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ANDREW FORGE 1923 Born in Hastingleigh, Kent, U.K. 1933 Educated at the Downs School and Leighton Park School, Reading, U.K. 1940-47 Ran the parental farm at Hastingleigh, Kent, U.K. 1947-49 Studied painting at Camberwell College of Arts under William Coldstream, Victor Pasmore and Kenneth Martin, London, U.K. 1949-50 Traveled in France, Holland and Italy 1950-64 Taught painting and drawing at the Slade School, University College, London, U.K. 1964-70 Head of Department of Fine Art, Goldsmiths’ College, London University, London, U.K. 1971-72 Lecturer, Department of Art, University of Reading, U.K. 1973-74 Visiting Critic, Cooper Union, New York, NY 1974-75 Associate Dean, New York Studio School, New York, NY 1975-94 Professor, Yale School of Art (Dean, 1975-83), New Haven, CT 1994-2000 Senior Critic, University of Pennsylvania Department of Art, Philadelphia, PA 1999-2000 Artist in Residence, Dartmouth College, Hanover, NH 2000 Artist in Residence, College of South Carolina, Charleston, SC 2002 Died, Washington Depot, CT Selected One-Person Exhibitions 1953 Agnew’s Gallery, London, U.K. 1963 Artists’s International Association Gallery, London, U.K. 1964 City Art Gallery (Ten-year Retrospective), Bristol, U.K. 1978 Drawings, New York Studio School Gallery, New York, NY 1983 Mona Berman Gallery, New Haven, CT 1985 Works on Paper, American Academy in Rome, Rome, Italy Underwood Gallery, Rome, Italy Mona Berman Gallery, New Haven, CT 1989 Recent Paintings, Ruggiero Gallery, New York, NY Ten-year Retrospective, New York Studio School Gallery, New York, NY 1991 Ruggiero Gallery, New York, NY (with Mel Bochner, Howard Buchwald, and Roger Tibbetts) 1992 Washington Arts Association (with Ruth Miller), Washington Depot, CT 1993 Recent Paintings, Robert Morrison Gallery, New York, NY 1994 Works on Paper, Robert Morrison Gallery, New York, NY 1995 Dory Gates Gallery (with Ruth Miller), Kansas City, MO Hollins College, Roanoke, VA 1996 Andrew Forge: A Retrospective, Yale Center for British Art, New Haven, CT (Catalogue essays by John Hollander and Michael Kubovi) 1998 Watercolors, Kendall Gallery, Hudson, NY 1999 Hood Museum, Dartmouth College, Hanover, NH 2000 New York Studio School, New York, NY 2001 Andrew Forge, Robert Miller Gallery, New York, NY Andrew Forge, Recent Paintings, Bannister Gallery, Rhode Island College, RI 2002 Andrew Forge Memorial Exhibition, Robert Miller Gallery, New York, NY 2007 Andrew Forge: Paintings and Watercolors, Betty Cuningham Gallery, New York, NY Awards 1980 John Simon Guggenheim Fellowship 1985 Merrill Foundation Award 1990 American Academy of Arts and Institute of Letters, Painting Prize 1995 College Art Association Distinguished Teaching of Art Award Public Collections American Academy of Arts and Letters, Childe Hassam Bequest Arts Council of Great Britain, London, UK Corcoran Gallery of Art, Washington, DC Hollins University, Roanoke, VA Hood Museum, Dartmouth College, Hanover, NH The Ministry of Works, UK National Academy of Design, New York, NY Tate Gallery, London, UK Yale Center for British Art, New Haven, CT Yale University Art Gallery, New Haven, CT .

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Work in Progress (1999.03.07)
_________________________________________________________________ WORK IN PROGRESS by Cliff Holden ______________________________ Hazelridge School of Painting Pl. 92 Langas 31193 Sweden www.cliffholden.co.uk copyright © CLIFF HOLDEN 2011 2 for Lisa 3 4 Contents Foreword 7 1 My Need to Paint 9 2 The Borough Group 13 3 The Stockholm Exhibition 28 4 Marstrand Designers 40 5 Serigraphy and Design 47 6 Relating to Clients 57 7 Cultural Exchange 70 8 Bomberg's Legacy 85 9 My Approach to Painting 97 10 Teaching and Practice 109 Joseph's Questions 132 5 6 Foreword “This is the commencement of a recording made by Cliff Holden on December 12, 1992. It is my birthday and I am 73 years old. ” It is now seven years since I made the first of the recordings which have been transcribed and edited to make the text of this book. I was persuaded to make these recordings by my friend, the art historian, Joseph Darracott. We had been friends for over forty years and finally I accepted that the project which he was proposing might be feasible and would be worth attempting. And so, in talking about my life as a painter, I applied myself to the discipline of working from a list of questions which had been prepared by Joseph. During our initial discussions about the book Joseph misunderstood my idea, which was to engage in a live dialogue with the cut and thrust of question and answer. The task of responding to questions which had been typed up in advance became much more difficult to deal with because an exercise such as this lacked the kind of stimulus which a live dialogue would have given to it.
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“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.
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David Cast CV 2021
David Cast: Curriculum Vitae: June 2021 Department of History of Art Bryn Mawr College Bryn Mawr, PA 19010 (610) 526-5341 EDUCATION B.A. (Hons): Literae Humaniores, Wadham College, Oxford, 1965 M.A. History of Art, Columbia University, 1967 Ph.D. History of Art, Columbia University, 1970 ACADEMIC APPOINTMENTS Preceptor, Division of General Studies, Columbia University, 1968-70 Assistant Professor, Department of Art History, Yale University, 1970-76 Associate Professor, Department of Art History, Yale University, 1976-80 Visiting Fellow, Department of Art History, Cornell University, 1980-81 Associate Professor, Department of History of Art, Bryn Mawr College, 1981-1992 Professor, Department of History of Art, Bryn Mawr College, 1992 to present Department Chairman, 1988-1991, 1995-9, 2003-2008 Secretary of the General Faculty, 2000-2005 Eugenia Chase Guild Professor of the Humanities, 2011-16 PUBLICATIONS (books) The Calumny of Apelles: A Study in the Humanist Tradition, New Haven, 1981. The Delight of Art: Vasari and the Traditions of Humanist Discourse, University Park (Pa), 2009. A Companion to Vasari: edited volume, Ashgate Press, London, 2014. Observation: Notation: selections from the writings of Andrew Forge: 1953-2002, Criterion Books, New York, 2018. PUBLICATIONS (articles or chapters in books) "The Stork and the Serpent: A New Interpretation of the 'Madonna of the Meadow' by Bellini," Art Quarterly, XXXII, 1969, p. 245-57. "Godard's Truths," Film Heritage, VI, 1970 (no. 4), 19 f. "Style Without Style: Truffaut's 'La Peau Douce,'" Film Heritage, VII, 1971-72 (no. 2), 10 f. "Aurispa, Petrarch and Lucian: An Aspect of Renaissance Translation," Renaissance Quarterly, XXVII, 1974, p.
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Andrew Forge: the Limits of Sight - Ephemera Andrew Forge: the Limits of Sight
Fairfield University DigitalCommons@Fairfield Andrew Forge: The Limits of Sight - Ephemera Andrew Forge: The Limits of Sight Fall 2020 Andrew Forge: The Limits of Sight Brochure Fairfield University Art Museum Follow this and additional works at: https://digitalcommons.fairfield.edu/andrewforge-ephmera This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Andrew Forge: The Limits of Sight September 25 – December 19, 2020 Director’s Foreword We are so pleased to open the celebration of the museum’s 10th anniversary with the presentation of Andrew Forge: The Limits of Sight in our Bellarmine Hall Galleries. This exhibition brings together highlights of the work of British artist Andrew Forge (1923-2002) beginning in 1973, just as he embarked on a new life in the United States. Forge was a painter and an influential art critic, as well as the dean and professor of the Yale University School of Art from 1975- 1994. His highly personal abstractions distill his perceptions of place, season, and time of day into subtle orchestrations of pure color.
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The Art Criticism of David Sylvester James Finch Word Count
The Art Criticism of David Sylvester James Finch Word Count: 99,908 A Thesis Submitted in Partial Fulfilment of the Requirements of the University of Kent for the Degree of Doctor of Philosophy Department of the History and Philosophy of Art, the University of Kent, Canterbury September 2016 2 © Copyright James Finch, 2016. All rights reserved. 3 Abstract The English art critic and curator David Sylvester (1924-2001) played a significant role in the formation of taste in Britain during the second half of the twentieth century. Through his writing, curating and other work Sylvester did much to shape the reputations of, and discourse around, important twentieth century artists including Francis Bacon, Alberto Giacometti, Henry Moore and René Magritte. At the same time his career is of significant sociohistorical interest. On a personal level it shows how a schoolboy expelled at the age of fifteen with no qualifications went on to become a CBE, a Commandeur dans l'Ordre des Arts et des Lettres and the first critic to receive a Leone d’Oro at the Venice Biennale, assembling a personal collection of artworks worth millions of pounds in the process. In terms of the history of post-war art more broadly, meanwhile, Sylvester’s criticism provides a way of understanding developments in British art and its relation to those in Paris and New York during the 1950s and 1960s. This thesis provides the first survey of Sylvester’s entire output as an art critic across different media and genres, and makes a case for him as a commentator of comparable significance to Roger Fry, Herbert Read, and other British critics who have already received significant scholarly attention.
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A Century of Painting Life 5
ART HISTORY REVEALED Dr. Laurence Shafe This course is an eclectic wander through art history. It consists of twenty two-hour talks starting in September 2018 and the topics are largely taken from exhibitions held in London during 2018. The aim is not to provide a guide to the exhibition but to use it as a starting point to discuss the topics raised and to show the major art works. An exhibition often contains 100 to 200 art works but in each two-hour talk I will focus on the 20 to 30 major works and I will often add works not shown in the exhibition to illustrate a point. References and Copyright • The talks are given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • The notes are based on information found on the public websites of Wikipedia, Tate, National Gallery, Oxford Dictionary of National Biography, Khan Academy and the Art Story. • If a talk uses information from specific books, websites or articles these are referenced at the beginning of each talk and in the ‘References’ section of the relevant page. The talks that are based on an exhibition use the booklets and book associated with the exhibition. • Where possible images and information are taken from Wikipedia under 1 an Attribution-Share Alike Creative Commons License. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 ART HISTORY REVEALED 1. Impressionism in London 1.
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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.
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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.
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Frank Auerbach Catherine Lampert
FRANK AUERBACH Catherine Lampert FRANK AUERBACH Speaking and Painting With 100 illustrations, 78 in colour Contents Preface 6 1. Finding a Home in England 10 2. Forging a Reputation 54 3. ‘Painting is My Form of Action’ 84 Frontispiece: Head of Julia, 1981 4. First published in the United Kingdom in 2015 by 118 Thames & Hudson Ltd, 181a High Holborn, London wc1v 7qx The Best Game Frank Auerbach: Speaking and Painting 5. © 2015 Thames & Hudson Ltd, London Text © 2015 Catherine Lampert Idiom and Subject 166 Works by Frank Auerbach © 2015 Frank Auerbach All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, Conclusion 206 including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN 978-0-500-23925-4 Printed and bound in China by Toppan Leefung Printing Limited Notes 216 • Selected Bibliography 227 To find out about all our publications, please visit www.thamesandhudson.com Chronology 229 • List of Illustrations 231 There you can subscribe to our e-newsletter, browse or download our current catalogue, and buy any titles that are in print. Permissions 234 • Acknowledgments 235 • Index 236 Chapter One Finding a Home in England Berlin childhood Born on 29 April 1931, Frank Helmut Auerbach, an only child of older parents, recalls being coddled in a way that even at a young age felt suffocat- ing. This stemmed not only from the memory of being dressed in a blue velvet suit but also from the fact that his daily life was rather isolated from other children, with little freedom to play unwatched.
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Looking for Coldstream Peter T J Rumley This Is an Account of a Few
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Andrew Forge
ANDREW FORGE 1923 Born in Hastingleigh, Kent, U.K. 1933 Educated at the Downs School and Leighton Park School, Reading, U.K. 1940-47 Ran the parental farm at Hastingleigh, Kent, U.K. 1947-49 Studied painting at Camberwell College of Arts under William Coldstream, Victor Pasmore and Kenneth Martin, London, U.K. 1949-50 Traveled in France, Holland and Italy 1950-64 Taught painting and drawing at the Slade School, University College, London, U.K. 1964-70 Head of Department of Fine Art, Goldsmiths’ College, London University, London, U.K. 1971-72 Lecturer, Department of Art, University of Reading, U.K. 1973-74 Visiting Critic, Cooper Union, New York, NY 1974-75 Associate Dean, New York Studio School, New York, NY 1975-94 Professor, Yale School of Art (Dean, 1975-83), New Haven, CT 1994-2000 Senior Critic, University of Pennsylvania Department of Art, Philadelphia, PA 1999-2000 Artist in Residence, Dartmouth College, Hanover, NH 2000 Artist in Residence, College of South Carolina, Charleston, SC 2002 Died, Washington Depot, CT Selected Solo Exhibitions 2021 Andrew Forge: The Limits of Sight, Betty Cuningham Gallery, New York, NY, June 1 – July 30 2020 Andrew Forge: The Limits of Sight, Fairfield University Museum of Art, Fairfield, CT, September 15 – December 19 2015 Andrew Forge, Betty Cuningham Gallery, New York, NY, June 4- August 14, 2015 2008-09 Andrew Forge: Works on Paper, with Fairfield Porter, Betty Cuningham Gallery, New York, NY, December 13 – January 31 2008 Andrew Forge, Manny Silverman Gallery, Los Angeles, CA, Oct. 23 – Dec.
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