! Contemporary Art Society Annual Report 1962-63

Total Page:16

File Type:pdf, Size:1020Kb

! Contemporary Art Society Annual Report 1962-63 ! Contemporary Art Society Annual Report 1962-63 V] Contemporary On cover: M. Mlllares: Blanco, Rojo y Negro Art Society Annual Report 1962-63 i - 7 Chairman's Report 1963 was able to join us on this occasion. Over 1,000 Contemporary Art Society My Report deals with the Society's activities for people attended and it was the most successful Tate Gallery the year 1962 and also with 1963 up to the evening party that we have ever given. We were Millbank present date. It has been a period of great honoured at the Whitechapel Gallery by an London SW1 activity. informal visit by Her Royal Highness Princess Our two buyers for 1962 were Lord Croft and Margaret and the Earl of Snowdon. Patron: Her Majesty Queen Elizabeth the Alan Bowness. They bought over 40 works, and We are extremely indebted to John Sainsbury, Queen Mother from our funds we were able to allot them £2000 Alan Bowness, Lord Croft and Bryan Robertson Executive Committee: each. I am sure that members would be interested for acting as a sub-committee and for choosing Whitney Straight CBE MC DFC (Chairman) to know that as soon as the pictures that we have those painters who, it was felt, should be asked Anthony Lousada (Vice Chairman) bought reach our offices, they are in many cases to contribute. A total of 18,000 people visited Peter Meyer (Honorary Treasurer) almost immediately sent out on loan to colleges, the exhibition at the Tate and over 20,000 at the G. L. Conran (Honorary Secretary) exhibitions and other places, pending their Whitechapel. We sold over 9,000 of what we Sir Colin Anderson eventual allocation in the normal way. We have hope you will agree was an extremely attractive Raymond Mortimer, CBE been very much impressed this last year by the catalogue. Eardley Knollys growing interest and demand for these works. A selection from the exhibition is now in Man­ Eric Newton In many cases we receive a contribution from chester and will later go to Glasgow and Hull. Sir John Rothenstein, CBE those to whom we loan these pictures, and this After this, due to the kindness of the British Mrs Oliver Parker helps our funds. Petroleum Company, it will visit Zurich during Dr Alistair Hunter On March 17th, 1962, members visited Lady the British Trade Fortnight. This is the first time Derek Hill Aberconway's magnificent collection in North that a CAS exhibition has been taken abroad. We Bryan Robertson, OBE Audley Street and we are most grateful to her are extremely grateful to British Petroleum for The Hon Michael Astor for allowing so many of us the privilege. On 7th their imaginative and generous sponsorship Lord Croft July, members spent a very enjoyable day in the which made this possible. Alan Bowness country. In the late morning. Lord Faringdon We have purchased £3,000 worth of pictures James Melvin very kindly took us around his house, Buscot from the Exhibition and are providing grants to Mrs Elizabeth Heygate Park, in Berkshire. Afterwards some were a total of £1,000 to assist member Galleries. John Sainsbury invited to visit Mr Peter Stucley at the Old Quite recently we held a successful evening party Pauline Vogelpoel, MBE (Organising Secretary) Parsonage nearby, and others saw William to view the Ivon Hitchens Retrospective Exhibi­ Morris's house at Kelmscot. In the afternoon The tion. Over 650 people attended. Hon Mr and Mrs Michael Astor entertained Dr Widdup, who died recently, but was for many large numbers of guests to a delicious tea at years a member of the CAS, left us his entire Bruern Abbey and here again members were able collection of over 300 pictures, also his private to see a fine collection of pictures and the house house - subject to certain conditions. This and gardens. collection, which is a most impressive one, Another most interesting collection seen on includes fine examples of the works of many of November 7th was that of our Treasurer, Mr the most important British painters. Peter Meyer, and his wife in Alexander Square. In March we held the first of our architectural Here again members very much enjoyed seeing visits when we saw the Yorke, Rosenberg and these pictures, the house, and meeting their hosts. Mardall's new building in Fetter Lane. Mr To all these hosts for their generosity many, Rosenberg kindly arranged for his own pictures many thanks. to be on view. We are grateful to the partners of this firm for having devoted a Saturday morning We held two successful evening parties during to show us around their new building. After 1962. One for the Francis Bacon exhibition and lunch at the Forum Restaurant, which was the other for the Arts Council's Kokoschka opened especially for us, we saw the Golden exhibition. Well over 700 people attended each Lane housing estate, and are grateful to Messrs party. We are delighted that members supported Chamberlin, Powell and Bon for having arranged these occasions so loyally because in doing so, with the Corporation of London for us to visit not only do they enjoy themselves, but they help this interesting development. to swell our picture-buying coffers. I am glad to say that despite the increase in fees, In October, the Organising Secretary took thirty the membership of the Society has steadily fortunate members on a memorable three-week increased - but not at anything like the rate I trip to Mexico. Whilst there, the group were would have hoped. I do ask you, therefore, to well looked after by officials of the Bellas Artes assist us in any way you can to obtain even Museum as well as by the Director General of greater support for cur work. Tourism and the British Council's representatives. We are most grateful to the Trustees of the Tate This trip proved as successful as the American Gallery and to Sir John Rothenstein for their trip and though more ambitious and expensive kind and continual hospitality, also, of course, we are happy to say that it was not run at a loss. to the Trustees of the Whitechapel Gallery and 1963 has so far been extremely active. Our buyers to Mr Bryan Robertson for providing our this year are Mrs Heygate and Mr James Melvin. exhibition with such a splendid setting. Once again we have been able to allocate them I close in paying the warmest tribute to Miss £2,000 each. Pauline Vogelpoel and her assistant, Miss By far the most important event in our recent Ballantyne, for their work during the course of history has been the organisation of a simul­ the year. Miss Vogelpoel has worked tirelessly taneous exhibition 'British Painting in the 60Y to promote the interests of the Society, and I at the Tate and Whitechapel Galleries. We held trust that you will agree with me that her efforts an evening preview party at the Tate Gallery, have met with a very considerable measure of and were most honoured that our Patron, Her success. Majesty Queen Elizabeth The Queen Mother, Honorary Treasurer's Report for 1963 Annual List of purchases for the year 1962 General Meeting I should start by reminding members that in Buyer: Lord Croft Eileen Agar Partners 1962 we had two Meetings and presented two Karel Appel Tetes over de Landscape (gouache) sets of Annual Accounts, so that now, for the Gillian Ayres Tachiste (print) first time, I have caught up with the Chairman Gillian Ayres Circles on Dark Blue Ground and can present accounts covering the year which Prunella Clough Two monotypes he deals with in his Report. Corneille 'El Puerto 1961' Last year we increased our subscriptions, but William Crozier Fallen Man 1962 this was only done half way through the year Lawrence Dawes Conjunction of Planets and even so the results did not materialise as (gouache) quickly as we had anticipated, largely due to Derek Hirst 'Shangri-la 3' members' habitual reluctance to reply promptly Peter Lanyon Dark Beach (gouache) to the notices we send them, coupled with the Bengt Lindstrom Personage fulminant (gouache) inevitable difficulties involved in changing Bank­ M. Millares Blanco, Rojo y Negro 1961 (gouache) ers Orders, etc. The result is that subscriptions John Piper White Church, Suffolk (lithograph) only rose from £4,478 to £5,164 and the full John Plumb Derwent effect of the change will not be seen until the Alan Reynolds Moth Barn (lithograph) year we are now in. Ceri Richards Le Poisson d'or (lithograph) With regard to the remainder of our income, Keith Vaughan Standing figure there was a slight increase in bequests and dona­ John Wells Rock Forms, 1961 tions and also in the interest earned by our Brett Whiteley Untitled painting 1962 reserves, but this was more than offset by the Allen Jones The Third Big Bus Kalinowski Enclume des Caracteres (collage) reduced proceeds of parties. I think members Buyer: Alan Bowness Bernard Cohen Shepherds 1961 will all agree that our parties were no less success­ Leon Kosso.ff Building site near St Pauls (drawing) ful in 1962 than in the previous year, but then Lucebert Mad People the proceeds were swollen by the unusual and Kenneth Martin Linear Construction (Brass and unexpected profit made on the New York trip. wood) All in all therefore, our income was only about Edward Middleditch Near Monte Jaque (drawing) £600 higher than in 1961. Otto Piene Red Smoke Drawing William Scott Still life 1956 (gouache) Our expenses as usual have risen but on this Ian Stephenson Burnt Penumbra occasion only by £128 and even this figure is not Austin Wright 'Scoop' (sculpture) a strictly accurate one, in that £69 of it is attri­ butable to an under estimate in the cost of the Annual Report, coupled with an increased Purchased jointly by both buyers figure to allow for a possible slight deficiency in the current year's estimate.
Recommended publications
  • Contemporary Art Society Annual Report 1963-64
    Contemporary Annual 1963-64 Art Report Society Front cover: Gwyther Irwin Lazalo 1962 Collage Below: CAS exhibition 'British Painting in the Sixties' section one, at the Tate Gallery. CAS exhibition 'British Painting in the Sixties'section two, at the Whitechapel Art Gallery. Contemporary Patron Art Her Majesty Queen Elizabeth the Queen Mother Society Tate Gallery Executive Committee Millbank Whitney Straight CBE MC DFC Chairman London SW1 Antony Lousada Vice-Chairman Peter Meyer Honorary Treasurer G L Conran Honorary Secretary Sir Colin Anderson Raymond Mortimer CBE Eardley Knollys Eric Newton CBE Sir John Rothenstein CBE Mrs Oliver Parker DrAlastair Hunter Derek Hill Bryan Robertson OBE The Hon Michael Astor The Lord Croft Alan Bowness James Melvin Mrs Elizabeth Heygate The Hon John Sainsbury Dr Kenneth Marsh Pauline Vogelpoel MBE Organising Secretary My report to you covers the period from our iast Annual General Meeting, held on July 1 6th 1 963, up until today. May! first of all apologise for the fact that our Report for the previous year has only just been dispatched to you. This was because our Organising Secretary, Miss Paulina Vogelpoe!, and her assistant have been greatly overloaded with current problems, the planning and supervision of trips, and the setting up of exhibitions. Consequently other things have had to suffer. Our buyers last year were Mrs Heygate and Mr Melvin, who between them bought 35 pictures. Our two buyers for this year are Sir John Rothenstein and Dr Kenneth Marsh, and we have been able to allot them the sum of £2,000 each. On July 28th last year we had every pleasant day in Northamptonshire and Leicestershire visiting'the private collections of Sir Michael Culme-Seymour at Rockingham Castle, Mrs Kessler at Preston and Mr Guy Dixon at Melton Mowbray, Two bus-loads setoff from London very early in the morning, to be joined later by several members in their own cars.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • Voices of Art
    Voices of art www.bl.uk/voices-of-art Teachers’ notes Curriculum subjects: History of Art and Fine Art Key Stage 5 and Independent Learners Theme: The role of the gallery: art, artists, money and art history Teachers’ notes author: Marianne Holm Hansen Rationale What is the role of the gallery? Does it simultaneously support, encourage and restrict artists and their work? Do gallery promotion and sales influence how we understand the value of art? Does money impact on art history? This resource brings together the voices of artists, dealers, gallery directors and art historians to explore the complex relationship between artists and galleries: between money, art and art history. The activities draw on oral history sources that bring multi- layered accounts and occasionally contrasting perspectives into play. The aim is to encourage an analytical cross-referencing of sources as well as critical discussions around who determines the value of art, and how? Sources referred to in these teaching notes are available from Voices of art and the British Library Sounds website. A full list of sources is provided at the end of the document. Key questions What is the role of the gallery? Who or what determines the value of art? Has this changed over time? How does gallery promotion and sales impact on artists and their work? How does salesmanship and money influence art and art history? What does oral history bring to research and understanding that other sources – texts and images – do not? The British Library | www.bl.uk/ 1 Activities 1. The gallery: Changing values Explore your understanding and experience of different galleries.
    [Show full text]
  • Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan
    University of Huddersfield Repository Massey, Ian Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan Original Citation Massey, Ian (2013) Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/19277/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ ART, BIOGRAPHY, SEXUALITY: PATRICK PROCKTOR AND KEITH VAUGHAN IAN BRIAN MASSEY A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for Doctor of Philosophy The University of Huddersfield June 2013 1 CONTENTS Acknowledgements 3 Critical Review Introduction 4 Background to the Research 5 Research Methods and Sources 7 Research Themes 9 Conclusion 17 Literature Review 18 Bibliography 28 2 ACKNOWLEDGEMENTS I am greatly indebted to Dr.
    [Show full text]
  • Contemporary Art Society Annual Report 1964-65
    Contemporary Patron Art Society Her Majesty Queen Elizabeth the Queen Mother Tate Gallery Executive Committee Millbank Whitney Straight CBE MC DFC Chairman SW1 Anthony Lousada Vice-Chairman Peter Meyer Honorary Treasurer G L Conran Honorary Secretary Sir Colin Anderson Raymond Mortimer CBE Eardley Knollys Eric Newton CBE Sir John Rothenstein CBE Mrs Oliver Parker Dr Alistair Hunter Derek Hill Bryan Robertson OBE The Hon Michael Astor The Lord Croft 2 3 Alan Bowness Prunella Roger James Melvin Clough Cook Mrs Elizabeth Heygate The Hon John Sainsbury Dr Kenneth Marsh 5 6 Pauline Vogelpoel MBE Organising Secretary Allen Eduardo Jones Paolozzi 8 9 Victor Keith Vasarely Vaughan July 1965 most difficult exhibition we have ever attempted particularly in terms of organisation. We were greatly honoured that Her Royal Highness Princess Margaret was present at this occasion and more than seven hundred of our members > period from 23rd June, the date of our last Annual General Meeting, until today as far as and their guests. is you will know, our financial year ended on the 31 st December 1964. I would like to thank and congratulate Burton, Ahrends and Koralek, the architects who showed such imagination and lal practice we appoint two buyers each year. For the year ended December 1964 our originality in their installation of this fine exhibition, also the many people who so kindly helped us, in particular enstein and Dr Kenneth Marsh. They spent the allotted sum of £4,500 and bought thirty- the Pieter Stuyvesant Foundation whose most generous grant of £2,000 made the whole thing possible.
    [Show full text]
  • Curating Archives, Archiving Curating
    Curating Archives, Archiving Curating Georgia, Nayia Yiakoumaki Thesis submitted for the degree of Doctor of Philosophy in Fine Art Goldsmiths, University of London Octo ber 2009 The work presented in the thesis is the candidate's own. Abstract This thesis investigates the concept of archives and their role as a source for curatorial work practice. It starts with an examination of Jacques Derrida's concept of the archive in order to claim that every reading of the archive alters the archive. It examines the curating of archive material and compares it to a historiographical operation upon the archive itself. Moreover, it describes curating from the archive as a process concomitant with the three main constituents of Paul Ricoeur's historiography: 'The Documentary Phase', 'Explanation/ Understanding' and 'The Historian's Representation', as developed in Memory, History, Forgetting (2004). From the conceptualisation of this tripartite process the thesis proceeds by arguing that the curatorial practice on archives is an expansive gesture that opens their contents to numerous interpretations. The Whitechapel Gallery Archive is introduced as the case study here. More specifically, the thesis analyses archival material pertaining to Pablo Picasso and the painting Guernica, which was exhibited at the Whitechapel Gallery in 1939. The series of events to which this archive material refer, have been reactivated through artist Goshka Macuga's 2009 commission The Nature of the Beast at the Whitechapel. The thesis proves that a curator working through archival material permanently alters the constitution of the archive, as well as the subsequent interpretations of its material. Moreover, it is argued that the curator's intervention in the archive should be re-deposited within it as a means for the archive's potential expansion.
    [Show full text]
  • John Hoyland: the Making and Sustaining of a Career - 1960-82
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2015 JOHN HOYLAND: THE MAKING AND SUSTAINING OF A CAREER - 1960-82 Davies, Christopher Anthony http://hdl.handle.net/10026.1/5139 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. JOHN HOYLAND: THE MAKING AND SUSTAINING OF A CAREER - 1960-82 By CHRISTOPHER ANTHONY DAVIES Volume 2: Images, Appendices and Bibliography June 2015 List of Illustrations Fig. 1 - John Hoyland, Situation painting 1, 1960. Oil on canvas. 183 x 168 cm. Collection: © The John Hoyland Estate. Fig. 2 - John Hoyland, April 1961, 1961. Oil on canvas. 152.5 x 152.7 cm. Collection: Tate Gallery London. Fig. 3 - Bridget Riley, Movement in Squares, 1961. Tempera on hardboard. 123.2 x 121.2 cm. Collection: Arts Council Collection. Fig. 4 - John Plumb, Edgehill, 1962. Acrylic paint, PVC, vinyl and tape on canvas. 180 x 122 x 5 cm. Collection: Tate Gallery London. Fig. 5 - Robyn Denny, Baby is Three, 1961. Household paint on canvas. 213 x 365 cm. Collection: Tate Gallery London Fig. 6 - Bernard Cohen, Painting 96, 1996. Oil on canvas. 244 x 366 cm. Collection: Walker Art Gallery, Liverpool Museums. Fig. 7 - Gillian Ayres, Distillation, 1957.
    [Show full text]
  • Patronage, Professionalism and Youth: the Emerging Artist and London’S Art Institutions 1949–1988
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988 https://eprints.bbk.ac.uk/id/eprint/40044/ Version: Public Version Citation: Massouras, Alexander (2013) Patronage, professionalism and youth: the emerging artist and London’s Art institutions 1949–1988. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS 1949–1988 Alexander Massouras London Consortium Birkbeck, University of London Submitted for the degree of Ph.D. in Humanities and Cultural Studies 1 Declaration I, ALEXANDER MASSOURAS, declare that this thesis and the work presented in it are my own and has been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly while a candidate for a research degree at this University. 2. Where I have consulted the published work of others, this is always clearly attributed. 3. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work. 4. I have acknowledged all main sources of assistance. 5. None of this work has been published before submission. Signed: ………………………………………………………. 2 ABSTRACT PATRONAGE, PROFESSIONALISM AND YOUTH: THE EMERGING ARTIST AND LONDON’S ART INSTITUTIONS, 1949–1988 [London: The London Consortium 2012] In 1949, the first Young Contemporaries exhibition presented work by art school students in London.
    [Show full text]
  • Patrick Procktor (1936-2003)
    Patrick Procktor (1936-2003) Works on paper Patrick Procktor (1936-2003) Works on paper 20 Cork Street London W1S 3HL T +44 (0)20 7734 1732 redfern-gallery.com Patrick Procktor: Works on paper Ian Massey In recent years the work of Patrick Procktor has found a new and appreciative audience. It resonates particularly strongly with many contemporary figurative artists – those both fully established, and those in the early stages of their careers – who relate to its lightness of touch, to the eloquence of its restraint. Though much admired during the artist’s lifetime, such qualities were sometimes prone to be misread as easily achieved, his facility perceived as the result of dandyist legerdemain. In fact Procktor’s accomplishment was hard won, the consequence of years of graft and experimentation, in which drawing was both central and constant. In this selection of works on paper one is able to trace the evolution of his technique and visual language over the course of five decades. Here, both in working studies and in pieces made as works in their own right, one sees him exploring a wide range of methods and styles, working both from direct observation, memory and imagination, and occasionally from photographic sources. Procktor trained between 1958 and 1962 at the Slade, where under Professor William Coldstream’s directorship the emphasis was on the acquisition of a bedrock of academic drawing skills, with the first year of study spent making carefully measured drawings and paintings, very much along Euston Road School lines. Subsequently, influenced by a group of disciples of David Bomberg also then studying at the Slade, Procktor’s work became more expressive, his drawings built up sculpturally in layers of charcoal and ink, his paintings denser and more gestural.
    [Show full text]
  • To Download the Contemporary Art Society Report 1971-72 (Pdf)
    Her Majesty Queen Elizabeth The Queen Mother Although this meeting will be approving the accounts for the calendar year 1971, I am, as Is customary, reporting on the events of the last twelve months. This has been an eventful period for the Society, so that for once the details of our parties and jollifications will have to take second place. Whitney Straight CBE MC DFC Chairman Whatever our views may be on the Government's decision to introduce museum Anthony Lousada Vice Chairman charges, we were delighted to learn that our members wouid be exempt, Peter Meyer Honorary Treasurer provided that their annua! subscription was at least £3. When considering raising The Hon J D Sainsbury Honorary Secretary the subscription to this level, we decided that we should take the positive steps to encourage the signature of Deeds of Covenant and Bankers Orders. As ! have so often said in my reports as Honorary Treasurer, a Deed of Covenant entities us to reclaim income tax on the subscription and a Bankers Order saves us a great Peter Meyer Chairman deal of administrative work. For these reasons we fixed the subscription at £4, The Hon J D Sainsbury Vice Chairman with a reduction to £3 if both a Deed and an Order were completed. We did this Nancy Balfour OBE Honorary Treasurer with some apprehension, but ! am delighted to say that it has been extremely Lord Croft Honorary Secretary well received. Bryan Robertson Sir Norman Reid You may be concerned at the fact that the introduction of museum charges, David Thompson originally fixed for the 1st January, has been postponed, but I understand they Alistair McAlpine will indeed start later this year.
    [Show full text]
  • A Companion to British Art 1600 to the Present WILEY-BLACKWELL COMPANIONS to ART HISTORY
    A Companion to British Art 1600 to the Present WILEY-BLACKWELL COMPANIONS TO ART HISTORY These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English-speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Blackwell Companions to Art History series provides a magisterial, state-of-the-art synthesis of art history. 1 A Companion to Contemporary Art since 1945 edited by Amelia Jones 2 A Companion to Medieval Art edited by Conrad Rudolph 3 A Companion to Asian Art and Architecture edited by Rebecca M. Brown and Deborah S. Hutton 4 A Companion to Renaissance and Baroque Art edited by Babette Bohn and James M. Saslow 5 A Companion to British Art: 1600 to the Present edited by Dana Arnold and David Peters Corbett Forthcoming 1 A Companion to Modern African Art edited by Monica Visona and Gitti Salami 2 A Companion to Chinese Art edited by Martin Powers and Katherine Tsiang 3 A Companion to American Art edited by John Davis, Jennifer Greenhill and Jason LaFountain A Companion to British Art 1600 to the Present Edited by Dana Arnold and David Peters Corbett A John Wiley & Sons, Ltd., Publication This edition first published 2013 © 2013 Blackwell Publishing Ltd Blackwell Publishing was acquired by John Wiley & Sons in February 2007.
    [Show full text]