ARTISTS’ BRUSH

Philip Bayliss Brown was born in Essex and studied medicine at St. Bartholomew’s Hospital, London. He pursued a career in General Practice coupled with a series of Medical Informatic academic appointments specialising in the development of computerised health care ontologies for use in electronic medical records. Philip is a life time scholar of historical art techniques and following retirement from clinical practice obtained an MA in Fine Art and trained in portraiture in London, Salisbury and Florence. He has had a number of solo shows in the UK and Italy and also joint exhibitions elsewhere in Europe, the USA and China. He has been shortlisted for a number of awards including the Signature art prize (2015), Deutsche Bank Award (2017) and the Lynn Painter-Stainers Prize (2019). His last supper painting, The Weight of Blood was longlisted for the National Portrait Gallery BP award and formed the focus of a solo exhibition in Westminster Cathedral, London. His passion for the subject matter, experience as an academic writer and a practicing painter, has serendipitously placed him in the fortuitous position to author this definitive account of The Artist’s Brush. Philip lives with his wife and dog in Norfolk, England and Umbria, Italy.

• Forewords; Preface; Format & List Of Abbreviations; Chapter 1 Scope & Approach; World History; Chapter 2 Deep History; Chapter 3 Dawn Of Symbolic Art; Chapter 4 Neolithic Afro-Eurasia; Chapter 5 Africa; Chapter 6 Ancient Egypt; Chapter 7 Classical World ; Chapter 8 Late Antiquity & Early Medieval Europe ; Chapter 9 European Renaisance & The Early Modern Era ; Chapter 10 European Late Modern Period; Chapter 11 Iran & Arabia; Chapter 12 India; Chapter 13 China; Chapter 14 Korea; Chapter 15 Japan; Chapter 16 The Americas; Chapter 17 Oceania; Theory & Practice; Chapter 18 Brush Anatomy & Construction; Chapter 19 Brush Physics; Chapter 20 Mark Making; Index

This impressive study of the brush in all its multiple forms [is] exhaustively examined in this extraordinary piece of scholarship which, in its diversity, becomes a celebration of human creativity…a panoply of human inventiveness as interesting to Anthropologists as to Art Historians and to Artists themselves." Sir Antony Gormley RA. This book … opens our eyes … bringing to light arguably one of the most important instruments in creative expression, the artist’s brush…This fascinating book provides valuable scholarship in the history, manufacture, and physics of the humble brush, and interrogates the elegance of this tool; Professor Paul Fieldsend-Danks, Vice-Chancellor and Professor of Fine Art, Arts University Plymouth