No 427, May/June 2020
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KYK-OVER-AL Volume 2 Issues 8-10
KYK-OVER-AL Volume 2 Issues 8-10 June 1949 - April 1950 1 KYK-OVER-AL, VOLUME 2, ISSUES 8-10 June 1949-April 1950. First published 1949-1950 This Edition © The Caribbean Press 2013 Series Preface © Bharrat Jagdeo 2010 Introduction © Dr. Michael Niblett 2013 Cover design by Cristiano Coppola Cover image: © Cecil E. Barker All rights reserved No part of this publication may be reproduced or transmitted in any form without permission. Published by the Ministry of Culture, Youth and Sports, Guyana at the Caribbean Press. ISBN 978-1-907493-54-6 2 THE GUYANA CLASSICS LIBRARY Series Preface by the President of Guyana, H. E. Bharrat Jagdeo General Editors: David Dabydeen & Lynne Macedo Consulting Editor: Ian McDonald 3 4 SERIES PREFACE Modern Guyana came into being, in the Western imagination, through the travelogue of Sir Walter Raleigh, The Discoverie of Guiana (1595). Raleigh was as beguiled by Guiana’s landscape (“I never saw a more beautiful country...”) as he was by the prospect of plunder (“every stone we stooped to take up promised either gold or silver by his complexion”). Raleigh’s contemporaries, too, were doubly inspired, writing, as Thoreau says, of Guiana’s “majestic forests”, but also of its earth, “resplendent with gold.” By the eighteenth century, when the trade in Africans was in full swing, writers cared less for Guiana’s beauty than for its mineral wealth. Sugar was the poet’s muse, hence the epic work by James Grainger The Sugar Cane (1764), a poem which deals with subjects such as how best to manure the sugar cane plant, the most effective diet for the African slaves, worming techniques, etc. -
A Field Awaits Its Next Audience
Victorian Paintings from London's Royal Academy: ” J* ml . ■ A Field Awaits Its Next Audience Peter Trippi Editor, Fine Art Connoisseur Figure l William Powell Frith (1819-1909), The Private View of the Royal Academy, 1881. 1883, oil on canvas, 40% x 77 inches (102.9 x 195.6 cm). Private collection -15- ALTHOUGH AMERICANS' REGARD FOR 19TH CENTURY European art has never been higher, we remain relatively unfamiliar with the artworks produced for the academies that once dominated the scene. This is due partly to the 20th century ascent of modernist artists, who naturally dis couraged study of the academic system they had rejected, and partly to American museums deciding to warehouse and sell off their academic holdings after 1930. In these more even-handed times, when seemingly everything is collectible, our understanding of the 19th century art world will never be complete if we do not look carefully at the academic works prized most highly by it. Our collective awareness is growing slowly, primarily through closer study of Paris, which, as capital of the late 19th century art world, was ruled not by Manet or Monet, but by J.-L. Gerome and A.-W. Bouguereau, among other Figure 2 Frederic Leighton (1830-1896) Study for And the Sea Gave Up the Dead Which Were in It: Male Figure. 1877-82, black and white chalk on brown paper, 12% x 8% inches (32.1 x 22 cm) Leighton House Museum, London Figure 3 Frederic Leighton (1830-1896) Elisha Raising the Son of the Shunamite Woman 1881, oil on canvas, 33 x 54 inches (83.8 x 137 cm) Leighton House Museum, London -16- J ! , /' i - / . -
Victorian Paintings Anne-Florence Gillard-Estrada
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian paintings. Polysèmes, Société des amis d’inter-textes (SAIT), 2016, L’or et l’art, 10.4000/polysemes.860. hal-02092857 HAL Id: hal-02092857 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092857 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Fantasied images of women: representations of myths of the golden apples in “classic” Victorian Paintings This article proposes to examine the treatment of Greek myths of the golden apples in paintings by late-Victorian artists then categorized in contemporary reception as “classical” or “classic.” These terms recur in many reviews published in periodicals.1 The artists concerned were trained in the academic and neoclassical Continental tradition, and they turned to Antiquity for their forms and subjects. -
BOOK REVIEW Modern Painters, Old Masters: the Art of Imitation From
Tessa Kilgarriff 126 BOOK REVIEW Modern Painters, Old Masters: The Art of Imitation from the Pre-Raphaelites to the First World War, by Elizabeth Prettejohn (London: Yale University Press, 2017). 288 pp. Hardback, £45. Reviewed by Tessa Kilgarriff (University of Bristol) Visual allusion and the transhistorical relationship between works of art and their viewers form the subject of Elizabeth Prettejohn’s illuminating study, Modern Painters, Old Masters. The author proposes that the much-maligned term ‘imitation’ most accurately describes the practice by which artists and viewers form relationships with their counterparts in other historical eras. The book argues that ‘imitation’ came in two distinguishing categories during the period from the 1848 founding of the Pre-Raphaelite Brotherhood to the First World War: ‘competitive imitation’ (in which the artist attempts to transcend their predecessor) and ‘generous imitation’ (in which the artist faithfully copies the earlier model) (p. 15). In chapters on originality and imitation, on the influence of Jan van Eyck’s Portrait of (?) Giovanni Arnolfini and his Wife (1434), on the Pre-Raphaelites’ discovery of early Renaissance painters, on Frederic Leighton’s debts to Spanish painting, and on the tension between making art and looking at it, Prettejohn asks fourteen key questions. The formulation and clarity of these questions is explained by the origins of the book, namely Prettejohn’s Paul Mellon Lectures given at the National Gallery in London and at the Yale Center for British Art in 2011. Prettejohn’s incisive questions stringently rebuff the notion that the significance of visual allusions, or references, is limited to identification. -
PRE-RAPHAELITE STUNNERS at CHRISTIE’S in JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE : 20 A p r i l 2 0 1 5 PRE-RAPHAELITE STUNNERS AT CHRISTIE’S IN JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton London – This summer, Christie’s London presents a stellar collection of Pre-Raphaelite and Victorian drawings and paintings – one of the very best collections in private hands with museum-quality works, some of which have not been seen for decades. Offered as part of the Victorian, Pre-Raphaelite & British Impressionist Art sale on 16 June 2015, this beautiful collection features 45 works and is expected to realise in the region of £2 million. Leading the collection is one of eight works by Dante Gabriel Rossetti (1828-1882), Beatrice: A Portrait of Jane Morris (estimate: £700,000-£1 million, illustrated above left). The collection presents the opportunity for both established and new collectors alike to acquire works at a wide range of price points with estimates ranging from £1,000 to £700,000. Harriet Drummond, International Head of British Drawings & Watercolours, Christie’s: “Christie's is delighted to be handling this important and breath-takingly beautiful collection of paintings and drawings brought together by a couple of anglophile art lovers, who combined their passion for the aesthetic of the Victorian Period with the discerning eye of the connoisseur collector. It is the art of this Victorian era celebrating beauty through its depiction of largely female figures, from the monumentality of ‘Desdemona’ to the intimacy of ‘Fanny Cornforth, asleep on a chaise-longue’ that so strongly influenced our idea of beauty today.” With the recent re-emergence of interest in the Pre-Raphaelite Brotherhood, led by Tate’s Pre-Raphaelites: Victorian Avant-Garde exhibition in 2012, this collection represents many of the ‘Stunners’ who inspired their paintings and made their work truly ‘romantic’, including eight beguiling works by Rossetti. -
Leighton's Iconic Painting Flaming June on View in New
LEIGHTON’S ICONIC PAINTING FLAMING JUNE ON VIEW IN NEW YORK CITY FOR THE FIRST TIME June 9 through September 6, 2015 Born in Scarborough, Yorkshire, in 1830, Frederic Leighton was one of the most renowned artists of the Victorian era. He was a painter and sculptor, as well as a formidable presence in the art establishment, serving as a longtime president of the Royal Academy, and he forged an unusual path between academic classicism and the avant-garde. The recipient of many honors during his lifetime, he is the only British artist to have been ennobled, becoming Lord Leighton, Baron of Stretton, in the year of his death. Nevertheless, he left almost no followers, and his impressive oeuvre was largely forgotten in the twentieth century. Leighton’s virtuoso technique, extensive preparatory Frederic Leighton (1830–1896), Flaming June, c.1895, oil on canvas, Museo de Arte de Ponce. The Luis A. Ferré Foundation, Inc. process, and intellectual subject matter were at odds with the generation of painters raised on Impressionism, with its emphasis on directness of execution. One of his last works, however, Flaming June, an idealized sleeping woman in a semi-transparent saffron gown, went on to enduring fame. From June 9 to September 6, Leighton’s masterpiece will hang at the Frick, on loan from the Museo de Arte de Ponce in Puerto Rico. The exhibition, which is accompanied by a publication and series of public programs, is organized by Susan Grace Galassi, Senior Curator, The Frick Collection. Leighton’s Flaming June is made possible by The Peter Jay Sharp Foundation and Mr. -
Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university. -
Julia Margaret Cameron: the Val Prinsep Album Lot 244 English Literature, History, Children’S Books and Illustrations
JULIA MARGARET CAMERON: THE VAL PRINSEP ALBUM LOT 244 ENGLISH LITERATURE, HISTORY, children’S BOOKS AND ILLUSTRATIONS LONDON 10 DECEMBER 2013 JULIA MARGARET CAMERON: THE VAL PRINSEP ALBUM LOT 244 ENGLISH LITERATURE, HISTORY, CHILDREn’S BOOKS AND ILLUSTRATIONS AUCTION IN LONDON 10 DECEMBER 2013 SALE L13408 2.30 PM EXHIBITION Friday 6 December 9 am-4.30 pm Saturday 7 December 12 noon-5 pm Sunday 8 December 12 noon-5 pm Monday 9 December 9 am-4.30 pm 34-35 New Bond Street London, W1A 2AA +44 (0)20 7293 5000 sothebys.com SPECIALISTS AND AUCTION ENQUIRIES For further information on lots in this auction please contact any of the specialists listed below. SALE NUMBER SALE ADMINISTRATOR Simone Klein L13408 “CAROLINE” Joanna Lowe Photographs [email protected] Director, Specialist BIDS DEPARTMENT +44 (0)20 7293 5287 +33 (0)1 53 05 52 26 +44 (0)20 7293 5283 fax +44 (0)20 72936297 [email protected] fax +44 (0)20 7293 6255 [email protected] POST SALE SERVICES Elliott Depree Telephone bid requests should Post Sale Manager be received 24 hours prior FOR PAYMENT, DELIVERY to the sale. This service is AND COLLECTION Brandei Estes offered for lots with a low estimate +44 (0)20 7293 5220 Photographs of £2,000 and above. fax +44 (0)20 7293 5910 Deputy Director, Specialist [email protected] +44 (0)20 7293 5586 PRIVATE CLIENT GROUP [email protected] Maureen Hooft Graafland, FOR SUBSCRIPTIONS CALL Head of Department +44 (0)20 7293 5000 Alexandra Brenninkmeyer for UK & Europe Annabel O’Keeffe +1 212 894 7000 USA Celsa -
Victorian Visions
AUDIO TOUR TRANSCRIPTS Art GALLERY OF NEW SOUTH WaLES AUDIO TOUR www.artgallery.nsw.gov.au/audiotours VICTORIAN VISIONS John William Waterhouse Mariamne, 1887, John Schaeffer Collection Photo Dallan Wright © Eprep/FOV Editions VICTORIAN VISIONS audio tour 1. RICHARD REDGravE THE SEMPSTRESS 1846 Richard Redgrave’s painting The sempstress shows a This is a highly important painting because it’s one of poor young woman sitting in a garret stitching men’s the very first works in which art is used as a medium shirts. It’s miserably low-paid work and to make of campaigning social commentary on behalf of the ends meet she has to work into the early hours of poor. The industrial revolution in Britain brought with the morning. So as you can tell by the clock – the it a goodly share of social problems and as the century time is now 2.30 am. Through the window the sky is progressed, these would frequently furnish painters streaked with moonlight. And the lighted window of a with subject matter. But in the 1840s, when Redgrave neighbouring house suggests that the same scene is painted this picture, the idea of an artist addressing repeated on the other side of the street. himself to social questions was something completely new. The sempstress’ eyes are swollen and inflamed with all And it seems there was a personal dimension for the that close work she is having to do by the inadequate artist because Richard Redgrave didn’t come from a light of a candle. On the table you can find the rich family and his sister had been forced to leave home instruments of her trade: her work basket, her needle and find employment as a governess. -
Sleeping Beauties in Representations of Antiquity and Their Reception (1860-1900) Anne-Florence Gillard-Estrada
Beneath the Surface: Sleeping Beauties in Representations of Antiquity and their Reception (1860-1900) Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Beneath the Surface: Sleeping Beauties in Representations of An- tiquity and their Reception (1860-1900). Béatrice Laurent. Sleeping Beauties in Victorian Britian: Cultural, Literary and Artistic Explorations of a Myth, Peter Lang, 2014, 303431745X. hal-02093331 HAL Id: hal-02093331 https://hal-normandie-univ.archives-ouvertes.fr/hal-02093331 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 Beneath the Surface: Sleeping Beauties in Representations of Antiquity and their Reception (1860- 1900) Anne-Florence Gillard-Estrada British painting in the mid 1860s saw a prominent renewal of paintings of Antiquity that was to last until the early twentieth century. The painters concerned have sometimes been referred to as ‘Olympians’, ‘Neoclassical’ or ‘Parnassians’1 because of their academicism, their return to classic forms and their promotion of -
Vibrator 16, Full of the Joys of Spring and Vodka
May 2015 What’s that on the horizon, charging inexorably towards us? A herd of rampaging Wildebeeste? Horses and hounds chasing after a fleeing horde of Sad Puppies, intent on rending them limb from limb? Herr David Cameron’s jackbooted Gestapo out to grind all our faces into the dirt, but especially the ones who are poor and underprivileged and can’t fight back? Joseph Nicholas, aka The Destroyer, trowel in one hand and a copy of the latest IPCC Report in the other? No, it’s Vibrator 16, full of the joys of Spring and vodka. What do a rich ex-civil servant OBE who enjoys theatre-going, and Ian Sorensen have in common? Well, they are both on my mailing list but maybe not for much longer. What do Chuka Humanna and Nigel Farage have in common? Well, not much really and neither reads fanzines, but both recently made decisions and then went back on them. Oh, that’s what they have in common. Perhaps they, and we, would be better off if they did read fanzines, especially topical monthly ones like this which transcend even the memory span of the meanest Marching Moron (an sf reference). Sad news today of the passing of B.B. King (the thrill really has gone). An ignoble end for a legend, dying lonely in hospital denied access to his friends and with family and management squabbling over his estate before he was even dead. So are the mighty fallen. Shelley said that about Ozymandias, one day he will say that about me, but it will probably be Pete Shelley. -
3. Pre-Raphaelite Brotherhood
• Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 1 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.