Contemporary Art Society Report 1946
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Roberts Robert Macbryde (1913-1966) and Robert Colquhoun (1914-1962) 3 – 31 March 2010
The Roberts The Roberts Robert MacBryde (1913-1966) and Robert Colquhoun (1914-1962) 3 – 31 March 2010 Introduction 3 Time for Reappraisal by Davy Brown 7 Two Bright Guests by Robin Muir 10 Biographies 41 Acknowledgements 44 Front Cover: Photographs of Robert MacBryde and Robert Colquhoun by John Deakin (1951) courtesy Vogue/© The Condé Nast Publications Ltd. Above: Photograph of Robert MacBryde and Robert Colquhoun by Felix Man (1949) Hulton Archive/Getty Images. Bedford Gardens studio. Left: Robert MacBryde and Robert Colquhoun in Regent Street, London. Early 1950s: Baron Collection: Hulton Archive 2 Introduction Whilst doing some research for another of Art in the 1930s. They moved to London in exhibition, I found an L S Lowry catalogue from 1941 and quickly became associated with the 1944, called ‘The Industrial North and its People’, Neo-Romantic group of painters which included held at The Scottish Gallery. It was a chance find Keith Vaughan and John Minton. At a time when with unforeseen consequences. How exactly homosexuality was not only illegal but actively did the gallery survive during wartime and in persecuted, they made little attempt to disguise particular, what artists did we show and what their relationship and they had a constant stream social and artistic changes could clearly be of admirers, both male and female. The circle established? I pulled the entire library apart to of friends that grew around them included the find more clues. The result is that I now have too painters Francis Bacon, Lucian Freud, Michael many stories to tell, but on this day I found all the Ayrton, John Minton and the poets George Barker catalogues that belonged to ‘The Starks’. -
The Art Collection of Peter Watson (1908–1956)
099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement. -
The Archives of the Slade School of Fine Art, University College London Information for Researchers
The archives of the Slade School of Fine Art, University College London Information for Researchers OVERVIEW OF THE SLADE ARCHIVE The Slade School of Fine Art is a department in University College London. The archives of the Slade School are housed in three repositories across UCL: • UCL Library Special Collections, Archives & Records department • UCL Art Museum • Slade School of Fine Art A brief overview of the type and range of material held in each collection is found below. To learn more about a specific area of the archive collection, or to make an appointment to view items please contact each department separately. Please note: In all instances, access to the archive material is by appointment only. UCL LIBRARY SPECIAL COLLECTIONS, ARCHIVES & RECORDS DEPARTMENT The Slade archive collection (UCLCA/4/1) centres on the papers created by the school office since the 1940s, but there are records dating back to 1868. The papers consist of early staff and student records, building, curriculum, teaching and research records. The core series are the past 'Office papers' of the School, the bulk of which dates from after 1949. There is only a little material from the World War II period. The pre-1949 series includes Frederick Brown (Slade Professor 1892-1917) papers and Henry Tonks' (Slade Professor 1918-1930) correspondence. The post-1949 material includes lists of students, committee minutes and papers, correspondence with UCL and other bodies, William Coldstream papers (Slade Professor 1949-1975), and papers of Lawrence Gowing (Slade Professor, 1975-1985). There are Slade School committee minutes from 1939 to 1995. -
Old Chiswick Protection Society
Old Chiswick Protection Society Autumn 2020 Newsletter Old Chiswick Protection Society exists to preserve and enhance the amenities of this riverside conservation area. Even the geese are social distancing! [Photograph: David Humphreys] Chairman’s Message As we look back at the last months, the Old Chiswick Conservation Area has become even more precious to many of us who live here, work here or visit. We have seen and spoken with visitors, previously unfamiliar with our environment and its atmosphere and history, who are enjoying it for the first time. Nature carries on here regardless, and our history continues to be relevant and vital to our future. We can't take anything for granted though. It is only with the support of our members' subscriptions and diligent work that we are here today and can be so proud of what has been achieved by the charity over the last 60 years. Old Chiswick could so easily have looked and felt very different: no Chiswick Eyot, with its unique withy beds and nature reserve; houses where Homefields Recreation Ground South is; an entirely different main road into and out of London, sacrificing more historical buildings; post-war housing instead of Georgian houses along Chiswick Mall. Our community has done much to help others this year, and we continue to build relationships with those like Asahi who are new to the area since taking over Fuller’s Brewery, and who have expressed a wish to become part of the community. We look forward to inviting you to join our AGM this year, which will of course be conducted on line, with the very latest advice on meetings. -
VN Volume 9 (Entire Issue)
Kate Flint 1 How Do We See? Kate Flint, Provost Professor of Art History and English (University of Southern California, USA) How do we see? And how do we learn to see? These two questions, despite being highly similar, are far from identical. An increasing number of mid-Victorian commentators, who considered the act of looKing from the entwined perspectives of science and culture, investigated them. They explored and explained connections between the physiology and psychology of vision; the relationship between looking, attention, and ocular selection; and the variations in modes of seeing that come about through occupation, environment, and the spaces of sight. These, too, are the issues at the heart of the stimulating essays in this issue of Victorian Network. In 1871, the journalist Richard Hengist Horne brought out a strangely hybrid volume: The Poor Artist; or, Seven Eye-Sights and One Object. The narrative of a struggling painter, first published in 1850, was now prefaced by a ‘Preliminary Essay. On Varieties of Vision in Man.’ Horne acknowledges that the passages strung together into the essay ‘have been jotted down at various intervals, and in various parts of the globe’.1 Indeed, they constitute a collection of musings on the subject rather than a sustained argument, as though Horne’s own attention was incapable of resting steadily on a designated object. But he also recognizes that the variety of examples and exceptions he discusses precludes arriving at any firm generaliZations concerning the act of visualiZation – apart from the fact that we may extend the principle of variety in vision to the other senses. -
Oral History Interview with Jack Flam, 2017, June 1-7
Oral history interview with Jack Flam, 2017, June 1-7 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jack Flam on June 1 and 7, 2017. The interview took place at the Dedalus Foundation offices in NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Jack Flam and James McElhinney have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JAMES MCELHINNEY: This is James McElhinney speaking with Jack Flam, also known in France as Jacques Flam, on Thursday, June the 1st, 2017. Good afternoon. JACK FLAM: Hello. JAMES MCELHINNEY: Well normally when I start one of these oral history interviews I ask a leading question, like, "What's the first time you were in the presence of a work of art," or something like that; "When's the first time you were mindful of being in the presence of a work of art." But I think today I'll ask you what are you working on now? JACK FLAM: Right now, I just finished writing an essay about Matisse. And I'm kind of between projects. In recent years, I've been the President of the Dedalus Foundation and so a lot of what I'm working on right now is running the Dedalus Foundation, which tends to be very time consuming. -
History of Clan Macfarlane
Gc ^* I 929.2 M164m 1186804 d£NE:ALO<:^Y QOLLCCTICN ALLEN COUNTY PUBLIC LIBRARY (y^K (>.cro 3 1833^1342 ^778^ Xf^<^ I "i^^' MAP OF LOCH LOMOND AND EXVIROXS, SHOWING MACFARLANE LOCATIONS. 41 History of clan MacFarlane HISTORY OF Clan MacFarlane By James MacFarlane Author of "The Red Fox" Published under the auspices of the Clan MacFarlane Society, 205 Hope Street, Glasgow GLASGOW DAVID J. CLARK LIMITED, 92 UNION STREET 1922 —— 2 CHIEFS OF MACFARLANE. 1225-1866. I. Gilchrist, 1225-1263* 2. Duncan, 1284-1296* 4* 3. Malduin, 1 31 4. Parlan, 1329* 5. Malcolm, 1 344-1 373* 6. Duncan, 1395-1406* 7.—John. - - - - 1426-1441* 8. Duncan, 1441- 9. Walter, -1488 ID. Andrew, 1488-1493 II. Sir John, -1514 12. Andrew, 1514-1544 13.—Duncan, 1544-1547 14. Andrew, 1 547-1 61 15- John, 1612-1624 16.—Walter, 1 624-1 664 17. John, 1664-1679 18. Andrew, 1679-1685 19- John, 1685-1705 20. Walter, 1 705-1 767 21. William, 1 767-1 787 22. John, 1787- 23. William, -1820 24. Walter, - - 1820-1830 25. William, 1 830-1 866 * These dates are approximate. INDEX. ,^^P . Chiefs of MacFarlane, - - ^ Preface, - 7 Chapter I., Introductory, 11 Chapter II., Gilchrist, is t Chief ; TheFoun<Iei of the Clan. 27 Chapter III., Duncan, 2nd Chief, 30 Chapter IV., Malduin, 3rd Chief ; King Robert Bruce, 32 Chapter V., Pharlan, 4th Chief ; Origin of the Surname MacFarlane, - - - '' 3<3 Chapter VI., Malcolm, 5th Chief ; MacFarlane, Heir Male of Lennox Earldom, - - 38 Chapter VII., Duncan, 6th Chief, 40 Chapter VIII., John, 7th Chief, 42 Chapter IX., Duncan, 8th Chief, 43 Chapter X., Walter, gth Chief ; Legend of the Pie- bald Horse, 44 Chapter XL, Andrew, loth Chief, 48 Chapter XII., Sir John, nth Chief, ... -
British Art Studies November 2020 British Art Studies Issue 18, Published 30 November 2020
British Art Studies November 2020 British Art Studies Issue 18, published 30 November 2020 Cover image: Sonia E. Barrett, Table No. 6, 2013, wood and metal.. Digital image courtesy of Bruno Weiss. PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents The Lost Cause of British Constructionism: A Two-Act Tragedy, Sam Gathercole The Lost Cause of British Constructionism: A Two- Act Tragedy Sam Gathercole Abstract This essay reflects on the demise of British constructionism. Constructionism had emerged in the 1950s, developing a socially engaged art closely aligned with post-war architecture. Its moment was not to last however, and, as discourses changed in the 1960s and 1970s, constructionism was marginalised. -
The Challenges of French Impressionism in Great Britain
Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well. -
Japonisme in Britain - a Source of Inspiration: J
Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 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 com plete 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 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933). -
Outside the Square: a Considered Approach to the Treatment of a Three-Dimensional Paper Object
Outside the square: A considered approach to the treatment of a three-dimensional paper object Ute Larsen and Camilla Baskcomb ABSTRACT Three-dimensional paper objects can cause quandaries for paper conservators who are accustomed to dealing with two- dimensional works, their structural aspect often requiring the collaboration of conservators and museum professionals from other disciplines. This paper describes the process of conserving a rare inflatable terrestrial paper globe and explores possible methods of displaying such an object. The early 19th-century globe is part of the Voyager New Zealand Maritime Museum’s (VNZMM) collection. Preliminary research has revealed that none of the few remaining examples of this type of globe held in international collections have been conserved to date. The unusual functional nature of this three-dimensional object and how this challenges the conservators’ conventional working methods will be explored. KEYWORDS globe, inflatable, paper, Pocock INTRODUCTION In 2001, during an impromptu tidy-up in the paper conservation studio at the Auckland Art Gallery Toi o Tãmaki (AAG), a box labelled ‘Handle like raw eggs’ came to light and sparked our interest. What was this folded, crumpled and torn work made from ultrathin tissue? After carefully unpacking it, we knew that we were looking at a map of the world in a rather unusual format and in a very poor state (see Figure 1). 2010 almost detached bamboo ring and several loose pieces. All components had been kept in an old cardboard box (see Figure 2). AI CC M B OO Figure 2 The bamboo ring and the South Pole before treatment. -
Bernard Fleetwood-Walker (1893-1965) By
The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.