James Russell

In the 1910s and 1920s the unique landscape of the chalk downs of southern England began to exert a new fascination on writers, historians, archaeologists and artists. Modernists such as Paul and John Nash, Eric Ravilious and William Nicholson immersed themselves in exploring these enigmatic, ancient places. The stark, rolling forms of the downs suited the modern aesthetic, offering a place where prehistory and modernity could converge. With the growing political tensions of the 1930s, this modern engagement with ancient landscape took on a symbolism that still resonates. Images of Britain evolved as the downs became both symbols of wartime vulnerability and resilience and the site of machine gun emplacements and crashed aeroplanes. Art of the Chalk Downs investigates this extraordinary collision of ancient and modern, idea and place, and the network of artists who worked and lived there. Seventy-five plates of paintings, watercolours, prints and photographs are accompanied by texts written by leading art historians James Russell and Stephens.

Seventy-two very prosy 'sonnets' tell the 'thin dark' (blackly comic) story of Clovis Beecham's struggles with ill health after an early retirement, his ambiguous affaire with an ambiguous woman, and his winning through to a kind of peace. Matters had come to a head when his wife moved out, disgusted by his ill temper, after which he experienced a fractured vertebra and a related cancer warning. Longing for escape from physical crises, he meets the fascinating Penelope in a newsagent. She tells of a mystical epiphany on the Isle of Wight that showed her how a positive mind can surmount a body's malaise. The tone is light and satirical, but along the way the text stylishly dramatises the common feeling - or strong illusion - that ageing is essentially the struggle between an enduring mind and a fading body, indeed the inescapable struggle itself between spirit and matter.'Complete delight at the Brown Bread Sonnets. I've just read them right through and they've cheered me up no end. Clovis is spot-on, and the narrative sequence just flows on perfectly. Brilliant 'Ian Patterson'All this and his eye for vivid, telling details mark James Russell as a true story teller, and a true poet.'Lee Harwood

Haaravalt kirja pandud ülevaatlik käsitlus universumi ehituskividest ja inimestest, kes avastasid, eraldasid ja isegi lõid keemilisi elemente. Meie praegune arusaam universumi keemilisest koostisest põhineb Vene teadlase Dmitri Mendelejevi (1834-1907) loodud keemiliste elementide perioodilisustabelil. Tähtsa teadusavastuse sünniks ei läinud vaja keeruka sisseseadega teaduslaborit ega paljusid eksperimente, Peterburi ülikooli keemiaprofessor mõtles selle välja oma kirjutuslaua taga. 1860. aastatel reastas Mendelejev kõik keemilised elemendid - mida siis teati olevat 62 - nende aatommassi ja omaduste järgi tabelisse. Mendelejevi tabel mitte ainult ei ennustanud toona veel avastamata ainete olemasolu, vaid andis keemikutele sügavama arusaama aatomitest enestest. Järgneva 150 aasta jooksul on leitud ja sünteesitud uusi elemente, nagu näiteks argoon, boor, neoon, poloonium, radoon. Raamatus käsitletakse ükshaaval kõiki nüüdseks tuntud 118 keemilist elementi. Autor James M. Russell kirjeldab üksikasjalikult elementide avastamist ning tutvustab nende omadusi ja kasutusalasid tänapäeval. Täiendatud ja parandatud uus trükk.

This beautifully illustrated book is the first full-length critical study to focus on the works of fine artist and printmaker, Tirzah Garwood (1908-1951), wife of artist Eric Ravilious.Tirzah Garwood (1908–1951) proved herself an artist of rare talent, in a life tragically cut short by illness, yet little of her work has been seen in public since her Memorial Exhibition in 1952. Written by James Russell, author of the bestselling Ravilious (2015), this beautifully illustrated book is published to coincide with the Dulwich Picture Gallery exhibition Tirzah Garwood: Beyond Ravilious, the first exhibition to explore the full range of Garwood’s achievements.A witty observer of the human condition, Garwood made her first breakthrough as a wood engraver of rare ability while still in her teens. After marrying Eric Ravilious she became a devoted mother to three children. During this period she took up paper marbling and quickly achieved renown for the dazzling originality of her decorative papers. In her early thirties she suffered the double blow of a breast cancer diagnosis and her husband’s death on active service in World War II. Undaunted, she wrote her autobiography Long Live Great Bardfield and began creating a series of strange, beautiful oil paintings and collaged constructions.In Tirzah Garwood: Beyond Ravilious her work is, for the first time, given the public showcase and critical examination it deserves, revealing Garwood’s development of a distinctive ‘sophisticated naive’ approach that subtly transformed innocent subjects to unsettling effect. More than ninety works by Tirzah Garwood – including books, studies and ephemera, almost exclusively from private collections – are accompanied by artworks by Eric Ravilious that set the context in which the artists worked together, exploring the shared interests and techniques of this remarkable creative couple.

Uzhe dvazhdy zlobnyj Pitbul pytalsja dobyt odnogo iz drakonov, zhivuschikh na zapovednom ostrove vdali ot tsivilizatsii. A? junye Flinn i Peddi dvazhdy ostavljali ego v durakakh. I na tretij raz mafioznyj boss reshil projavit khitrost. Ponimaja, chto na netronutom ostrove posredi okeana bratja nepobedimy, Pitbul zadumal vymanit ikh na svoju territoriju - v megapolis.Malchiki esche ni razu ne pokidali rodnoj dom. Chto zhdet ikh v bolshom gorode? Sumejut li oni protivostojat zlodeju, zasevshemu v svoem neboskrebe pod okhranoj desjatkov naemnikov? Dlja nachala bratjam nuzhno khotja by dobratsja do kontinenta, a bez sovremennykh tekhnologij i eto - sovsem ne prostaja zadacha...

Posle naljota na tajnyj ostrov zlobnyj boss Pitbul uveren, chto zavladel nastojaschim drakonim jajtsom dlja svoego zooparka. Osoznav, chto ostalsja ni s chem, on prikhodit v beshenstvo. Teper on gotov na vsjo, chtoby dobyt sebe dazhe ne odnogo, a neskolkikh drakonov! Odnazhdy Flinn i Peddi uzhe dali Pitbulju otpor. No na etot raz na ego storone - tselaja armija s oruzhiem i vertoljotami. A na storone bratev - lish sobstvennye khrabrost, smekalka i vzaimovyruchka da eschjo vernye druzja-zhivotnye: sobaka Koko, loshad Treschotka i sokol Molnija. No, vozmozhno, v etoj bitve u bratev-robinzonov pojavjatsja i drugie sojuzniki, neozhidannye i moguchie...

In this book, the author emphasizes the need for a positive and constructive approach to American politics. He has argued that instead of focusing on bringing others down, candidates should concentrate on presenting their own merits to voters' support. The book advocates for a transformation of America's voting system, placing greater emphasis on serving the people's needs rather than benefiting the candidates. The author laments the current state of American politics, where negative campaigning has led to division within the nation. He has suggested that it is the responsibility of candidates, not the people, to bridge this divide and promote unity through respectful discourse.

In this book, the author emphasizes the need for a positive and constructive approach to American politics. He has argued that instead of focusing on bringing others down, candidates should concentrate on presenting their own merits to voters' support. The book advocates for a transformation of America's voting system, placing greater emphasis on serving the people's needs rather than benefiting the candidates. The author laments the current state of American politics, where negative campaigning has led to division within the nation. He has suggested that it is the responsibility of candidates, not the people, to bridge this divide and promote unity through respectful discourse.

Something of the spirit of Virgil's poem has been transposed to southern England in1959. All of the major and most of the minor events and characters are here, the events refracted through modernity or new narratives, the characters thinly disguised (Laoco n is Loud Colin; the harpies are Mrs Harpic; Pallas is Patsy), and the relocations easy to spot (Troy is in Richmond; Carthage is a village in Wiltshire; the games are in Weymouth; the nascent Rome is Bristol). But readers need to know nothing of The Aeneid (or even to have heard of it) to enjoy this freewheeling, humorous, and socially reflective verse novel. In an addendum, Virgil's founding myth of the Roman Empire becomes the founding myth of the digital world.

It's 1861, and gold fever is sweeping the world. Otherwise sensible adults have gone mad and will do anything to get their hands on the precious metal. But two children have been caught up in the rush. Michael and Atarangi couldn't be more different, but they share one thing: each has a remarkable and magical talent.Circumstances conspire to bring the children together in the remote and inhospitable goldfields, and they're thrust into a world where lawlessness, greed, and cruelty reign. When the children find out that a cut-throat gang stalks the goldfields, preying upon the innocent, they have a choice to make: turn a blind eye, or fight back?

As the twenty-first century unfolds, notions of our cultural past and how our history has influenced our present shift almost daily. Within this, accepted artistic trajectories are being questioned and new connections made. In this wide-ranging and thought-provoking publication, experts in their field address specific aspects of British art of the twentieth century. Presenting new perspectives on established narratives, subjects range from British Surrealism and the rise of corporate and private patronage, to nationality and British identity. Complemented by a range of striking images, this publication succeeds in showing the strength of the British artistic tradition while also encouraging the reader to rethink and explore the existing narrative.

Over his long and successful career David Remfry MBE RA RWS has achieved a mastery of watercolour that few have matched. Unusually for the medium, he works on a large scale and often focuses on people, exploring the dance hall and the nightclub in breathtaking images that are at once beautiful and edgy. This book is the first full-length monograph devoted to the artist's watercolours. Its author, James Russell, is well known for his writing on 20th-century British artists. Russell brings his scholarship, humour and fascination for people and their lives to his study of Remfry’s career, tracing the evolution of a remarkable talent, looking in depth at the most significant works and placing Remfry in the context of both the British watercolour tradition and international contemporary painting. This is at once a glorious art book and an intimate portrait of city life. Having spent 20 years living and working at the legendary Chelsea Hotel in New York, Remfry has a following on both sides of the Atlantic. New Yorkers – often in party mode – feature in many of his watercolours, and his recollections of people and places add colour to the text.