Jacob Epstein, TS Eliot
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The Explosion of Modernism Transcript
The Explosion of Modernism Transcript Date: Wednesday, 19 October 2011 - 1:00PM Location: Museum of London 19 October 2011 Christian Faith and Modern Art The Explosion of Modernism The Rt Revd Lord Harries Prologue Christian art once provided a shared “symbolic order” (Peter Fuller). Shared narratives and recognised images through which the deeper meaning of life could be explored. This has gone. “The disassociation between art and faith is not written in stone but is not easy to overcome”. Formidable obstacles: of style-how to avoid pastiche, images that have gone stale-overwhelming plurality of styles, so artist has to choose-forced to choose a private language, and so lose some of the audience. [1] David Jones, particularly aware of this. Human beings are essentially sign makers. Most obviously we give someone a bunch of flowers or a kiss as a sign. So what are works of art a sign of? Here we come across the great crisis with which Jones wrestled both in his writing and his art. For he believed, and he said this view was shared by his contemporaries in the 1930’s, that the 19th century experienced what he called “The Break”.[2] By this he meant two things. First, the dominant cultural and religious ideology that had unified Europe for more than a 1000 years no longer existed. All that was left were fragmentary individual visions. Secondly, the world is now dominated by technology, so that the arts seem to be marginalised. They are no use in such a society, and their previous role as signs no longer has any widespread public resonance. -
Modernist Sculpture and the Maternal Body
REVIEWS (Devangana Desai) – Guha-Thakurta relegates important debates and acknowl- edgements to rather dismissive footnotes. Considering that most of Monuments, Objects, Histories is republished material, the structure of the book needs to be called into question. Such a project demands a far weightier introduction than the nine-page offering the reader encounters here or, alternatively, the addition of a concluding chapter. This could have usefully taken the place of the chapter on ‘Art History and Nationalism in Bengal’, which covers very similar ground to the author’s first monograph and is the oldest of the articles. Despite these minor flaws, and the predictable temporal linearity of the various sections (colonial-national-postcolonial), the monograph deals effectively with important cultural, political and methodological issues, and should be covered by those teaching and learning in the ‘new humanities’. Daniel J. Rycroft School of World Art Studies, University of East Anglia Note 1 See for example Vidya Dehejia, ed., Representing the Delhi, 2003; Shivaji K. Pannikkar et al., eds, Body: Gender Issues in Indian Art, New Delhi, 1997; Towards a New Art History: Studies in Indian Art,New Sumathi Ramaswamy, ed., Beyond Appearances? Delhi, 2003. Visual Practices and Ideologies in Modern India,New MODERNIST SCULPTURE AND THE MATERNAL BODY Mother Stone: The Vitality of Modern British Sculpture by Anne Wagner,New Haven and London: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2004, 256 pp., 60 col. and 110 b. & w. illus., d30.00 Anne Wagner’s account of modernist sculpture does more than draw renewed attention to such important, but often misunderstood, artists as Jacob Epstein, Barbara Hepworth, and Henry Moore. -
Gallery Shop | Ground Floor
Exhibitions / Collections / Studio / Art Library / Shop / Families /Events /ArtExhibitions /Collections /Studio Library /Shop /Families The NewArtGalleryWalsall What's on: June — September 2016 www.thenewartgallerywalsall.org.uk Find us on Facebook Instagram Twitter @newartgallery Cover Image ~ Frank Bowling, Where is Lucienne?, 1971, acrylic on canvas, 308 x 337 cm. Courtesy of the artist and Hales Gallery, London, New York Welcome To The New Art Gallery Walsall Designed by Caruso St John architects The New Art Gallery Walsall opened in February 2000 in the heart of Walsall town centre. Our renowned Garman Ryan Collection was gifted to the Borough in 1973 by Kathleen Garman, widow of the great 20th century sculptor Jacob Epstein. Kathleen was originally from nearby Wednesbury, and although she had spent much of her life in London, wanted to give something back to the Black Country where she had grown up. The Collection includes 365 important works by celebrated artists including Epstein, Van Gogh, Monet, Constable, Picasso, Degas, Matisse and Lucian Freud, alongside a wide range of artworks from across the world. Our Permanent Collection, formed in 1892, has over 3000 works, from Victorian genre paintings to contemporary installations. The changing exhibition programmes focus on the very best in international contemporary art and our Artists’ Studio and Artist Development programmes support artists from across the region. Our education and events programme provides a broad cultural experience for everyone. Exhibition Gallery Roof Terrace Meeting Room Exhibition Galleries Collection Galleries Artists' Studio Collection Galleries Activity Room Art Library / Activity Room The Family Shop Costa Gallery Reception CONTEMPORARY EXHIBITIONS | FLOOR 3 Tania Kovats, All the Sea, 2012 – ongoing, seawater, glass, cork, oak, (365 bottles), 600 x 278.5 cm. -
JACOB EPSTEIN EXHIBIT at FERMILAB an Exhibition of 31 of the Sculptures of Sir Jacob Epstein, American-Born English Sculptor, Wi
~ I fermi national accelerator laboratory Operated by Universities Research Association Inc. Under Contract with the Energy Research & Development Administration Vol. 7 No. 16 April17, 1975 SCULPTURES BY JACOB EPSTEIN JACOB EPSTEIN EXHIBIT AT FERMILAB An exhibition of 31 of the sculptures of Sir Jacob Epstein, American-born English sculptor, will be at Fermilab through May 9. The exhibit is lo cated in the lounge on the second floor of the Central Laboratory. It is on loan from the Museum of African Art, Washington, D.C. The exhibition will be open to the public from 1-5 p.m. on Satur day, April 26 and Sunday, April 27. Jacob Epstein was born on Manhattan's lower East Side in 1880. His earliest sketches were of people in his neighborhood. In 1901 he was asked to illustrate Hapgood's classic book, The Spirit ... Third Portrait of Kathleen, Ralph of the Ghetto. With the proceeds of this work he Vaughan Williams, Second Portrait of sailed to Paris where he studied for three years Esther, T.S. Eliot, Third Portrait of before moving to London. He became a British Dolores ... subject in 1910; he was knighted in 1954. A prolific artisan, he produced literally hundreds of works before his death in 1959. Information about the sculptures accompanying the exhibit points out that Epstein remained com mitted throughtout his career to naturalistic depiction of the human figure. This humanist bias led him to devote a major portion of his time to non-commissioned portraits of family members or favorite models. These he undertook partly for the challenges inherent in modelling or structuring a particular face and head. -
WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the Moderns: Gaudier and the Birth of Modern Sculpture
'WE the Moderns' Teachers' Pack Kettle's Yard, 2007 WE the moderns: Gaudier and the birth of modern sculpture 20 January - 18 March 2007 Information for teachers • What is the exhibition about? 2 • Key themes 3 • Who was Gaudier? 4 • Gaudier quotes 5 • Points of discussion 6 • Activity sheets 7-11 • Brief biography of the artists 12-18 1 'WE the Moderns' Teachers' Pack Kettle's Yard, 2007 What is the exhibition about? "WE the moderns: Gaudier-Brzeska and the birth of modern sculpture", explores the work of the French sculptor in relation to the wider continental context against which it matured. In 1911, aged 19, Gaudier moved to London. There he was to spend the rest of his remarkably concentrated career, which was tragically cut short by his death in the trenches four years later. These circumstances have granted the sculptor a rather ambiguous position in the history of art, with the emphasis generally falling on his bohemian lifestyle and tragic fate rather than on his artistic achievements, and then on his British context. The exhibition offers a fresh insight into Gaudier's art by mapping its development through a selection of works (ranging from sculptures and preparatory sketches to paintings, drawings from life, posters and archival material) aimed at highlighting not only the influences that shaped it but also striking affinities with contemporary and later work which reveal the artist's modernity. At the core of the exhibition is a strong representation of Gaudier's own work, which is shown alongside that of his contemporaries to explore themes such as primitivism, artists' engagement with the philosophy of Bergson, the rendition of movement and dynamism in sculpture, the investigation into a new use of space through relief and construction by planes, and direct carving. -
Modigliani Large Print Guide Room 1–11
MODIGLIANI 23 November 2017 – 2 April 2018 LARGE PRINT GUIDE Please return to exhibition entrance RO OM 1–11 CONTENTS Room 1 4 Room 2 7 Room 3 18 Room 4 28 Room 5 36 Room 6 43 Room 7 53 Room 8 68 Room 9 77 Room 10 85 Room 11 91 Find Out More 100 5 6 4 7 3 8 2 9 1 10 10 11 Let us know what you think #Modigliani 3 ROOM 1 4 Open To Change When Amedeo Modigliani (1884–1920) decided to leave Italy to develop his career as an artist, there was only one place to go. In 1906, at the age of 21, he moved to Paris. Many factors shaped his decision. Born in the port city of Livorno, he belonged to an educated family of Sephardic Jews (descended from Spain and Portugal), who encouraged his ambition and exposed him to languages and literature. He had seen great Renaissance art and had trained as a painter. But Paris offered excitement. Paris offered variety. There he would encounter ways of thinking, seeing and behaving that challenged and shaped his work. This exhibition opens with a self-portrait, painted around 1915, in which Modigliani presents himself as the tragic clown Pierrot. His contemporaries would have recognised the reference instantly as, at the time, the figure appeared in countless pictures, plays and films. A young person shaping their identity could relate to Pierrot, a stock character open to interpretation, linked to the past and looking towards the future. Pierrot could be comedic, melancholy or romantic, played by any actor or painted by any artist. -
Memorandum To: Colleagues From: Peter Levine (405-4767)
Memorandum To: Colleagues From: Peter Levine (405-4767) Re: CP4 Workshop April 23, 2001 Attached is the paper for the next CP4 workshop: "Public Art, Public Outcry: The Scandalous Sculptures of Jacob Epstein and Richard Serra" Caroline Levine, English Department, Rutgers University/Camden May 3, 12:30 to 2pm, in the Humanities Dean's Conference Room, 1102 Francis Scott Key Hall Abstract: What kind of art belongs in public spaces? Who speaks for the “public” in controversies over public space? In 1925, Rima, a sculpture by Jacob Epstein, was installed in Hyde Park in London. An avant-garde relief, the sculpture became the focus of public controversy for almost a decade—both reviled and defended in the tabloids, disparaged in the House of Commons, extolled by art critics, and defaced three times by vandals who scrawled “Jew” and “Bolshevist” across it. Taken by some as a proof of England's innovative role in the art world and by others as the subversive work of a foreigner, Rima became the emblem of a dispute over the national character of British art. Sixty years later and across the ocean, a comparable quarrel played itself out, and this time with more troubling consequences for the art work. In the early 1980s, Richard Serra's sculpture, Tilted Arc, appeared in Federal Plaza in New York City. It was a tall, curving steel wall that bisected the plaza, transforming the public space—and, some said, ruining it for the public. Protests became increasingly forceful, and eventually, after a hearing, the sculpture was demolished. Tilted Arc, like Rima, came to embody competing ideas of the community that had allowed the object to enter its space. -
The Interwar Years,1930S
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • My sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
Sculpture and Modernity in Europe, 1865-1914
ARTH 17 (02) S c u l p t u r e a n d M o d e r n i t y i n E u r o p e , 1 8 6 5 - 1 9 1 4 Professor David Getsy Department of Art History, Dartmouth College Spring 2003 • 11 / 11.15-12.20 Monday Wednesday Friday / x-hour 12.00-12.50 Tuesday office hours: 1.30-3.00 Wednesday / office: 307 Carpenter Hall c o u r s e d e s c r i p t i o n This course will examine the transformations in figurative sculpture during the period from 1865 to the outbreak of the First World War. During these years, sculptors sought to engage with the rapidly evolving conditions of modern society in order to ensure sculpture’s relevance and cultural authority. We will examine the fate of the figurative tradition in the work of such sculptors as Carpeaux, Rodin, Leighton, Hildebrand, Degas, Claudel, and Vigeland. In turn, we will evaluate these developments in relation to the emergence of a self-conscious sculptural modernism in the work of such artists as Maillol, Matisse, Brancusi, Gaudier-Brzeska, and Picasso. In addition to a history of three-dimensional representation in the late-nineteenth and early-twentieth centuries, this course will also introduce the critical vocabularies used to evaluate sculpture and its history. s t r u c t u r e o f t h e c o u r s e Each hour session will consist of lectures and discussions of images, texts, and course themes. -
ASSOCIATION of ART HISTORIANS Registered Charity No
February 1994 BULLETIN ASSOCIATION OF ART HISTORIANS Registered Charity No. 282579 Editor: Jannet King, 48 Stafford Road, Brighton BNI 5PF For information on advertising & membership: Kate Woodhead, Dog and Partridge House, Bxley, Cheshire CWW 9NJ Tel: 0606 835517 Fax: 0606 834799 CHAIR'S REPORT During the autumn the Officers and the put more pressure on Vice-Chancellors for potential sponsors to the Director of Executive Committee of the Association and on the Funding Council itself to have Publicity and Administration. have taken up a number of issues of interest the system amended. Benefactors - Change your terms of to the membership. membership to become a Benefactor. Art History Departments' E-Mail We have also received the excellent Art History Teaching in Scottish Network news that the Association will no longer be Universities The Association wishes to establish an E- charged VAT on subscriptions and other The Scottish Higher Education Funding Mail network to keep colleagues working business. This will save us substantial Council is about to embark upon a Quality in Art History departments across the amounts every year. Many congratulations Assessment Programme for Humanities country more closely in touch with one and thanks to Peter Crocker for his patient subjects in the academic year 1995-96. another. E-mail addresses to the Chair negotiations with HM Customs & Excise. The Association has written to the Director please. 1994 Bookfair: It is vital to the of Teaching and Learning making a case Association's finances that this event is a for Art History to be assessed separately Review of the Academic Year success. -
On Collecting (Part One) • Prints and Posters in the Fin
US $25 The Global Journal of Prints and Ideas May – June 2017 Volume 7, Number 1 On Collecting (Part One) • Prints and Posters in the Fin de Siècle • An Artist Collects • eBay as Archive Norman Ackroyd • Collecting for the Common Good • Hercules Segers • Prix de Print • Directory 2017 • News Art_in_Print_8.25x10.75_ExpoChicago 4/24/17 12:55 PM Page 1 13–17 SEPTEMBER 2017 CHICAGO | NAVY PIER Presenting Sponsor Opening EXPO ART WEEK by Lincoln Schatz Lincoln by Series Lake (Lake Michigan) (Lake Off-site Exhibition 16 Sept – 7 Jan 2018 12 Sept – 29 Oct 2017 expochicago.com May – June 2017 In This Issue Volume 7, Number 1 Editor-in-Chief Susan Tallman 2 Susan Tallman On Collecting (Part One) Associate Publisher Fleur Roos Rosa de Carvalho 3 Julie Bernatz Interviewed by Catherine Bindman Small Apartments and Big Dreams: Managing Editor Print Collecting in the Fin de Siècle Isabella Kendrick Jillian Kruse 7 Associate Editor Postermania: Advertising, Domesticated Julie Warchol Brian D. Cohen 11 An Artist Collects Manuscript Editor Prudence Crowther Jennifer S. Pride 14 Secrets of the Real Thing: Building a Editor-at-Large Collection as a Graduate Student Catherine Bindman Kay Wilson and Lesley Wright 18 Design Director Speak with Sarah Kirk Hanley Skip Langer To Serve the Common Good: The Grinnell College Art Collection Roslyn Bakst Goldman and 24 John L. Goldman A Socially Acceptable Form of Addiction Kit Smyth Basquin 26 Collecting a Life Patricia Emison 28 Norman Ackroyd’s Collectors Stephen Snoddy Speaks 32 with Harry Laughland Collecting in the Midlands: the New Art Gallery Walsall Prix de Print, No. -
Sir Jacob Epstein
Former building of the British Medical Association, with sculptures by Sir Jacob Epstein. 1930. Royal Academy of Arts, London. > 234 > Charlie Godin Sir Jacob Epstein, “Primitive Mercenary in the Modern World” 235 > > Sir Jacob Epstein, “Primitive Mercenary in the Modern World” acob Epstein, born in Manhattan in 1880, is a figure for London at the age of twenty-four. too little known in the French-speaking world, even Having settled in the poor neighbourhood of St Pancras, Jtoday. The son of Polish Jewish émigrés, he spent Epstein, who had just completed his art training, launched his youth on Hester Street on the Lower East Side of New his career by sculpting a few children’s heads. His first York, a neighbourhood whose residents at the time were major public commission was for a group of sculptures immigrants from throughout the world. As a child, Epstein for the British Medical Association building on the Strand. had a passion for reading and for drawing, and he rapidly Here, he created his response to Greek statuary, especially acquired a taste for sketching the people around him and the Parthenon’s metopes, which he had seen at the British those he happened to run into. Gradually, his curiosity Museum and that represented the classical ideal. But he was impelled him to visit monuments and galleries, notably Paul also influenced by the aesthetic audacity of Indian art. The Durand-Ruel’s gallery on Fifth Avenue. Epstein, an admirer artist thus undertook a vast cycle on the Ages of Man (title of Manet, Pissarro and Renoir, enrolled at the prestigious Art pages), a project that lasted fourteen months.