Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
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The Female Art of War: to What Extent Did the Female Artists of the First World War Con- Tribute to a Change in the Position of Women in Society
University of Bristol Department of History of Art Best undergraduate dissertations of 2015 Grace Devlin The Female Art of War: To what extent did the female artists of the First World War con- tribute to a change in the position of women in society The Department of History of Art at the University of Bristol is commit- ted to the advancement of historical knowledge and understanding, and to research of the highest order. We believe that our undergraduates are part of that endeavour. For several years, the Department has published the best of the annual dis- sertations produced by the final year undergraduates in recognition of the excellent research work being undertaken by our students. This was one of the best of this year’s final year undergraduate disserta- tions. Please note: this dissertation is published in the state it was submitted for examination. Thus the author has not been able to correct errors and/or departures from departmental guidelines for the presentation of dissertations (e.g. in the formatting of its footnotes and bibliography). © The author, 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means without the prior permission in writing of the author, or as expressly permitted by law. All citations of this work must be properly acknowledged. Candidate Number 53468 THE FEMALE ART OF THE FIRST WORLD WAR 1914-1918 To what extent did the female artists of the First World War contribute to a change in the position of women in society? Dissertation submitted for the Degree of B.A. -
Contemporary Art Society Report 1942-43
TH E C O N TEM P O R A R Y A R T SO CIETY FOR TH E A CQU I SI TION OF WOR KS OF MOD ERN AR T FOR L OAN OR G I FT TO PU BL I C GALL ER I E S President L O R D H OWA R D D E W A L D E N Chairman SIR E DWA R D M A RSH, K .C .V.O ., C.B ., C.M .G . Treasurer TH E H O N. J AS P E R R I D LE Y 440 Strand, W.C.2 Hon. Secretary L O R D IV O R S P E N C E R -C H U R C HI L L g Dilke Street, S.W.3 Committee S1R EDWARD MA RSH , K .c.v.o., c .B ., c .M.G. ( Chairman) The Earl of Crawford and Balcarres Lord Keynes, c.B. Major Sir Muirhead Bone, R.M. T. E. Lowinsky Mrs. Cazalet Keir, M.P. Ernest Marsh Sir Kenneth Clark, K.C.B. The Hon. Jasper Ridley Samuel Courtauld J. K. M. Rothenstein Sir A. M. Daniel, K.B.E . The Earl of Sandwich Campbell Dodgson, C.B.E. Lord Ivor Spencer-Churchill _ A. M. Hind, o.B.E. C. L. Stocks, c.B. Assistant Secretary: R OB I N I R O NSIDE Speech by the Chairman at the Thirteenth Ordinary General Meeting of the C.A.S. held at the Tate Gallery on 21 April 1944 Ladies and Gentlemen, I find it a pleasing reflection that we are able to meet here on this annual occasion for the fifth time since the war began, with at least a part of our minds free to consider a sphere of human activity which is concerned neither with war nor with politics. -
The Porta Del Popolo, Rome Pen and Brown Ink on Buff Paper
Muirhead BONE (Glasgow 1876 - Oxford 1953) The Porta del Popolo, Rome Pen and brown ink on buff paper. Signed Muirhead Bone at the lower right. 222 x 170 mm. (8 3/4 x 6 5/8 in.) One of the first trips that Muirhead Bone made outside Britain was a long stay of two years - from October 1910 to October 1912 – in central and northern Italy, accompanied by his wife Gertrude and their children. After spending several weeks in Florence, the Bone family settled in Rome in the early months of 1911, and from October 1911 lived in a flat overlooking the Piazza del Popolo. During his time in Italy Bone produced thirty-two copper plates and numerous fine drawings, several of which were sent from Italy to London and Glasgow to be sold by his dealers. A number of Bone’s drawings of Italy were exhibited at the Colnaghi and Obach gallery in London in 1914, to very positive reviews. The present sheet depicts part of the outer façade of the city gate known as the Porta del Popolo, a section part of the Aurelian Walls encircling the city of Rome. The gate was the main entrance to Rome from the Via Flaminia and the north, and was used by most travellers arriving into the city for the first time. Built by Pope Sixtus IV for the Jubilee year of 1475, the Porta del Popolo was remodelled in the 16th century under Pope Pius IV. The Pope had asked Michelangelo to design the new outer façade of the Porta, but the elderly artist passed the commission on to the architect Nanni di Baccio Bigio, who completed the work between 1562 and 1565. -
The Haunting of LS Lowry
Societies 2013, 3, 332–347; doi:10.3390/soc3040332 OPEN ACCESS societies ISSN 2075-4698 www.mdpi.com/journal/societies Article The Haunting of L.S. Lowry: Class, Mass Spectatorship and the Image at The Lowry, Salford, UK Zoë Thompson School of Cultural Studies and Humanities, Leeds Metropolitan University, Broadcasting Place A214, Woodhouse Lane, Leeds, LS2 9EN, UK; E-Mail: [email protected]; Tel.: +44-0113-812-5721 Received: 4 September 2013; in revised form: 16 October 2013 / Accepted: 17 October 2013 / Published: 18 October 2013 Abstract: In a series of momentary encounters with the surface details of The Lowry Centre, a cultural venue located in Salford, Greater Manchester, UK, this article considers the fate of the image evoked by the centre’s production and staging of cultural experience. Benjamin’s notion of ‘aura’ as inimical to transformations of art and cultural spectatorship is explored, alongside its fatal incarnation in Baudrillard’s concept of ‘simulation’. L.S. Lowry, I argue, occupies the space as a medium: both as a central figure of transmission of the centre’s narrative of inclusivity through cultural regeneration, and as one who communes with phantoms: remainders of the working-class life and culture that once occupied this locale. Through an exploration of various installations there in his name, Lowry is configured as a ‘destructive character’, who, by making possible an alternative route through its spaces, refuses to allow The Lowry Centre to insulate itself from its locale and the debt it owes to its past. Keywords: aura; simulation; The Lowry; cultural regeneration; haunting; class I have been called a painter of Manchester workpeople. -
Seaford Town Council Newsletter October 2013
Seaford Town Council Newsletter October 2013 What's in October’s Welcome to the October edition of the Seaford Town Council Newsletter. newsletter The Mayor of Seaford Anthony White has attended some events recently which include Lewes District Council’s Annual Summer Party and afternoon tea with the Mayoral Events 60’s plus club which you can read about on page 2. The Mayor attended Telscombe Cliffs end of year firework display on 14th What's on at September 2013 on the Tye which has some spectacular photos, you can read Arts@theCrypt about this on page 2. There have also been many art exhibitions being held at Arts@theCrypt where very talented artists have shown off their work to the public, details of Late Night Shopping forthcoming events are on page 3. Also on page 3 read about Seaford’s Late Night Christmas Shopping event which is coming up on 6th December 2013. Annual Report Summary Read a summary of Seaford Town Council Annual Report which is on page 4. A lot of good changes and progress has been made to several places in Seaford Salts Consultation including The Salts Recreation Ground and Seaford Head Golf Course which are going to attract even more visitors. Read about information about The Salts consultation where people were invited to give their views on what they would really like to see at The Salts in the future. It was good to see many people involved and having their say in how The Salts should be improved. Read about this on page 5. -
Art and the Greatwar
PRE FACE HE purpose of this book has been to chronicle the part played in the Great War b a nt rs llustrators etch rs l tho ra hers and scul r y p i e , i , e , i g p p The r serv s w r o r at valu nd cer tors act n in th se ca ac t s . c a f , i g e p i ie i i e e e f g e e h s h r , tainly deserved to be recorded . Speaking of t e ervice rendered by t e a t ists the Honorabl Cart r Glass S cr tar o the Tr asur has sa d : , e e , e e y f e y, i r w s h n s t h rt sts Futur The whole civiliz ed wo ld o e t a k o t e a i of America . e history would be incomplete without adequate recognition of the mighty concrete values which the artists of the war wrung from thefabrics of their dreams and devoted to the rescue of humanity from further bloodshed and sacrifice. I hav ndeavor d to show what the art sts o the Un t d Stat s Gr at e e e i f i e e , e Br ta n anada and Franc hav don both in de ct n sc nes at the i i , C e e e, pi i g e actual ront and beh nd the l n s in r cord n the wor o the nav s and f i i e , e i g k f ie the av at on cor s as well as de ct n scen s in the sh ards mun t on i i p , pi i g e ipy , i i t r s n u tr l l nts an w r n n I hav too tr d to ac o d s a a d o o the la d . -
Woodcut Society 1932-1954 by Cori Sherman North with Transcriptions by John R
With the Grain: Presentation Prints of the Woodcut Society 1932-1954 by Cori Sherman North with transcriptions by John R. Mallery With the Grain: Presentation Prints of the Woodcut Society 1932-1954 by Cori Sherman North with transcriptions by John R. Mallery A digital publication printed in conjunction with an exhibition held at the Birger Sandzén Memorial Gallery from March 31 through June 2, 2019 The show included a complete set of the 44 prints in their original letterpress folders This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. On the cover: Twilight Toil by Allen Lewis, 1943, color woodcut and linoleum cut The Birger Sandzén Memorial Gallery in participating printmakers. Lindsborg, Kansas, is exhibiting its complete set of Woodcut Society membership prints in The Woodcut Society was primarily geared their original presentation folders, March 22 toward print collectors, with the publications through June 2, 2019. The 44 blockprints— “intended to be savored in the intimate setting wood engravings, woodcuts, and linocuts—were of one’s private library.”2 The membership print created by an international cast of 32 artists commissions were “all selected by one man, and reveal a wide variety of subject matter and unencumbered by juries or trustees, H.A. [Harry technique. Of the printmakers, Asa Cheffetz Alfred] Fowler, Director of the Society.”3 Artists (1897-1965), Paul Landacre (1893-1963), Clare were instructed to pull 200 impressions in one Leighton (1898-1989), and Thomas Nason (1889- edition, but the subject matter and edition paper 1971) each completed three membership prints, choice were left entirely to the printmaker. -
Robert Rauschenberg Selected One-Artist
ROBERT RAUSCHENBERG SELECTED ONE-ARTIST EXHIBITIONS DATES Born 1925, Port Arthur, Texas Died 2008, Captiva, Florida EDUCATION 1947–1948, Kansas City Art Institute 1947, Academie Julien, Paris 1948–1949, Black Mountain College, North Carolina (with Josef Albers) 1949–1952, Art Students League, New York (with Vaclav Vytlacil and Morris Kantor) 2018 Robert Rauschenberg: Spreads, Galerie Thaddaeus Ropac, Ely House, London, November 28, 2018– January 26, 2019. Rauschenberg: The 1/4 Mile, Los Angeles County Museum of Art, October 28, 2018–June 9, 2019. Robert Rauschenberg: Vydocks, Pace Gallery, 12/F, H Queen’s, 80 Queen’s Road Central, Hong Kong, September 19–November 2, 2018. (Catalogue) Robert Rauschenberg: In and About L.A, Los Angeles County Museum of Art, August 11, 2018–February 10, 2019. Robert Rauschenberg: Features, Krakow Witkin Gallery, Boston, May 12–June 23, 2018. Robert Rauschenberg: Selected One–Artist Exhibitions 2 Robert Rauschenberg: Paintings Objects Sculptures, Galerie Bastian, Berlin, April 28–July 28, 2018. 2017 Robert Rauschenberg: A Quake in Paradise (Labyrinth), Massachusetts Museum of Contemporary Art, North Adams, May 28, 2017–Fall 2018. Robert Rauschenberg: Late Series, Faurschou Foundation Venice, May 12–August 27, 2017. (Catalogue) 2016 Robert Rauschenberg, Transfer Drawings from the 1950s and 1960s, Offer Waterman, London, December 2, 2016–January 13, 2017. (Catalogue) Robert Rauschenberg, Tate Modern, London, December 1, 2016–April 2, 2017. Traveled to: as Robert Rauschenberg: Among Friends, The Museum of Modern Art, New York, May 21, 2017–September 17, 2017; as Robert Rauschenberg: Erasing the Rules, San Francisco Museum of Modern Art, November 18, 2017– March 25, 2018. (Catalogue) Robert Rauschenberg: Salvage, Galerie Thaddaeus Ropac, Paris, October 20, 2016–January 14, 2017. -
Networking Surrealism in the USA. Agents, Artists and the Market
151 Toward a New “Human Consciousness”: The Exhibition “Adventures in Surrealist Painting During the Last Four Years” at the New School for Social Research in New York, March 1941 Caterina Caputo On January 6, 1941, the New School for Social Research Bulletin announced a series of forthcoming surrealist exhibitions and lectures (fig. 68): “Surrealist Painting: An Adventure into Human Consciousness; 4 sessions, alternate Wednesdays. Far more than other modern artists, the Surrea- lists have adventured in tapping the unconscious psychic world. The aim of these lectures is to follow their work as a psychological baro- meter registering the desire and impulses of the community. In a series of exhibitions contemporaneous with the lectures, recently imported original paintings are shown and discussed with a view to discovering underlying ideas and impulses. Drawings on the blackboard are also used, and covered slides of work unavailable for exhibition.”1 From January 22 to March 19, on the third floor of the New School for Social Research at 66 West Twelfth Street in New York City, six exhibitions were held presenting a total of thirty-six surrealist paintings, most of which had been recently brought over from Europe by the British surrealist painter Gordon Onslow Ford,2 who accompanied the shows with four lectures.3 The surrealist events, arranged by surrealists themselves with the help of the New School for Social Research, had 1 New School for Social Research Bulletin, no. 6 (1941), unpaginated. 2 For additional biographical details related to Gordon Onslow Ford, see Harvey L. Jones, ed., Gordon Onslow Ford: Retrospective Exhibition, exh. -
Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1Pm Knightsbridge, London
Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge, London Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge Bonhams Bids Enquiries Please see page 2 for bidder Montpelier Street +44 (0) 20 7447 7448 Modern British & Irish Art information including after-sale Knightsbridge +44 (0) 20 7447 7401 fax Emma Corke collection and shipment London SW7 1HH To bid via the internet please visit +44 (0) 20 7393 3949 www.bonhams.com www.bonhams.com [email protected] Please see back of catalogue for important notice to bidders Viewings Please note that bids should be Shayn Speed submitted no later than 24 hours +44 (0) 20 7393 3909 Illustration [email protected] East Anglian Pictures only before the sale. Front cover: Lot 91 The Guildhall Back cover: Lot 216 East Anglian Pictures Guildhall Street New bidders must also provide Inside front: Lot 46 Daniel Wright Bury St Edmunds proof of identity when submitting Inside back: Lot 215 +44 (0) 1284 716195 Suffolk, IP33 1PS bids. Failure to do this may result [email protected] in your bids not being processed. Tuesday 5 November 9am to 7pm Bidding by telephone will only be Customer Services Monday to Friday 8.30am to 6pm Wednesday 6 November accepted on a lot with a lower +44 (0) 20 7447 7447 9am to 4pm estimate in excess of £400. ----------- St Michael’s Hall Sale Number: 20779 Church Street Live online bidding is Reepham available for this sale Catalogue: £12 Norfolk, NR10 4JW Please email [email protected] with “Live bidding” in the subject Tuesday 12 November line 48 hours before the auction 9am to 7pm to register for this service. -
Surrealism and Psychoanalysis in the Work of Grace Pailthorpe and Reuben Mednikoff
Surrealism and Psychoanalysis in the work of Grace Pailthorpe and Reuben Mednikoff: 1935-1940 Lee Ann Montanaro Ph.D. History of Art The University of Edinburgh 2010 Declaration I hereby declare that this thesis is my own work and has not been submitted for any other degree or professional qualification except as specified. ABSTRACT The story of the collaboration between the psychoanalyst Dr Grace Pailthorpe and the artist Reuben Mednikoff is indeed an extraordinary one. The aim of this thesis is to throw light upon their joint research project between 1935, when they first met, and 1940, when they were expelled from the British Surrealist group with which they had been closely involved since its official launch in 1936. The project that Pailthorpe and Mednikoff plunged into just days after they first met in February 1935 focused on how art could be used as a way of curing mental problems. Paintings and drawings produced ‘automatically’ were used as a means to bring memories to a conscious level. Many personal tensions, obsessions and fears that had lain dormant and repressed were released and detailed commentaries and explanations followed every work they produced in order for the exercise to be fully therapeutic. The aim was to externalise the unconscious and reintegrate it with the conscious. Despite the fact that Pailthorpe’s work was hailed as ‘the best and most truly Surrealist’ by the leader of the Surrealist movement, André Breton, at the 1936 International Surrealist exhibition in London, which brought the movement to Britain, the couple were expelled from the British Surrealist group just four years later and moved to America into relative obscurity. -
Fttfe MUSEUM of MODERN1 ART
jr. ,•&-*- t~ V* *«4* /C^v i* 41336 - 2Z f± **e y^^A-^-^p, fttfE MUSEUM OF MODERN1 ART P WEST 53RD STREET, NEW YORK -uEPHONE: CIRCLE 5-89CO FOE IMMEDIATE RELEASE (Note* Photographs of paintings available) BRITAIN DELIVERS WAR PAINTINGS TO MUSEUMxOF MODERN ART. LORD HALIFAX TO OPEN EXHIBITION. On Thursday evening, May 22, Lord Halifax, Great Britain's Ambassador to the United States, will formally open at the Museum of Modern Art an exhibition of the Art of Britain At War, designed to show the wartime roles England assigns to her artists and de signers. It will be composed of oils, watercolors, drawings, prints, posters, cartoons, films, photographs, architecture and camouflage of the present war as well as work of British artists during the first World War. The exhibition will open to the public Friday morning, May 23, and will remain on view throughout the summer. It will then be sent by the Museum to other cities in the United States and Canada, The nucleus of the exhibition opening in May will be the group of paintings, watercolors and prints which the Museum expected to open as a much smaller exhibition in November 1940. After several postponments the Museum was finally forced to abandon it as, due to wartime shipping conditions, the pictures did not arrive although word had been received that the shipment had left London early in November. The Museum received the shipment late in January. After weeks of further negotiation with British officials in this country and by cable with London the Museum decided that it would be possible to augment the material already received with other work done by British artists since the first material was sent.