Art of Birmingham - Knowledge (XXG)

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incorporate Morris's ideas into its teaching introducing the then-revolutionary principle of teaching techniques of design and manufacture together. Instead of just drawing their designs on paper, Birmingham students executed them as finished products in the materials for which they were intended. In 1883 the school broke completely from the control of the national system of art education, with its rigidly prescribed systems of theoretical instruction controlled from

1110: 632: 1744: 2334: 931:, who modelled themselves on existing aristocratic patterns of patronage. By contrast the more broadly based economy of Birmingham was built upon on small units of production and a skilled craft-based workforce, leading to an unprecedented demand for modern paintings from the rapidly expanding and newly wealthy middle class, and a widespread belief in the moral and political implications of visual aesthetics, influenced by 7527: 865: 1325: 1475: 1626: 2750:, would "excite his audience by dwelling on the glories of Florence and the cities of Italy in the Middle Ages and suggest that Birmingham too might become the home of a noble literature and art" As a result Birmingham's artists and craftsmen would benefit from extensive patronage, as the Arts and Crafts style became the semi-official taste of Birmingham's governing elite. 443:

traditional language of landscape art could be applied to the rapidly industrialising Birmingham area, through emphasising or exaggerating the rural characteristics of Birmingham's hinterland, presenting the town as a feature within a wider picturesque natural landscape, or depicting the tension between the area's rural and urban features.

19: 903:– the town's most popular newspaper – to display a front page article analysing the picture, praising its "erratic genius" and "independent thought" and contrasting it with the "traditions of the schools" and the "slavish reproduction of the academy models". Further Pre-Raphaelite works were sought the following year, with 2016:, who was producing ecclesiastic carvings and statuary in Birmingham by 1769. The growth of Birmingham sculpture over the following decades was rapid, and by 1829 the majority of the 49 pieces of sculpture exhibited in the town's exhibitions that year came from local artists. The leading Birmingham sculptor of the 1289:

presented an exhibition at the gallery of work "done in the white heat of experiment" and subsequently renamed themselves the "Modern Group". The gallery's immediate impact was noted in the national press in 1926: "when Birmingham seemed hopeless and the modernists felt like exiles in the desert, a

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being among the more notable examples – or prosper elsewhere. In 1925 the Birmingham Post published an editorial asking "why is it that Birmingham has ceased to count as an important centre of Art?", criticising the RBSA as being controlled by "a small group of men who have arrogated to themselves

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With this growth in Birmingham's artistic organisation came a more established artistic community. Birmingham had had only four professional artists in 1800, but by 1827 the overwhelming majority of the 67 local exhibitors at that year's Society of Arts exhibition were earning their living from the

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in 1754, had proposed the creation of an academy funded by subscription "for teaching some young persons, under proper restrictions, in the art of drawing and designing". The economic importance of design also meant that it was a prestigious activity within the town – the more successful designers

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began only with the town's huge growth in size and wealth in the 18th century, after the growing realisation of the importance of design skills to the town's manufacturers led to the establishment of several schools of drawing in the 1750s. The town's first known fine artists date from the period

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to accept the appointment as the school's President for two years from 1878 – the start of a 20-year relationship between Morris and the school that saw him act as lecturer and examiner, and as a commissioner of work from the school's students. In 1881 Birmingham became the first art school to

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of production, and relentless innovation in the development of new products, materials and production techniques, with large numbers of medium-sized workshops mass-producing luxury products for the international markets defined by the town's cosmopolitan mercantile networks. These markets were

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The work of the artist-craftsmen of Birmingham, which reached a peak of quality around 1900, was both distinctive and original. It was not only marked by the simplicity of technique that was characteristic of the wider Arts and Crafts Movement, but also openly expressed this simplicity in the

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The society was dogged by continual tension between its two roles: to its members the society was primarily for promoting Birmingham's artists and exhibiting their work, but to its wealthy patrons its importance was more as a training ground for designers needed for the town's manufacturing

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landscape was established by the 1790s and would continue into the 19th century, but early Birmingham School artists were also exploring the tension between picturesque rusticity and novelty, sophistication and the artificial by the late 18th century, and by the 1820s were examining how the

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The results of this revolution in art education were far-reaching. Over the course of the 1880s and 1890s the Birmingham School of Art became the focus of a generation of distinguished designers, all of whom had studied there and most of whom went on to teach there, who became known as the

68:, Birmingham's economy from the 18th century onwards was built on the production of finished manufactured goods for European luxury markets. The sale of these products was dependent on high-quality design, and this resulted in the early growth of an extensive infrastructure for the 429:

The landscape artists of the Birmingham School were distinguished primarily by their shared technique, being noted for portraying natural features such as trees with an emphasis on character rather than on precision, often adopting the techniques used in other disciplines such as

1786:, was a pivotal point in the establishment of the non-white experience as an integral part of British culture. Members of the group acted as activists, curators and promoters to challenge the white establishment of the art world; their art drew on the language both of American 1387:, painting a series of strikingly angular works before his disillusionment with the mechanised slaughter of World War I led him to develop a more representational style from the 1920s onwards. Virtually forgotten by the time of his death in 1956, his influence has grown since. 2875:

Birmingham was the only area of England in the interwar period to follow the German example in emphasising the importance of design for industrial processes as well as traditional craft-based production, teaching courses in industrial design in metals and plastics at the

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deliberate primitivism and innocence of its style – "their success as designers lay in what they left off". It was this sense of extreme understatement and almost childlike innocence that contrasted with the sophisticated and symbolically charged Celtic mysticism of the

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as part of a public art initiative. After six months, though, it was sold to a second-hand car dealer who used it as an advertisement. In 1976 it was sold again, outside the city, though there are occasional calls to return it from its current home at Penrith.

475:. Long overshadowed by the fame of his earlier watercolours, these later works have more recently attracted attention as "one of the greatest, but least recognised, achievements of any British painter." Cox's technique and approach in paintings such as 537:

could describe Birmingham as "perhaps the most artistic town in England", and the changes that would result in this transformation had already started by the 1780s. A local trade directory of 1785 lists twenty four professional artists, including the

1460:. He is best known for his etchings, however, which are "among the most suavely realized and technically adept works of art in any period" and "epitomize an elegance and panache that we associate with the decades between the two world wars." 1544:, and the Birmingham artists concentrated instead on building links with what they saw as the more authentic surrealists on the continent. This culminated in the open letter sent by Maddox and the Melvilles refusing to exhibit at the 1936 918:

Birmingham's natural sympathy for emerging radical art movements was driven partly by the town's distinctive social and economic structure. During the 19th century the artistic tastes of England's landed aristocracy remained focused on

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as sculptural materials and a pioneer of new sculptural forms such as play sculpture and sculpture integrated within buildings' architecture. His arrival marked a break with the city's existing tradition and the decisive ascendency of

1517:. John Melville had been one of the "harbingers of surrealism" in Britain, being identified as a surrealist by 1932, and he and Maddox did much to advance British surrealist practice by introducing the principle of visual distortion. 2520:, modelled or decorated the products of the town's manufacturers. Some of these set themselves up as better-paid freelance designers, offering services to larger manufacturers drawing or modelling new products. As early as 1760 the 2509:– "for the London season the Spitalfields silk weavers produced each year their new designs, and the Birmingham toy-makers their buttons, buckles, patchboxes, snuff boxes, chatelaines, watches, watch seals ... and other jewellery". 946:

emerged to become the most influential of all Birmingham artists, establishing himself as the dominant figure of late-Victorian English art and bringing the spirit of the Pre-Raphaelites decisively into the mainstream. Born on

994:. He retired from public exhibition for much of the 1870s, but his return in 1877 was to prove a sensation, with him established as probably the most celebrated artist of his generation. He was to be widely influential on the 2003:

working in Birmingham as far back as the 14th century; richly ornamented sculptural metalwork was being produced in the town from the 17th century onwards; and humanistic small-scale figurative sculpture can be seen in the

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dictated by fashion, which meant that design was critical to the town's economic success. Birmingham's manufactures had to equal or ideally surpass the styling and sophistication of craft-based European competitors in

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industries. This gave rise to a temporary split in 1821 over the patrons' decision to hold an exhibition of old masters instead of members' works. A second, permanent, split took place in 1842, the patrons forming the

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By far the most significant figure of the Birmingham School, however – the most important Birmingham artist of the early-to-mid-19th century and the first to have an international influence – was the landscape painter

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and Pre-Raphaelite triumphs of the late 19th century, the early 20th century was marked by a prevailing conservatism among Birmingham's major artistic institutions. The Arts and Crafts consensus established at the

5473: 597:, this group were to dominate high-quality European printmaking in the 1850s and 1860s and revolutionise the art of book illustration, bringing contemporary art to a much wider public than ever before. 600:

The first decades of the 19th century saw the gradual development of the institutions that would come to dominate the artistic life of Victorian Birmingham. In 1809 a group of eight artists including

2071:, working in a wide variety of genres and expanding the iconography of Birmingham sculpture with imagery of working men and compositions examining the relationship between arts, crafts and learning. 2535:

enjoyed a social status similar to that of the larger manufacturers, and pupils at Birmingham's drawing and modelling academies included the sons of middle class professionals as well as artisans.

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in New Street, which opened in 1824 and where the walls of the picture gallery were "hung with a succession of paintings by the most able ancient and modern masters". An 1819 letter to the painter

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would later write to his son "It is a pity you were not able to go to Birmingham to see the assembled masters of Pre-Raphaelitism ... the provinces in England are more sympathetic to innovation."

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David Bomberg. Locally too, an Arts and Crafts background was the common feature of many of Birmingham's more progressive and influential designers. The silverware that launched the

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in 1877 that was to lead to the ideology and aesthetic of the Arts and Crafts Movement becoming the dominant feature in Birmingham's visual culture. Taylor and the school's chairman

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ball park is home to many graffiti murals that change on a regular basis. Other graffiti art can be seen across the city on disused buildings and canal towpaths as well as subways.

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The early years of the group were marked by a conscious rejection not just of Birmingham's artistic conservatism – John Melville having six paintings banned from an exhibition at

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in the early part of his career and his best work is considered the equal to that of Chantrey, although he was less famous at least partly because of being based outside London.

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Breaking down the distinction between the fine and applied arts was a key aim of the movement, and Birmingham Group artists practiced across a variety of disciplines, producing

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production extending back to the mid-18th century. The town's sculpture workshops developed from earlier local traditions of working in stone and metal: there is evidence of

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publication, "such simplicity, even minimalism, was revolutionary. It was a defining moment in bookmaking, ridding it of the irrelevant, flowery decoration of hitherto".

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area of the city is particularly important in Birmingham's contemporary art scene, with numerous artists and organisations grouped in and around studio complexes like the

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the responsibility for deciding what is and isn't art ... entirely out of sympathy with modern movements ... having stood still for at least twenty years" By 1930 even

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in the late 1880s. Although he never taught at the School of Art, he provided training in tempera techniques at his studio in Edgbaston to other group members such as

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The most prominent members of a generation of young painters from the School of Art were elected as the Society of Artists' first associates in the 1860s, including

2762:– the other distinctive local Arts and Crafts tradition of the time – and lay behind its considerable contemporary reputation and its widespread influence on later 2528:, some of the more successful studios and workshops developed into design schools during the 1750s, as suggested by an anonymous "Well-Wisher" who, writing in the 2317: 5656: 5483: 4425: 3069:, who was brought up in the city and trained at the Birmingham School of Art in the 1960s, was the stylist for the revolutionary and controversial design of the 2357:, where it achieved international importance in the 18th century and played a prominent role in the rise of English influence in a field previously dominated by 7550: 2852:

worldwide, and work which resulted in Art Nouveau becoming known as the "Stile Liberty" in continental Europe – was manufactured by the Birmingham silversmiths

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to create one of the first examples of unashamedly modernist design to successfully enter mainstream English culture. In 1930 the Birmingham lighting designer

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in 1807. It is through these networks of teaching that the Birmingham tradition of landscape was developed and sustained, with notable later figures including

7283: 1051:, of which they were to become leading exponents. Many went on to teach at the school and become associated with other more formal organisations such as the 3166: 1932:

A variety of contemporary public art is located around the city centre, most of it created by artists from outside the Midlands. The construction of the

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Grimley, Terry (30 October 2007), "Golden age for art in the city; Terry Grimley discovers hidden depths to the Birmingham art scene of a century ago",

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and indigenous English identity, while they simultaneously challenged Black culture itself to move away from being defined by heterosexual black males.

822:, Langley's work remained vital to the image of the Newlyn School and was matched only by that of Forbes for substance and consistency. His watercolour 1094:

for specific buildings, presenting easel pictures in custom-built frames considered integral to the work of art, and working in exacting media such as

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made an extensive series of photographs for the Bournville Village Trust in Birmingham, between 1939 and 1943. These have been published as the book

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Burne-Jones' early work was heavily influenced by Rossetti, but by the 1860s he was increasingly incorporating the influence of painters of the early

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The major Birmingham artists joined the Surrealist Group in England over the following year and were to form the group's most dynamic members during

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was acclaimed for its "extraordinary aesthetics, a combination of explicit geometry, deliberate asymmetry and imbalance, and a refusal to conform".

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Today Birmingham artists work across a wide range of subjects, styles and media. Several Birmingham artists have won or been shortlisted for the

371:, whose influence was to last into the mid 19th century. Bond taught drawing and had a wide influence within the town – a pupil of his exhibited 4616: 1285:

by John Gibbins in 1925 provided an outlet for the gradual emergence of more progressive generation of Birmingham artists. In the same year The

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writing that "there is undoubtedly an authentic strangeness in the way he saw things ... we are much more likely to find ourselves thinking of

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political elite. While promoting enlightened municipal activism, the Civic Gospel also carried an aesthetic dimension: one of its leaders,

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made him effectively the leader of London surrealism. Maddox was invited to the group's October 1938 meeting at the personal insistence of

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collaborates with the private and public art galleries and museums by developing and producing a diverse range of multimedia art projects.

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lessened in the later 19th century, and the following generation of Birmingham sculptors was largely defined by its relationship with the

313:, who knew an Irish painter in Birmingham in the 1730s who taught him how to "live in a garret at eighteen pence a week". The portraitist 1566:

The relationship between the surrealists of London and Birmingham improved greatly with the arrival in London in mid-1938 of the Belgian

1548:, decrying the presence of "artists who in their day to day activities, professional habits and ethics could be called anti-surrealist". 911:

being singled out as "one that ought to be studied ... with an intelligent appreciation of its peculiar beauties and special teachings."

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by the 1850s. At a time when the controversial new movement was still exciting the hostility of the London press, the 1852 exhibition of

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war memorial. Several generations of sculptors who trained under Bloye at the School of Art later worked as assistants at his studio in

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The most sustained challenge to Birmingham's conservative Arts and Crafts consensus in the first half of the 20th century came from the

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between the 1730s and the early 1760s, and were closely associated with prominent figures of the wider cultural awakening known as the

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that "you are actually reducing and throwing back the possibilities and progress of your own city by basing yourself solely on 1890".

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displays a regular showcase of modern art which includes local artists and others sometimes from the city's own extensive collection.

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as a single activity. By contrast, Birmingham's rise by 1791 to become "the first manufacturing town in the world" was based on the

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could remark that Bomberg was "now considered one of the most important and influential British painters of the twentieth century".

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Birmingham's designers diversified into new industries in the late 20th century. Challenged to "bring art to an artless industry",

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reported that Birmingham had "30 or 40 Frenchmen or Germans constantly engaged in Drawing and Designing". Taking on assistants and

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had established his own academy of drawing in Great Charles Street by 1780, which was continued after his death in 1811 by his son

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also betrays this influence, with many of Birmingham's most notable artistic figures coming from a commercial or craft background.

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lived and worked at nearby Wolverhampton, and was a founder member of the Birmingham Photographic Society. The BPS later elected

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Birmingham's highly cosmopolitan population was an increasing influence on its art in the late 20th century. The formation of the

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to present "a quest for the essential, the quiddity of what is observed". The tradition of artists from Birmingham travelling to

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as well as pictures. In painting they emphasised the role of a picture in the context of a wider work or space, often producing

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Birmingham's artistic influence has extended well beyond its borders: David Cox was a major figure of the Golden Age of English

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Sidey, Tessa (2000), "Boogie Woogie on a higher plane: a local context for the Birmingham Surrealists", in Sidey, Tessa (ed.),

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in 1754. The influence of this type design across Europe would be huge as one of the key milestones in the transition from the

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Brumbaugh, Thomas B. (1993), "The Art of Gerald Brockhurst", in Brumbaugh, Thomas B.; Ladis, Andrew; Phagan, Patricia (eds.),

1652:. In the early 1960s he produced some of the movement's earliest works, combining the influence of his Birmingham training in 702: 7508: 7473: 7331: 7321: 7316: 6697: 6423: 6360: 6334: 6303: 4105: 2869: 2701: 1052: 363:

by 1761. He was to exhibit over forty works in London over following decades and it is with him that emerges the distinctive

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The 1890s saw the emergence of a loosely connected group of like-minded radical artists who would later become known as the

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hosts theatre performances, concerts, literature and poetry showcases, courses, film screenings and small art exhibitions.

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Crawford, Alan (1984a), "The Birmingham Setting: A Curious Mixture of Bourgeoisie and Romance", in Crawford, Alan (ed.),

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The Tate Gallery 1984–86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982–84

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in Paris, but with British surrealism viewed as a spent force in the post-war era the group broke up in the early 1950s.

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Artistic activity in late Georgian Birmingham was not restricted to landscape painting. A century later the London-based

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Taylor, John Russell (9 September 1980), "Artist with authentic strangeness - Joseph Southall, Birmingham Art Gallery",

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of books at least as far back as the 1650s, and the area's earliest notable contribution to design was in the field of

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in 1902, which featured frescoes and stained glass by Payne, an altarpiece by Gere and a crucifix designed and made by

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was living in Birmingham in 1759 and 1760 when he painted a portrait of the enlightenment poet and landscape gardener

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for tableware, clocks, candlesticks and other domestic items "helped to define contemporary style" in the 1960s. The

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was the first of a notable series of woman artists to study at the School of Art from the 1850s, that later featured

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Breeze, George (1984), "Decorative Painting: For the Common Good and Beauty of our Towns", in Crawford, Alan (ed.),

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By the 1820s Birmingham was supporting a vigorous market for contemporary art. While most British towns other than

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as "without parallel in British landscape painting of the 1850s" – have led to his being seen, particularly within

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As part of this growth of new production processes a class of specialist "art-workers" emerged in Birmingham, who

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in 1938 for being "detremental (sic) to public sensibility" – but also what they saw as the inauthenticity of the

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are all major figures in the history of their fields, while more widely the city has been a notable centre of the

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emphasised the relationship between high art and craftsmanship, and was closely aligned to Birmingham's dominant

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Birmingham artists took leading international roles in several artistic developments during the post-war period.

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in the 1880s held firm, and new generations of painters tended to either maintain an academic figurative style –

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A chronological history of the old English landscape painters, in oil, from the 16th century to the 19th century

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The first indication of the rise of a distinctive group artists was the 1893 commission of a set of murals for

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in 1957, the Mini became "the design icon of a generation". Attracting celebrity owners including all four

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exhibition was pivotal to the emergence of British Pop Art as a coherent and widely recognised phenomenon.

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around the start of the 20th century, was brought up in a family of Birmingham brass foundry proprietors.

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on the Birmingham Group is clear, modern scholarship has also seen links with later movements in art. The

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The Birmingham school: paintings, drawings and prints by Birmingham artists from the permanent collection

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Levy, Silvano (2000), "Maddox, the Melvilles and Morris: Birmingham Surrealists", in Sidey, Tessa (ed.),

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in the 1940s, before finally moving to the city to teach at the School of Art in 1964. Later that decade

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The most radical artist associated with the city during this period was David Bomberg, who was born to a

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Industrial Enlightenment: Science, technology and culture in Birmingham and the West Midlands, 1760–1820

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The earthly paradise: F. Cayley Robinson, F.L. Griggs, and the painter-craftsmen of the Birmingham Group

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and although only a small gallery it was declared 'Gallery of the Year' by the Good Britain Guide 2004.

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holds in excess of 18,000 35mm archival images from 1982–present. Caesar's recent exhibitions include

1020: 264: 7555: 4067: 3030: 2653: 2567: 2248: 2239:(1838–1914) lived and worked in Erdington, Birmingham. The Birmingham Central Library now holds the 1960: 1880: 1767: 1747: 1413: 1314: 1293:

Away from this group more progressive figures were few and their connections with Birmingham slight:

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Remy, Michel (2000), "Towards the Magnetic North: Surrealism in Birmingham", in Sidey, Tessa (ed.),

4883:"Birmingham on the cutting-edge - A groundbreaking gallery deserves this long-overdue retrospective" 4479: 3536: 3205:

is now one of the largest media and arts villages in Europe, with occasional exhibitions and modern

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Contemporary African Caribbean artists and photographers who have exhibited internationally include

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made him a major figure of the medium's "Golden Age". In 1841 Cox returned to Birmingham to live in

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Gerald L. Brockhurst (1890–1978), A Retrospective from the William P. Brumfield Memorial Collection

2995: 2865: 2853: 2618:, and became the first British art school to establish itself fully under local municipal control. 2236: 2079: 1829:. Local artists who use urban Birmingham as their canvas (this is illegal, and regarded by some as 1794: 1661: 1368: 1318: 1223: 1215: 983: 904: 6383: 5368: 2059:, his works exhibiting the movement's characteristic naturalism in form and spiritualism in mood. 7468: 7082: 3568: 3066: 2921: 2743: 2673: 2636: 2591: 2579: 2530: 2493: 2422: 2005: 1902: 1883: 1834: 1457: 1389: 1356: 1302: 1282: 1191: 1137: 999: 943: 889: 868: 746: 726: 569:– a separate group to the landscape artists but emerging similarly from the drawing academies of 554: 448: 418: 368: 170: 162: 88: 84: 6856:

The rise of English provincial art: artists, patrons, and institutions outside London, 1800–1830

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had decided to abandon the priesthood and become architect and artist; its spiritual godfather

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had deep roots in the town: its historical origins and many of its cultural roots lay with the

2429:. Several of Baskerville's employees went on to become type designers themselves, most notably 2098:, who combined the arts and crafts tradition of Benjamin Creswick with the avant-garde edge of 631: 7248: 7223: 7199: 7181: 7163: 7117: 7092: 7069: 7051: 7033: 6995: 6977: 6959: 6939: 6895: 6877: 6859: 6841: 6823: 6784: 6759: 6749: 6672: 6625: 6577: 6456: 6419: 6409: 6356: 6330: 6299: 6241: 6208: 6184: 6148: 5971: 5899: 5875: 5693: 5630: 5624: 5557: 5524: 5374: 5078: 4981: 4948: 4644: 4567: 4485: 4408: 4101: 4014: 3650: 3623: 3592: 3425: 3407: 3309: 3170: 3082: 3010: 2945: 2631: 2477: 2434: 2333: 2114:

from 1919 to 1956 and became the city's unofficial civic sculptor – producing everything from

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exhibition. In 1947 Maddox and Bridgwater featured among only six English artists selected by

1474: 1441: 1429: 1298: 1149: 742: 582: 539: 431: 408: 383:, who also established himself as a drawing master within Birmingham, and whose elder brother 318: 7213: 6836:

Crawford, Alan (1984b), "Conclusion: A Famous City of White Stone", in Crawford, Alan (ed.),

6293: 5551: 4942: 4638: 1570:, who had some sympathy with the Birmingham artists' views and whose role as Director of the 1290:

miracle happened .... Mr Gibbins has almost revolutionised the artistic life of Birmingham".

4858: 4481:

David Bomberg: Spirit in the Mass; Abbot Hall Art Gallery, Kendal, 17 July - 28 October 2006

3902: 3226: 3219: 3078: 3018: 2845: 2783: 2615: 2598: 2414: 2390: 2338: 2205: 2048: 2033: 1906: 1737: 1678: 1453: 1294: 1278: 1211: 1180: 1113: 1056: 1044: 995: 912: 500: 456: 352: 194: 166: 7133:

A Hitchhiker' s Guide to the Gallery - Where to see art in Birmingham and the West Midlands

6544: 5872:

The arts and crafts movement: a study of its sources, ideals and influence on design theory

4093:

The Arts and Crafts Movement: a study of its sources, ideals and influence on design theory

3088:

By far the most notable piece of automotive design to emerge from the city however was the

1234:

and Chirico than of anyone nearer to this apparently stick-in-the-mud Arts-and-Craftsman."

6496:"Robert Welch: His clocks, cutlery and candlesticks helped to define 'contemporary' style" 6240:, trans. Loeb, Charlotte I.; Loeb, Arthur L., Cambridge, MA: MIT Press, pp. 206–220, 5478: 3645:

Pillement, Georges (1978), "The Precursors of Impressionism", in Sérullaz, Maurice (ed.),

3202: 3162: 3105: 3034: 2981: 2787: 2697: 2693: 2657: 2586:

had produced some of his earliest work in Birmingham; and three of the founder members of

2465: 2025: 2009: 1894: 1869: 1846: 1594: 1567: 1555: 1502: 1384: 1270: 1195: 1168: 1141: 1024: 819: 762: 734: 404: 336: 322: 5596: 4612:

John Melville: A 'Marvelous' English Artist - A Personal Journey to Surrealism and Beyond

3669: 3303: 2554:

If Birmingham took a leading role in the separation of design and manufacture during the

1926: 1610: 1575: 1106:, where the creation of the materials was an essential part of the creation of the work. 5373:, Public Sculpture of Britain, Liverpool: Liverpool University Press, pp. 469–470, 2389:

in Birmingham in the years before 1716. Most notable however was the Birmingham printer

6520: 6231: 5661:, An Introduction to Type, Spokane, WA: Spokane Falls Community College, archived from 3132: 3093: 3003: 2985: 2941: 2888:– whose background lay in designing upmarket Arts and Crafts houses in suburbs such as 2861: 2803: 2747: 2713: 2685: 2665: 2626: 2610: 2583: 2575: 2563: 2449: 2374: 2224: 2212: 2135: 2123: 1841:. Street art competitions are still regularly held at the Custard Factory. In 2002 the 1725: 1721: 1533: 1510: 1409: 1161: 1145: 991: 968: 964: 936: 932: 781: 774: 722: 706: 696: 609: 574: 396: 388: 310: 206: 198: 131: 92: 73: 1047:

in the 1880s, and all had been deeply imbued with the philosophy and practices of the

7544: 7371: 6953: 6597: 6235: 3151: 3109: 3101: 3054: 2905: 2901: 2897: 2681: 2661: 2649: 2497: 2418: 2162: 2095: 2083: 2056: 2021: 1964: 1918: 1783: 1771: 1763: 1759: 1729: 1706: 1498: 1494: 1478: 1449: 1425: 1328: 1176: 1157: 1063: 948: 832: 805: 789: 766: 758: 570: 488: 384: 269: 242: 158: 139: 119: 96: 69: 45: 1995:

Birmingham is the only English city outside London to have an unbroken tradition of

1821:(or "spraycan art") culture appeared in the early 1980s, with the area featuring in 1324: 864: 7140: 6798: 3143: 2977: 2973: 2917: 2885: 2857: 2732: 2709: 2270: 2223:

The city has continued to produce notable sculptors, with recent figures including

2198: 2158: 2052: 1956: 1873: 1862: 1850: 1814: 1733: 1717: 1710: 1674: 1602: 1586: 1537: 1514: 1493:, who emerged as a group from 1935 and whose leading figures included the painters 1394: 1360: 987: 814:

painters. Although he was later joined by Harris, Bramley, Wainwright and numerous

793: 737:, he lay at the centre of a nationwide network of dealers, collectors and artists. 691:

in Union Street opened in 1811 and which held regular exhibitions from 1817 – and

676: 613: 601: 594: 578: 496: 392: 277: 214: 202: 115: 6325:

Crawford, Alan (1984), "Metalwork - By Hammer and Hand", in Crawford, Alan (ed.),

6219:

the early Bauhaus was in many ways a direct descendant of Lethaby's Central School

2786:'s educational developments in Birmingham in the 1880s were a direct influence on 7217: 7086: 6753: 6413: 6350: 6143:

Granelli, Remo (1984), "All the World and Time Enough", in Crawford, Alan (ed.),

5518: 5428:"John Bridgeman - Fiercely unconventional sculptor who eschewed London galleries" 4975: 6644: 4009:

Pissarro, Camille (5 November 1891), "Letter from Eragny", in Rewald, J. (ed.),

3178: 3174: 3070: 3065:, in design terms "perhaps the most sophisticated British production car ever". 3042: 2849: 2717: 2587: 2525: 2453: 2445: 2441: 2394: 2370: 2255: 2139: 2130:

before establishing themselves independently, including notable figures such as

1984: 1913:. Significant concentrations of artists, writers and curators also exist in the 1702: 1653: 1541: 1401: 1364: 1352: 1310: 1207: 1099: 1003: 972: 939:

and driven by its direct relevance to Birmingham's day-to-day economic reality.

827: 672: 464: 439: 435: 348: 309:. The first record of an artist working within Birmingham comes from the writer 301: 238: 234: 174: 154: 127: 100: 57: 41: 824:

In faith and hope the world will disagree. But all mankind's concern is charity

7297: 7293: 6800:

Manufacturing landscape: the representation of suburbs, Birmingham 1780-c.1850

5305: 5229: 4826: 4372: 3334: 3155: 3147: 3108:, its influence extended far beyond automotive design as it came to symbolise 3038: 3026: 3014: 2913: 2721: 2354: 2181: 2150: 2119: 2000: 1802: 1664: 1433: 1219: 1129: 1075: 928: 924: 920: 770: 754: 684: 546: 226: 218: 135: 49: 29: 4121: 3411: 3366: 2240: 6899: 3232: 3206: 2811: 2807: 2779: 2763: 2689: 2669: 2513: 2417:, and it is a font still widely used today in applications from the logo of 2386: 2166: 2103: 2099: 1996: 1898: 1866: 1822: 1798: 1694: 1372: 1306: 1083: 1071: 1067: 853: 810: 750: 718: 566: 472: 289: 285: 281: 230: 222: 178: 108: 80: 18: 6999: 5898:, Pevsner Architectural Guides, London: Yale University Press, p. 21, 4412: 4018: 2381:

typefaces and the first significant English typographer – came from nearby

2263: 1941: 1720:

in the 1960s provided a focus for a distinctive group of artists including

6908:"Gleams of gold: the Fortunoff collection of paintings by Joseph Southall" 5975: 3313: 3045:

served an apprenticeship under Burzi at Longbridge before studying at the

2570:

in the 1850s that formed around a nucleus who had studied at Birmingham's

1375:

movement, he was one of the few English artists to wholeheartedly embrace

165:

was the dominant figure of late-Victorian English art and an influence on

4566:, Athens, GA.: University of Georgia, Georgia Museum of Art, p. 15, 4541: 3906: 3062: 3058: 2952:

during the early post-war era, producing classic tableware including the

2949: 2909: 2893: 2837: 2816: 2798:

from 1896, which in turn provided the model for the establishment of the

2517: 2350: 2189: 2185: 2115: 1818: 1380: 1348: 1227: 841: 797: 590: 468: 452: 297: 123: 53: 7112:

Osborne, Victoria (2008), "Cox and Birmingham", in Wilcox, Scott (ed.),

1793:

The late 20th century also saw the growth of alternative art forms. The

1317:

and was to train an entire generation of English modernists at London's

4778: 4735:(3), AHRC Research Centre for Studies of Surrealism and its Legacies: 5 3097: 3074: 3009:

During the post-war era Birmingham was particularly influential within

2969: 2929: 2799: 2755: 2731:

The thinking of the Arts and Crafts Movement chimed perfectly with the

2489: 2358: 2209: 1922: 1890: 1709:

landscape made him the only major English artist among the pioneers of

1649: 1445: 1405: 1344: 1231: 1172: 1095: 845: 680: 293: 186: 143: 7091:, Public Sculpture of Britain, Liverpool: Liverpool University Press, 6974:

The Book Makers of Old Birmingham: Authors, Printers, and Book Sellers

6840:, Birmingham: Birmingham Museums & Art Gallery, pp. 129–133, 3572: 3239:

There are a variety of other small and private galleries in the city.

2157:

was active in Birmingham between 1927 and 1942, the portrait sculptor

3077:

in the 1990s as Head of Design, where his work on models such as the

2833: 2791: 2502: 2481: 2410: 2378: 2366: 2193: 2176:

Bloye's replacement at the School of Art when he retired in 1956 was

2170: 2107: 1838: 1830: 1529: 1376: 1340: 1184: 1103: 1091: 849: 837: 815: 801: 668: 484: 460: 360: 61: 37: 7198:, Birmingham: Birmingham Museums & Art Gallery, pp. 15–22, 7050:, Birmingham: Birmingham Museums & Art Gallery, pp. 23–36, 6822:, Birmingham: Birmingham Museums & Art Gallery, pp. 27–40, 6329:, Birmingham: Birmingham Museums and Art Gallery, pp. 110–111, 5520:

Experience and identity: Birmingham and the West Midlands, 1760–1800

4726:"The del Renzio Affair: A leadership struggle in wartime surrealism" 4122:"Jones, Sir Edward Coley Burne-, first baronet (1833–1898), painter" 3229:

features works of African, Asian and Caribbean contemporary artists.

2964:

ranges, while the designs of the silversmith and metalware designer

1440:

at the age of 12 – became one of the best known and most celebrated

971:. Leaving Oxford without graduating, he fell under the influence of 40:

that emerged in the 1750s, driven by the historic importance of the

7162:, Birmingham: Birmingham Museums & Art Gallery, pp. 7–14, 6295:

The Art Nouveau Style: A Comprehensive Guide with 264 Illustrations

3198:

and the 'New Gallery' in St Paul's square also shows local artists.

3013:, the field associated with the city's dominant post-war industry. 1393:

described him as a "neglected British genius" in 1988, and by 2006

3033:

in the 1940s and 1950s, designing the "astonishingly extravagant"

3022: 2994: 2620: 2542: 2506: 2362: 2332: 2078: 1979: 1742: 1682: 1624: 1550: 1473: 1417: 1323: 1108: 1087: 1079: 1019: 863: 701: 699:

remarked that "we have picture sellers everywhere in Birmingham".

630: 510: 492: 413: 331: 288:

predates the Industrial Revolution, but organised activity in the

263: 17: 7011: 6783:, Birmingham: Birmingham Museum and Art Gallery, pp. 61–83, 6265: 5265: 4157: 3025:

in the 1920s, transformed the conservative design culture of the

3002:

lined up at a rally to celebrate the centenary of their designer

2778:

within Birmingham formed one of the precursors of early European

2476:

Birmingham was at the forefront of the 18th century emergence of

2094:

20th century Birmingham sculpture was dominated by the figure of

2012:

from the 1750s. The first recognisably fine art stone carver was

1940:

which were erected at the main entrance, a huge mural on a glass

620:. This held its first exhibition of members' work in 1814 as the 455:

in 1783, Cox studied under Joseph Barber in Birmingham and under

438:

to seek the rugged rural scenes that formed the accepted idea of

254:

The Midlands Enlightenment and the Birmingham School of landscape

6147:, Birmingham: Birmingham Museums & Art Gallery, p. 55, 3089: 2999: 1949: 1937: 1685:

movement – had close links with Birmingham, exhibiting with the

1421: 480: 407:– a pupil of both Lines and Barber, who was to become a notable 112: 65: 7265: 6781:

By Hammer and Hand - The Arts and Crafts Movement in Birmingham

6696:, ICONS - A Portrait of England, Culture Online, archived from 2832:, later also coming under the influence of the Birmingham-born 2165:

produced sculpture in the city from the time of his exile from

986:, and himself becoming an influence on younger artists such as 796:. Of these the most significant was Langley, whose move to the 6927:

A Review of the Royal Birmingham Society of Artists, 1821–1999

6838:

By Hammer and Hand: the Arts and Crafts Movement in Birmingham

6820:

By Hammer and Hand: the Arts and Crafts Movement in Birmingham

6327:

By Hammer and Hand: the Arts and Crafts Movement in Birmingham

6145:

By Hammer and Hand: the Arts and Crafts Movement in Birmingham

6114: 6112: 5106:, The Turner Prize: Year by Year, Tate Britain, archived from 4944:

Welcome to the jungle: new positions in Black cultural studies

3173:, and has continued with exhibitions by artists as diverse as 1698: 1644:, who was born in the city and both studied and taught at the 495:

to wide acclaim in 1855 and are known to have been studied by

351:, whose career started as a painter and japanner in Boulton's 33: 7222:, Bristol: Intellect Books (published 2005), pp. 67–90, 1853:

to have a solo exhibition at a major British public gallery.

22:

Figures representing art (left) and industry (right), on the

6525:, Search the Collections, London: Victoria and Albert Museum 4910:

Reinventing Britain: Cultural diversity up front and on show

3432:, vol. 91, no. 2, London: Edward Cave, p. 379 2574:; it was in Birmingham in 1855 that the movement's founders 5309: 5233: 4830: 4376: 4125: 3374: 3342: 2880:, and holding an "Exhibition of Midland Industrial Art" at 2161:

studied and worked in the city throughout the 1930s, while

2032:

and produced over sixty major works. Hollins studied under

1268:

and himself hardly a radical figure, was commenting in the

7088:

Public Sculpture of Birmingham, including Sutton Coldfield

7006:

Holyoak, Joe; Wildman, Stephen; Schroder, Timothy (1996),

6990:

Hill, Joseph; Midgley, William; Harper, Edward S. (1928),

6750:"Commerce and Creativity in Eighteenth-Century Birmingham" 4916:, London: Arts Council England, p. 11, archived from 4013:, New York: Pantheon Books (published 1943), p. 185, 2848:

in 1901 – one of the most widely recognized archetypes of

1948:

and three fountains in St Martin's Square in the shape of

717:

Birmingham was also an important centre for Victorian art

628:

under the patronage of wealthy local businessmen in 1821.

379:

in London as early as 1763. Among Bond's other pupils was

7214:"Birmingham and its Art School: Changing Views 1800–1921" 6567: 6565: 6563: 2884:

in 1934 that attracted 28,000 visitors. During the 1930s

844:

to contribute a self portrait to hang alongside those of

826:

was singled out as "a beautiful and true work of art" by

7116:, New Haven, CT: Yale University Press, pp. 69–83, 1206:

in 1989 positioned the group as the link connecting the

1183:, and exhibited widely internationally, particularly in 7219:

Histories of Art and Design Education: Collected Essays

6298:, Mineola, NY: Courier Dover Publications, p. 80, 3674:, Old and Sold - Antiques Auction and Marketplace, 1913 3559:

Wilcox, Scott (October 1983), "David Cox. Birmingham",

2318:

the 'Handsworth Self Portrait' series of self-portraits

2308:

In late 1979, Derek Bishton (now Consultant Editor for

1952:, which are illuminated at night in different colours. 879:

Birmingham was already being recognised as a centre of

6992:

The history of the Royal Birmingham Society of Artists

5970:, Cambridge: Cambridge University Press, p. 265, 5474:"King Kong statue could be heading back to Birmingham" 3877: 3620:

David Cox, 1783–1859: précurseur des impressionnistes?

3278: 2870:

Vittoria Street School of Jewellery and Silversmithing

2828:

from 1906 to 1911 and worked for Birmingham architect

2055:

ideology. Albert Toft was a prominent exponent of the

711:

Never morning wore to evening but some heart did break

355:, but who is recorded as exhibiting landscapes at the 6475:

Akhurst, Steve (Summer 2005), "AH 'Woody' Woodfull",

6355:, Oxford: Oxford University Press, pp. 64, 129, 6181:

William Richard Lethaby: His Life and Work, 1857–1931

5629:, New Haven, CT: Yale University Press, p. 132, 5338: 5336: 5334: 5332: 5037:, Birmingham: Trinity Mirror Midlands, 8 January 2008 4643:, Liverpool: Liverpool University Press, p. 38, 3519: 3517: 2464:

to maintain aesthetic appeal. In the words of a 2001

2204:

In 1972, a 550 cm (18 ft)-tall, fibreglass

1416:

and illustrated notable books on the architecture of

7247:, Birmingham: Birmingham Museums & Art Gallery, 6418:, Gloucester, MA: Rockport Publishers, p. 111, 4540:, Traditional Fine Arts Organization, archived from 3406:, vol. 2, Leigh-on-Sea: F. Lewis, p. 167, 3073:

of 1982, before leading the resurgence of design at

1043:

after the reorganisation of its teaching methods by

683:

for the sale of pictures, Birmingham had specialist

48:

economy. While other early industrial towns such as

7436: 7390: 7349: 7304: 5874:, London: Trefo (published 1990), pp. 97–101, 5821: 5819: 4640:

The Scandalous Eye: The Surrealism of Conroy Maddox

3992: 3990: 3308:, Auckland: Auckland University Press, p. 79, 2149:Outside the city's Bloye-dominated mainstream, the 1404:tradition revived with a generation of influential 1218:. Southall himself has been seen as a precursor of 856:in their collection of portraits of great artists. 177:; David Bomberg was one of the pioneers of English 6755:Markets and Manufacture in Early Industrial Europe 4309:, Birmingham: Birmingham Post and Mail, p. 13 3813: 3811: 373:A Drawing of Landscape after Mr Bond of Birmingham 6183:, Oxford: Architectural Press, pp. 178–180, 5008:, London: Guardian News and Media, archived from 4980:, London: Collins & Brown, pp. 193–194, 4615:, London: The Millinery Works Art Gallery, 2006, 3778: 3766: 3746: 3744: 3735: 3715: 3461: 3266: 3131:Birmingham has one of the largest collections of 2440:Baskerville's design innovations extended beyond 1648:, was one of the central figures in the birth of 1452:, painting over 600 portraits including those of 4342: 4340: 3585:Riggs, Terry (1988), "Rhyl Sands by David Cox", 3426:"Obituary, with Anecdotes of remarkable Persons" 2716:; and commercial firms such as the silversmiths 2180:, one of the first British sculptors to embrace 1589:and through the subsequent years of the decade. 660:, which received royal patronage in 1868 as the 6726:, London: Northern and Shell Media Publications 4863:, Art Terms, New York: The Museum of Modern Art 4683: 4681: 4668: 4666: 4407:, London: Eyre & Spottiswoode, p. 85, 1681:and the only British member of the avant-garde 650:Society of Arts and Government School of Design 5468: 5466: 5083:, The Turner Prize: Year by Year, Tate Britain 5060:, The Turner Prize: Year by Year, Tate Britain 3965: 3963: 1797:nurtured an influential generation working in 689:Artists' Repository and Exhibition of Pictures 7277: 6958:, World of Art, London: Thames & Hudson, 6502:, London: Guardian News and Media, p. 24 5658:Family Classifications of Type - Transitional 5031:"The Cube can lose Birmingham's square image" 2243:. The Victorian "father of art photography", 967:and met his lifelong friend and collaborator 8: 5523:, Manchester University Press, p. 122, 5450: 5448: 5408:, London: Independent News and Media Limited 5314:(Online ed.), Oxford University Press, 5270:(Online ed.), Oxford University Press, 5238:(Online ed.), Oxford University Press, 4835:(Online ed.), Oxford University Press, 4381:(Online ed.), Oxford University Press, 4250: 4248: 4130:(Online ed.), Oxford University Press, 3969: 3954: 3942: 3640: 3638: 3397: 3395: 3393: 2856:to the designs of local metalwork craftsmen 2427:branding of the Federal Government of Canada 1210:of the Pre-Raphaelites to that of the later 581:. Formed around the younger Barber's pupils 395:, who established another academy in nearby 5306:"Toft, Albert Arthur (1862–1949), sculptor" 4800: 4764: 4011:Camille Pissarro: Letters to his son Lucien 2668:; the wood engravers and book illustrators 526:in the shadow of the tower of Birmingham's 185:was one of the key figures in the birth of 7284: 7270: 7262: 6976:, New York: B. Franklin (published 1971), 6872:Fox, Caroline; Greenacre, Francis (1985), 6667:Setright, L.J.K.; Conran, Terence (1997), 3891:"The Papers of Joseph Gillott (1799–1872)" 3541:, Lausanne: Fondation de l'Hermitage, 1999 3379:(Online ed.), Oxford University Press 3347:(Online ed.), Oxford University Press 3169:. It opened with a major retrospective of 2320:on the streets of Handsworth, Birmingham. 2312:), John Reardon (became Picture Editor of 2279:From Jamaica Row - Rebirth of the Bullring 1601:in 1942 and Maddox was the organiser with 1578:and both he and Melville exhibited in the 1546:London International Surrealist Exhibition 1363:before studying under the Birmingham-born 1351:area of Birmingham in 1890. Growing up in 721:, as the home of major collectors such as 7114:Sun, Wind, and Rain: the art of David Cox 6720:"THE CAR THAT DROVE THE SWINGING SIXTIES" 6646:Alec Issigonis - Designing Modern Britain 6620:Bayley, Stephen; Conran, Terence (2007), 6572:Bayley, Stephen; Conran, Terence (2007), 6445:Bayley, Stephen; Conran, Terence (2007), 6390:, London: Guardian News and Media Limited 6166: 6130: 6118: 6103: 6091: 6079: 6055: 6043: 6031: 5987: 5941: 5929: 4889:, London: Guardian News and Media Limited 4405:Modern English Painters: Sickert to Smith 4191: 3833:British artists' suppliers, 1650–1950 - E 3305:Samuel Johnson: a personality in conflict 2024:, who took over the studio of his father 325:and to draw pictures to be reproduced by 6599:Ford Sierra - Streamlining the future... 6410:"Bestlite Lamp - Seamless functionality" 6027: 6015: 5999: 5953: 5917: 5853: 5837: 5810: 5454: 5354: 5342: 5291: 5215: 5187: 5175: 5163: 4054: 4042: 4030: 3996: 3802: 3762: 3723: 3691: 3591:, London: Tate Gallery, pp. 62–64, 1359:he returned to Birmingham to train as a 656:- while the artists formed the separate 6624:, London: Conran Octopus, p. 187, 6237:De Stijl: The Formative Years 1917–1922 5825: 5718: 5692:, London: British Library, p. 71, 5311:Oxford Dictionary of National Biography 5235:Oxford Dictionary of National Biography 5211: 5199: 4832:Oxford Dictionary of National Biography 4378:Oxford Dictionary of National Biography 4358: 4127:Oxford Dictionary of National Biography 3930: 3865: 3853: 3817: 3790: 3750: 3719: 3703: 3472: 3449: 3376:Oxford Dictionary of National Biography 3344:Oxford Dictionary of National Biography 3289: 3254: 3247: 3037:in 1948 and the "delightfully minimal" 2868:, all of whom were associated with the 1801:in the late 1960s and 1970s, including 1660:with the layout and structure of early 1593:played a key role in the conception of 836:and in 1895 Langley was invited by the 6576:, London: Conran Octopus, p. 66, 6451:, Buffalo, NY: Firefly Books, p. 6207:, London: Phaidon Press, p. 240, 5370:Public Sculpture of the City of London 4857:Moor, Angela H.; Moor, Ian L. (2009), 4294:, London: Times Newspapers, p. 13 4277: 4227: 4215: 4179: 3538:The Golden Age of English Watercolours 3367:"Bond, Daniel (bap. 1725, died 1803), 2944:laid down many of the ground rules of 1605:of 1940's notoriously confrontational 1167:The key individual artist however was 963:, where he became a key member of the 272:'s studio in Edmund Street, Birmingham 268:"The Birth-place of Birmingham Art" - 56:were based on the manufacture of bulk 6669:Mini: The Design Icon of a Generation 6274:from the original on 27 December 2010 6067: 6003: 5857: 5841: 5786: 5770: 5742: 5730: 5605:from the original on 19 December 2010 5318:from the original on 16 December 2008 5274:from the original on 10 December 2010 5242:from the original on 16 December 2008 5139: 5127: 4947:, London: Routledge, pp. 14–15, 4839:from the original on 16 December 2008 4812: 4619:from the original on 26 November 2010 4385:from the original on 16 December 2008 4331: 4134:from the original on 16 December 2008 3981: 3901:(1), Oxford University Press: 37–84, 3895:Journal of the History of Collections 3647:Phaidon Encyclopedia of Impressionism 3622:, Arcueil, France: Éditions Anthèse, 3523: 3508: 3496: 3484: 2385:, and almost certainly trained as an 2349:Birmingham has been a centre for the 2110:. Bloye was the Head of Sculpture at 1697:'s obsessively detailed paintings of 503:during their stay in London in 1870. 260:Birmingham School (landscape artists) 7: 7551:Culture in Birmingham, West Midlands 5798: 5782: 5766: 5754: 5582: 5504: 5434:, London: Independent News and Media 4752: 4711: 4699: 4687: 4672: 4597: 4585: 4452:Raynor, Vivien (25 September 1988), 4373:"Camden Town Group (act. 1911–1913)" 4346: 4319: 4265: 4254: 4239: 4203: 3878:Holyoak, Wildman & Schroder 1996 3279:Holyoak, Wildman & Schroder 1996 2437:typeface is also still widely used. 522:(1798), depicting the values of the 221:movements, and within the fields of 6806:, London: University College London 6352:The Avant-Garde in Interwar England 5553:Type: The Secret History of Letters 5000:Hutchinson, Roger (19 April 1997), 4827:"Gear, William (1915–1997), artist" 3836:, London: National Portrait Gallery 3196:Royal Birmingham Society of Artists 3186:Birmingham Museum & Art Gallery 3137:Birmingham Museum & Art Gallery 2291:Birmingham Museum & Art Gallery 1716:More locally, the formation of the 1615:International Surrealist Exhibition 1253:Royal Birmingham Society of Artists 860:Burne-Jones and the Pre-Raphaelites 662:Royal Birmingham Society of Artists 637:Royal Birmingham Society of Artists 391:. Among Joseph Barber's pupils was 357:Society of Artists of Great Britain 87:originally trained as a painter of 7196:Surrealism in Birmingham 1935–1954 7160:Surrealism in Birmingham 1935–1954 7048:Surrealism in Birmingham 1935–1954 6494:MacCarthy, Fiona (23 March 2000), 5968:Academies of art, past and present 5556:, London: I.B.Tauris, p. 29, 5426:Michael, M. A. (13 January 2005), 4430:, Digital Ladywood, archived from 3017:, who had fled to Birmingham from 2597:However it was the appointment of 2300:Leicester Museum & Art Gallery 2294:Victoria and Albert Museum, London 942:It was from this environment that 804:in 1882 made him the first of the 70:education of artists and designers 14: 7139:, London: Arts Co, archived from 7016:, Oxford: Oxford University Press 6718:Pettet, Adrian (16 August 2009), 6622:Design: Intelligence Made Visible 6574:Design: Intelligence Made Visible 6483:, Plastics Historical Society: 10 6448:Design: Intelligence Made Visible 6382:Glancey, Jonathan (18 May 2002), 5689:Five hundred years of book design 5482:. 25 January 2011. Archived from 4977:Comix: The Underground Revolution 4881:Jennings, Rose (29 August 2004), 4154:"Burne-Jones, Sir Edward (Coley)" 4096:, London: Studio Vista, pp. 3335:"Alcock, Edward (fl. 1745–1778), 3122:The Barber Institute of Fine Arts 2892:– oversaw the development of the 2882:Birmingham Museum and Art Gallery 2796:Central School of Arts and Crafts 2720:, the stained glass workshops of 2676:; the jewellers and metalworkers 2297:National Portrait Gallery, London 2266:by Phyllis Nicklin (1913?-1969). 1879:who was shortlisted in 1985, and 1522:Birmingham Museum and Art Gallery 1266:Birmingham Museum and Art Gallery 873:King Cophetua and the Beggar Maid 491:. His pictures were exhibited in 249:Painting, drawing and printmaking 7526: 7525: 7340: 7292: 6876:, London: Barbican Art Gallery, 6741:Bibliography and further reading 6292:Madsen, Stephan Tschudi (2002), 2706:Bromsgrove Guild of Applied Arts 2063:was the leading sculptor of the 1976:Georgian and Victorian sculpture 1872:, winner of the 1997 prize, the 893:at the annual exhibition of the 7068:, London: Thames & Hudson, 7032:, Manchester University Press, 6758:, Routledge, pp. 173–202, 4783:, Zurich: Galerie Bischofberger 4484:, Kendal: Lakeland Arts Trust, 3779:Hill, Midgley & Harper 1928 3767:Hill, Midgley & Harper 1928 3736:Hill, Midgley & Harper 1928 3716:Hill, Midgley & Harper 1928 3649:, Oxford: Phaidon, p. 39, 3462:Hill, Midgley & Harper 1928 3333:Graham-Vernon, Deborah (2004), 3267:Hill, Midgley & Harper 1928 3167:International Convention Centre 2566:– a group of undergraduates at 2169:in the 1940s until his move to 1944:located at the entrance facing 1383:in the years leading up to the 1347:family on Sutton Street in the 1313:, who became a stalwart of the 1187:, where he was widely admired. 487:, as an important precursor of 471:and concentrate on painting in 6906:Gere, Charlotte (April 2005), 5400:Fenwick, Simon (7 July 2003), 5230:"Hollins, William (1763–1843)" 4069:Edward Burne-Jones (1833–1898) 3402:Grant, Maurice Harold (1958), 3337:portrait and miniature painter 2702:Birmingham Guild of Handicraft 2472:The birth of industrial design 2269:Notable photographers include 1424:before becoming Keeper of the 1371:. Loosely associated with the 1053:Birmingham Guild of Handicraft 687:such as Allen Everitt – whose 616:in Peck Lane, now the site of 561:. Of widest influence was the 520:Allegory of Science and Wisdom 1: 7066:Pop Art: A Continuing History 6994:, Birmingham: Cornish Bros., 6649:, London: Design Museum, 2006 6549:, Austin A30-A35 Owners' Club 5367:Ward-Jackson, Philip (2003), 3671:Impressionist French Pictures 3184:The Waterhall gallery in the 3061:, where he designed the 1963 2601:to the headmastership of the 2303:Mappin Art Gallery, Sheffield 2289:, his work is represented in 1936:in 2003 included three light 1667:. His presidency of the 1961 895:Birmingham Society of Artists 658:Birmingham Society of Artists 479:(c. 1854) – described by the 347:Particularly significant was 32:has a distinctive culture of 6894:, London: Fine Art Society, 6874:Painting in Newlyn 1880–1930 6205:Arts and Crafts Architecture 4564:The Art of Gerald Brockhurst 4454:"A Neglected British Genius" 4120:Newall, Christopher (2008), 3889:Chapel, Jeannie (May 2008), 3053:, and moving in 1954 to the 2980:in 1933, working with local 2539:The Arts and Crafts Movement 1687:Birmingham Artists Committee 1562:(1941), Pen and ink on paper 975:and worked in the studio of 7561:British art by town or city 7216:, in Romans, Mervyn (ed.), 7064:Livingstone, Marco (2000), 6858:, Oxford: Clarendon Press, 6270:, Oxford University Press, 5598:Know your type: Baskerville 4777:Finch, Christopher (1967), 1989:The Spirit of Contemplation 1689:and forming links with the 1526:Surrealist Group in England 624:, and was refounded as the 134:were key influences on the 7577: 7180:, London: Lund Humphries, 6929:, Birmingham: RBSA Archive 6349:Davis, Michael T. (1998), 5966:Pevsner, Nikolaus (1940), 4825:Garlake, Margaret (2004), 4403:Rothenstein, John (1952), 3365:Grindle, Nicholas (2004), 2343:Cambridge University Press 2014:Edward Grubb of Birmingham 1929:in the south of the city. 1467: 1464:The Birmingham Surrealists 1016:Birmingham Group (artists) 1013: 626:Birmingham Society of Arts 622:Birmingham Academy of Arts 618:New Street railway station 341:Distant view of Birmingham 276:Birmingham's tradition in 257: 157:and an early precursor of 79:The city's history in the 24:coat of arms of Birmingham 7522: 7338: 7243:Wildman, Stephen (1990), 7010:, in Turner, Jane (ed.), 6938:, Studley: Brewin Books, 6936:Pre-Raphaelite Birmingham 6752:, in Berg, Maxine (ed.), 4534:Tahir, Abe M. Jr (2005), 4162:, Oxford University Press 3112:in the Swinging Sixties. 2760:Charles Rennie Mackintosh 2735:ideology of Birmingham's 2480:as a discipline. Across 2306:Wolverhampton Art Gallery 2241:Benjamin Stone Collection 2102:, with whom he worked at 1934:Bull Ring Shopping Centre 1752:The Black Assassin Saints 1039:. All had studied at the 507:Institutional development 7028:Jones, Peter M. (2009), 6925:Hall, J. Barrie (2002), 6890:Gere, Charlotte (1969), 6854:Fawcett, Trevor (1974), 6671:, London: Virgin Books, 6179:Rubens, Godfrey (1985), 5870:Naylor, Gillian (1971), 5626:An A-Z of type designers 5623:Macmillan, Neil (2006), 5228:Fisher, Michael (2008), 4427:The artist David Bomberg 4152:Christian, John (2008), 4090:Naylor, Gillian (1971), 3970:Fox & Greenacre 1985 3955:Fox & Greenacre 1985 3943:Fox & Greenacre 1985 3430:The Gentleman's Magazine 3424:Urban, Sylvanus (1821), 3135:art in the world at The 3126:University of Birmingham 3051:Birmingham School of Art 3047:University of Birmingham 2990:Birmingham School of Art 2976:fled to Birmingham from 2878:Birmingham School of Art 2826:Birmingham School of Art 2776:Arts and Crafts movement 2603:Birmingham School of Art 2560:Arts and Crafts Movement 2549:Birmingham School of Art 2329:Early English typography 2112:Birmingham School of Art 2045:Birmingham School of Art 1897:, galleries such as the 1646:Birmingham School of Art 1438:Birmingham School of Art 1297:, later a member of the 1257:Bernard Fleetwood-Walker 1049:Arts and Crafts Movement 1041:Birmingham School of Art 957:Birmingham School of Art 654:Birmingham School of Art 411:in the 1850s and 1860s. 6408:Frankel, Elana (2001), 5152:Artwork of the Bullring 4941:Mercer, Kobena (1994), 4218:, pp. 61–62, 66–67 3561:The Burlington Magazine 2245:Oscar Gustave Rejlander 2235:Victorian photographer 2155:Oliver O'Connor Barrett 1886:, shortlisted in 2001. 1190:While the influence of 1128:from artists including 587:James Tibbitts Willmore 463:, where his mastery of 377:Free Society of Artists 126:; while backgrounds in 122:manufacture as well as 6952:Heskett, John (1980), 6934:Hartnell, Roy (1996), 6262:"Hoff, Robert van 't." 5550:Loxley, Simon (2004), 5304:Stocker, Mark (2007), 5260:Stocker, Mark (2007), 5002:"Obituary - Ed Barker" 4724:Levy, Silvano (2005), 4637:Levy, Silvano (2003), 4478:Cork, Richard (2006), 3618:Bauer, Gérald (2000), 3302:Irwin, George (1971), 3165:is located inside the 3006: 2830:Herbert Tudor Buckland 2640: 2607:John Henry Chamberlain 2551: 2377:– the designer of the 2346: 2091: 2075:20th century sculpture 2041:neoclassical sculpture 2018:Midlands Enlightenment 1992: 1762:in the early 1980s by 1755: 1691:Birmingham Surrealists 1637: 1563: 1528:, which had formed in 1509:and later the artists 1491:Birmingham Surrealists 1486: 1470:Birmingham Surrealists 1436:" when he entered the 1336: 1287:Artist-Craftsmen Group 1238:Early 20th-century art 1121: 1032: 977:Dante Gabriel Rossetti 961:Exeter College, Oxford 951:in 1833 he studied at 876: 714: 644: 530: 524:Midlands Enlightenment 426: 344: 329:in Boulton's factory. 307:Midlands Enlightenment 273: 74:exhibiting their works 26: 7367:Parks and open spaces 7327:Science and invention 7178:Surrealism in Britain 7176:Remy, Michel (2001), 6972:Hill, Joseph (1907), 6748:Berg, Maxine (1991), 6693:The Story of the Mini 6596:Adams, Keith (2010), 6203:Davey, Peter (1995), 5894:Foster, Andy (2005), 4907:Khan, Naseem (2003), 4371:Baron, Wendy (2008), 3830:Simon, Jacob (2008), 3116:Current art galleries 2998: 2724:and the metalworkers 2624: 2594:were Birmingham men. 2556:industrial revolution 2546: 2486:Industrial Revolution 2336: 2082: 2008:and pattern books of 1983: 1746: 1628: 1580:Living Art in England 1554: 1477: 1327: 1112: 1023: 897:provoked the radical 867: 705: 693:Jones' Pantechnetheca 634: 612:opened an academy of 514: 417: 335: 267: 103:; the artists of the 21: 7212:Swift, John (1988), 7130:Price, Matt (2008), 6260:Vermeulen, Eveline, 5595:Yau, Cheryl (2010), 5517:Money, John (1977), 4733:Papers of Surrealism 3369:painter and japanner 3031:Austin Motor Company 2774:The strength of the 2648:. This included the 2625:The frontispiece to 2572:King Edward's School 2395:Baskerville typeface 2287:That Beautiful Thing 2260:Homes Fit For Heroes 2249:Henry Peach Robinson 1881:Young British Artist 1857:Contemporary artists 1669:Young Contemporaries 1582:exhibition of 1939. 1315:New English Art Club 1264:, the keeper of the 1262:Solomon Kaines Smith 1204:Barbican Art Gallery 1126:Birmingham Town Hall 1010:The Birmingham Group 953:King Edward's School 7083:Noszlopy, George T. 6797:Chang, Lin (2011), 4974:Skinn, Dez (2004), 4923:on 19 December 2010 4544:on 30 November 2010 3213:OOM Gallery Archive 3209:and water features. 2992:from 1957 to 1964. 2984:firms and teaching 2866:Albert Edward Jones 2806:in 1919. The Dutch 2393:, who designed the 2310:The Daily Telegraph 2275:OOM Gallery Archive 2206:Statue of King Kong 1795:Birmingham Arts Lab 1766:Birmingham artists 1662:Italian Renaissance 1483:The Strange Country 1428:from 1949 to 1964. 1369:Slade School of Art 1319:Slade School of Art 1277:The opening of the 1224:John Russell Taylor 984:Italian Renaissance 800:fishing village of 593:, and Lines' pupil 528:St. Philip's Church 6546:Style & Design 6543:Sharratt, Barney, 6133:, pp. 130–131 5757:, pp. 182–184 4513:Sir Henry Rushbury 4458:The New York Times 3907:10.1093/jhc/fhm018 3765:, pp. 23–25; 3526:, pp. 126–129 3511:, pp. 122–125 3499:, pp. 117–119 3487:, pp. 120–121 3067:Patrick Le Quement 3007: 2922:Robert Dudley Best 2822:Robert van 't Hoff 2790:'s innovations at 2726:Henry Hope and Son 2722:T. W. Camm and Co. 2674:Charles March Gere 2641: 2637:Charles March Gere 2592:Guild of St George 2580:Edward Burne-Jones 2552: 2531:Birmingham Gazette 2494:division of labour 2423:Metropolitan Opera 2347: 2237:Sir Benjamin Stone 2227:and David Patten. 2199:abstract sculpture 2092: 1993: 1946:New Street station 1884:Richard Billingham 1756: 1638: 1564: 1487: 1458:Duchess of Windsor 1432:– dubbed a "young 1390:The New York Times 1357:East End of London 1337: 1303:The Oratory School 1301:, was educated at 1283:Chamberlain Square 1202:exhibition at the 1138:Charles March Gere 1122: 1033: 1000:Aesthetic movement 944:Edward Burne-Jones 900:Birmingham Journal 877: 869:Edward Burne-Jones 818:artists including 786:William Wainwright 715: 645: 555:portrait miniature 531: 427: 369:landscape painting 345: 274: 193:and the designers 171:Aesthetic movement 163:Edward Burne-Jones 89:theatrical scenery 27: 7538: 7537: 7357:Constituent areas 7254:978-0-7093-0171-4 7229:978-1-84150-131-4 7205:978-0-7093-0235-3 7187:978-0-85331-825-5 7169:978-0-7093-0235-3 7098:978-0-85323-692-4 7075:978-0-500-28240-3 7057:978-0-7093-0235-3 7039:978-0-7190-7770-8 6955:Industrial Design 6945:978-1-85858-064-7 6883:978-0-946372-10-2 6865:978-0-19-817328-1 6829:978-0-7093-0119-6 6790:978-0-7093-0119-6 6631:978-1-84091-477-1 6583:978-1-84091-477-1 6267:Oxford Art Online 6190:978-0-85139-350-6 5944:, pp. 27, 30 5486:on 4 October 2012 5380:978-0-85323-977-2 5190:, pp. xi–xii 5012:on 8 October 2011 4987:978-1-84340-186-5 4954:978-0-415-90635-7 4650:978-0-85323-559-0 4573:978-0-915977-11-6 4491:978-1-902498-28-7 3656:978-0-7148-1897-9 3629:978-2-912257-15-4 3598:978-1-85437-005-1 3171:Robert Lenkiewicz 3150:former school in 3124:is housed at the 3011:automotive design 2946:industrial design 2846:Liberty & Co. 2632:News from Nowhere 2478:industrial design 2458:visual proportion 2337:Bible typeset by 2283:Muzik Kinda Sweet 2254:The photographer 2215:, was erected in 2061:Benjamin Creswick 2039:The dominance of 2030:Jewellery Quarter 1915:Jewellery Quarter 1911:Eastside Projects 1907:artist-run spaces 1843:Jewellery Quarter 1788:Black Nationalism 1658:technical drawing 1505:, the art critic 1430:Gerald Brockhurst 1299:Camden Town Group 1150:Madresfield Court 753:, or painters of 583:William Radclyffe 563:Birmingham School 409:Royal Academician 365:Birmingham School 319:William Shenstone 7568: 7529: 7528: 7474:Listed buildings 7344: 7322:Military history 7317:Economic history 7296: 7286: 7279: 7272: 7263: 7257: 7239: 7238: 7236: 7208: 7190: 7172: 7154: 7153: 7151: 7146:on 12 April 2019 7145: 7138: 7126: 7108: 7107: 7105: 7078: 7060: 7042: 7024: 7023: 7021: 7013:Grove Art Online 7002: 6986: 6968: 6948: 6930: 6921: 6920: 6918: 6902: 6886: 6868: 6850: 6832: 6814: 6813: 6811: 6805: 6793: 6775: 6774: 6772: 6735: 6734: 6733: 6731: 6715: 6709: 6708: 6707: 6705: 6700:on 5 August 2011 6688: 6682: 6681: 6664: 6658: 6657: 6656: 6654: 6641: 6635: 6634: 6617: 6611: 6610: 6609: 6607: 6593: 6587: 6586: 6569: 6558: 6557: 6556: 6554: 6540: 6534: 6533: 6532: 6530: 6517: 6511: 6510: 6509: 6507: 6491: 6485: 6484: 6472: 6466: 6465: 6442: 6436: 6435: 6434: 6432: 6405: 6399: 6398: 6397: 6395: 6379: 6373: 6372: 6371: 6369: 6346: 6340: 6339: 6322: 6316: 6315: 6314: 6312: 6289: 6283: 6282: 6281: 6279: 6257: 6251: 6250: 6228: 6222: 6221: 6200: 6194: 6193: 6176: 6170: 6164: 6158: 6157: 6140: 6134: 6128: 6122: 6116: 6107: 6101: 6095: 6094:, pp. 34–35 6089: 6083: 6077: 6071: 6065: 6059: 6058:, pp. 33–34 6053: 6047: 6046:, pp. 31–33 6041: 6035: 6034:, pp. 28–29 6025: 6019: 6018:, pp. 74–75 6013: 6007: 5997: 5991: 5985: 5979: 5978: 5963: 5957: 5951: 5945: 5939: 5933: 5927: 5921: 5920:, pp. 29–30 5915: 5909: 5908: 5891: 5885: 5884: 5867: 5861: 5851: 5845: 5844:, pp. 67–68 5835: 5829: 5823: 5814: 5808: 5802: 5796: 5790: 5789:, pp. 67–68 5780: 5774: 5764: 5758: 5752: 5746: 5745:, pp. 38–40 5740: 5734: 5728: 5722: 5716: 5710: 5709: 5708: 5706: 5680: 5674: 5673: 5672: 5670: 5653: 5647: 5646: 5645: 5643: 5620: 5614: 5613: 5612: 5610: 5592: 5586: 5585:, pp. 56–57 5580: 5574: 5573: 5572: 5570: 5547: 5541: 5540: 5539: 5537: 5514: 5508: 5502: 5496: 5495: 5493: 5491: 5470: 5461: 5452: 5443: 5442: 5441: 5439: 5423: 5417: 5416: 5415: 5413: 5397: 5391: 5390: 5389: 5387: 5364: 5358: 5352: 5346: 5340: 5327: 5326: 5325: 5323: 5301: 5295: 5289: 5283: 5282: 5281: 5279: 5267:Grove Art Online 5262:"Hollins, Peter" 5257: 5251: 5250: 5249: 5247: 5225: 5219: 5209: 5203: 5202:, pp. 61–62 5197: 5191: 5185: 5179: 5178:, p. xi-xii 5173: 5167: 5161: 5155: 5149: 5143: 5137: 5131: 5125: 5119: 5118: 5117: 5115: 5098: 5092: 5091: 5090: 5088: 5075: 5069: 5068: 5067: 5065: 5052: 5046: 5045: 5044: 5042: 5027: 5021: 5020: 5019: 5017: 4997: 4996: 4994: 4971: 4965: 4964: 4963: 4961: 4938: 4932: 4931: 4930: 4928: 4922: 4915: 4904: 4898: 4897: 4896: 4894: 4878: 4872: 4871: 4870: 4868: 4854: 4848: 4847: 4846: 4844: 4822: 4816: 4810: 4804: 4801:Livingstone 2000 4798: 4792: 4791: 4790: 4788: 4774: 4768: 4765:Livingstone 2000 4762: 4756: 4750: 4744: 4743: 4742: 4740: 4730: 4721: 4715: 4709: 4703: 4697: 4691: 4685: 4676: 4670: 4661: 4660: 4659: 4657: 4634: 4628: 4627: 4626: 4624: 4607: 4601: 4595: 4589: 4583: 4577: 4576: 4559: 4553: 4552: 4551: 4549: 4531: 4525: 4524: 4523: 4521: 4508: 4502: 4501: 4500: 4498: 4475: 4469: 4468: 4467: 4465: 4449: 4443: 4442: 4441: 4439: 4422: 4416: 4415: 4400: 4394: 4393: 4392: 4390: 4368: 4362: 4356: 4350: 4344: 4335: 4329: 4323: 4317: 4311: 4310: 4302: 4296: 4295: 4287: 4281: 4275: 4269: 4263: 4257: 4252: 4243: 4237: 4231: 4230:, pp. 62–65 4225: 4219: 4213: 4207: 4201: 4195: 4194:, pp. 30–33 4189: 4183: 4182:, pp. 62–63 4177: 4171: 4170: 4169: 4167: 4159:Grove Art Online 4149: 4143: 4142: 4141: 4139: 4117: 4111: 4110: 4087: 4081: 4080: 4079: 4077: 4072:, Design Toscano 4064: 4058: 4052: 4046: 4045:, pp. 16–17 4040: 4034: 4028: 4022: 4021: 4006: 4000: 3994: 3985: 3979: 3973: 3967: 3958: 3952: 3946: 3940: 3934: 3928: 3922: 3921: 3920: 3918: 3909:, archived from 3886: 3880: 3875: 3869: 3863: 3857: 3851: 3845: 3844: 3843: 3841: 3827: 3821: 3815: 3806: 3800: 3794: 3788: 3782: 3776: 3770: 3769:, pp. 14–15 3760: 3754: 3748: 3739: 3733: 3727: 3713: 3707: 3701: 3695: 3689: 3683: 3682: 3681: 3679: 3666: 3660: 3659: 3642: 3633: 3632: 3615: 3609: 3608: 3607: 3605: 3582: 3576: 3575: 3567:(967): 638–645, 3556: 3550: 3549: 3548: 3546: 3533: 3527: 3521: 3512: 3506: 3500: 3494: 3488: 3482: 3476: 3470: 3464: 3459: 3453: 3447: 3441: 3440: 3439: 3437: 3421: 3415: 3414: 3399: 3388: 3387: 3386: 3384: 3362: 3356: 3355: 3354: 3352: 3330: 3324: 3323: 3322: 3320: 3299: 3293: 3287: 3281: 3276: 3270: 3264: 3258: 3252: 3227:Drum Arts Centre 3192:Harborne Gallery 2896:branding of the 2784:Edward R. Taylor 2646:Birmingham Group 2616:South Kensington 2599:Edward R. Taylor 2522:House of Commons 2391:John Baskerville 2339:John Baskerville 2069:Birmingham Group 2049:Edward R. Taylor 2034:Francis Chantrey 1874:abstract painter 1833:) have included 1778:, together with 1738:Sylvani Merilion 1607:Surrealism Today 1454:Marlene Dietrich 1448:and then in the 1295:Malcolm Drummond 1279:Ruskin Galleries 1181:Maxwell Armfield 1114:Maxwell Armfield 1057:Bromsgrove Guild 1045:Edward R. Taylor 1037:Birmingham Group 925:classical models 923:and established 913:Camille Pissarro 881:Pre-Raphaelitism 457:Cornelius Varley 353:Soho Manufactory 195:John Baskerville 105:Birmingham Group 7576: 7575: 7571: 7570: 7569: 7567: 7566: 7565: 7541: 7540: 7539: 7534: 7518: 7454:Classical music 7432: 7386: 7345: 7336: 7300: 7290: 7260: 7255: 7242: 7234: 7232: 7230: 7211: 7206: 7193: 7188: 7175: 7170: 7157: 7149: 7147: 7143: 7136: 7129: 7124: 7111: 7103: 7101: 7099: 7081: 7076: 7063: 7058: 7045: 7040: 7027: 7019: 7017: 7005: 6989: 6984: 6971: 6966: 6951: 6946: 6933: 6924: 6916: 6914: 6905: 6889: 6884: 6871: 6866: 6853: 6848: 6835: 6830: 6817: 6809: 6807: 6803: 6796: 6791: 6778: 6770: 6768: 6766: 6747: 6743: 6738: 6729: 6727: 6717: 6716: 6712: 6703: 6701: 6690: 6689: 6685: 6679: 6666: 6665: 6661: 6652: 6650: 6643: 6642: 6638: 6632: 6619: 6618: 6614: 6605: 6603: 6595: 6594: 6590: 6584: 6571: 6570: 6561: 6552: 6550: 6542: 6541: 6537: 6528: 6526: 6519: 6518: 6514: 6505: 6503: 6493: 6492: 6488: 6474: 6473: 6469: 6463: 6444: 6443: 6439: 6430: 6428: 6426: 6407: 6406: 6402: 6393: 6391: 6381: 6380: 6376: 6367: 6365: 6363: 6348: 6347: 6343: 6337: 6324: 6323: 6319: 6310: 6308: 6306: 6291: 6290: 6286: 6277: 6275: 6259: 6258: 6254: 6248: 6232:Blotkamp, Carel 6230: 6229: 6225: 6215: 6202: 6201: 6197: 6191: 6178: 6177: 6173: 6165: 6161: 6155: 6142: 6141: 6137: 6129: 6125: 6117: 6110: 6102: 6098: 6090: 6086: 6078: 6074: 6066: 6062: 6054: 6050: 6042: 6038: 6026: 6022: 6014: 6010: 5998: 5994: 5986: 5982: 5965: 5964: 5960: 5952: 5948: 5940: 5936: 5928: 5924: 5916: 5912: 5906: 5893: 5892: 5888: 5882: 5869: 5868: 5864: 5852: 5848: 5836: 5832: 5824: 5817: 5809: 5805: 5797: 5793: 5785:, p. 185; 5781: 5777: 5769:, p. 181; 5765: 5761: 5753: 5749: 5741: 5737: 5729: 5725: 5717: 5713: 5704: 5702: 5700: 5682: 5681: 5677: 5668: 5666: 5665:on 20 July 2011 5655: 5654: 5650: 5641: 5639: 5637: 5622: 5621: 5617: 5608: 5606: 5594: 5593: 5589: 5581: 5577: 5568: 5566: 5564: 5549: 5548: 5544: 5535: 5533: 5531: 5516: 5515: 5511: 5503: 5499: 5489: 5487: 5479:Birmingham Mail 5472: 5471: 5464: 5453: 5446: 5437: 5435: 5432:The Independent 5425: 5424: 5420: 5411: 5409: 5406:The Independent 5399: 5398: 5394: 5385: 5383: 5381: 5366: 5365: 5361: 5353: 5349: 5341: 5330: 5321: 5319: 5303: 5302: 5298: 5290: 5286: 5277: 5275: 5259: 5258: 5254: 5245: 5243: 5227: 5226: 5222: 5210: 5206: 5198: 5194: 5186: 5182: 5174: 5170: 5162: 5158: 5150: 5146: 5138: 5134: 5126: 5122: 5113: 5111: 5100: 5099: 5095: 5086: 5084: 5077: 5076: 5072: 5063: 5061: 5054: 5053: 5049: 5040: 5038: 5035:Birmingham Post 5029: 5028: 5024: 5015: 5013: 4999: 4992: 4990: 4988: 4973: 4972: 4968: 4959: 4957: 4955: 4940: 4939: 4935: 4926: 4924: 4920: 4913: 4906: 4905: 4901: 4892: 4890: 4880: 4879: 4875: 4866: 4864: 4856: 4855: 4851: 4842: 4840: 4824: 4823: 4819: 4811: 4807: 4799: 4795: 4786: 4784: 4776: 4775: 4771: 4763: 4759: 4751: 4747: 4738: 4736: 4728: 4723: 4722: 4718: 4710: 4706: 4698: 4694: 4686: 4679: 4671: 4664: 4655: 4653: 4651: 4636: 4635: 4631: 4622: 4620: 4609: 4608: 4604: 4596: 4592: 4584: 4580: 4574: 4561: 4560: 4556: 4547: 4545: 4533: 4532: 4528: 4519: 4517: 4510: 4509: 4505: 4496: 4494: 4492: 4477: 4476: 4472: 4463: 4461: 4451: 4450: 4446: 4437: 4435: 4434:on 21 July 2011 4424: 4423: 4419: 4402: 4401: 4397: 4388: 4386: 4370: 4369: 4365: 4357: 4353: 4345: 4338: 4330: 4326: 4318: 4314: 4307:Birmingham Post 4304: 4303: 4299: 4289: 4288: 4284: 4276: 4272: 4264: 4260: 4253: 4246: 4238: 4234: 4226: 4222: 4214: 4210: 4202: 4198: 4190: 4186: 4178: 4174: 4165: 4163: 4151: 4150: 4146: 4137: 4135: 4119: 4118: 4114: 4108: 4089: 4088: 4084: 4075: 4073: 4066: 4065: 4061: 4053: 4049: 4041: 4037: 4029: 4025: 4008: 4007: 4003: 3995: 3988: 3980: 3976: 3968: 3961: 3953: 3949: 3941: 3937: 3929: 3925: 3916: 3914: 3888: 3887: 3883: 3876: 3872: 3864: 3860: 3852: 3848: 3839: 3837: 3829: 3828: 3824: 3816: 3809: 3801: 3797: 3789: 3785: 3777: 3773: 3761: 3757: 3749: 3742: 3734: 3730: 3714: 3710: 3702: 3698: 3690: 3686: 3677: 3675: 3668: 3667: 3663: 3657: 3644: 3643: 3636: 3630: 3617: 3616: 3612: 3603: 3601: 3599: 3584: 3583: 3579: 3558: 3557: 3553: 3544: 3542: 3535: 3534: 3530: 3522: 3515: 3507: 3503: 3495: 3491: 3483: 3479: 3471: 3467: 3460: 3456: 3448: 3444: 3435: 3433: 3423: 3422: 3418: 3401: 3400: 3391: 3382: 3380: 3364: 3363: 3359: 3350: 3348: 3332: 3331: 3327: 3318: 3316: 3301: 3300: 3296: 3288: 3284: 3277: 3273: 3265: 3261: 3253: 3249: 3245: 3203:Custard Factory 3201:The old Bird's 3163:Halcyon Gallery 3146:is housed in a 3118: 3106:Brigitte Bardot 3035:Austin Atlantic 2982:lighting design 2938: 2936:Post-war design 2924:introduced the 2824:studied at the 2788:William Lethaby 2772: 2770:Early modernism 2698:Sidney Barnsley 2694:Ernest Barnsley 2658:Sidney Meteyard 2541: 2474: 2466:British Library 2331: 2326: 2233: 2077: 2065:Arts and Crafts 2026:William Hollins 2020:, however, was 2010:Matthew Boulton 1978: 1973: 1895:Custard Factory 1870:Gillian Wearing 1859: 1851:graffiti artist 1677:– a student of 1623: 1597:'s publication 1595:Toni del Renzio 1591:Robert Melville 1568:E. L. T. Mesens 1556:Emmy Bridgwater 1507:Robert Melville 1503:Emmy Bridgwater 1472: 1466: 1385:First World War 1271:Birmingham Post 1244:Arts and Crafts 1240: 1196:Pre-Raphaelites 1169:Joseph Southall 1142:Sidney Meteyard 1078:, hand printed 1029:Hortus Inclusus 1025:Joseph Southall 1018: 1012: 862: 820:Stanhope Forbes 763:Helen Allingham 731:William Bullock 535:Magazine of Art 509: 405:Thomas Creswick 337:Thomas Creswick 323:Matthew Boulton 262: 256: 251: 211:Arts and Crafts 189:. The sculptor 130:and commercial 12: 11: 5: 7574: 7572: 7564: 7563: 7558: 7553: 7543: 7542: 7536: 7535: 7523: 7520: 7519: 7517: 7516: 7511: 7506: 7501: 7496: 7491: 7486: 7481: 7476: 7471: 7466: 7464:Food and drink 7461: 7456: 7451: 7446: 7440: 7438: 7434: 7433: 7431: 7430: 7425: 7420: 7415: 7410: 7405: 7400: 7394: 7392: 7388: 7387: 7385: 7384: 7379: 7377:Tall buildings 7374: 7369: 7364: 7359: 7353: 7351: 7347: 7346: 7339: 7337: 7335: 7334: 7329: 7324: 7319: 7314: 7308: 7306: 7302: 7301: 7291: 7289: 7288: 7281: 7274: 7266: 7259: 7258: 7253: 7240: 7228: 7209: 7204: 7191: 7186: 7173: 7168: 7155: 7127: 7123:978-0300117448 7122: 7109: 7097: 7079: 7074: 7061: 7056: 7043: 7038: 7025: 7003: 6987: 6982: 6969: 6964: 6949: 6944: 6931: 6922: 6903: 6887: 6882: 6869: 6864: 6851: 6846: 6833: 6828: 6815: 6794: 6789: 6776: 6764: 6744: 6742: 6739: 6737: 6736: 6724:Sunday Express 6710: 6683: 6677: 6659: 6636: 6630: 6612: 6588: 6582: 6559: 6535: 6512: 6486: 6467: 6462:978-1554073108 6461: 6437: 6424: 6400: 6374: 6361: 6341: 6335: 6317: 6304: 6284: 6252: 6246: 6223: 6213: 6195: 6189: 6171: 6167:Crawford 1984a 6159: 6153: 6135: 6131:Crawford 1984b 6123: 6119:Crawford 1984a 6108: 6104:Crawford 1984b 6096: 6092:Crawford 1984a 6084: 6080:Crawford 1984a 6072: 6060: 6056:Crawford 1984a 6048: 6044:Crawford 1984a 6036: 6032:Crawford 1984a 6030:, p. 74; 6020: 6008: 6002:, p. 89; 5992: 5988:Crawford 1984a 5980: 5958: 5946: 5942:Crawford 1984a 5934: 5930:Crawford 1984a 5922: 5910: 5904: 5886: 5880: 5862: 5846: 5830: 5815: 5803: 5791: 5775: 5759: 5747: 5735: 5723: 5711: 5698: 5675: 5648: 5635: 5615: 5587: 5575: 5562: 5542: 5529: 5509: 5497: 5462: 5444: 5418: 5402:"Hans Schwarz" 5392: 5379: 5359: 5347: 5328: 5296: 5294:, p. xiii 5284: 5252: 5220: 5218:, p. xiii 5214:, p. 62; 5204: 5192: 5180: 5168: 5156: 5144: 5132: 5130:, pp. 2–3 5120: 5110:on 5 July 2011 5093: 5070: 5047: 5022: 4986: 4966: 4953: 4933: 4899: 4873: 4849: 4817: 4805: 4793: 4780:Peter Phillips 4769: 4757: 4745: 4716: 4704: 4692: 4677: 4662: 4649: 4629: 4602: 4590: 4578: 4572: 4554: 4526: 4516:, London: Tate 4503: 4490: 4470: 4444: 4417: 4395: 4363: 4351: 4336: 4324: 4312: 4297: 4282: 4270: 4258: 4244: 4232: 4220: 4208: 4206:, pp. 3–4 4196: 4192:Crawford 1984a 4184: 4172: 4144: 4112: 4106: 4082: 4059: 4047: 4035: 4023: 4001: 3986: 3974: 3959: 3947: 3935: 3923: 3913:on 9 July 2012 3881: 3870: 3858: 3846: 3822: 3807: 3795: 3783: 3771: 3755: 3740: 3728: 3708: 3696: 3684: 3661: 3655: 3634: 3628: 3610: 3597: 3577: 3551: 3528: 3513: 3501: 3489: 3477: 3465: 3454: 3452:, pp. 5–6 3442: 3416: 3389: 3357: 3325: 3294: 3282: 3271: 3259: 3246: 3244: 3241: 3237: 3236: 3230: 3223: 3216: 3210: 3199: 3189: 3182: 3159: 3154:and showcases 3140: 3133:Pre-Raphaelite 3129: 3117: 3114: 3094:Alec Issigonis 3004:Alec Issigonis 2986:product design 2942:A. H. Woodfull 2937: 2934: 2862:Bernard Cuzner 2820:group founder 2804:Walter Gropius 2771: 2768: 2748:H. W. Crosskey 2737:non-conformist 2714:Ruskin Pottery 2686:Georgie Gaskin 2666:Bernard Sleigh 2635:, designed by 2627:William Morris 2611:William Morris 2584:A. W. N. Pugin 2576:William Morris 2564:Birmingham Set 2540: 2537: 2473: 2470: 2450:graphic design 2431:William Martin 2375:William Caslon 2330: 2327: 2325: 2322: 2232: 2229: 2225:Barry Flanagan 2213:Nicholas Monro 2178:John Bridgeman 2173:in the 1960s. 2136:Gordon Herickx 2124:Hall of Memory 2122:on the city's 2076: 2073: 2047:, which under 1977: 1974: 1972: 1969: 1865:including the 1858: 1855: 1849:was the first 1780:Eddie Chambers 1726:Trevor Denning 1722:David Prentice 1642:Peter Phillips 1630:Peter Phillips 1622: 1619: 1613:for the final 1572:London Gallery 1534:Roland Penrose 1511:Desmond Morris 1468:Main article: 1465: 1462: 1410:Henry Rushbury 1408:in the 1930s. 1239: 1236: 1200:Last Romantics 1162:Georgie Gaskin 1146:Bernard Sleigh 1014:Main article: 1011: 1008: 992:Simeon Solomon 969:William Morris 965:Birmingham Set 937:Gothic Revival 933:Augustus Pugin 861: 858: 782:Walter Langley 775:Georgie Gaskin 723:Joseph Gillott 707:Walter Langley 697:John Constable 610:Vincent Barber 606:Charles Barber 575:Vincent Barber 551:Moses Haughton 508: 505: 397:Newhall Street 389:Vincent Barber 311:Samuel Johnson 258:Main article: 255: 252: 250: 247: 207:Alec Issigonis 199:Augustus Pugin 183:Peter Phillips 148:Peter Phillips 132:graphic design 93:Walter Langley 44:to the city's 13: 10: 9: 6: 4: 3: 2: 7573: 7562: 7559: 7557: 7554: 7552: 7549: 7548: 7546: 7533: 7532: 7521: 7515: 7512: 7510: 7507: 7505: 7502: 7500: 7497: 7495: 7494:Popular music 7492: 7490: 7487: 7485: 7482: 7480: 7477: 7475: 7472: 7470: 7467: 7465: 7462: 7460: 7457: 7455: 7452: 7450: 7447: 7445: 7442: 7441: 7439: 7435: 7429: 7426: 7424: 7421: 7419: 7416: 7414: 7411: 7409: 7406: 7404: 7401: 7399: 7396: 7395: 7393: 7389: 7383: 7380: 7378: 7375: 7373: 7372:Redevelopment 7370: 7368: 7365: 7363: 7360: 7358: 7355: 7354: 7352: 7348: 7343: 7333: 7330: 7328: 7325: 7323: 7320: 7318: 7315: 7313: 7310: 7309: 7307: 7303: 7299: 7295: 7287: 7282: 7280: 7275: 7273: 7268: 7267: 7264: 7256: 7250: 7246: 7241: 7231: 7225: 7221: 7220: 7215: 7210: 7207: 7201: 7197: 7192: 7189: 7183: 7179: 7174: 7171: 7165: 7161: 7156: 7142: 7135: 7134: 7128: 7125: 7119: 7115: 7110: 7100: 7094: 7090: 7089: 7084: 7080: 7077: 7071: 7067: 7062: 7059: 7053: 7049: 7044: 7041: 7035: 7031: 7026: 7015: 7014: 7009: 7004: 7001: 6997: 6993: 6988: 6985: 6983:0-8337-1706-5 6979: 6975: 6970: 6967: 6965:0-500-20181-1 6961: 6957: 6956: 6950: 6947: 6941: 6937: 6932: 6928: 6923: 6913: 6909: 6904: 6901: 6897: 6893: 6888: 6885: 6879: 6875: 6870: 6867: 6861: 6857: 6852: 6849: 6847:0-7093-0119-7 6843: 6839: 6834: 6831: 6825: 6821: 6816: 6802: 6801: 6795: 6792: 6786: 6782: 6777: 6767: 6765:0-415-03720-4 6761: 6757: 6756: 6751: 6746: 6745: 6740: 6725: 6721: 6714: 6711: 6699: 6695: 6694: 6687: 6684: 6680: 6678:1-85227-815-3 6674: 6670: 6663: 6660: 6648: 6647: 6640: 6637: 6633: 6627: 6623: 6616: 6613: 6601: 6600: 6592: 6589: 6585: 6579: 6575: 6568: 6566: 6564: 6560: 6548: 6547: 6539: 6536: 6524: 6523: 6516: 6513: 6501: 6497: 6490: 6487: 6482: 6478: 6477:Plastiquarian 6471: 6468: 6464: 6458: 6454: 6450: 6449: 6441: 6438: 6427: 6421: 6417: 6416: 6411: 6404: 6401: 6389: 6385: 6378: 6375: 6364: 6358: 6354: 6353: 6345: 6342: 6338: 6332: 6328: 6321: 6318: 6307: 6301: 6297: 6296: 6288: 6285: 6273: 6269: 6268: 6263: 6256: 6253: 6249: 6247:0-262-02247-8 6243: 6239: 6238: 6233: 6227: 6224: 6220: 6216: 6214:0-7148-3711-3 6210: 6206: 6199: 6196: 6192: 6186: 6182: 6175: 6172: 6168: 6163: 6160: 6156: 6154:0-7093-0119-7 6150: 6146: 6139: 6136: 6132: 6127: 6124: 6120: 6115: 6113: 6109: 6106:, p. 129 6105: 6100: 6097: 6093: 6088: 6085: 6081: 6076: 6073: 6069: 6064: 6061: 6057: 6052: 6049: 6045: 6040: 6037: 6033: 6029: 6028:Hartnell 1996 6024: 6021: 6017: 6016:Hartnell 1996 6012: 6009: 6005: 6001: 6000:Hartnell 1996 5996: 5993: 5989: 5984: 5981: 5977: 5973: 5969: 5962: 5959: 5955: 5954:Hartnell 1996 5950: 5947: 5943: 5938: 5935: 5931: 5926: 5923: 5919: 5918:Hartnell 1996 5914: 5911: 5907: 5905:0-300-10731-5 5901: 5897: 5890: 5887: 5883: 5881:0-86294-058-3 5877: 5873: 5866: 5863: 5859: 5856:, p. 9; 5855: 5854:Hartnell 1996 5850: 5847: 5843: 5840:, p. 9; 5839: 5838:Hartnell 1996 5834: 5831: 5827: 5822: 5820: 5816: 5812: 5811:Hartnell 1996 5807: 5804: 5801:, p. 181 5800: 5795: 5792: 5788: 5784: 5779: 5776: 5772: 5768: 5763: 5760: 5756: 5751: 5748: 5744: 5739: 5736: 5732: 5727: 5724: 5720: 5715: 5712: 5701: 5699:0-7123-4737-2 5695: 5691: 5690: 5685: 5684:Bartram, Alan 5679: 5676: 5664: 5660: 5659: 5652: 5649: 5638: 5636:0-300-11151-7 5632: 5628: 5627: 5619: 5616: 5604: 5600: 5599: 5591: 5588: 5584: 5579: 5576: 5565: 5563:1-85043-397-6 5559: 5555: 5554: 5546: 5543: 5532: 5530:0-7190-0672-4 5526: 5522: 5521: 5513: 5510: 5506: 5501: 5498: 5485: 5481: 5480: 5475: 5469: 5467: 5463: 5460: 5456: 5455:Noszlopy 1998 5451: 5449: 5445: 5433: 5429: 5422: 5419: 5407: 5403: 5396: 5393: 5382: 5376: 5372: 5371: 5363: 5360: 5357:, p. 183 5356: 5355:Noszlopy 1998 5351: 5348: 5345:, p. xiv 5344: 5343:Noszlopy 1998 5339: 5337: 5335: 5333: 5329: 5317: 5313: 5312: 5307: 5300: 5297: 5293: 5292:Noszlopy 1998 5288: 5285: 5273: 5269: 5268: 5263: 5256: 5253: 5241: 5237: 5236: 5231: 5224: 5221: 5217: 5216:Noszlopy 1998 5213: 5208: 5205: 5201: 5196: 5193: 5189: 5188:Noszlopy 1998 5184: 5181: 5177: 5176:Noszlopy 1998 5172: 5169: 5165: 5164:Noszlopy 1998 5160: 5157: 5153: 5148: 5145: 5141: 5136: 5133: 5129: 5124: 5121: 5109: 5105: 5104: 5097: 5094: 5082: 5081: 5074: 5071: 5059: 5058: 5051: 5048: 5036: 5032: 5026: 5023: 5011: 5007: 5003: 4989: 4983: 4979: 4978: 4970: 4967: 4956: 4950: 4946: 4945: 4937: 4934: 4919: 4912: 4911: 4903: 4900: 4888: 4884: 4877: 4874: 4862: 4861: 4853: 4850: 4838: 4834: 4833: 4828: 4821: 4818: 4814: 4809: 4806: 4802: 4797: 4794: 4782: 4781: 4773: 4770: 4767:, p. 172 4766: 4761: 4758: 4754: 4749: 4746: 4734: 4727: 4720: 4717: 4714:, p. 284 4713: 4708: 4705: 4702:, p. 220 4701: 4696: 4693: 4689: 4684: 4682: 4678: 4674: 4669: 4667: 4663: 4652: 4646: 4642: 4641: 4633: 4630: 4618: 4614: 4613: 4606: 4603: 4600:, p. 196 4599: 4594: 4591: 4587: 4582: 4579: 4575: 4569: 4565: 4558: 4555: 4543: 4539: 4538: 4530: 4527: 4515: 4514: 4507: 4504: 4493: 4487: 4483: 4482: 4474: 4471: 4459: 4455: 4448: 4445: 4433: 4429: 4428: 4421: 4418: 4414: 4410: 4406: 4399: 4396: 4384: 4380: 4379: 4374: 4367: 4364: 4360: 4355: 4352: 4349:, p. 2.8 4348: 4343: 4341: 4337: 4333: 4328: 4325: 4322:, p. 2.7 4321: 4316: 4313: 4308: 4301: 4298: 4293: 4286: 4283: 4279: 4274: 4271: 4267: 4262: 4259: 4256: 4251: 4249: 4245: 4241: 4236: 4233: 4229: 4224: 4221: 4217: 4212: 4209: 4205: 4200: 4197: 4193: 4188: 4185: 4181: 4176: 4173: 4161: 4160: 4155: 4148: 4145: 4133: 4129: 4128: 4123: 4116: 4113: 4109: 4103: 4099: 4095: 4094: 4086: 4083: 4071: 4070: 4063: 4060: 4056: 4055:Hartnell 1996 4051: 4048: 4044: 4043:Hartnell 1996 4039: 4036: 4032: 4031:Hartnell 1996 4027: 4024: 4020: 4016: 4012: 4005: 4002: 3998: 3997:Hartnell 1996 3993: 3991: 3987: 3983: 3978: 3975: 3971: 3966: 3964: 3960: 3956: 3951: 3948: 3944: 3939: 3936: 3932: 3927: 3924: 3912: 3908: 3904: 3900: 3896: 3892: 3885: 3882: 3879: 3874: 3871: 3868:, p. 152 3867: 3862: 3859: 3855: 3850: 3847: 3835: 3834: 3826: 3823: 3819: 3814: 3812: 3808: 3804: 3803:Hartnell 1996 3799: 3796: 3792: 3787: 3784: 3780: 3775: 3772: 3768: 3764: 3763:Hartnell 1996 3759: 3756: 3752: 3747: 3745: 3741: 3737: 3732: 3729: 3725: 3724:Hartnell 1996 3722:, p. 9; 3721: 3718:, p. 2; 3717: 3712: 3709: 3705: 3700: 3697: 3693: 3692:Hartnell 1996 3688: 3685: 3673: 3672: 3665: 3662: 3658: 3652: 3648: 3641: 3639: 3635: 3631: 3625: 3621: 3614: 3611: 3600: 3594: 3590: 3589: 3581: 3578: 3574: 3570: 3566: 3562: 3555: 3552: 3540: 3539: 3532: 3529: 3525: 3520: 3518: 3514: 3510: 3505: 3502: 3498: 3493: 3490: 3486: 3481: 3478: 3474: 3469: 3466: 3463: 3458: 3455: 3451: 3446: 3443: 3431: 3427: 3420: 3417: 3413: 3409: 3405: 3398: 3396: 3394: 3390: 3378: 3377: 3372: 3370: 3361: 3358: 3346: 3345: 3340: 3338: 3329: 3326: 3315: 3311: 3307: 3306: 3298: 3295: 3291: 3286: 3283: 3280: 3275: 3272: 3268: 3263: 3260: 3256: 3251: 3248: 3242: 3240: 3234: 3231: 3228: 3224: 3221: 3217: 3214: 3211: 3208: 3204: 3200: 3197: 3193: 3190: 3187: 3183: 3180: 3176: 3172: 3168: 3164: 3160: 3157: 3153: 3152:Brindleyplace 3149: 3145: 3141: 3138: 3134: 3130: 3127: 3123: 3120: 3119: 3115: 3113: 3111: 3107: 3103: 3102:Steve McQueen 3099: 3095: 3091: 3086: 3084: 3080: 3076: 3072: 3068: 3064: 3060: 3056: 3055:Rover Company 3052: 3048: 3044: 3040: 3036: 3032: 3028: 3024: 3020: 3016: 3012: 3005: 3001: 2997: 2993: 2991: 2987: 2983: 2979: 2975: 2971: 2967: 2963: 2959: 2955: 2951: 2947: 2943: 2935: 2933: 2931: 2927: 2923: 2919: 2915: 2911: 2907: 2906:Oscar Deutsch 2903: 2902:Balsall Heath 2899: 2898:Odeon Cinemas 2895: 2891: 2887: 2883: 2879: 2873: 2871: 2867: 2863: 2859: 2855: 2854:W. H. Haseler 2851: 2847: 2843: 2839: 2835: 2831: 2827: 2823: 2819: 2818: 2814:designer and 2813: 2809: 2805: 2801: 2797: 2793: 2789: 2785: 2781: 2777: 2769: 2767: 2765: 2761: 2757: 2751: 2749: 2745: 2742: 2738: 2734: 2729: 2727: 2723: 2719: 2715: 2711: 2707: 2703: 2699: 2695: 2691: 2687: 2683: 2682:Arthur Gaskin 2679: 2675: 2671: 2667: 2663: 2662:Florence Camm 2659: 2655: 2651: 2650:stained glass 2647: 2638: 2634: 2633: 2628: 2623: 2619: 2617: 2612: 2608: 2604: 2600: 2595: 2593: 2589: 2585: 2581: 2577: 2573: 2569: 2565: 2561: 2557: 2550: 2545: 2538: 2536: 2533: 2532: 2527: 2523: 2519: 2515: 2510: 2508: 2504: 2499: 2498:mechanisation 2495: 2491: 2487: 2484:prior to the 2483: 2479: 2471: 2469: 2467: 2463: 2459: 2455: 2451: 2447: 2443: 2438: 2436: 2432: 2428: 2424: 2420: 2416: 2412: 2408: 2404: 2401:typefaces of 2400: 2396: 2392: 2388: 2384: 2380: 2376: 2372: 2368: 2364: 2360: 2356: 2352: 2344: 2340: 2335: 2328: 2323: 2321: 2319: 2315: 2311: 2307: 2304: 2301: 2298: 2295: 2292: 2288: 2284: 2280: 2276: 2272: 2267: 2265: 2261: 2257: 2252: 2251:as a member. 2250: 2246: 2242: 2238: 2230: 2228: 2226: 2221: 2218: 2217:The Bull Ring 2214: 2211: 2207: 2202: 2200: 2195: 2194:fondue cement 2191: 2187: 2183: 2179: 2174: 2172: 2168: 2164: 2163:Hans Schwartz 2160: 2156: 2152: 2147: 2145: 2144:Raymond Mason 2141: 2137: 2133: 2129: 2125: 2121: 2117: 2113: 2109: 2105: 2101: 2097: 2096:William Bloye 2089: 2085: 2084:William Bloye 2081: 2074: 2072: 2070: 2066: 2062: 2058: 2057:New Sculpture 2054: 2050: 2046: 2042: 2037: 2035: 2031: 2027: 2023: 2022:Peter Hollins 2019: 2015: 2011: 2007: 2002: 1998: 1990: 1986: 1982: 1975: 1970: 1968: 1966: 1965:Donald Rodney 1963:and the late 1962: 1958: 1953: 1951: 1947: 1943: 1939: 1935: 1930: 1928: 1924: 1920: 1919:Balsall Heath 1916: 1912: 1908: 1904: 1900: 1896: 1892: 1887: 1885: 1882: 1878: 1875: 1871: 1868: 1864: 1856: 1854: 1852: 1848: 1844: 1840: 1836: 1832: 1828: 1824: 1820: 1816: 1812: 1808: 1804: 1800: 1796: 1791: 1789: 1785: 1784:Wolverhampton 1781: 1777: 1776:Marlene Smith 1773: 1772:Donald Rodney 1769: 1765: 1764:Black British 1761: 1760:BLK Art Group 1753: 1749: 1745: 1741: 1739: 1735: 1731: 1730:Robert Groves 1727: 1723: 1719: 1714: 1712: 1708: 1704: 1700: 1696: 1692: 1688: 1684: 1680: 1679:Fernand Léger 1676: 1672: 1670: 1666: 1663: 1659: 1655: 1651: 1647: 1643: 1635: 1631: 1627: 1620: 1618: 1616: 1612: 1608: 1604: 1600: 1596: 1592: 1588: 1583: 1581: 1577: 1573: 1569: 1561: 1557: 1553: 1549: 1547: 1543: 1539: 1535: 1531: 1527: 1523: 1518: 1516: 1512: 1508: 1504: 1500: 1499:John Melville 1496: 1495:Conroy Maddox 1492: 1484: 1480: 1479:Conroy Maddox 1476: 1471: 1463: 1461: 1459: 1455: 1451: 1450:United States 1447: 1443: 1439: 1435: 1431: 1427: 1426:Royal Academy 1423: 1419: 1415: 1412:worked under 1411: 1407: 1403: 1400:Birmingham's 1398: 1396: 1392: 1391: 1386: 1382: 1378: 1374: 1370: 1366: 1362: 1358: 1354: 1350: 1346: 1342: 1334: 1330: 1329:David Bomberg 1326: 1322: 1320: 1316: 1312: 1308: 1304: 1300: 1296: 1291: 1288: 1284: 1280: 1275: 1273: 1272: 1267: 1263: 1258: 1254: 1250: 1249:School of Art 1245: 1237: 1235: 1233: 1229: 1225: 1221: 1217: 1213: 1209: 1205: 1201: 1197: 1193: 1188: 1186: 1182: 1178: 1177:Arthur Gaskin 1174: 1170: 1165: 1163: 1159: 1155: 1151: 1147: 1143: 1139: 1135: 1131: 1127: 1119: 1118:Self-Portrait 1115: 1111: 1107: 1105: 1101: 1097: 1093: 1089: 1085: 1081: 1077: 1073: 1069: 1065: 1064:stained glass 1060: 1058: 1054: 1050: 1046: 1042: 1038: 1030: 1026: 1022: 1017: 1009: 1007: 1005: 1001: 997: 993: 989: 985: 980: 978: 974: 970: 966: 962: 958: 954: 950: 949:Bennetts Hill 945: 940: 938: 934: 930: 926: 922: 916: 914: 910: 909:Strayed Sheep 906: 902: 901: 896: 892: 891: 886: 882: 874: 870: 866: 859: 857: 855: 851: 847: 843: 839: 835: 834: 829: 825: 821: 817: 813: 812: 807: 806:Newlyn School 803: 799: 795: 791: 790:Frank Bramley 787: 783: 778: 776: 772: 768: 767:Florence Camm 764: 760: 756: 752: 748: 744: 738: 736: 732: 728: 724: 720: 712: 708: 704: 700: 698: 694: 690: 686: 682: 678: 674: 670: 665: 663: 659: 655: 651: 642: 638: 633: 629: 627: 623: 619: 615: 611: 607: 603: 598: 596: 592: 588: 584: 580: 576: 572: 571:Joseph Barber 568: 564: 560: 556: 552: 548: 544: 541: 536: 529: 525: 521: 517: 513: 506: 504: 502: 498: 494: 490: 489:Impressionism 486: 482: 478: 474: 470: 466: 462: 458: 454: 450: 444: 441: 437: 433: 424: 420: 416: 412: 410: 406: 402: 398: 394: 390: 386: 385:Joseph Barber 382: 381:Edward Barber 378: 374: 370: 366: 362: 358: 354: 350: 342: 338: 334: 330: 328: 324: 320: 316: 315:Edward Alcock 312: 308: 303: 299: 295: 291: 287: 283: 279: 271: 270:Joseph Barber 266: 261: 253: 248: 246: 244: 243:stained glass 240: 236: 232: 228: 224: 220: 216: 212: 208: 204: 200: 196: 192: 191:Raymond Mason 188: 184: 180: 176: 172: 168: 164: 160: 159:Impressionism 156: 151: 149: 145: 141: 140:Conroy Maddox 137: 133: 129: 125: 121: 120:stained glass 117: 114: 110: 106: 102: 101:lithographers 98: 97:David Bomberg 94: 90: 86: 82: 77: 75: 71: 67: 63: 59: 55: 51: 47: 46:manufacturing 43: 39: 35: 31: 25: 20: 16: 7524: 7448: 7444:Architecture 7428:Water supply 7244: 7233:, retrieved 7218: 7195: 7177: 7159: 7148:, retrieved 7141:the original 7132: 7113: 7102:, retrieved 7087: 7065: 7047: 7029: 7018:, retrieved 7012: 7008:"Birmingham" 6991: 6973: 6954: 6935: 6926: 6915:, retrieved 6911: 6891: 6873: 6855: 6837: 6819: 6810:30 September 6808:, retrieved 6799: 6780: 6769:, retrieved 6754: 6728:, retrieved 6723: 6713: 6702:, retrieved 6698:the original 6692: 6686: 6668: 6662: 6651:, retrieved 6645: 6639: 6621: 6615: 6604:, retrieved 6598: 6591: 6573: 6551:, retrieved 6545: 6538: 6527:, retrieved 6521: 6515: 6504:, retrieved 6500:The Guardian 6499: 6489: 6480: 6476: 6470: 6447: 6440: 6429:, retrieved 6414: 6403: 6392:, retrieved 6388:The Guardian 6387: 6377: 6366:, retrieved 6351: 6344: 6326: 6320: 6309:, retrieved 6294: 6287: 6276:, retrieved 6266: 6255: 6236: 6226: 6218: 6204: 6198: 6180: 6174: 6169:, p. 39 6162: 6144: 6138: 6126: 6121:, p. 33 6099: 6087: 6082:, p. 34 6075: 6070:, p. 77 6063: 6051: 6039: 6023: 6011: 6006:, p. 80 5995: 5990:, p. 28 5983: 5967: 5961: 5956:, p. 70 5949: 5937: 5932:, p. 35 5925: 5913: 5895: 5889: 5871: 5865: 5860:, p. 68 5849: 5833: 5828:, p. 43 5826:Fawcett 1974 5806: 5794: 5778: 5773:, p. 67 5762: 5750: 5738: 5733:, p. 38 5726: 5721:, p. 13 5719:Heskett 1980 5714: 5703:, retrieved 5688: 5678: 5667:, retrieved 5663:the original 5657: 5651: 5640:, retrieved 5625: 5618: 5607:, retrieved 5597: 5590: 5578: 5567:, retrieved 5552: 5545: 5534:, retrieved 5519: 5512: 5507:, p. 19 5500: 5488:. Retrieved 5484:the original 5477: 5436:, retrieved 5431: 5421: 5410:, retrieved 5405: 5395: 5384:, retrieved 5369: 5362: 5350: 5320:, retrieved 5310: 5299: 5287: 5276:, retrieved 5266: 5255: 5244:, retrieved 5234: 5223: 5212:Fawcett 1974 5207: 5200:Fawcett 1974 5195: 5183: 5171: 5166:, p. xi 5159: 5147: 5135: 5123: 5112:, retrieved 5108:the original 5102: 5096: 5085:, retrieved 5079: 5073: 5062:, retrieved 5056: 5050: 5039:, retrieved 5034: 5025: 5014:, retrieved 5010:the original 5006:The Guardian 5005: 4991:, retrieved 4976: 4969: 4958:, retrieved 4943: 4936: 4925:, retrieved 4918:the original 4909: 4902: 4891:, retrieved 4887:The Observer 4886: 4876: 4865:, retrieved 4860:Photorealism 4859: 4852: 4841:, retrieved 4831: 4820: 4815:, p. 19 4808: 4803:, p. 93 4796: 4785:, retrieved 4779: 4772: 4760: 4755:, p. 27 4748: 4737:, retrieved 4732: 4719: 4707: 4695: 4690:, p. 12 4675:, p. 24 4654:, retrieved 4639: 4632: 4621:, retrieved 4611: 4605: 4593: 4588:, p. 36 4581: 4563: 4557: 4546:, retrieved 4542:the original 4536: 4529: 4518:, retrieved 4512: 4506: 4495:, retrieved 4480: 4473: 4462:, retrieved 4457: 4447: 4436:, retrieved 4432:the original 4426: 4420: 4404: 4398: 4387:, retrieved 4377: 4366: 4361:, p. 11 4359:Wildman 1990 4354: 4334:, p. 15 4327: 4315: 4306: 4300: 4291: 4285: 4280:, p. 66 4273: 4261: 4235: 4223: 4211: 4199: 4187: 4175: 4164:, retrieved 4158: 4147: 4136:, retrieved 4126: 4115: 4092: 4085: 4074:, retrieved 4068: 4062: 4057:, p. 31 4050: 4038: 4033:, p. 17 4026: 4010: 4004: 3999:, p. 28 3984:, p. 75 3977: 3972:, p. 63 3957:, p. 62 3950: 3938: 3933:, p. 15 3931:Fawcett 1974 3926: 3915:, retrieved 3911:the original 3898: 3894: 3884: 3873: 3866:Fawcett 1974 3861: 3856:, p. 78 3854:Fawcett 1974 3849: 3838:, retrieved 3832: 3825: 3820:, p. 72 3818:Fawcett 1974 3805:, p. 17 3798: 3791:Wildman 1990 3786: 3781:, p. 25 3774: 3758: 3751:Wildman 1990 3731: 3726:, p. 11 3720:Wildman 1990 3711: 3704:Wildman 1990 3699: 3687: 3676:, retrieved 3670: 3664: 3646: 3619: 3613: 3602:, retrieved 3587: 3580: 3564: 3560: 3554: 3543:, retrieved 3537: 3531: 3504: 3492: 3480: 3473:Wildman 1990 3468: 3457: 3450:Wildman 1990 3445: 3434:, retrieved 3429: 3419: 3403: 3381:, retrieved 3375: 3368: 3360: 3349:, retrieved 3343: 3336: 3328: 3317:, retrieved 3304: 3297: 3292:, p. 43 3290:Fawcett 1974 3285: 3274: 3262: 3257:, p. 70 3255:Osborne 2008 3250: 3238: 3144:Ikon Gallery 3087: 3008: 2978:Nazi Germany 2974:Naum Slutzky 2966:Robert Welch 2961: 2957: 2953: 2939: 2928:, the first 2925: 2918:architecture 2908:; combining 2886:Harry Weedon 2874: 2858:Oliver Baker 2841: 2815: 2773: 2752: 2733:Civic Gospel 2730: 2710:Kynoch Press 2678:Arthur Dixon 2642: 2630: 2596: 2553: 2529: 2511: 2475: 2444:itself into 2439: 2407:modern-style 2406: 2398: 2348: 2314:The Observer 2313: 2309: 2271:Pogus Caesar 2268: 2259: 2253: 2234: 2222: 2208:, by London 2203: 2175: 2167:Nazi Austria 2159:David McFall 2148: 2093: 2087: 2053:Civic Gospel 2038: 1994: 1988: 1957:Pogus Caesar 1954: 1931: 1927:King's Heath 1888: 1867:video artist 1863:Turner Prize 1860: 1826: 1825:documentary 1815:Hunt Emerson 1792: 1782:from nearby 1757: 1751: 1734:Jesse Bruton 1718:Ikon Gallery 1715: 1711:photorealism 1703:mobile homes 1675:William Gear 1673: 1668: 1639: 1633: 1621:Post-war art 1614: 1611:André Breton 1606: 1603:John Banting 1598: 1587:World War II 1584: 1579: 1576:André Breton 1571: 1565: 1559: 1538:Herbert Read 1519: 1515:Oscar Mellor 1488: 1482: 1442:portraitists 1399: 1395:Richard Cork 1388: 1361:lithographer 1338: 1332: 1292: 1276: 1269: 1241: 1216:Slade School 1199: 1189: 1166: 1123: 1117: 1061: 1034: 1028: 988:Walter Crane 981: 941: 917: 908: 898: 888: 878: 872: 833:What is Art? 831: 830:in his book 823: 809: 794:Edwin Harris 779: 747:miniaturists 743:portraitists 739: 716: 710: 692: 688: 666: 657: 652:- later the 649: 646: 625: 621: 614:life drawing 602:Samuel Lines 599: 595:William Wyon 579:Samuel Lines 559:James Bisset 543:James Millar 534: 532: 519: 516:James Millar 476: 445: 428: 422: 401:Thomas Baker 393:Samuel Lines 372: 346: 340: 278:applied arts 275: 215:Pictorialist 203:Harry Weedon 152: 116:illustration 78: 42:applied arts 28: 15: 7556:English art 7235:28 November 7020:29 November 6917:28 November 5813:, p. 9 5142:, p. 3 5041:29 November 5016:29 November 4993:28 November 4960:28 November 4927:28 November 4893:28 November 4867:29 November 4843:28 November 4787:28 November 4739:29 November 4656:28 November 4623:28 November 4548:28 November 4520:28 November 4497:28 November 4464:28 November 4438:28 November 4389:28 November 4278:Breeze 1984 4268:, p. 2 4242:, p. 5 4228:Breeze 1984 4216:Breeze 1984 4180:Breeze 1984 4166:29 November 4138:29 November 4076:29 November 3945:, p. 8 3793:, p. 8 3753:, p. 7 3738:, p. 3 3706:, p. 5 3694:, p. 1 3678:29 November 3604:29 November 3545:29 November 3475:, p. 6 3269:, p. 1 3179:L. S. Lowry 3175:Rolf Harris 3071:Ford Sierra 3043:David Bache 2850:Art Nouveau 2718:A. E. Jones 2654:Henry Payne 2588:John Ruskin 2526:apprentices 2462:white space 2454:page layout 2446:typesetting 2442:type design 2373:designers. 2256:Bill Brandt 2231:Photography 2140:Ian Walters 2128:Small Heath 2120:bas-reliefs 2067:-dominated 2001:stonemasons 1985:Albert Toft 1961:Keith Piper 1877:John Walker 1768:Keith Piper 1748:Keith Piper 1665:altarpieces 1654:advertising 1542:romanticism 1444:, first in 1414:Henry Payne 1402:printmaking 1365:Henry Tonks 1353:Whitechapel 1333:In the Hold 1311:Henry Tonks 1208:romanticism 1192:Burne-Jones 1134:Henry Payne 1100:watercolour 1004:Art Nouveau 973:John Ruskin 921:old masters 905:Holman Hunt 828:Leo Tolstoy 727:Edwin Sharp 685:art dealers 673:booksellers 540:portraitist 465:watercolour 440:picturesque 436:North Wales 432:portraiture 349:Daniel Bond 302:printmaking 239:photography 235:printmaking 175:Art Nouveau 155:watercolour 128:advertising 58:commodities 7545:Categories 7504:Public Art 7479:Literature 7398:Government 7391:Government 7362:Demography 7298:Birmingham 7104:6 December 6730:15 January 6704:15 January 6653:15 January 6606:15 January 6602:, AROnline 6553:15 January 6529:15 January 6506:15 January 6431:27 October 6425:1564968294 6362:0195349067 6336:0709301197 6311:27 October 6305:0486417948 6068:Swift 1988 6004:Swift 1988 5896:Birmingham 5858:Jones 2009 5842:Jones 2009 5787:Jones 2009 5771:Jones 2009 5743:Jones 2009 5731:Jones 2009 5705:15 January 5669:15 January 5642:15 January 5609:15 January 5457:, p. 5438:6 December 5412:6 December 5386:6 December 5322:6 December 5278:6 December 5246:6 December 5140:Price 2008 5128:Price 2008 4813:Sidey 2000 4460:, New York 4332:Sidey 2000 4107:028979580X 3982:Swift 1988 3840:5 December 3524:Chang 2011 3509:Chang 2011 3497:Chang 2011 3485:Chang 2011 3436:20 October 3383:14 January 3351:29 January 3319:27 October 3243:References 3156:modern art 3148:neo-gothic 3039:Austin A30 3027:Longbridge 3015:Dick Burzi 2972:-trained 2954:Beetleware 2914:typography 2692:designers 2688:; and the 2652:designers 2609:persuaded 2355:typography 2264:documented 2210:pop artist 2182:fibreglass 2151:surrealist 2132:John Poole 2006:silverware 1811:Steve Bell 1803:Suzy Varty 1634:INsuperSET 1434:Botticelli 1242:After the 1220:surrealism 1212:symbolists 1130:Kate Bunce 1076:embroidery 996:Symbolists 929:Manchester 771:Kate Bunce 755:still life 671:relied on 641:New Street 547:still life 477:Rhyl Sands 451:. Born in 423:Rhyl Sands 227:typography 219:Surrealist 136:surrealism 107:practiced 99:were both 50:Manchester 30:Birmingham 7413:Education 7382:Transport 7350:Geography 6394:9 January 6278:7 January 5799:Berg 1991 5783:Berg 1991 5767:Berg 1991 5755:Berg 1991 5601:, idsgn, 5583:Hill 1907 5569:8 January 5505:Hill 1907 5490:12 August 4753:Levy 2000 4712:Remy 2001 4700:Remy 2001 4688:Remy 2000 4673:Levy 2000 4598:Remy 2001 4586:Remy 2001 4347:Hall 2002 4320:Hall 2002 4292:The Times 4266:Gere 1969 4255:Gere 2005 4240:Gere 1969 4204:Gere 1969 3917:1 January 3412:499875203 3233:Selly Oak 3207:sculpture 3083:Vel Satis 3041:in 1951. 3019:Mussolini 2890:Four Oaks 2844:line for 2812:furniture 2808:architect 2780:modernism 2764:modernism 2758:style of 2690:furniture 2670:E. H. New 2490:craftsmen 2399:old-style 2153:sculptor 2116:pub signs 2104:Ditchling 2100:Eric Gill 2088:Fortitude 1997:sculpture 1971:Sculpture 1917:, and in 1899:media art 1831:vandalism 1823:Channel 4 1807:Ed Barker 1799:comic art 1695:John Salt 1373:vorticist 1335:(c. 1914) 1307:Edgbaston 1084:furniture 1072:metalwork 1068:jewellery 854:Rembrandt 811:plein air 759:landscape 751:engravers 741:arts, as 719:patronage 567:engravers 449:David Cox 425:(c.1854). 419:David Cox 327:polygraph 290:fine arts 286:metalwork 282:jewellery 231:sculpture 223:metalwork 179:modernism 167:Symbolism 109:metalwork 85:David Cox 81:fine arts 7531:Category 7499:Religion 7332:Timeline 7085:(1998), 6900:13498973 6522:Necklace 6415:Classics 6272:archived 6234:(1986), 5686:(2001), 5603:archived 5316:archived 5272:archived 5240:archived 4837:archived 4617:archived 4383:archived 4132:archived 3081:and the 3079:Avantime 3063:Rover P6 3059:Solihull 3049:and the 2962:Melaware 2950:plastics 2926:Bestlite 2910:graphics 2894:art deco 2838:futurist 2817:De Stijl 2712:and the 2639:in 1893. 2514:engraved 2433:, whose 2419:New York 2409:type of 2403:Fournier 2387:engraver 2351:printing 2190:concrete 2186:plastics 1909:such as 1819:Graffiti 1707:American 1560:Untitled 1456:and the 1381:futurism 1349:Lee Bank 1228:Magritte 1194:and the 935:and the 842:Florence 591:John Pye 557:painter 553:and the 549:painter 501:Pissarro 469:Harborne 453:Deritend 298:painting 280:such as 142:and the 124:painting 72:and for 60:such as 54:Bradford 7459:Culture 7437:Culture 7423:Schools 7408:Economy 7403:Council 7312:History 7305:History 7150:25 June 7000:3445640 6771:13 July 5114:25 June 5087:25 June 5064:25 June 4413:8837953 4019:1238677 3110:Britain 3098:Beatles 3075:Renault 3029:-based 2988:at the 2970:Bauhaus 2930:Bauhaus 2800:Bauhaus 2756:Glasgow 2744:Liberal 2741:Radical 2518:painted 2425:to the 2405:to the 2383:Cradley 2363:Italian 2345:in 1763 2118:to the 2028:in the 1923:Moseley 1901:centre 1891:Digbeth 1845:-based 1827:Bombing 1705:in the 1650:Pop Art 1532:around 1446:England 1406:etchers 1367:at the 1355:in the 1232:Balthus 1222:, with 1214:of the 1173:tempera 1154:Malvern 1096:tempera 1092:frescos 1055:or the 890:Ophelia 885:Millais 846:Raphael 798:Cornish 681:gilders 677:carvers 639:' 1829 375:at the 343:(1828). 294:drawing 187:pop art 144:pop art 7489:People 7251: 7226: 7202: 7184: 7166: 7120: 7095: 7072: 7054: 7036: 6998: 6980: 6962: 6942: 6912:Apollo 6898: 6880: 6862: 6844: 6826: 6787: 6762: 6675: 6628: 6580: 6459: 6422: 6368:12 May 6359: 6333: 6302: 6244: 6211: 6187: 6151: 5976:850795 5974: 5902: 5878: 5696: 5633: 5560: 5536:2 July 5527: 5377: 4984: 4951: 4647: 4570: 4488: 4411: 4104: 4017: 3653: 3626: 3595: 3573:881452 3571: 3410: 3314:314814 3312: 3194:, the 2958:Gaydon 2904:-born 2842:Cymric 2834:cubist 2792:London 2708:, the 2704:, the 2568:Oxford 2503:London 2496:, the 2482:Europe 2435:Bulmer 2411:Bodoni 2379:Caslon 2367:French 2359:German 2324:Design 2273:, his 2171:London 2108:Sussex 2090:(1932) 1991:(1901) 1942:façade 1905:, and 1847:Temper 1839:Goldie 1754:(1982) 1636:(1963) 1530:London 1485:(1940) 1377:cubism 1345:Jewish 1341:Polish 1309:; and 1185:France 1158:Arthur 1120:(1901) 1104:vellum 1088:murals 1031:(1898) 1002:, and 998:, the 955:, the 875:(1884) 850:Rubens 838:Uffizi 816:London 802:Newlyn 735:Turner 713:(1894) 669:London 545:, the 485:France 461:London 361:London 181:; and 173:, and 169:, the 62:cotton 38:design 7514:Sport 7509:Songs 7484:Media 7144:(PDF) 7137:(PDF) 6804:(PDF) 4921:(PDF) 4914:(PDF) 4729:(PDF) 4098:96–97 3569:JSTOR 3023:Italy 3000:Minis 2507:Paris 2415:Didot 2371:Dutch 1950:cubes 1938:wands 1903:VIVID 1683:CoBrA 1599:Arson 1418:Paris 1152:near 1080:books 679:-and- 497:Monet 493:Paris 7469:Jazz 7418:Flag 7249:ISBN 7237:2010 7224:ISBN 7200:ISBN 7182:ISBN 7164:ISBN 7152:2011 7118:ISBN 7106:2010 7093:ISBN 7070:ISBN 7052:ISBN 7034:ISBN 7022:2010 6996:OCLC 6978:ISBN 6960:ISBN 6940:ISBN 6919:2010 6896:OCLC 6878:ISBN 6860:ISBN 6842:ISBN 6824:ISBN 6812:2012 6785:ISBN 6773:2011 6760:ISBN 6732:2011 6706:2011 6673:ISBN 6655:2011 6626:ISBN 6608:2011 6578:ISBN 6555:2011 6531:2011 6508:2011 6457:ISBN 6433:2012 6420:ISBN 6396:2011 6370:2013 6357:ISBN 6331:ISBN 6313:2012 6300:ISBN 6280:2011 6242:ISBN 6209:ISBN 6185:ISBN 6149:ISBN 5972:OCLC 5900:ISBN 5876:ISBN 5707:2011 5694:ISBN 5671:2011 5644:2011 5631:ISBN 5611:2011 5571:2011 5558:ISBN 5538:2011 5525:ISBN 5492:2011 5440:2010 5414:2010 5388:2010 5375:ISBN 5324:2010 5280:2010 5248:2010 5116:2011 5103:2001 5089:2011 5080:1985 5066:2011 5057:1997 5043:2010 5018:2010 4995:2010 4982:ISBN 4962:2010 4949:ISBN 4929:2010 4895:2010 4869:2010 4845:2010 4789:2010 4741:2010 4658:2010 4645:ISBN 4625:2010 4568:ISBN 4550:2010 4522:2010 4499:2010 4486:ISBN 4466:2010 4440:2010 4409:OCLC 4391:2010 4168:2010 4140:2010 4102:ISBN 4078:2010 4015:OCLC 3919:2011 3842:2010 3680:2010 3651:ISBN 3624:ISBN 3606:2010 3593:ISBN 3547:2010 3438:2012 3408:OCLC 3385:2012 3353:2012 3321:2013 3310:OCLC 3225:The 3218:The 3177:and 3161:The 3142:The 3104:and 3090:Mini 2960:and 2916:and 2900:for 2864:and 2836:and 2739:and 2696:and 2684:and 2672:and 2664:and 2578:and 2547:The 2505:and 2460:and 2452:and 2413:and 2369:and 2341:for 2285:and 2192:and 2142:and 1925:and 1889:The 1837:and 1813:and 1774:and 1736:and 1701:and 1699:cars 1656:and 1536:and 1513:and 1501:and 1422:Rome 1420:and 1379:and 1251:and 1230:and 1179:and 1160:and 1144:and 1082:and 990:and 959:and 852:and 792:and 773:and 729:and 675:and 643:home 635:The 608:and 589:and 577:and 499:and 481:Tate 473:oils 403:and 300:and 284:and 241:and 217:and 205:and 118:and 113:book 95:and 66:wool 64:and 52:and 36:and 7449:Art 5459:170 5154:BBC 3903:doi 3565:125 3220:mac 3057:in 3021:'s 2948:in 2802:by 2794:'s 2629:'s 2590:'s 2421:'s 2106:in 1835:Chu 1305:in 1281:in 1102:on 1098:or 1090:or 907:'s 840:in 808:of 757:or 565:of 459:in 367:of 359:in 292:of 146:of 138:of 34:art 7547:: 6910:, 6722:, 6562:^ 6498:, 6481:34 6479:, 6455:, 6453:95 6412:, 6386:, 6264:, 6217:, 6111:^ 5818:^ 5476:. 5465:^ 5447:^ 5430:, 5404:, 5331:^ 5308:, 5264:, 5232:, 5033:, 5004:, 4998:; 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Index