70 books like Laura Knight

One of the best ways to keep up with the latest ideas about art is to go to temporary exhibitions curated by the leading minds in each field – which is why I am recommending my favourite catalogues from the past year. Carlo Crivelli is one of my favourite artists, and this particular catalogue is undoubtedly the best thing written about him so far. His work was neglected for decades because Art Historians couldn’t find a way to fit him into a rather restrictive ‘Story of Art.’ The curators wanted to explain what was truly remarkable about him – and they succeeded. Crivelli’s work just happens to be some of the most sophisticated of the 15th century, playing games with picture making that wouldn’t be seen again until the modern era.

It’s hard to love every artist – we all have different tastes – and I have always had problems with the apparently dry and academic art of Nicolas Poussin. That is, until I saw the exhibition Poussin and the Dance. Not only does it show a more relaxed side to this apparently reserved man, reveling in the fluidity and intimacy of movement, but as an exhibition it was perfectly formed. Every object, whether painting, drawing, sculpture, or vase, had a reason to be there, and each was informed by its presence with the others: a true conversation between artworks that you could enjoy and from which you could learn. And of course, the clarity of the minds which brought these exhibits together is also evident in the writing of the catalogue.

The exhibition dedicated to Johannes Vermeer at the Old Master Picture Gallery in Dresden last year was one of the best I have ever seen. Inspired by a recent discovery – a crucial detail in one of the Gallery’s own works had been painted over – the exhibition set out to explore the artist’s work in-depth focusing on this one image. The restoration of the painting and the revelation of the hidden detail led to a re-evaluation of Vermeer’s art. Each room of the exhibition, and chapter of the book, introduces a different aspect of the painting so that, when you finally get to see it and read about it, you have a thorough understanding of its meaning and development, and even of the society in which it was produced.

To my mind, Alison Watt’s unerring eye and technical skills rank among the best, and conceptually her paintings are equally compelling. Dealing with the complexities of perception, they constantly question the nature of art: what is this magic that paint alone can perform? Her work is an ongoing conversation with the art of the past, and the exhibition at the Scottish National Portrait Gallery was her response to the 18th Century portraitist Allan Ramsay. The paintings remind me of exhibits in a trial, or evidence of a forensic examination, focusing on specific details, insisting that we look more closely, enjoying forms and colours, and inviting us to speculate on their relevance to the original subjects. The catalogue, beautifully produced, is a work of art in its own right.

A somewhat different kind of setting awaits readers in The Academy. It depicts a dystopia in space that resembles Victorian times quite strikingly. Pretty awesome combination, huh? The heroine infiltrates an all-boys school to become a spaceship pilot and navigate the stars. Only to discover even the galaxy is not big enough to run from love.

This book offers nuts and bolts systems and practices for thinking in new ways, organizing more effectively, and producing more abundantly. The author’s insights on establishing goals, setting priorities, and meeting deadlines are spot on. Though written a few decades ago, its lessons are timeless because they focus on reaching an endgame that provides a sense of satisfactory achievement. The author’s sense of humor and his ability to avoid tedious theory give the book momentum and energy.

I really enjoyed this clever Young Adult whodunnit mystery centering on three families reuniting for their annual summer holiday in Cornwall.

When one of the teenage daughters goes missing following a game of hide and seek, her doting, yet secretly envious, best friend tries to piece together what happened.

The story is told between present and past events, but also through letters written by the main protagonist to the missing girl, phrased in such a way I wasn’t quite sure how much or little she really knew about what happened to her friend, which elevated the mystery.

The families are brimming with resentments, tensions & jealousies, heightening the intrigue and potential culprits, but what I loved most was the hugely unexpected denouement. A very clever twist I didn’t see coming!

Enys Tregarthen’s tales have bought Cornish magic into every home for a hundred years.

I have spent a lot of time with her books and retold many tales in my book. North Cornwall Fairies and Legends is a basket full of piskeys, (the Cornish fairy folk.) One of my favourites is the Piskey’s Revenge, which I retold for Cornish storytelling project Mazed. It is illustrated by Steven Lambert, and used in Cornishibai street storytelling.

It tells how Granfer accidentally digs up the piskey beds, in revenge, the piskeys eat all Granfer’s birthday biscuits. Enys writes about the children of Cornwall and what they encounter: they meet piskey friends up on the moors, little stone figures come alive in towns and aways there is an excuse for piskey mischief.

Zennor is a tiny village perched on the cliffs of Cornwall’s rugged north shore and battered by Atlantic storms. I’ve often visited it, have run my hand over the legendary mermaid chair in its little church and walked the cliff path, which Virginia Woolf reported doing once at night, a dangerous event that inspired Dunmore’s novel. 

Zennor in Darkness is based on a true story. D.H. Lawrence and his wife Frieda settled in a remote cottage on the cliffs during the First World War. They were regarded with suspicion because Frieda was German and the couple kept an irregular lifestyle – were they in fact enemy spies?  Their story is tenderly told through the eyes of a young local artist, Clare Coyne.

Dunmore writes beautifully, with lucidity and a suspenseful air.

I adore family sagas. This is a wonderful recreation of the story of the loves and rivalry of the 12th century Plantagenet king Henry II, his wife Eleanor of Aquitaine, and their sons. The book is set in the late 19th century and follows the Castallack family who live in a vast Gothic mansion, Penmarric, on the North Cornish coast overlooking the sea. You don't need to know your English history to enjoy the novel but if you finish it wanting more, as I did, you will be delighted to know there are two further books following the story of the Plantagenet kings of England: Cashelmara and The Wheel of Fortune.