reviews 'Jammers' by the celebrated American artist Robert Rauschenberg (1925-2008), in an exhibition held at Gagosian Gallery, Britannia Street London, from 16th February to 28th March 2013. The series comes from a month in 1975 when the artist worked in an Ashram (textile factory) in Ahmedabad, India.

Formed in 1995 the Cv/VAR archive includes analytic essays on examples of Western art including: The Trinity by Masaccio at Santa Maria Novella, Florence, Vermeer's The Maidservant and Woman with a Balance; Vel zquez court portraits, C zanne, Salvador Dal , Francis Bacon, Anthony Caro and Alison Wilding, Damien Hirst and Andy Warhol, with reviews of exhibitions in public and private galleries. The collection of over 150 pieces reveals strands that bind the continuum of classic and contemporary art. Cv/VAR 155 publishes a review by James Cahill of an exhibition at Blain׀Southern by the renowned artist Francesco Clemente, (b.1952), his first show in London for seven years. The monograph includes comments by the artist which offer insights to the ideas which grounded their development. Clemente's work embodies a binding of different cultures; drawing on the Italian Renaissance, Eastern philosophy of Buddhism and the Mandala; formed in a life divided between New York and India. The Author: James Cahill combines writing, research and painting with a role at one of London's leading contemporary art galleries. He studied at the Courtauld Institute, where his research focused on British twentieth-century artists' explorations of crucifixion and obscenity. He is the co-author of a monograph on British artist Angus Fairhurst (2009), and has written catalogue essays for a number of contemporary art exhibitions, as well as reviews for various publications. He has lectured at the Architectural Association, London, on the paintings of Francis Bacon, and at Oxford University on Renaissance iconography in contemporary art. His current research looks at the afterlife of ancient Greece and Rome in contemporary visual culture.

Explores the development of the Pre-Raphaelite movement in the mid 19th century; and works which figure amongst the most lasting and generally propular in British art. Renowned writer and art critic Edward Lucie-Smith contributes a study of the individual artists, their interconnection and previously unpublished material of their intricate links with the social establishment of the time. James Cahill has a special interest in the movement, having studied Dante Gabriel Rosetti and Holman Hunt. He reviews the major exhibition of 150 works at Tate Britain launched in September 2012. 'I think what I want to do is to follow a trail that leads, through many twists and turns, from the religious revival of the early 19th century to Blue Period Picasso, then to Surrealism. It may take in the Children of the Raj and the discovery of Japan along the way. It leads from rather rigid moralism, to conscious immoralism, and then at last to Freud/Dali.' Edward Lucie-Smith 05/2012

Cv/VAR 104 reviews 'David Hockney RA: A Bigger Picture', exhibited at The Royal Academy January to April 2012. The project of creating monumental landscape paintings was based on a small area near the artist's home at Bridlington in East Yorkshire. The project developed with time-framed films, i-pad works, drawings, sketchbooks, oils and watercolours. recording particular motifs and places in the changing seasons. Studies were enlarged on joined canvases in compositions up to 32' wide, designed to immerse the viewer in an intense experience of the landscape. The monograph reviews the exhibition and recent books and catalogues on the artist.

In this groundbreaking book, James Cahill expands the field of Chinese pictorial art history, opening both scholarly studies and popular appreciation to vernacular paintings, 'pictures for use and pleasure'. These were works commissioned and appreciated during the seventeenth and eighteenth centuries by the non-elites of Chinese society, including women. Traditional Chinese collectors, like present-day scholars of Chinese painting, have favored the 'literati' paintings of the Chinese male elite, disparaging vernacular works, often intended as decorations or produced to mark a special occasion. Cahill challenges the dominant dogma and doctrine of the literati, showing how the vernacular images, both beautiful and appealing, strengthen our understanding of High Qing culture. They bring to light the Qing or Manchu emperors' fascination with erotic culture in the thriving cities of the Yangtze Delta and demonstrate the growth of figure painting in and around Beijing's imperial court. They also revise our understanding of gender roles and show how Chinese artists made use of European styles. By introducing a large, rich body of works, "Pictures for Use and Pleasure" opens new windows on later Chinese life and society.

In The Painter's Practice, James Cahill reveals the intricacies of the painter's life with respect to payment and patronage--an approach that is still largely absent from the study of East Asian art. Drawing upon such unofficial archival sources as diaries and letters, Cahill challenges the traditional image of the disinterested amateur scholar-artist, unconcerned with material rewards, that has been developed by China's literati, perpetuated in conventional biographies, and abetted by the artists themselves. His work fills in the hitherto unexplored social and economic contexts in which painters worked, revealing the details of how painters in China actually made their living from the sixteenth century onward. Considering the marketplace as well as the studio, Cahill reviews the practices and working conditions of artists outside the Imperial Court such as the employment of assistants and the use of sketchbooks and prints by earlier artists for sources of motifs. As loose, flamboyant brushwork came into vogue, Cahill argues, these highly imitable styles ironically facilitated the forger's task, flooding the market with copies, sometimes commissioned and signed by the artists themselves. In tracing the great shift from seeing the painting as a picture to a concentration on the painter's hand, Cahill challenges the archetype of the scholar-artist and provides an enlightened perspective that profoundly changes the way we interpret familiar paintings.

The Compelling Image will delight the art-lover who does not yet realize that Chinese painting can be as original and moving as El Greco or Cézanne. With a graceful authority, James Cahill explores the radiant painting of that tumultuous era when the collapse of the Ming Dynasty and the Manchu conquest of China dramatically changed the lives and thinking of artists and intellectuals. The brilliant masters of the seventeenth century were reconsidering their artistic relationship to nature and to the painting of earlier times, while European pictorial arts introduced by Jesuit missionaries were profoundly influencing Chinese techniques. The reader/viewer is presented with a series of crucial distinctions of style and approach in a richly illustrated book that illuminates the whole character of Chinese painting. Cahill begins with a relatively neglected artist, Chang Hung, who moved traditional forms ever closer to literal descriptions of nature, in contrast with the theorist painter Tung Ch’i-ch’ang, who turned the same traditional forms into powerful abstractions. A chapter focused on Wu Pin offers new and controversial ideas about the impact of European art, as well as a related phenomenon: revival of the highly descriptive early Sung styles. Looking especially at Ch’en Hung-shou, the greatest of the late Ming figure painters, Cahill examines a curious mixing of real people and conventionally rendered surroundings in portrait art of the period. He analyzes the expressionist experiments of the masters known as Individualists, and distinguishes these artists from the Orthodox school, concluding with a bold reassessment of the most eloquent of later Chinese painters, Tao-chi. Over 250 illustrations, including twelve color plates, are drawn from collections in the United States, Europe, Japan, and China. This is a book for anyone interested in China, its past, and its art, and for the enthusiast who wishes to broaden the horizons of enjoyment by exposure to a most engaging writer on an exquisite era.