482:, south of Aberdeen, where Eardley had an exhibition at the time. Eardley started to spend part of each year away from Glasgow in Catterline, until 1961 when the small village became her permanent home. At first Eardley worked from Watch House, a former Coast-guard property which Soper had bought and allowed Eardley the free run of. In 1955 Eardley bought Number 1, The Row, a cottage on the cliff edge which she used as a home and studio until 1955 when she bought Number 18, The Row, while retaining Number 1, The Row as her picture store. Number 18 was more suitable for living in, but was still a very basic cottage without electricity, running water or sanitation. She called it "a great wee house....I am sitting looking out at the darkness and the sea. I think I shall paint here. This is a strange place – it always excited me."
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paintings were known to be of the poorest city children, often playing in the streets in ragged clothes, the older girls looking after younger siblings. While some of the children appear quite introspective, Eardley captured the exuberance and awkwardness of most of the children. The twelve children of the Samson family were among her regular subjects. Eardley also made chalk drawings, often on scraps of paper or even bits of sandpaper, of the tenement children. These images became the basis of several oil paintings of groups of children. The sense of kinship and community feeling
Eardley experienced in Townhead is evident in pictures such as
446:. These paintings are characterized by their bold use of textured layers of paint. She said that although thinking of the way they 'let out their life and energy...in painterly terms' .. colour and bits of clothes...even that doesn't matter..they are Glasgow – this richness that Glasgow has – I hope it will always have – a living thing...as long as Glasgow has this I'll always want to paint'. In other paintings from this time Eardley used collage, incorporating scraps of newspapers and sweet wrappers, along with elements of graffiti and shop signs, often from abandoned shopfronts.
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By 1942, Eardley had completed the School of Art's
General Course and began the diploma course in drawing and painting. The next year she was awarded the diploma in drawing and painting. Her diploma painting, a self-portrait in oil on plyboard, is her only extant example of formal portraiture and she
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in
Cochrane Street but she later moved to a space above a scrap metal store on St James Road, when the area was regenerated and the studio lost; something Eardley regretted as it was 'so easy to get the slum children to come up. And I have become known in the district'. In Townhead her drawings and
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In her first years at
Catterline, Eardley concentrated on painting the surrounding fields and cottages, only starting to paint beach and seascapes some time later. For both her seascapes and landscapes, Eardley created series of works, often showing the same view but in different light and weather
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In 2013, a collection of letters written by
Eardley to Audrey Walker were released, having been placed under an embargo by Walker until decades after she had died. Eardley had first met Walker, who was ten years older than her and was married to a prominent Scottish barrister, in 1952 in Glasgow.
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In an audio recording
Eardley spoke of Catterline: "When I'm painting in the North East, I hardly ever move out of the village (Catterline), I hardly ever move from one spot. I do feel the more you know something, the more you can get out of it. That is the North East. It's just vast (indistinct
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in the 1890s. Rather than just responding to the attraction of the coastline, she painted with the perception of a mariner aware that waves are heavy, fast moving lumps of water, as able to kill as to support. In this she reinvigorated a maritime trend in
Scottish art..." One of her biographers,
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London sale on 26 August 2008. On her return to
Scotland in 1949 she mounted an exhibition, effectively her first solo exhibition, of work done in Italy, including a number of striking scenes of peasants, beggars, children and old women. The exhibition, at the Mackintosh Gallery of the Glasgow
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Prize for it. Her tutor Hugh Adam
Crawford recognised her talent and bought the work to hang in his home. Her biographer Christopher Andreae notes it as nevertheless a remarkably informal picture, a precursor to the charcoal studies she made in Italy and these in turn a preparation for her many
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After the move to St James Road, Eardley began using photographs to record subjects she would later paint. As well as her own photographs, the photographer Audrey Walker (not the textile artist of the same name) also worked alongside her and supplied her with material. Walker also photographed
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Eardley's work was already highly acclaimed by many in
Britain by the time of her death. She had produced over 300 paintings and 1400 sketches, now in galleries or private collections. Posthumously, she has been recognised as an artist of international importance, although not universally. A
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When the two were not together, Eardley would write to Walker on a near daily basis and the letters show Eardley's intense love for Walker. Although the letters were released with the agreement of both the Eardley and Walker family estates, their publication was criticized in some quarters.
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Early in 1963, Eardley consulted a homeopathic doctor about a breast lump but was told she had no need to be concerned. By May 1963, she was complaining of persistent headaches and was diagnosed with breast cancer which had spread to her brain. Eardley was cared for by friends at Catterline
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from February 1961, for example described as her 'breakthrough' work, was painted entirely in the open air and was one of four paintings she created during a particular storm, the state of the tides determining which of the four she would work on at any given time. When she heard of a storm
596:." For Guy Peploe, "There was a desperate urgency to her work. It was almost as if she knew that she was not going to be the grand lady of Scottish art." Murdo Macdonald says of Eardley's Catterline seascapes: "he committed herself to understanding the sea more than any other painter since
173:, where her parents were dairy farmers. Her mother, Irene Helen Morrison, (1891–1991), was Scottish and had met Captain William Edwin Eardley, (1887–1929), during World War One when he was stationed in Glasgow. Later in the war he fought in the trenches on the
181:. The couple married at the end of the war, but Captain Eardley experienced episodes of depression and suffered a mental breakdown during Joan's early childhood. After the failure, and subsequent sale, of his farm in 1926, Captain Eardley worked for the
605:, observed that, "for her a truly successful painting had to go deeper than a mere visual record, no matter how accurate... er success lay in her ability to combine the acute, uncompromising painter's eye with a warm human sympathy and understanding".
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Early in her trip, Eardley had destroyed all but one of the paintings she had made by that stage, but back in Venice she painted, and retained, a number of works. During her stay in Venice in 1949 Eardley worked mainly in charcoal and pastel.
408:. Eardley portrays the beggars gathered there with the same tenderness and sympathy she was later to bring to bear portraying the lives of the disenfranchised in the tenements of Glasgow. The painting realized £169,250 at a
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which, together with a travelling scholarship from the Glasgow School of Art, allowed her to visit Italy and, briefly, Paris for several months in 1948 and 1949. In September 1948 she travelled by boat and train to
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conditions, including in storm conditions. She painted landscapes showing the changing seasons in the fields around the village, her thickly textured paintwork sometimes incorporating real pieces of vegetation. To
458:. She developed a unique style and soon had a reputation as a highly individual, realistic and humane artist of urban life. She was often to be seen transporting her easel and paints around Glasgow in an old pram.
280:, but she never liked classroom teaching and left after one term. She chose instead to work as a joiner's apprentice with a small boat building firm in Bearsden. This work, which, throughout 1944 included painting
193:, where Joan's artistic talent was first recognised. In 1929 Captain Eardley died by suicide, although the details of his death were not explained to Joan and Pat until they were in their teens, years later.
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through to 1949 when she had a successful exhibition of paintings created while travelling in Italy. From 1950 to 1957, Eardley's work focused on the city of Glasgow and in particular the slum area of
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According to Dr Janet McKenzie of the National Galleries of Scotland, Eardley's untimely death "meant that she was never given the stature she deserved. Her work deserves to be compared to
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to Catterline. For her seascapes Eardley switched from painting on canvas to using large boards, for a more rigid surface to work on, some of which were as large as six feet in length.
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in November 1948. There she painted fishermen working on their nets, a subject she returned to years later in Catterline. Eardley spent Christmas 1948 in Paris before travelling to
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is an example of the few oil paintings she produced at the time. The intense blue reflects the love for Giotto she developed during her time to Italy. The location shown is the
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on landing craft for the war effort, allowed Eardley to attend evening classes at the Glasgow School of Art until 1946. During the war, her painting of her shipyard work mates,
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132:(18 May 1921 – 16 August 1963) was a British artist noted for her portraiture of street children in Glasgow and for her landscapes of the fishing village of
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244:, who became a close and lifelong friend. Sandeman and Eardley would often paint together and also shared family holidays and camping trips. In 1941, they acquired a
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in January 1949. In Venice she fell ill and had to travel to Florence for treatment by an English speaking doctor. Once recovered, she divided her time between
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having declined the opportunity to mark the 25th anniversary of her death. A National Galleries of Scotland retrospective was finally held in 2007–2008. The
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before moving there permanently in 1961. During the last years of her life, seascapes and landscapes painted in and around Catterline dominated her output.
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and in 1963 she was elected a full member of the academy. The same year an exhibition of her work was held in London, but she was too ill to attend.
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In the spring of 1950, while convalescing from mumps, Eardley was taken by a friend, Annette Soper, (later Annette Stephen by marriage), to visit
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312:, who influenced her choice of everyday subject matter. In 1948 Eardley returned to the Glasgow School of Art to complete a post-diploma course.
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531:, was left unfinished in her studio, as she had kept on working until she lost her eyesight. Her ashes were scattered on Catterline beach.
494:(1960–61) includes elements of grit. She usually worked outdoors and often in poor weather, sometimes in snowstorms or gale-force winds.
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and surroundings on the North-East coast of Scotland. One of Scotland's most enduringly popular artists, her career was cut short by
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which she attended for one term. In 1939 Eardley, her mother and her sister moved to Glasgow to live with her mother's relatives in
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in August 1963 at the age of 42, with her mother, sister and Audrey Walker at her bedside. A large painting of the Samson sisters,
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Elliott, Patrick (2021), Joan Eardley: Land & Sea - A Life in Catterline, The Trustees of the National Galleries of Scotland
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admired her art, and took pictures of the Samson family in her studio. Eardley also drew numerous scenes of the shipyards of
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technique but did not continue with the method. Eardley went back to London for a short time and, during 1947, spent time in
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364:. She valued these artists' humanity and the sculptural aspects of their work. She visited churches and monasteries in
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Joan Eardley lived and worked in this cottage in Catterline, Aberdeenshire in the years before her death in 1963.
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area, all of which was earmarked for demolition at the time. Her first studio was on the fourth floor of a
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An Exhibition of Paintings and Drawings of Italy made by a Travelling Scholar at the School, Joan Eardley
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working on a mural commission for a school. She returned to Scotland to continue her studies in 1947 at
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and published by Macmillan & Co. of London in 1932, is still in the possession of Eardley's family.
1388:"Saturday Arts Gallery review: Joan Eardley Time and Tide, Clydebank Museum and Art Gallery, Clydebank"
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awarded a plaque to commemorate Eardley. It can be found at No. 1 South Row, Catterline, Stonehaven.
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and Joan's mother took her and her younger sister, Pat, (1922–2013), to live with her own mother in
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approaching the coast, Eardley would travel by train from Glasgow to Stonehaven and then ride her
140:. Her artistic career had three distinct phases. The first was from 1940 when she enrolled at the
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School of Art, met with considerable praise and several of the works shown were acquired by the
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drawing, pastels and paintings of Glasgow street children. The prize, a biography of Guthrie by
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2099:
Refiguring the 50s : Joan Eardley, Sheila Fell, Eva Frankfurther, Josef Herman, L S Lowry
1676:"Clifftop legacy to inspire Scots artists, Cottage which Eardley loved is offered to painters"
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240:, who arrived in Glasgow in 1940 and met Eardley, was also an influence. She met the painter
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Eardley trained at the local art school in Blackheath for two terms, and in 1938 enrolled at
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word possibly "waves"), vast seas, vast areas of cliff. Well you've just got to paint it."
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British Printmakers 1855-1955 A Century of Printmaking from the Etching Revival to St Ives
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1705:"Joan Eardley: painting inner-city Glasgow and the rugged landscapes of Catterline"
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1583:"The Great British Art Tour: giggles and graffiti bring Glasgow childhood to life"
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2021: a series of exhibitions and events to mark the centenary of her birth.
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In 1949 Eardley set up a studio in Glasgow, in the deprived and overcrowded
292:. Around 1945 Eardley appears to have made a small number of prints using a
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148:. In the late 1950s, while still living in Glasgow, she spent much time in
1990:, 'Joan Eardley, RSA', Edinburgh: Mainstream Publishing Company, 1988: p48
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1108:"Joan Eardley: The forgotten artist who captured Scotland's life and soul"
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Murdo Macdonald, 'Scottish Art', London: Thames and Hudson, 2000: pp192–3
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895:"How the unflinching art of Joan Eardley captures Scotland at its rawest"
400:, built in the fifteenth century as a great philanthropic confraternity.
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189:. In 1929 an aunt paid for Joan and Pat's education at a private school,
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Eardley was a member of or affiliated with the following organisations:
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1963: Solo exhibition, Roland, Browse & Delbranco Gallery, London
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1928:"Just Janice: Does it matter if Joan Eardley was a lesbian ?"
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No. 11: April 1964, New Saltire Ltd., Edinburgh, pp. 21 – 24
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Oxford Dictionary of National Biography Vol 17 (Drysdale-Ekins)
490:(c.1961) Eardley added grass pieces to the paint surface while
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2002:"Artist Joan Eardley Among Figures Celebrated With HES Plaque"
1643:"New CatStrand exhibition Joan Eardley and Lady Audrey Walker"
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2007: Retrospective, National Galleries of Scotland, Edinburgh
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1963: Honorary member of Glasgow Society of Lady Artists' Club
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Exhibitions of her work held during Eardley's life included:
928:"Joan Eardley, an artist at home in the city and by the sea"
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BBC's Coast series 5 episode 6, first broadcast August 2010
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Sam Maddra, Joanna Meacock and Lisa Pearson, ed. (2013).
396:, a large square in Venice. The building depicted is the
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After graduating in 1943 Eardley trained as a teacher at
327:, 1949. Oil on canvas, 90.5 by 96 cm. Private collection
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1963: Elected full member of the Royal Scottish Academy
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artists and in particular she admired fresco cycles by
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to paint and sketch. For many years, they also visited
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Modern Scottish Women Painters and Sculptors 1885-1965
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1961: Solo exhibition, the Scottish Gallery, Edinburgh
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Oil Paintings in Public Ownership in Glasgow Museums
723:, Scottish National Gallery of Modern Art, Edinburgh
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2007: Retrospective, the Scottish Gallery, Edinburgh
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and for the Glasgow School of Art's own collection.
260:, using an outhouse, "The Tabernacle", as a studio.
1876:"Joan Eardley letters show relationship with women"
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695:2008: Retrospective, the Fleming Gallery, London
659:1950, Solo exhibition, Gaumont Gallery, Aberdeen
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204:, after a short period with other relatives in
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1902:"Art review: Joan Eardley exhibition and book"
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857:HCG Matthew & Brian Harrison, ed. (2004).
686:then at the Royal Scottish Academy, Edinburgh.
440:Glasgow Kids, A Saturday Matinee Picture Queue
165:Joan Eardley was born at Bailing Hill Farm in
2126:"Works in the National Galleries of Scotland"
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996:(online ed.). Oxford University Press.
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662:1959: Solo exhibition, 57 Gallery, Edinburgh
1958:. London: The Public Catalogue Foundation.
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750:"Joan Eardley, English/ Scottish 1921-1963"
577:(c. 1952) and figurative paintings such as
510:In 1955 Eardley became an associate of the
177:, was wounded in a gas attack and suffered
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1166:& Alexander Moffat (3 February 2017).
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1041:"Joan Eardley: an intensity of expression"
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450:Eardley at work. Documentary photographer
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960:. Ashgate Publishing, Ltd. pp. 10–.
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228:as a day student where she studied under
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290:Royal Glasgow Institute of the Fine Arts
224:In January 1940 Eardley enrolled at the
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1732:"About Joan Eardley - Eardley Editions"
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993:Oxford Dictionary of National Biography
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567:Scottish National Gallery of Modern Art
523:throughout her last months and died at
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1848:Patrick McPartlin (16 February 2017).
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1168:"Joan Eardley and the art of contrast"
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2198:Deaths from breast cancer in Scotland
2133:139 artworks by or after Joan Eardley
1850:"Joan Eardley: The painter's painter"
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926:Sarah Urwin Jones (3 December 2016).
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404:painted exactly the same view in his
2223:People educated at St Helen's School
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2188:Alumni of the Glasgow School of Art
2173:20th-century Scottish women artists
2031:20th Century Painters and Sculptors
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278:Jordanhill Teacher Training College
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1360:. Garton & Co / Scolar Press.
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1203:. National Galleries of Scotland.
831:. National Galleries of Scotland.
684:Kelvingrove Art Gallery and Museum
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2244:
2163:20th-century British LGBTQ people
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1437:Janet McKenzie (8 January 2008).
1284:Hamish MacPherson (16 May 2021).
624:1948: Professional member of the
569:has many of her works, as do the
549:retrospective exhibition held in
220:Eardley's Sir James Guthrie prize
1926:Janice Forsyth (22 March 2013).
1874:Brian Ferguson (20 March 2013).
1703:Patrick Elliott (5 March 2020).
987:"Eardley, Joan Kathleen Harding"
715:Clydebank Museum and Art Gallery
680:Joan Eardley Memorial Exhibition
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384:as well as Florence and Venice.
236:. The work of the Polish artist
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2000:Historic Environment Scotland.
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1981:
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1900:Moira Jeffrey (13 March 2013).
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1611:"Joan Kathleen Harding Eardley"
1581:Jo Meacock (22 February 2021).
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630:1955: Elected Associate of the
2168:20th-century Scottish painters
1501:Sickert:Paintings and Drawings
1039:Jan Patience (16 March 2021).
721:Joan Eardley: A Sense of Place
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615:
563:National Galleries of Scotland
406:The Scuola Grande di San Marco
344:. There she saw many works by
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2183:Alumni of Hospitalfield House
2006:Historic Environment Scotland
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610:Historic Environment Scotland
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130:Joan Kathleen Harding Eardley
119:Royal Scottish Academy (1963)
50:Joan Kathleen Harding Eardley
2101:, Ben Uri Gallery and Museum
2033:. Antique Collectors' Club.
1386:Keith Bruce (11 July 2015).
1314:Christopher Andreae (2013).
1017:UK public library membership
954:Christopher Andreae (2013).
893:William Cook (15 May 2017).
155:
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2228:20th-century women painters
2097:MacDougall, Sarah, (2014),
2055:"JOAN EARDLEY(1921 – 1963)"
1816:National Galleries Scotland
1787:National Galleries Scotland
1758:National Galleries Scotland
1477:National Galleries Scotland
1292:. p. SevenDays page 11
861:. Oxford University Press.
754:National Galleries Scotland
711:Joan Eardley: Time and Tide
626:Society of Scottish Artists
575:Catterline Coastal Cottages
561:, the then director of the
10:
2249:
1473:"15 Min read Joan Eardley"
1199:Alice Strang, ed. (2015).
1137:Anna McNay (1 July 2015).
1071:"Joan Eardley (1921-1963)"
553:in 1988 was hosted by the
398:Scuola Grande di San Marco
232:and was influenced by the
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478:, a fishing village near
394:Campo SS Giovanni e Paolo
264:was awarded the school's
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2203:Scottish lesbian artists
2121:- operated by her Estate
2084:The Work of Joan Eardley
1504:. Yale University Press.
517:
2218:Scottish women painters
2208:Scottish LGBTQ painters
183:Ministry of Agriculture
107:Sir James Guthrie Prize
1619:. 2017. Archived from
1616:Gracefield Arts Centre
1553:Alicia Foster (2004).
1244:"Brush with greatness"
1002:10.1093/ref:odnb/40309
827:Fiona Pearson (2007).
673:Posthumous exhibitions
632:Royal Scottish Academy
559:Royal Scottish Academy
512:Royal Scottish Academy
471:
444:Children, Port Glasgow
333:Royal Scottish Academy
328:
221:
2082:Irwin, David (1964),
1356:Robin Garton (1992).
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362:Piero della Francesca
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248:and travelled around
226:Glasgow School of Art
219:
142:Glasgow School of Art
98:Glasgow School of Art
2233:People from Bearsden
2193:Artists from Glasgow
1498:Wendy Baron (2006).
1443:Studio International
1143:studio international
1139:"Refiguring the 50s"
1106:(11 February 2017).
702:, group exhibition,
462:Catterline 1957–1963
415:Aberdeen Art Gallery
337:Carnegie scholarship
2213:People from Warnham
1736:eardleyeditions.com
1684:. 27 September 2003
1557:. Tate Publishing.
1529:"Beggars in Venice"
555:Talbot Rice Gallery
346:Italian Renaissance
302:Hospitalfield House
282:camouflage patterns
234:Scottish Colourists
1623:on 1 December 2017
1555:Tate Women Artists
1318:. Lund Humphries.
782:"Catalogue entry,
700:Refiguring the 50s
472:
421:Townhead 1950–1957
360:and also works by
335:awarded Eardley a
329:
230:Hugh Adam Crawford
222:
198:Goldsmiths College
187:Blackheath, London
2088:Magnusson, Magnus
1965:978-1-904931-81-2
1516:Scottish Art News
1250:. 3 November 2007
1015:(Subscription or
967:978-1-84822-114-7
598:William McTaggart
525:Killearn Hospital
431:tenement building
390:Beggars in Venice
325:Beggars in Venice
266:Sir James Guthrie
246:horse and caravan
212:Glasgow 1940–1948
191:St Helen's School
127:
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87:Killearn Hospital
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2178:Lesbian painters
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2117:Official website
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2135: at the
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2062:. Retrieved
2059:Joan Eardley
2058:
2049:
2030:
2021:
2009:. Retrieved
2005:
1995:
1983:
1974:
1955:
1949:
1937:. Retrieved
1931:
1921:
1909:. Retrieved
1906:The Scotsman
1905:
1895:
1883:. Retrieved
1880:The Scotsman
1879:
1869:
1857:. Retrieved
1854:The Scotsman
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1831:
1819:. Retrieved
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1708:
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1648:Daily Record
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1621:the original
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1587:The Guardian
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1481:. Retrieved
1476:
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1442:
1397:. Retrieved
1391:
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1345:Google Books
1340:Joan Eardley
1338:
1334:
1316:Joan Eardley
1315:
1294:. Retrieved
1290:The National
1289:
1252:. Retrieved
1248:The Scotsman
1247:
1200:
1177:. Retrieved
1173:The National
1171:
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1142:
1117:. Retrieved
1113:The Guardian
1111:
1079:. Retrieved
1074:
1050:. Retrieved
1044:
1005:. Retrieved
991:
976:
957:Joan Eardley
956:
949:
937:. Retrieved
931:
902:. Retrieved
898:
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829:Joan Eardley
828:
793:. Retrieved
789:
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757:. Retrieved
753:
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594:Lucian Freud
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579:Two Children
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456:Port Glasgow
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331:In 1948 the
330:
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262:
238:Josef Herman
223:
206:Auchterarder
195:
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129:
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81:(1963-08-16)
37:
25:Joan Eardley
18:
2158:1963 deaths
2153:1921 births
2092:New Saltire
1939:22 November
1911:22 November
1885:14 November
1821:23 November
1792:23 November
1763:23 November
1688:16 November
1655:14 November
1627:22 November
1254:11 November
1119:13 February
939:10 November
786:c. 1961-62"
644:Exhibitions
616:Memberships
581:from 1963.
436:Street Kids
310:James Cowie
250:Loch Lomond
179:shell-shock
68:West Sussex
60:18 May 1921
2147:Categories
1933:The Herald
1859:9 November
1681:The Herald
1483:9 November
1448:9 November
1393:The Herald
1164:Alan Riach
1081:9 November
1019:required.)
933:The Herald
904:9 November
795:9 November
759:9 November
731:References
480:Stonehaven
476:Catterline
316:Italy 1949
161:Early life
150:Catterline
134:Catterline
70:, England.
56:1921-05-18
2011:20 August
1533:Sotheby's
656:, Glasgow
608:In 2017,
551:Edinburgh
501:Lambretta
410:Sotheby's
156:Biography
94:Education
2029:(1990).
1810:The Wave
1592:24 March
1007:22 April
984:(2004).
899:BBC Arts
706:, London
557:and the
496:The Wave
427:Townhead
354:Masaccio
342:Florence
306:Arbroath
202:Bearsden
146:Townhead
2090:(ed.),
1781:Harvest
1716:4 March
1399:4 March
1179:6 March
1148:6 March
1052:5 March
492:Harvest
442:and in
382:Ravenna
356:in the
298:Lincoln
256:on the
167:Warnham
116:Elected
64:Warnham
2137:Art UK
2064:16 May
2037:
1962:
1710:Art UK
1561:
1479:. 2017
1364:
1322:
1296:16 May
1207:
1077:. 2012
1046:Art UK
1013:
964:
865:
835:
719:2017:
709:2015:
698:2014:
678:1964:
652:1948:
544:Legacy
378:Arezzo
374:Venice
366:Assisi
350:Giotto
308:under
254:Corrie
171:Sussex
104:Awards
40:, 1943
2086:, in
518:Death
438:, in
352:, by
304:, in
2139:site
2066:2021
2035:ISBN
2013:2024
1960:ISBN
1941:2017
1913:2017
1887:2017
1861:2017
1823:2017
1794:2017
1765:2017
1718:2023
1690:2017
1657:2017
1629:2017
1594:2021
1559:ISBN
1485:2017
1450:2017
1401:2023
1362:ISBN
1320:ISBN
1298:2021
1256:2017
1205:ISBN
1181:2023
1150:2023
1121:2017
1083:2017
1054:2023
1009:2018
962:ISBN
941:2017
906:2017
863:ISBN
833:ISBN
797:2017
790:Tate
761:2017
76:Died
46:Born
998:doi
2149::
2057:.
2004:.
1930:.
1904:.
1878:.
1852:.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
