An interesting piece – I would always call it a little brave, if not misguided, to present a pictorial biography of an artist using your own art and not the subject's, but that is what this creative has done, and presumably did with the first in this loose series, on Madge Gill. This one introduces us to Joan Earley, born within five miles of where I sit and write this, to a Scottish mother and an English officer suffering the typical post-WWI gassing and PTSD issues. The parents separated, to such an extent that when he killed himself the children weren't told for years, and that and WWII conspired to see Earley in Scotland, where she could get the most from the Glasgow School of Art, and carry on from there.

At her peak she was working and living two distinct threads – in Glasgow, where a studio in the tenements made her more than capable of finding children from these slum-like dwellings to paint (if she gave them a portrait as a gift at the wrong time of year it like as not fed the fire to keep them warm at home), and in a coastal village halfway between Montrose and Aberdeen; she had multiple abodes and ateliers there, and if she had the call about a storm to savour being on the horizon, a combination of train and her Lambretta would get here across Scotland, with an over-sized canvas, painting en plein air in all weathers.

For yes, she did that, she stowed her artwork in a pram or shopping trolley to move it from A to B, she fixed her own roof, and did many things that when women did them hinted at sapphism, and indeed she was in a lesbian relationship when cancer took her quite shockingly early. What little of her work we do see here I don't really appreciate, tending as it does to the 'slap it down and hope it works' methodology, but it has to be said she was at a rare stage in her life and career, and the fondness she is held in comes across in this quickly-read biography.

The text is nothing academic; GCSE students would have no problem understanding and learning everything they might need. The visuals are, to repeat, the author's and have no artistic connection to the subject beyond being mostly based on the lover's photography. So this is either a side-step for Eardley fans, as they see her story how someone else would want to present it, or of course a primer in her short and vivid life. If all Eardley fans would love this is debatable, but if the more people see it for its second purpose, the better. My four stars shouldn't hinder that; this is an unusual book but a most competent little one.

(Beyond the footnote I offer, which may be irrelevant concerning the finished, published article – landing craft are boats, and needed neither pilots nor wings.)

This book includes the author's artwork, which is inspired by the life of Joan Eardley, and summarizes Eardley's story. There are also photographs of Eardley and a resource list at the end. This is informative, and I liked some of the artwork, but the text is very dry and includes multiple writing technique errors. This book can still appeal to people who are interested in learning about the little-known subject, especially if they are interest in women's art history and LGBT art history, but the book could be much more polished.

I loved this little book and the beautiful artwork. Her life story is heartbreaking, because she died so young with so much potential. The prose that accompanies the story is gorgeous. Thanks to NetGalley for letting me read this

Two adult introductions begin this lovely book containing the art of English-born artist Joan Eardley, a woman as out of step with 1950s England as could be. Then the charming pictures are accompanied by banal prose about this artist killed much too young by breast cancer. This could have been a wonderful picture book, which could have presented Eardley’s life, unvarnished, for young and old. The photos by Eardley’s companion, Audrey Walker, are a nice plus, but all in all, this book is a disappointment.

In the interest of full disclosure, I received this book from NetGalley and Cranthorpe Millner Publishers in exchange for an honest review.

Over recent years there has been a gradual acknowledgement in the world of art that women a have been sorely neglected in the history of art. The recent book The History of Art Without Men by Katy Hessel highlighted this situation and shone a light on forgotten or neglected talent and leaders in the world of art.

Ayshea Ahmed previously shone a light on the sublime work of Madge Gill and now she turns her attention to the beautiful and emotive work of Joan Eardley. Joan's work has gained increasing attention over the last coupe of decades( and rightly so).

This is not an extensive historical tome of Joan's life but a celebration of her work and simple story of her world from growing up in Sussex to living in Glasgow and her love for the coastal village of Catterline.

Ayshea Ahmed has presented the art work in the style of an old notebook /photo album which perfectly suits the style of Joan's work and adds a warmth to it . The paintings of the Glasgow children and the Scottish coastline are so warm and big hearted as are the paintings she created of herself with friends.

Working in education this is a book that is certainly going to explored with younger students; Joan's artwork has the feeling of so much contemporary imagery . Joan was ahead of her time.

A delightful book that will introduce many more people to the beautiful work of Joan Eardley.

As somebody who grew up near her birth place, I am keen to see if she is historically acknowledged when I next visit.