DOCSLIB.ORG

JAYSON GILLHAM Wednesday 2 November 7.30Pm | Salon Presented by Melbourne Recital Centre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JAYSON GILLHAM Wednesday 2 November 7.30Pm | Salon Presented by Melbourne Recital Centre The Ursula Hoff-Valma Angliss Piano Recital JAYSON GILLHAM Wednesday 2 November 7.30pm | Salon Presented by Melbourne Recital Centre ARTIST Jayson Gillham, piano PROGRAM JOHANN SEBASTIAN BACH (1685 - 1750) Toccata in C minor, BMV 911 GEORGE FRIDERIC HANDEL (1685 - 1759) Chaconne in G, HWV 43S LUDWIG VAN BEETHOVEN (1770 - 1827) Piano Sonata No.21 in C, Op.53 INTERVAL ROBERT SCHUMANN (1810 - 1856) Symphonic Etudes, Op.13 (including posthumous variations) ABOUT THE ARTIST 'He plays Beethoven in a very open, honest, secure way – with a sort of ‘glow’… always a lovely sound – gorgeous'. - Sir Mark Elder London-based, Australian pianist Jayson Gillham has gained an international reputation for his compelling and elegant performances. His outstanding performance of Beethoven Piano Concerto No.4 at the 2014 Montreal International Music Competition was described in The Huffington Post as being performed ‘with such streamlined patrician elegance that he took home First Prize and a string of engagements to follow’. Following his recent performances as part of the 2016 Perth International Festival, The Australian maintains that; 'Jayson Gillham showed why his career has flourished in recent years, playing with a beautiful bell-like tone, a great sense of expressive lyricism, and virtuosity'. Jayson performs with the world’s leading orchestras and conductors with recent and future highlights including concerto performances with London Philharmonic, Sydney Symphony / Vladimir Ashkenazy, Melbourne Symphony / Benjamin Northey, Adelaide Symphony / Jeffrey Tate, Nashville Symphony / Asher Fisch, Orchestre Symphonique de Montreal, English Chamber Orchestra, Orchestra Filarmonica Marchigiana and Wuhan Philharmonic amongst many others. A keen recitalist Jayson performs at the world’s leading venues including Wigmore Hall (London), Louvre Auditorium (Paris), City Recital Hall Angel Place (Sydney) and Melbourne Recital Centre. Recent recital engagements and festivals include Verbier Festival, Queensland Performing Arts Centre, Perth International Arts Festival, Saffron Hall, Royal Nottingham Concert Hall. Edinburgh Fringe, Brighton Festival, Linari Classic Festival (Tuscany), Two Moors Festival and Norfolk and Norwich Festival. Continued over page... Chamber music forms an important part of Jayson’s career with highlights including performances with the Jerusalem, Carducci, Tinalley, Brentano, Ruysdael and Flinders string quartets. Jayson records exclusively for ABC Classics and 2016 sees the release of his debut recital album featuring works by Bach, Schubert and Chopin. 2017 will see the recording of a concerto album with the Melbourne Symphony Orchestra. A graduate of the Queensland Conservatorium of Music, where he studied with Leah Horwitz, Jayson relocated to London in 2007 to pursue a Master’s degree at the Royal Academy of Music (RAM) with Christopher Elton. He is grateful to the Australian Music Foundation, the Tait Memorial Trust and The Keyboard Trust for their steadfast support over several years. In 2012 Jayson was named Commonwealth Musician of the Year and Gold Medallist of the prestigious Royal Over-Seas League 60th Annual Music Competition. www.jaysongillham.co.uk ABOUT URSULA HOFF AO OBE PhD (HAMBURG) AND THE URSULA HOFF INSTITUTE INC Scholar, academic, curator, writer, critic, and lecturer; Deputy Director of the National Gallery of Victoria, Melbourne (1968 -1973); London Adviser of the Felton Bequest (1975 -1983); author of numerous books, catalogues, articles, reviews, and scholarly publications on art, Dr Ursula Hoff (1909-2005) was a towering figure in Australian art history. In addition to her visual arts scholarship, Ursula Hoff also loved music. She was an early supporter of Musica Viva and had a special fondness for the piano and Mozart. The Ursula Hoff Institute is inspired by the high intellectual standards of Dr Hoff¹s research and scholarship, and promotes and facilitates the work of the likeminded individuals, associations, and interest groups, who share and support Dr Hoff¹s interests. The Institute encourages scholarship and supports tertiary students in the study of art history, curatorship and conservation, works on paper, music and the performing arts. The Institute seeks also to support education, cultural and art activities and initiatives that will enrich Australia¹s cultural landscape. Current initiatives include support for emerging artists at biannual acquisitive art awards at Geelong Gallery and the Mornington Peninsula Regional Gallery, Australian National Academy of Music, Victorian College of the Arts, the Australian Print Workshop and Melbourne Recital Centre. This concert has been made possible by the generous support of The Ursula Hoff Institute Inc and Valma Angliss AM A note on environmental friendliness: In an effort to commit to greener performances, programs are printed to share one between two people. If you would like to down- load additional copies of these program notes, please visit melbournerecital.com.au/programs Melbourne Recital Centre acknowledges the people of the Kulin nation on whose land this concert is being presented. 31 Sturt Street, Southbank, Victoria 3006 PRINCIPAL GOVERNMENT PARTNER P: 03 9699 3333 F: 03 9207 2662 E: [email protected] W: melbournerecital.com.au.
Load more

Recommended publications
  • Season 2013 Brochure
    Enlighten your senses - Season 2013 - 1 Welcome Welcome 2 A messAge for QueenslAnd symphony orchestrA 2013 Welcome Queensland symphony orchestra 2013 PeneloPe Wensley AC ROS Bates MP GreG WAnChAP Governor of Queensland The Honourable Ros Bates MP Chairman of the Queensland Music emerges from silence. Patron of the Queensland Minister for Science, Information Symphony Orchestra stillness gives birth to sound; sounds of nature, Symphony Orchestra Technology, Innovation and the In 2013 the Queensland symphony man, music. only in deep stillness can we perceive It is with great pleasure and pride, as Patron Arts orchestra will again take you on a journey of entertainment and excitement through the the subtleties of hushed sounds. of the Queensland symphony orchestra, Power, passion and beautiful music are the artistic excellence of our talented musicians, that I introduce its program for 2013. It hallmarks of the Queensland symphony The world is growing louder. The commotion carefully and sensitively led by Maestro is a program I have myself been eagerly orchestra for its 2013 season. of daily life surrounds us. In barely a corner of awaiting, to find out what pleasures are in Johannes Fritzsch. As one of our state’s largest and most valued the city is stillness to be found. Music, more and store for Queensland audiences. every new our 2013 program has at its core many performing arts companies, the Queensland season represents a fresh challenge for the masterful symphonic works that will uplift our more, is used to dignify meaningless noise; Bach symphony orchestra plays a critical role in our orchestra, seeking to strike a balance between audiences through the technical excellence in the supermarket, Beethoven to let you know cultural life.
    [Show full text]
  • Thesis Title
    Creating a Scene: The Role of Artists’ Groups in the Development of Brisbane’s Art World 1940-1970 Judith Rhylle Hamilton Bachelor of Arts (Hons) University of Queensland Bachelor of Education (Arts and Crafts) Melbourne State College A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of English, Media Studies and Art History ii Abstract This study offers an analysis of Brisbane‘s art world through the lens of artists‘ groups operating in the city between 1940 and 1970. It argues that in the absence of more extensive or well-developed art institutions, artists‘ groups played a crucial role in the growth of Brisbane‘s art world. Rather than focusing on an examination of ideas about art or assuming the inherently ‗philistine‘ and ‗provincial‘ nature of Brisbane‘s art world, the thesis examines the nature of the city‘s main art institutions, including facilities for art education, the art market, conservation and collection of art, and writing about art. Compared to the larger Australian cities, these dimensions of the art world remained relatively underdeveloped in Brisbane, and it is in this context that groups such as the Royal Queensland Art Society, the Half Dozen Group of Artists, the Younger Artists‘ Group, Miya Studios, St Mary‘s Studio, and the Contemporary Art Society Queensland Branch provided critical forms of institutional support for artists. Brisbane‘s art world began to take shape in 1887 when the Queensland Art Society was founded, and in 1940, as the Royal Queensland Art Society, it was still providing guidance for a small art world struggling to define itself within the wider network of Australian art.
    [Show full text]
  • Jayson Gillham Pianist
    PROFILE Jayson Gillham Pianist Internationally praised for his compelling performances “of absorbing and relentless elegance”, Jayson Gillham has emerged as one of the finest pianists of his generation. Winner of the 2014 Montreal International Musical Competition, he signed a recording contract with ABC Classics in 2015. Jayson Gillham has worked with the world’s top orchestras including The Halle, London Philharmonic, Royal Philharmonic, Orchestre Symphonique de Montreal as well as Sydney Symphony and Melbourne Symphony orchestras with whom he made highly acclaimed recordings of Beethoven, Medtner and Rachmaninov. In recital, he performs at some of the world’s most prestigious venues including the Wigmore Hall and Louvre Auditorium, Verbier Festival and Edinburgh Fringe. Highlights The Halle Orchestra/Sir Mark Elder Beethoven Piano Concerto No 5 Sydney Symphony Orchestra/Vladimir Ashkenazy Beethoven Piano Concerto No 4 Bournemouth Symphony Orchestra/Victor Aviat Grieg Piano Concerto Royal Philharmonic Orchestra/Alexander Shelley Chopin Piano Concerto No 2 Beethoven Piano Concerto No 3 Melbourne Symphony Orchestra/Joshua Weilerstein Beethoven Piano Concerto No 3 Auckland Symphony Orchestra/Giordano Bellincampi Beethoven Piano Concerto No 1 Christchurch Symphony Orchestra/Ben Northey Rachmaninov Piano Concerto No 2 Adelaide Symphony Orchestra/Nick Carter Beethoven Piano Concerti Cycle Barbican/LSO St Luke’s/Sound Unbound Festival Recital “Joy of Piano” Royal Philharmonic Orchestra/Owain Arwel Hughes Grieg Piano Concerto Reviews “…from
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]
  • Ursula Hoff Annual Lecture and Dinner 2011
    FRANÇOIS BOUCHER History Painter Presented by Dr Mark Ledbury Power Professor of Visual Art and Culture, Director of the Power Institute For many, in the eighteenth century and after, François Boucher came to symbolize a malaise in French painting, an epoch where noble male ideals of history painting were abandoned in favour of the frivolous, the feminine, the decorative. But this is a skewed picture. This lecture seeks to re-examine Boucher's career as a history painter, by exploring some overlooked or little known works by the painter, and by reconsidering what Boucher and his age understood history painting to be. The lecture will consider Boucher's Pastorals, including the splendid pair in the NGV (which were incidentally acquired for the collection by Dr Ursula Hoff through the Felton Bequest in 1982), as well as his tapestry cartoons and other projects. It will also think about History painting as it was understood by Boucher's predecessors and contemporaries to challenge some long held notions about what History painting is. Wednesday, 9 November 2011, 6:30 pm Clemenger BBDO Auditorium National Gallery of Victoria 180 St Kilda Road Melbourne Enter through the Mouse Hole. Free Lecture but bookings are essential: NGV Bookings on 03 8662 1555 or email [email protected] We are grateful to the S. R. Stoneman Foundation for their support of the Ursula Hoff Annual Lecture. www.ursulahoff.org Graham H. Ryles OAM KSJ and The Ursula Hoff Institute cordially invite you to The Ursula Hoff Annual Dinner 2011 Wednesday, 9 November 2011, 8:00 pm The Melbourne Savage Club 12-16 Bank Place, Melbourne 3000 $95 pp The Ursula Hoff Dinner 2011 will take place after the Ursula Hoff Annual Lecture, which will be held at the NGV International, St Kilda Road, Melbourne, commencing at 6:30pm.
    [Show full text]
  • Human Kind Transforming Identity in British and Australian Portraits 1700-1914
    HUMAN KIND TRANSFORMING IDENTITY IN BRITISH AND AUSTRALIAN PORTRAITS 1700-1914 International Conference on Portraiture University of Melbourne and National Gallery of Victoria Conference Programme Thursday 8 September – Sunday 11 September 2016 Biographies of Speakers and Abstracts of their Papers [In chronological order: Speaker, title of paper, organisation, bio, abstract of paper] Speakers: Leonard Bell, University of Auckland, Who was John Rutherford? John Dempsey’s Portrait of the ‘Tattooed Englishman’ c.1829 Bio: Dr Leonard (Len) Bell is an Associate Professor in Art History, School of Humanities, The University of Auckland. His writings on cross-cultural interactions and the visual arts in New Zealand, Australia and the Pacific have been published in books and periodicals in New Zealand, Australia, Britain, USA, Germany, the Czech Republic and Japan. His books include The Maori in European Art: A Survey of the Representation of the Maori from the Time of Captain Cook to the Present Day (1980), Colonial Constructs: European Images of Maori 1840–1914 (1992), In Transit: Questions of Home and Belonging in New Zealand Art (2007), Marti Friedlander (2009 & 2010), From Prague to Auckland: The Photographs of Frank Hofmann (1916-89), (2011), and Jewish Lives in New Zealand: A History (2012: co-editor & principal writer). His essays have appeared in Julie Codell & Dianne Sachko Macleod (eds), Orientalism Transformed: The Impact of the Colonies on British Art (1998), Alex Calder, Jonathan Lamb & Bridget Orr (eds), Voyages and Beaches: Pacific Encounters 1769-1840 (1999), Nicholas Thomas & Diane Losche (eds), Double Vision: Art Histories and Colonial Histories in the Pacific (1999), Felix Driver & Luciana Martins (eds), Tropical Visions in an Age of Empire (2005), Annie Coombes (ed), Rethinking Settler Colonialism: History and Memory in Australia, Canada, Aotearoa/New Zealand and South Africa (2006) and Tim Barringer, Geoff Quilley & Douglas Fordham (eds), Art and the British Empire (2007).
    [Show full text]
  • Beethoven: the Piano Concertos
    ADELAIDE SYMPHONY ORCHESTRA SEASON 2019 SPECIAL EVENT Beethoven: The Piano Concertos June Wed 5 – Sat 15 7pm Elder Hall CONTENTS ARTIST BIOGRAPHIES 3 Nicholas Carter Conductor Jayson Gillham Piano CONCERT ONE 5 June Wed 5, 7pm CONCERT TWO 11 June Sat 8, 7pm CONCERT THREE 16 June Wed 12, 7pm CONCERT FOUR 21 June Sat 15, 7pm ABC Classic is recording the concertos for CD release in early 2020 – the 250th anniversary of Beethoven’s birth. The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal and Torres Strait Islander Elders, past, present and future. 2 ARTIST BIOGRAPHY Nicholas Carter Conductor Newly appointed as Chief Conductor of the In Australia, he collaborates regularly with Stadttheater Klagenfurt and the Kärntner many of the country’s leading orchestras Sinfonieorchester, Nicholas Carter will lead and ensembles and led the 2018 Adelaide three new productions per season and Festival’s acclaimed full staging of Brett appear regularly in the orchestra’s concert Dean’s Hamlet. Past engagements have series. In his first season, he conducts included the Melbourne, Sydney, West Rusalka, La Clemenza di Tito and Pelléas Australian, Queensland and Tasmanian et Mélisande, and concert programmes Symphony Orchestras with soloists such include Haydn’s Die Schöpfung and Mahler’s as Michelle de Young, Simon O’Neill, Alina Symphony No. 1. Ibragimova, Alexander Gavrylyuk and James Ehnes; also galas with Maxim Vengerov Since his appointment as Principal (Queensland Symphony) and Anne Sofie von Conductor of the Adelaide Symphony Otter (Sydney Symphony).
    [Show full text]
  • Dogma Chamber Orchestra SO, 25.10.2015, 19:00 6 - 7 Jubiläumskonzert - 200
    Podium der Musik Konzertprogramm der Werner Richard - Dr. Carl Dörken Stiftung KONZERTE IM WERNER RICHARD SAAL 2015 / 2016 Inhaltsverzeichnis Podium der Musik Datum: Veranstaltung: Seite: September 2015 FR, 04.09.2015, 20:00 Trilok Gurtu & Band 36 - 37 SO, 06.09.2015, 19:00 Noé Inui, Mario Häring 20 - 21 SO, 20.09.2015, 19:00 Rupa & The April Fishes 28 - 29 SO, 27.09.2015, 19:00 Qi Xu, Klavier 4 - 5 Oktober 2015 SO, 11.10.2015, 19:00 Nils Wülker Gruppe 38 dogma chamber orchestra SO, 25.10.2015, 19:00 6 - 7 Jubiläumskonzert - 200. Konzert „Meister von Morgen“ SA, 31.10.2015, 19:30 Nemec´ Platz - bitte ! 35 November 2015 SO, 08.11.2015, 19:00 Fabian Müller 22 - 23 SO, 15.11.2015, 19:00 Huun-Huur-Tu, Tuva Mongolei 30 FR, 20.11.2015, 20:00 Hendrika Entzian Quartet featuring Sandra Hempel 39 SO, 22.11.2015, 19:00 Marc Bouchkov, Violine - Kian Soltani, Violoncello - Adrien Boisseau, Viola 8 - 9 Dezember 2015 SO, 20.12.2015, 19:00 Kurpfälzisches Kammerorchester 10 - 11 Januar 2016 SO, 10.01.2016, 19:00 ARUNDOSquintett 24 - 25 SO, 24.01.2016, 19:00 vision string quartet 12 - 13 Februar 2016 LINIE HERAUSSCHNEIDEN AN DER GESTRICHELTEN FR, 12.02.2016, 20:00 Memphis PC 40 SO, 14.02.2016, 19:00 Cristina Braga, Brasilien 31 SO, 21.02.2016, 19:00 Xenon Saxophonquartett 14 - 15 März 2016 SO, 06.03.2016, 19:00 Irish Spring Festival, Irland-Schottland 32 April 2016 FR, 08.04.2016, 20:00 PABLO HELD TRIO 41 SO, 10.04.2016, 19:00 Klavierduo „Praleski“ 26 - 27 SO, 24.04.2016, 19:00 Carducci String Quartet 16 - 17 Mai 2016 SO, 01.05.2016, 19:00 I Liguriani, Italien (Ligurien) 33 FR, 20.05.2016, 20:00 Tingvall Trio 42 Gebrüder Gerassimez - „Family Clash“ SO, 29.05.2016, 19:00 18 - 19 zum 100.
    [Show full text]
  • Chapter 4. Australian Art at Auction: the 1960S Market
    Pedigree and Panache a history of the art auction in australia Pedigree and Panache a history of the art auction in australia Shireen huda Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/pedigree_citation.html National Library of Australia Cataloguing-in-Publication entry National Library of Australia Cataloguing-in-Publication entry: Author: Huda, Shireen Amber. Title: Pedigree and panache : a history of the art auction in Australia / Shireen Huda. ISBN: 9781921313714 (pbk.) 9781921313721 (web) Notes: Includes index. Bibliography. Subjects: Art auctions--Australia--History. Art--Collectors and collecting--Australia. Art--Prices--Australia. Dewey Number: 702.994 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse Cover image: John Webber, A Portrait of Captain James Cook RN, 1782, oil on canvas, 114.3 x 89.7 cm, Collection: National Portrait Gallery, Canberra. Purchased by the Commonwealth Government with the generous assistance of Robert Oatley and John Schaeffer 2000. Printed by University Printing Services, ANU This edition © 2008 ANU E Press Table of Contents Preface ..................................................................................................... ix Acknowledgements
    [Show full text]
  • REMBRANDT's INFLUENCE in EIGHTEENTH CENTURY VENICE I Rembrandt's Influence on Venetian Painters and Etchers in the Eighteenth Ce
    REMBRANDT'S INFLUENCE IN EIGHTEENTH CENTURY VENICE FRANKLIN W. ROBINSON I Rembrandt's influenceinfiuence on Venetian painters and etchers in the eighteenth century has been touched on but never fullyfuHy examined. A few students have dealt with the subjectIl , but it has not been the purpose of any of them to attempt a full-scalefuH-scale exploration of the many examples involved. Such is not the purpose of this short note; it is merely to suggest, by citing a few instances of Rem­ brandt's impact on the artists of the time, that he is a significant influenceinfiuence on Venetian art in its last great florescence.fiorescence. At first sight, such a role for Rembrandt seems incongruous, for he is the master of introspection and the expressive power of darkness. For him,hirn, ques­ tioning and self-doubt were the constant companions of self-confidence, and it would seem such a spirit would be alien to the grandiose, light-filledIight-filled productions that suited Venice so weIl in its gilded isolation at this time. Indeed, many of the best-known painters remained untouched by his power; Francesco and Giovanni Antonio Guardi, Canaletto, Pietro Longhi, Pellegrini, and Sebastiano and Marco Ricciz seem virtually unaware of his style. Among the most compelling reasons for the very real influenceinfiuence Rembrandt exercised on several eighteenth century Venetians, however, is the actual pres­ ence of many of his paintings and etchings in the city at the time. For example, there is evidence that two works by Rembrandt, "figure al naturale", were sold II Cf. Corrado Rieci, Rembrandt in Italia, Milan 1918; H.
    [Show full text]
  • Courant 7/December 2003
    codart Courant 7/December 2003 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 12 The influence and uses of Flemish painting nl-1070 ka Amsterdam 3 News and notes from around the world in colonial Peru The Netherlands 3 Australia, Melbourne, National Gallery 14 Preview of upcoming exhibitions [email protected] of Victoria 15 codartpublications: A window on www.codart.nl 3 Around Canada Dutch cultural organizations for Russian 4 France, Paris, Institut Néerlandais, art historians Managing editor: Rachel Esner Fondation Custodia 15 codartactivities in fall 2003 e [email protected] 4 Germany, Dresden, Staatliche Kunst- 15 Study trip to New England, sammlungen Dresden, Gemäldegalerie 29 October-3 November 2003 Editors: Wietske Donkersloot, Alte Meister 23 codartactivities in 2004 Gary Schwartz 5 Germany, Munich, Staatliche 23 codart zevencongress: Dutch t +31 (0)20 305 4515 Graphische Sammlung and Flemish art in Poland, Utrecht, f +31 (0)20 305 4500 6 Italy, Bert W. Meijer’s influential role in 7-9 March 2004 e [email protected] study and research projects on Dutch 23 Study trip to Gdan´sk, Warsaw and and Flemish art in Italy Kraków, 18-25 April 2004 codart board 8 Around Japan 32 Appointments Henk van der Walle, chairman 8 Romania, Sibiu, Brukenthal Museum 32 codartmembership news Wim Jacobs, controller of the Instituut 9 Around the United Kingdom and 33 Membership directory Collectie Nederland, secretary- Ireland 44 codartdates treasurer 10 A typical codartstory Rudi Ekkart, director of the Rijksbureau voor Kunsthistorische Documentatie Jan Houwert, director of the Wegener Publishing Company Paul Huvenne, director of the Koninklijk Museum voor Schone Kunsten, Antwerp Jeltje van Nieuwenhoven, member of the Dutch Labor Party faction codartis an international council for curators of Dutch and Flemish art.
    [Show full text]
  • Women Research Leaders in the Australian Learned Academies, 1954–1976
    Women Research Leaders in the Australian Learned Academies, 1954–1976 Patricia Grimshaw1 and Rosemary Francis2 School of Historical and Philosophical Studies University of Melbourne, Parkville, VIC 3010 [email protected] [email protected] Abstract: While the presence of women in the academic profession at levels above tutor, demonstrator, research assistant or the first rungs of lectureships was uncommon before the 1980s, individual women of talent nevertheless forged research careers of outstanding excellence. Among these scholars were the women who became the first female fellows elected to one of the four Australian learned academies founded between 1954 and 1976. The period witnessed the election of fourteen women to these academies, the first being Dorothy Hill, elected in 1956 to the Australian Academy of Science that was established two years previously. After Hill two further women were elected to that academy over the next twenty years, five women to the Australian Academy of the Humanities and four to the Academy of the Social Sciences in Australia, founded in 1969 and 1971 respectively. Two women were among the sixty-four foundation fellows of the Australian Academy of Technical Sciences in 1976. Diverse in the paths that led to their recognition by their male peers as leaders in their research fields, the women were alike in their determination and persistence in pushing the boundaries of knowledge in their chosen disciplines, and the generosity with which they engaged with postgraduate students, fellow academics and the wider public. As the women’s movement inspired more women to pursue advanced research, and the academies to develop a more nuanced evaluation of women’s contributions, many of these first academicians lived to observe the increased rate of entry of women researchers to the academies though gender proportions remained unbalanced.
    [Show full text]