Michael Bird

Described as 'exhilarating' by Katy Hessel, a compelling and lively history that examines the lives of British artists from the late-19th century to today. In This is Tomorrow Michael Bird takes a fresh look at the ‘long twentieth century’, from the closing years of Queen Victoria’s reign to the turn of the millennium, through the lens of the artists who lived and worked in this ever-changing Britain. Bird examines how the rhythms of change and adaptation in art became embedded in the collective consciousness of the nation and vividly evokes the personalities who populate and drive this story, looking beyond individual careers and historical moments to weave together interconnecting currents of change that flowed through London, Glasgow, Leeds, Cornwall, the Caribbean, New York, Moscow and Berlin. From the American James McNeill Whistler’s defence of his new kind of modern art against the British art establishment in the latter half of the 19th century to the Danish-Icelandic artist Olafur Eliasson’s melting icebergs in London, he traverses the lives of the artists that have recorded, questioned and defined our times. At the heart of this original book are the successive waves of displacement caused by global wars and persecution that conversely brought fresh ideas and new points of view to the British Isles; educational reforms opened new routes for young people from working-class backgrounds; movements of social change enabled the emergence of female artists and artists of colour; and the emergence of the mass media shaped modern modes of communication and culture. These are the ebbs and flows that Michael Bird teases out in this panoramic account of Britain and its artists in across the twentieth century.

A Times Book of the Year 'An absolute gem ... Beech’s exquisite artwork is characterful and warm' Observer An exploration of the art and life of Vincent Van Gogh through the touching letters he exchanged with his brother Theo. Vincent is fed up with life in the grey city, but things are about to change! With the support of his loving brother Theo, Vincent sets off on a journey to the ‘Sunny South’. There he will discover new and inspiring places and make new friends. But will he be able to paint the picture of his dreams? A heart-warming snapshot of a happy and creative period in Van Gogh’s life, this story focuses on the bond between two brothers, and how Theo’s support and encouragement helped Vincent to reach his full artistic potential. Written by Michael Bird and illustrated by painter Ella Beech, this book will immerse young readers in Vincent’s world and reveal his unique perspective as an artist.

What do the books of Luke and Acts teach us about God, Jesus, and the early church? How do these two books relate to each other? And what do they mean for us today? In this accessible and compelling introduction, Michael Bird draws us into the wide-ranging narrative of Luke-Acts to discover how Luke frames the life of Jesus and of the first disciples who set out from Jerusalem to "the ends of the earth" proclaiming the Good News. Bird shows us how these two books, when read together, tell a cohesive narrative about Jesus, the Church, and the mission of God—with implications for the whole of our lives today. Situating both books in their historical and literary context, Bird moves through an exploration of their central theological themes and culminates with consideration of the books' relevance for contemporary social issues.

A treasure trove of carefully selected letters written by great artists, providing unique insight into their characters and a glimpse into their lives. Artists’ Letters is a collection of intriguing, entertaining, moving, significant, surprising, witty and insightful correspondence from great artists. Arranged thematically, it includes writings and musings on love, work, daily life, money, travel and the creative process. On the theme of friendship, for example, letters provide evidence of a creative community between peers, with support and mutual appreciation that helps to dispel the myth of the artist as solitary genius. Letters between Vincent van Gogh and Paul Gauguin show an ongoing conversation and exchange of ideas. We see mutual admiration between Claude Monet and Berthe Morisot, and Picasso’s quick notes to Jean Cocteau illustrate their closeness. Letters, some of which includes sketches and drawings, are reproduced with the transcript and some background and contextual information alongside. Artists include: Salvador Dali, Goya, Lucian Freud, Vanessa Bell, Michelangelo, Mondrian, Gustav Klimt, Jasper Johns, Edward Burne-Jones, William Blake, Marcel Duchamp, Dorothea Tanning, Paul Gauguin, Vincent van Gogh, Picasso, Mark Rothko, David Hockney, Monet, Marina Abramovic, Cindy Sherman, Joseph Cornell, Leonora Carrington, Wang Zhideng, Yayoi Kusama, Yoko Ono, Renoir, Rubens, Eva Hesse, Cy Twombly, Roy Lichtenstein, Mary Cassatt, Jackson Pollock, Leonardo da Vinci, Joseph Beuys, Judy Chicago, Frida Kahlo, Alfred Stieglitz, Georgia O'Keeffe, Auguste Rodin, Camille Claudel, Henry Moore, Joshua Reynolds, Rembrandt, Whistler, Anni Albers, Naum Gabo, Kazimir Malevich, Francis Bacon, Ana Mendieta, Lee Krasner, Andy Warhol

Examining for the first time the life and work of the sculptor Matt Rugg (1935–2020), Michael Bird’s impeccably researched text vividly charts Rugg’s parallel careers as artist and teacher in the context of developments in creative pedagogy in Britain during the second half of the twentieth century, and their implications for practice and teaching today. Highlighting the impressive range of Rugg’s output, from his distinctive 'painted drawings' to large-scale metal constructions, and the unifying strands in his thought, this book skilfully draws together Rugg’s work, ideas and inspirational role as an educator. Lavishly illustrated, it charts successive phases of Rugg's continuous experimentation with found industrial materials and form, and the subtle interrelationship in his work between two and three dimensions. Dr Harriet Sutcliffe's research into the Basic Course led by Victor Pasmore and Richard Hamilton at King's College, Newcastle, in the 1950s and 1960s provides fascinating insights into both Rugg's oeuvre and wider developments in British art practice and pedagogy.

Limited atonement is not the only Reformed model of atonement "Hypothetical universalism," or "unlimited atonement," states that Christ's death is sufficient for the guilt of all people yet is only effectively applied to those with faith. This tradition, typified by the French Reformer Mo se Amyraut, has continued among Anglicans and Baptists for over four centuries, yet has been underexplored in Reformed systematic theology. Unlimited Atonement fills a gap in resources on atonement theology that begin with the unlimited love of God. Editors Michael F. Bird and Scott Harrower draw on the specialties of each of the ten contributors, addressing themes such as - the biblical and historical sources of the soteriological position known as Amyraldism - distinctive features of Anglican atonement theology - hypothetical universalism, election, and the Baptist theological tradition - other prominent advocates of unlimited atonement - the issues of systematic theology at stake - atonement theology in preaching Unlimited Atonement is the most comprehensive analysis of Amyraldism to date, providing a resource for theology and Bible students and teachers in an esoteric stream of Reformed theology. Bird and Harrower provide a starting point for anyone who wants to understand the sources and merits of Amyraldism.

First published by Lund Humphries in 2008, The St Ives Artists: A Biography of Place and Time has become the classic account of the St Ives group of artists. Our beautifully produced new edition, published in 2016, is now available in an accessible paperback format.The flourishing of international modernism in Cornwall was a unique episode in the story of modern art in Britain – perhaps anywhere in the world. No other small seaside town has been host to such a roll-call of major artists. Weaving in-depth research into a narrative of ‘startling anecdotal richness’, Michael Bird explores the many – often unexpected – connections between St Ives artists and broader currents in 20th-century British history. He sets the careers of international artists such as Barbara Hepworth, Ben Nicholson, Patrick Heron and Peter Lanyon in the context of a local environment that held powerful meanings for their work.Bird examines the influence of the two world wars, the birth of the Welfare State and the Cold War, the space race of the 1960s – all of which found echoes in artists’ work – as well as the position of women artists in St Ives, the role of social class, and relations between artists and the community. The artists themselves emerge as vivid personalities. Do Alfred Wallis, Naum Gabo, Bernard Leach and Roger Hilton really have anything in common? The answers Michael Bird uncovers add up to a fascinating and highly readable account of the St Ives phenomenon.

A compelling and lively history that examines the lives of British artists from the late-19th century to today. In This is Tomorrow Michael Bird takes a fresh look at the ‘long twentieth century’, from the closing years of Queen Victoria’s reign to the turn of the millennium, through the lens of the artists who lived and worked in this ever-changing Britain. Bird examines how the rhythms of change and adaptation in art became embedded in the collective consciousness of the nation and vividly evokes the personalities who populate and drive this story, looking beyond individual careers and historical moments to weave together interconnecting currents of change that flowed through London, Glasgow, Leeds, Cornwall, the Caribbean, New York, Moscow and Berlin. From the American James McNeill Whistler’s defence of his new kind of modern art against the British art establishment in the latter half of the 19th century to the Danish-Icelandic artist Olafur Eliasson’s melting icebergs in London, he traverses the lives of the artists that have recorded, questioned and defined our times. At the heart of this original book are the successive waves of displacement caused by global wars and persecution that conversely brought fresh ideas and new points of view to the British Isles; educational reforms opened new routes for young people from working-class backgrounds; movements of social change enabled the emergence of female artists and artists of colour; and the emergence of the mass media shaped modern modes of communication and culture. These are the ebbs and flows that Michael Bird teases out in this panoramic account of Britain and its artists in across the twentieth century.

Writer’s Letters is a collection of fascinating letters written by great writers, from Dickens to De Beauvoir

From the earliest cave paintings through to the internet and street art, this inspiring book chronicles the 100 most influential ideas that have shaped the world of art. Arranged in broadly chronological order, it provides a unique and compelling take on the history of art. The book shows how developments in materials and technology have radically changed the way that art is produced. Each entry explores when an idea first evolved and how it has resurfaced in the work of different artists up to the present day. Illustrated with historical masterpieces and packed with fascinating contemporary examples, this is an inspirational and wholly original guide to understanding the forces that have shaped world art.

First book to place the art of British sculptor Lynn Chadwick in its international context. Examines in particular the reception and promotion of Chadwick's sculpture in the United States. Richly illustrated. This is the first book to set the work of British sculptor Lynn Chadwick (1914-2003) in its international context. Chadwick, a leading figure in modern British art and celebrated for his innovative steel and bronze sculptures of abstracted, expressive figures and animals, always felt that his work was better understood abroad than in his native country. In this richly illustrated monograph, distinguished British scholar and writer Michael Bird, and eminent American art historian and curator Marin R. Sullivan chart the different phases of Chadwick's long career. They vividly locate his art within the wider narrative of European and American post-war sculpture. They examine in particular the reception and promotion of Chadwick's sculpture in the United States, and how a collection of some 140 of his works at the Berman Museum in rural Pennsylvania came to be.

Facing Fear is the first time the sculptures of Lynn Chadwick and Alberto Giacometti have ever been explicitly compared and contrasted. In 1956, Lynn Chadwick (1914-2003) won the International Sculpture Prize at the Venice Biennale. The youngest artist ever to receive the prize, this British sculptor had begun his career only six years earlier. The runners-up included Alberto Giacometti (1901-1966), who was then already a renowned artist and the overwhelming favourite to win. Yet the question of which one received the prize - Giacometti won shortly afterwards, in 1962 - is less significant than the fact that both of them were nominated for it. Each of the two represented, in his own way, the confusion and disillusionment that prevailed in Cold War Europe. For Giacometti, these tensions set off a deep existential crisis that led to a radical shift in his work. His string-like forms, now well known, literally pare down the human being to his essence. In that same period, Chadwick's constructivist figures were described as 'the geometry of fear', a desperate cry expressing the sense of menace that had the artist and his contemporaries in a stranglehold. Text in English and Dutch.

George Fullard: Sculpture and Survival is the first book for almost 20 years on the life and work of this highly individual British artist, whose achievement and influence are now winning belated recognition. Fullard's sudden death at the age of 50 in 1973 cut short a career that had already moved through several very distinct phases. A virtuoso modeller in clay, he was championed by John Berger in the 1950s as Britain's best young realist sculptor but swiftly moved on to experimenting with large-scale assemblages in which he explored dream, memory and his preoccupation with the sculptural 'phantom'. Fullard's landmark exhibition at the Marlborough Gallery in 1964, featuring his War Series, established him as an artist of disquieting poetic intensity at a time when many British sculptors were committed to an abstract, formalist idiom.This book is both a compelling biography, charting Fullard's short and turbulent life, and an in-depth appreciation of his work, beautifully illustrated with new photography. Michael Bird's research into Fullard's private papers, sketchbooks and other archival sources, and new interviews with people who knew him, inform a timely reappraisal of one of the most distinctive and surprising British artists of the later 20th century.

An enthralling journey through 40,000 years of art, from prehistoric cave paintings right up to the present day. Discover artists and their art around the world, in exciting and imaginative tales about artists and the way they created their work. Written by educator and art historian Michael Bird, and illustrated by Kate Evans, the book also features reproductions of the famous artworks discussed, a comprehensive timeline of events, and extra feature spreads on places connected with art. This is a beautiful and engaging introduction to art for any home or school library.