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Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. -
'The Kimono' by Philip Wilson Steer OM, (1894)
Artwork of the Month December 2020 Philip Wilson Steer OM, The Kimono (1894) Helena Cox, Curator at Beverley Art Gallery and currently completing a Doctorate at the University of York, writes about a small masterpiece gifted to the Gallery by Dean Milner-White Philip Wilson Steer, The Kimono, oil on canvas, 61 x 22.8 cm © York Museums Trust This short essay will explore why The Kimono - this is the title under which the work is listed in the catalogue of oil paintings in D. S. MacColl's Life, Work and Setting of Philip Wilson Steer (1945) - is important for understanding Japonism, and how artists like Steer formed a unique channel of communication between Japan and Europe, transmitting aesthetic ideals, arousing fascination – and spreading misinterpretation! Philip Wilson Steer (1860 – 1942) was a British painter best known for his association with Impressionism. Between 1882 and 1884 he studied in Paris, first at the Académie Julian, then at the École des Beaux-Arts. His student years in Paris left a lasting impact on Steer, leading him to be one of the founders of the New English Art Club in 1886, and to organise, along with Walter Sickert, the first London Impressionist Exhibition in 1889 in the Egyptian Hall, Piccadilly. At this time, Steer was enamoured of light and lively painterly brushstrokes. In 1893 he became an assistant to Frederick Brown at the Slade School, where he taught for almost 40 years. By the year 1900, his style became more conventional, even somewhat contrived, in comparison with his earlier playfulness. The Kimono is one of the hidden gems of York Art Gallery’s collection. -
New English Art Club Friends' Newsletter 10 This Is The
NEW ENGLISH ART CLUB FRIENDS’ NEWSLETTER 10 THIS IS THE TENTH New English Art Club Friends’ Newsletter, and the last to be produced by the present editors. After five years it is time for a change. There have been some gradual developments since we took it on. The first two numbers, in 2001, were comfortably spacious – there was even room for a drawing on the front page. Since then the available space has steadily filled up, so that recently it has been quite a challenge to fit everything in. When we started we decided to list Members’ exhibitions in diary form, hoping that this would be useful to Friends who wished to know where and when New English work was on show. Quite straightforward, we thought – just ring up each of the Members twice a year and ask where he or she was planning to exhibit during the following six months. Then we found that sometimes they weren’t quite sure of the dates, or the gallery’s name…or the address, or what sort of show it was, or whether there was a title, or a private view. So it seemed a good idea to ring up all the galleries too, just to make sure that everyone agreed about the details. This cross-checking turned out to be essential – and has thrown up many an entertaining confusion. And as a result we have gradually built up quite a large database with details of all the galleries, at home and abroad, where NEAC Members regularly show. The first Exhibitions Diary listed a mere 24 exhibitions. -
Index -1927-2019
THE CHELSEA SOCIETY Index to Annual Reports 1927–2019 [Bold figures indicate illustrations] Alphabetical Index to Page Numbers A 2 I 79 Q 124 B 7 J 80 R 125 C 20 K 82 S 134 D 45 L 90 T 148 E 53 M 100 U 155 F 57 N 110 V 156 G 62 O 112 W 158 H 70 P 115 X,Y,Z 166 1 A Abbey, Mr & Mrs Edwin, (1931–32) 30, (1932–33) 26–7, (1938–39) 21 Abbott, Anthony, (2010) 55, 56 Abbott and Smith, (1956) 60 Abercrombie, Professor Sir Patrick, (1944–45) 9, 10–11, (1951) 41, 43, (1961) 9, (1963) 36 Ackerley, Mrs, (1937–38) 27, 42 Ackerman, John, (1992) 10–11 Acland, Katherine (Mayor), (1958) 71, (1959) 7, (1962) 71 hatchments, (1989) 25–6, 38 obituary, (1966) 29–30 ‘Acrobat, The’ (statue; Allen Jones), (1995) 40 Acton, William, (1981) 48 ‘Actors and Musicians of Chelsea’ (exhibition), (2008) 30, 30, 77–9, (2010) 26, 27 Adam and Eve inn, (1932–33) 2, (1936–37) 32, (1998) 48 Adam, Frederick, Council Member, (1944–45) 5, 15, (1947) 5, 7, 10, (1948–49) 3, (1950) 3, 9, 13, (1951) 3, 9, (1952) 3, (1953) 3, 47, (1954) 3, (1955) 3, (1956) 3, (1957) 3, 67, (1958) 3, (1959) 2, 25, 29, (1960) 3, (1961) 5, (1964) 14 Adam, Robert, (1959) 56–9 Adams, C. K., (1950) 11 Adams, Elizabeth, (1981) 43 Chelsea Porcelain, (1986) 18–23, 38 Addison, Joseph, house of, (1989) 34 Adeane, Michael, Baron, obituary, (1984) 60–61 Adie, Kate, Chelsea in the Great War exhibition, (2014) 37 advertisements: ‘advertisement station’, (1956) 51 billboards, (2010) 30–31 illuminated signs, (1935–36) 25, 27, (2010) 30 affordable housing, (2001) 16, (2002) 30–31, 63–5, (2007) 27, (2009) 29 see also social -
Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details ‘At home’ in Standen: A study of the Beale family’s lived experience of their late-nineteenth century Arts and Crafts home, 1890-1914 Anne Stutchbury Submitted for the degree of Doctor of Philosophy University of Sussex 2016 1 Statement: I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature:……………………………………… 2 Contents Abstract 3 Acknowledgements 4 List of Figures 5 List of Abbreviations 19 Introduction 20 Part One: Dwelling on family history: 1840-1890 38 1.1 The early years: Birmingham and Leamington 1.2 The London years Part Two: A ‘house in the country’ 74 2.1 Locating Standen 2.2 Collaborating with Philip Webb Part Three: The ‘artists’ 98 3.1 Inspired by nature: Margaret Beale’s garden artistry 3.2 ‘A connoisseur of things beautiful’: Margaret S. Beale Part Four: Styling Standen 127 4.1 Questioning ‘Arts and Crafts’ 4.2 Aesthetic interiors: Beauty, harmony and visions of femininity Part Five: Travelling and collecting 171 5.1 Holiday hunting for furniture 5.2 European excursions and objets d'art 5.3 Exotic visions and ‘Oriental’ objects Part Six: ‘Identifying’ the Beales 197 6.1 Treasured family possessions 6.2 Renewing and refashioning old furniture Conclusion 215 Bibliography 222 Appendices A. -
The German Exile Literature and the Early Novels of Iris Mur- Doch
University of Szeged Faculty of Arts Doctoral Dissertation The German Exile Literature and the Early Novels of Iris Mur- doch Dávid Sándor Szőke Supervisors: Dr. Zoltán Kelemen Dr. Anna Kérchy 2021 Acknowledgements I have a great number of people to thank for their support throughout this thesis, whether this support has been academic, financial, or spiritual. First of all, I would like to thank my supervisors, Dr Zoltán Kelemen and Dr Anna Kérchy for their unending help, encouragement and faith in me during my research. Their knowledge about the Holocaust, 20th century English woman writers and minorities has given exceptional depth to my understanding of Murdoch, Steiner, Canetti and Adler. The eye-opening essays and lectures by Dr Peter Weber about the Romanian painter and Holocaust survivor Arnold Daghani’s time in England provided a genesis for this thesis. Had it not for him, I would not have thought about putting Murdoch’s thinking in the context of Cen- tral European refugee literature and culture during and after the Second World War. This thesis owes much to the 2017 Holocaust Conference in Szeged (19 October) and the 2019 International Holocaust Conference in Halle (14-16 November). I would like to express my gratitude to the March of the Living Hungary, the Holocaust Memorial Centre Budapest, the Memory Point of Hódmezővásárhely, the synagogues of Szeged and Hódmezővásárhely, Professor Werner Nell (Martin-Luther-Universität Halle-Wittenberg), Professor Thomas Bremer (Martin-Luther-Universität Halle-Wittenberg), Professor Sue Vice (University of Shef- field), and Dr Zoltán Kelemen for making these events possible. During my PhD, as part of the Erasmus ++ programme I spent an entire year at Martin- Luther-Universität Halle-Wittenberg, where I made a great deal of research about the German coming to terms with the past. -
The Looking-Glass World: Mirrors in Pre-Raphaelite Painting 1850-1915
THE LOOKING-GLASS WORLD Mirrors in Pre-Raphaelite Painting, 1850-1915 TWO VOLUMES VOLUME I Claire Elizabeth Yearwood Ph.D. University of York History of Art October 2014 Abstract This dissertation examines the role of mirrors in Pre-Raphaelite painting as a significant motif that ultimately contributes to the on-going discussion surrounding the problematic PRB label. With varying stylistic objectives that often appear contradictory, as well as the disbandment of the original Brotherhood a few short years after it formed, defining ‘Pre-Raphaelite’ as a style remains an intriguing puzzle. In spite of recurring frequently in the works of the Pre-Raphaelites, particularly in those by Dante Gabriel Rossetti and William Holman Hunt, the mirror has not been thoroughly investigated before. Instead, the use of the mirror is typically mentioned briefly within the larger structure of analysis and most often referred to as a quotation of Jan van Eyck’s Arnolfini Portrait (1434) or as a symbol of vanity without giving further thought to the connotations of the mirror as a distinguishing mark of the movement. I argue for an analysis of the mirror both within the context of iconographic exchange between the original leaders and their later associates and followers, and also that of nineteenth- century glass production. The Pre-Raphaelite use of the mirror establishes a complex iconography that effectively remytholgises an industrial object, conflates contradictory elements of past and present, spiritual and physical, and contributes to a specific artistic dialogue between the disparate strands of the movement that anchors the problematic PRB label within a context of iconographic exchange. -
Exhibition REVIEWS Way the Close Comradeship with the Swiss Painter Cuno Oddly Vamp-Like
Volume XIX, No. 2 The BRITISH ARTJournal The BRITISH ARTJournal Volume XIX, No. 2 time and weather conditions. The fact that Constable consid strate the relationship between O’Conor and Van Gogh in by the Sea (no. 50) — one group unleashing his full expressive ered this studio working material and not art allowed him to the first instance and with Gauguin in the second. Along the force, the other evoking a primeval Venus, but one that is imbue sketches with freedom and inventiveness. In order to ExhIBITIoN REVIEWS way the close comradeship with the Swiss painter Cuno oddly Vamp-like. The stage was set for O’Conor’s permanent catch changing effects he painted fast, sometimes on sur Amiet is examined in some depth, and other Pont-Aven and return to Paris, to the studio at 102 rue du Cherche-Midi, faces prepared with blue to facilitate fast working. When he Le Pouldu associates such as Emile Bernard, Armand Séguin bringing with him his latest bretonnes. These, works now in needed to describe an effect he brushed as directly as possi and Robert Bevan, are referred to. And in a broader scene- the two leading Dublin collections, have the confidence that ble, heedless of finish or convention, which imparted great setting, the show took us from the Impressionist Grez phase the NEAC picture anticipated, but it is one that emerges from energy to the sketches. This alla prima prestissimo manner to Cassis where O’Conor produced ‘Fauve’ landscapes of a pact with Salon Naturalism. became an aspiration for Impressionists and a creed for purple, viridian, orange and leaf green just before the Great Of course, as the Dublin exhibition indicated, the story Expressionists; Constable came to be regarded — however War. -
19Th Century European, Victorian and British Impressionist Art New Bond Street, London I 26 September 2018
19th Century European, Victorian and British Impressionist Art New Bond Street, London I 26 September 2018 19th Century European, Victorian and British Impressionist Art Wednesday 26 September 2018 at 2pm New Bond Street, London VIEWING ENQUIRIES REGISTRATION PHYSICAL CONDITION OF Thursday 20 September Peter Rees (Head of Sale) IMPORTANT NOTICE LOTS IN THIS AUCTION 9am to 4.30pm +44 (0) 20 7468 8201 Please note that all customers, PLEASE NOTE THAT THERE IS Friday 21 September [email protected] irrespective of any previous NO REFERENCE IN THIS 9am to 4.30pm activity with Bonhams, are Sunday 23 September Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm (Head of Department) required to complete the Bidder CONDITION OF ANY LOT. Monday 24 September +44 (0) 20 7468 8360 Registration Form in advance of INTENDING BIDDERS MUST 9am to 4.30pm [email protected] the sale. The form can be found SATISFY THEMSELVES AS TO Tuesday 25 September at the back of every catalogue THE CONDITION OF ANY LOT 9am to 4.30pm Emma Gordon and on our website at www. AS SPECIFIED IN CLAUSE 14 Wednesday 26 September +44 (0) 20 7468 8232 bonhams.com and should be OF THE NOTICE TO BIDDERS 9am to 12pm [email protected] returned by email or post to the CONTAINED AT THE END OF THIS CATALOGUE. specialist department or to the SALE NUMBER Alistair Laird bids department at 24742 +44 (0) 20 7468 8211 As a courtesy to intending [email protected] [email protected] bidders, Bonhams will provide a written Indication of the physical CATALOGUE To bid live online and / or leave condition of lots in this sale if a £25.00 Deborah Cliffe internet bids please go to +44 (0) 20 7468 8337 request is received up to 24 www.bonhams.com/ ILLUSTRATIONS [email protected] hours before the auction starts. -
The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P
The role of the Royal Academy in English art 1918-1930. COWDELL, Theophilus P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20673/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version COWDELL, Theophilus P. (1980). The role of the Royal Academy in English art 1918-1930. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk onemeia u-ny roiyiecnmc 100185400 4 Mill CC rJ o x n n Author Class Title Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB NOT FOR LOAN Return to Learning Centre of issue Fines are charged at 50p per hour Sheffield Haller* University Learning snd »T Services Adsetts Centre City Csmous Sheffield SI 1WB ^ AUG 2008 S I2 J T 1 REFERENCE ProQuest Number: 10702010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10702010 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. -
Tableaux Orientalistes Art Moderne & Contemporain
cardin_TM_couv_corrige 9/10/08 11:11 Page 1 TABLEAUX ORIENTALISTES ART MODERNE & CONTEMPORAIN 2008 CTOBRE 27 O UNDI L LUNDI 27 OCTOBRE 2008 DROUOT-RICHELIEU SALLE 1 cardin_TM_p1-2 9/10/08 11:12 Page 1 TABLEAUX ORIENTALISTES ART MODERNE & CONTEMPORAIN VENTE LE LUNDI 27 OCTOBRE 2008 à 14 h 15 - Hôtel Drouot - Salle 1 SPÉCIALISTE Alexandre Devals [email protected] + 33 (0)6 08 41 21 45 EXPOSITIONS PRIVÉES Sur Rendez-Vous Tél. : +33 (0)1 40 06 06 08 EXPOSITIONS PUBLIQUES Samedi 25 Octobre de 11h à 18h Lundi 27 Octobre de 11h à 12h Catalogue visible sur internet www.auction.fr cardin_TM_p1-2 9/10/08 11:12 Page 2 INDEX A F N ADLER Rose (1890-1959) 69 FASSIANOS Alecos (Né en 1935) 172 NAKACHE Armand (1894-1976) 120 ADRION Lucien (1889-1953) 94 FEND 101 NOIRÉ Maxime (1861-1927) 13 - 14 AESCHBACHER Arthur 169 FERAUD Albert (1921-2008) 159 NUBLAT Marc (Né en 1948) 154 ANDRÉ Albert (1869-1954) 105 - 106 FIEDLER François (1921-2001) 137 ARROYO Eduardo (Né en 1937) 167 - 168 FONTANAROSA Lucien (1912-1975) 108 O FRAN-BARO (1926-2000) 95 OGUISS Takanori (1901-1986) 48 B OLIVE Jean-Baptiste (1848-1936) 38 BARNOIN Henri (1882-1940) 96 G OUDOT Roland (1897-1981) 104 BENDALL Mildred (1891-1977) 89 - 107 GANTNER Bernard (Né en 1928) 115 BENRATH Frédéric (1930-2007) 136 GAUTHIER Oscar (Né en 1921) 158 P BERROCAL 181 - 182 GENIN Lucien (1894-1953) 110 PARAVISINI Christine (Née en 1960) 112 BIELER Ernest (1863-1948) 35 GÉRARD Lydie (Née en 1920) 130 - 134 PASCIN Jules (1885-1930) 49 BLUHM Norman (1921-1999) 138 GERMAIN Jacques (1915-2001) 127 - 128 PENKOAT Pierre (Né en 1945) 151 - 152 BOLIN Gustav (1920-1999) 125 GILBERT Victor (1847-1933) 44 PETITJean Hippolyte (1854-1929) 45 BOUDIN Eugène (1824-1898) 30 à 32 GILLI Claude (Né en 1938) 166 PHO Le (1907-2001) 86 BOURDELLE Émile-Antoine (1861-1929) 79 - 80 GLEIZES Albert (1881-1953) 53 PIAUBERT Jean (1900-2002) 129 BOUVET Henry (1859-1945) 28 GOETZ Henri (1909-1989) 153 PICABIA Francis (1879-1953) 75 BOZZOLINI Silvano (1911-1998) 156 GRAU-SALA Emilio (1911-1975) 84 PIERZYNSKI E. -
Peintures Bordelaises #2 Vente Aux Enchères Publiques
PEINTURES BORDELAISES #2 VENTE AUX ENCHÈRES PUBLIQUES Provenances : Collections particulières de Bordeaux et d’Aquitaine SAMEDI 8 AVRIL 2017 à 14h30 Hôtel des ventes Bordeaux Sainte - Croix 3 Ce catalogue a été rédigé avec le concours de : M. Jean-Roger Soubiran Professeur honoraire d'Histoire de l'Art Contemporain à l'Université de Poitiers EXPERTS DE LA VENTE Tableaux XIXème et modernes : Mme Elisabeth Maréchaux Laurentin Expert près de la Cour d’Appel de Paris HÔTEL DES VENTES Bordeaux SAINTE - CROIX et Mme Philippine Maréchaux 12-14, rue Peyronnet - 33800 Bordeaux Expert près de la Cour d’Appel de Poitiers S.A.S. BRISCADIEU BORDEAUX Membres du SFEP 01 44 02 90 10 (Agrément 2002 304) [email protected] Tableaux anciens : Cabinet Turquin M. Stéphane Pinta 01 47 03 48 78 ContaCT PHotos SUPPLÉmentaires Dessins anciens : T : 33 (0)5 56 31 32 33 www.briscadieu-bordeaux.com Cabinet De Bayser F : 33 (0)5 56 31 32 00 www.interencheres.com 01 47 03 49 87 M : [email protected] www.auction.fr [email protected] www.drouot.com Remerciements à : RENSEIGnements partiCIPER À LA VENTE EN LIVE Mme Marguerite Stahl Conservateur honoraire des Musées de France Antoine Briscadieu www.interencheres-live.com Mme Dominique Bermann Martin Thomas Nicolet Ayant droit et titulaire du droit moral sur l'oeuvre de André Lhote M. Robert Coustet Professeur honoraire d’Histoire de l’Art ORDRES D'ACHAT ET TÉLÉPHONES Expositions DE LA VENTE à l'Université de Bordeaux III M. Dominique Dussol Anne Courtois Briscadieu Jeudi 6 avril : Professeur d’Histoire de l’Art contemporain [email protected] 14h à 19h à l’Université de Pau et des Pays de l'Adour Vendredi 7 avril : 10h à 12h30 et de 14h à 19h M.