Glenys Barton's supreme art as a sculptor in ceramics has been celebrated ever since she left the Royal College of Art. From her subsequent spell as artist-in-residence at Wedgewood, she proceeded to contemplative exploration of the human spirit in the tranquil timeless heads and more specific portraits of artist friends, patrons and family. Recent portrait commissions have included Jean Muir and Glenda Jackson. This book was published by Momentum to coincide with exhibitions at the National Portrait Gallery, Manchester City Art Gallery, Flowers East and Stoke on Trent City Museum and Art Gallery.
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Edward Lucie-Smith is a well-known art historian and critic who has published many books on contemporary art. His most recent publication is Visual Arts in the 20th Century, a comprehensive survey. Other books are Movements in Art since 1945, a classic text first published in the 1960s and several times revised, and Art Today.
Robin Gibson has been Chief Curator of the National Portrait Gallery since 1994 and was first curator of the Gallery's Twentieth Century Collection in 1983. He has mounted numerous exhibitions and written exclusively on portraiture and modern British artists including Maggi Hambling, John Bellany and John Bratby.
At a time when many painters of talent and imagination think twice before undertaking a portrait, it is extremely encouraging to come across a creative personality from another discipline who has taken to portraiture with the enthusiasm and inventiveness of Glenys Barton. In a medium as old as civilisation, ceramic sculpture has acquired in Barton's hands new life and vigour, and she can now be seen to a considerable extent to have filled the void left in figurative sculpture in Britain since the death of Elisabeth Frink. Her bust of the late Jean Muir was one of those all too rare portraits which seem to encapsulate both all the essential characteristics of a well-known sitter and the spirit of the age in which it was created. (Charles Saumarez Smith)
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