Bøker av James Cahill

The collection of essays and reviews published between 1990 and 2020 celebrates the life work of Britain's pre-eminent artist David Hockney (born Bradford 1937). The compendium ranges from a study of his printmaking by author Marina Vaizey, first published in the quarterly review, Cv Journal of Art and Crafts 3/2 June 1990, to a major exhibition 'A Bigger Picture' on the theme of the East Yorkshire Landscape staged at the Royal Academy in 2012. Renowned author, poet and art historian Edward Lucie-Smith considers the artist's presentation of 'Eighty Two portraits and One Still Life', exhibited at the Royal Academ in 2016, while Cv editor Nicholas James reviews 'Drawn From Life', a survey Hockney drawings exhibited at at the National Portrait Gallery London 2020.

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

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

Poetic paintings--works done in response to lyric poems or as pictorial equivalents to them--compose a major category of East Asian art. In this beautifully illustrated book James Cahill, looks at three exemplary traditions in this genre.

Matters of Life and Death is a limited-edition publication documenting the recent paintings of celebrated Dallas-based British artist Richard Patterson (b.1963). Exploring subjects including abstraction and figuration, portraiture and personae, and fetishism and the male gaze, Patterson's paintings are complex, cryptic and, at times, haunting.

In this beautifully illustrated book, Cahill reveals the intricacies of the traditional Chinese painter's life and work, covering such aspects as payment and patronage, in an approach that is largely absent from Asian art history.

Traditional Chinese collectors, like present-day scholars of Chinese painting, have favored the 'literati' paintings of the Chinese male elite, disparaging vernacular works, often intended as decorations or produced to mark a special occasion. This book deals with the field of Chinese pictorial art history.