Kirjahaku

The Classic Maya have long presented scholars with vexing problems. One of the longest running and most contested of these, and the source of deeply polarized interpretations, has been their political organization. Using recently deciphered inscriptions and fresh archaeological finds, Simon Martin argues that this particular debate can be laid to rest. He offers a comprehensive re-analysis of the issue in an effort to answer a simple question: how did a multitude of small kingdoms survive for some six hundred years without being subsumed within larger states or empires? Using previously unexploited comparative and theoretical approaches, Martin suggests mechanisms that maintained a 'dynamic equilibrium' within a system best understood not as an array of individual polities but an interactive whole. With its rebirth as text-backed historical archaeology, Maya studies has entered a new phase, one capable of building a political anthropology as robust as any other we have for the ancient world.

The Classic Maya have long presented scholars with vexing problems. One of the longest running and most contested of these, and the source of deeply polarized interpretations, has been their political organization. Using recently deciphered inscriptions and fresh archaeological finds, Simon Martin argues that this particular debate can be laid to rest. He offers a comprehensive re-analysis of the issue in an effort to answer a simple question: how did a multitude of small kingdoms survive for some six hundred years without being subsumed within larger states or empires? Using previously unexploited comparative and theoretical approaches, Martin suggests mechanisms that maintained a 'dynamic equilibrium' within a system best understood not as an array of individual polities but an interactive whole. With its rebirth as text-backed historical archaeology, Maya studies has entered a new phase, one capable of building a political anthropology as robust as any other we have for the ancient world.

The Italian love affair with sport is passionate, voracious, all-consuming. It provides a backdrop and a narrative to almost every aspect of daily life in Italy and the distinctively pink-coloured newspaper La Gazzetta dello Sport is devoured by almost half a million readers every day. Narrating the history of modern Italy through its national passion for sport, Sport Italia provides a completely new portrayal of one of Europe's most alluring, yet contradictory countries, tracing the highs and lows of Italy's sporting history from its Liberal pioneers through Mussolini and the 1960 Rome Olympics to the Berlusconi era. By interweaving essential themes of Italian history, its politics, society and economy with a history of the passion for sport in the country, Simon Martin tells the story of modern Italy in a fresh and colourful way, illustrating how and why sport is so strongly embedded in both politics and society, and how it is inseparable from the concept of Italian national identity. Showing sport's capacity to both unite and deeply divide, this book reveals a novel and previously unexplored element of the history of a society and its state, which will be an essential read for sports fans, historians and students alike.

Edward Burra (1905-76) was an English painter who is best known for his paintings of the seedy underworld of urban life. Yet, as this fascinating new monograph on his work reveals, his interests were much broader, incorporating landscape and still-life paintings, stage designs, book illustration and watercolours. Somewhat neglected by histories of modern art because his singular vision was often at odd with the mainstream art world, his work is now due for a re-appraisal.This important book represents the first full-scale monograph on Edward Burra and reproduces 100 key paintings alongside drawings and a range of fascinating contextual material. It positions Burra as a major figure in the history of 20th-century art, placing his work alongside that of the German Expressionists and other important contemporaries and influences. Long awaited, this book will be widely welcomed by all those with an interest in the art of this fascinating maverick and documenter of modern life.

The artist Mark Hearld finds his inspiration in the flora and fauna of the British countryside: a blue-eyed jay perched on an oak branch; two hares enjoying the spoils of an allotment; a mute swan standing at the frozen water's edge; and a sleek red fox prowling the fields. Hearld admires such twentieth-century artists as Edward Bawden, John Piper, Eric Ravilious and Enid Marx, and, like them, he chooses to work in a range of media - paint, print, collage, textiles and ceramics. Work Book is the first collection of Hearld's beguiling art. The works are grouped into nature-related themes introduced by Hearld, who narrates the story behind some of his creations and discusses his influences. He explains his particular love of collage, which he favours for its graphic quality and potential for strong composition. Art historian Simon Martin contributes an essay on Hearld's place in the English popular-art tradition, and also meets Hearld in his museum-like home to explore the artist's passion for collecting objects, his working methods and his startling ability to view the wonders of the natural world as if through a child's eyes.

Institutionalized as a fascist game in Mussolinis Italy, football was exploited domestically in an attempt to develop a sense of Italian identity and internationally as a diplomatic tool to improve Italys standing in the global arena. The 1930s were the zenith of achievement for Italian football. Italy hosted and won the 1934 World Cup tournament and retained the trophy in 1938 in France. In the 1936 Berlin Olympics, Italy won the soccer tournament with a team of university students, affirming the nations international football supremacy. At club level, calcio was reorganized into a single, national league in 1929namely, Serie Aafter which the first Italian club teams emerged to dominate European competition and threaten previous British notions of supremacy.In this time, Italian Fascism fully exploited the opportunities football provided to shape public opinion, penetrate daily life, and reinforce conformity. By politicizing the game, Fascism also sought to enhance the regimes international prestige and inculcate nationalist values. The author argues that the regimes attempt to use sport to formulate identity actually forced it to recognize existing tensions within society, thereby paradoxically permitting the existence of diversity and individuality.The book serves as a cultural history of Fascism in Italy viewed through the lens of football.

Institutionalized as a fascist game in Mussolinis Italy, football was exploited domestically in an attempt to develop a sense of Italian identity and internationally as a diplomatic tool to improve Italys standing in the global arena. The 1930s were the zenith of achievement for Italian football. Italy hosted and won the 1934 World Cup tournament and retained the trophy in 1938 in France. In the 1936 Berlin Olympics, Italy won the soccer tournament with a team of university students, affirming the nations international football supremacy. At club level, calcio was reorganized into a single, national league in 1929namely, Serie Aafter which the first Italian club teams emerged to dominate European competition and threaten previous British notions of supremacy.In this time, Italian Fascism fully exploited the opportunities football provided to shape public opinion, penetrate daily life, and reinforce conformity. By politicizing the game, Fascism also sought to enhance the regimes international prestige and inculcate nationalist values. The author argues that the regimes attempt to use sport to formulate identity actually forced it to recognize existing tensions within society, thereby paradoxically permitting the existence of diversity and individuality.The book serves as a cultural history of Fascism in Italy viewed through the lens of football.

A celebration of the life and work of the artist John Craxton, a rebellious figure in British art history Spanning a rich variety of works from the 1940s to the 2000s, this book celebrates the life and work of the British artist John Craxton (1922–2009). It charts the development of Craxton’s work from the poetic, melancholy images created in wartime Britain to the vibrant paintings and drawings produced in his adopted homeland of Greece. The book revisits the artist’s early life and looks at the influence of British Romantic art and the landscape of England and Wales on his work, while also exploring themes around LGBTQ+ identity, his relationship to significant modern British and international artists, and the historical context of mid-century Britain and Greece. Featuring short essays and texts from contributors including Sir David Attenborough, Ian Collins, Simon Martin, Miriam O'Connor Perks, David Mellor, Edmund White, Hilary Spurling, and Tacita Dean—covering subjects across Craxton’s career, including book illustration, landscape, ballet design, ceramics, and tapestry—this lively account showcases the diverse artistic output of this key figure in British art history. Exhibition Schedule: Pallant House Gallery, Chichester (October 28, 2023–April 21, 2024)

The natural world as seen through the eyes of British artists including Eric Ravilious, Clare Leighton, and John Piper Since its publication in 1789, Gilbert White’s Natural History and Antiquities of Selborne has inspired generations of artists, writers and naturalists. From Thomas Bewick to Eric Ravilious and Clare Leighton, many artists’ depictions of animals, birds and wildlife have illustrated White’s celebrated book, together providing a microcosm of natural history illustration from the eighteenth century until today. In Drawn to Nature, Simon Martin has gathered joyful and beautiful images of the extraordinary array of wildlife described by White, providing an insight into the continuing appeal and relevance of the Natural History. This fascinating account takes us from some of the earliest published depictions of birds and animals, to pioneering nature photography, the revival of wood-engraving in the 1920s and 30s, and responses to White’s message about the natural world by contemporary illustrators such as Angie Lewin and Emily Sutton. The book also includes an introduction to the life of Gilbert White by Sir David Attenborough, an essay by Virginia Woolf, poems by modern and contemporary poets, and a jacket design by Mark Hearld. Distributed for Pallant House Gallery

The first color monograph on the artist Glyn Philpot – a key figure in Modern British art Glyn Philpot (1884–1937) was a key figure in Modern British art in the first half of the twentieth century, whose work spanned Arts and Crafts illustration, Edwardian "Swagger" portraiture, Symbolism, and Art Deco Modernism. Drawing on new research and recently rediscovered paintings and archive material, the first color monograph on the artist looks at his career from early works comprising more traditional formal portraiture through to modernism in the 1920s and 30s. Exploring Philpot’s engagement with international modernism, it looks at his exposure to American art and the Harlem Renaissance, Neue Sachlichkeit in Berlin and the impact of living and working in Paris, especially the work of Rodin, Matisse, Picasso, and Cocteau. It also considers Philpot’s work in the light of recent queer theory and writing on race, discussing Philpot’s impact on queer writers and artists, including more recent works by Isaac Julien—in particular his film ‘Looking for Langston’—and writers such as Booker Prize winner Alan Hollinghurst, who provides an introduction to this volume. Distributed for Pallant House GalleryExhibition Schedule:Pallant House Gallery, Chichester May 14–October 23, 2022

An exploration of how artists responded to the British landscape between 1910 and 1970 This lavishly illustrated catalogue explores how British artists conveyed the spirit or sense of place during the twentieth century. From an English garden depicted with Post-Impressionist panache, to poetic scenes of Kentish orchards in the aftermath of the First World War, to romantic evocations of ancient sites painted by Paul Nash and Eric Ravilious in the 1930s and 1940s and abstract depictions of the Cornish coast and urban wastelands in the 1950s and 1960s, the book considers how the British landscape has been central to the formation of regional and national identities, and how, tangentially, it can convey the anxieties of sociopolitical events, such as the First and Second World Wars. British Landscapes covers a wide range of genres, showcasing a history of twentieth-century art in Britain drawn from Pallant House Gallery’s celebrated collection of Modern British art—from the impact of Post-Impressionism on painterly Camden Town and Bloomsbury Group landscapes to the pastoral etchings of FL Griggs, Robin Tanner, and Graham Sutherland in the 1920s; 1930s travel posters and watercolours by John Nash and Eric Ravilious; an exploration of Surrealism through Paul Nash, John Tunnard, and Julian Trevelyan; and wartime landscapes by John Piper, John Craxton, and Keith Vaughan. The final section considers the development of abstraction in British art via the St Ives artists and their contemporaries, such as Ivon Hitchens.

‘I have waited 30 yrs to see Greece’, Barbara Hepworth wrote while travelling through the Peloponnese and the Aegean and Cycladic islands in August 1954. At a turning point in Hepworth’s life and career, it would have a profound impact, leading her to reflect in 1964: ‘a whole decade later … It is deeply part of my work’ Shaping her thinking and expanding her artistic language, the memory of this transformative journey nourished Hepworth’s practice until the end of her life. Hepworth’s visceral encounter renewed her lifelong exploration of the relationship between the human figure and landscape. The colours, light, elemental forces and sense of space of Greece inspired some of her best-known works, including her extraordinary Guarea wood carvings and her Aegean Suite of lithographs. Beautifully illustrated and published to accompany the exhibition of the same title at Pallant House Gallery, Barbara Hepworth and Greece offers new insight into the work of Britain’s best-known modern artist. This is the first publication dedicated to Hepworth’s deep affinity for Greece – from her early fascination for classical culture, to the revelation she experienced after encountering its landscape, people and ancient art and architecture in 1954, through to the works of Greek inspiration she created in her last two decades.