An Introduction to the Paintings, Sculptures and Works on Paper 1 S 9 3 N 8 , a 1 I N a – Y O C L 6 R I D
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The London List
The London List YEARBOOK 2010 FOREWORD 4 GAZETTEER 5 Commemorative Structures 6 Commercial Buildings 12 Cultural and Entertainment 18 Domestic 22 Education 32 Garden and Park 36 Health and Welfare 38 Industrial 44 Law and Government 46 Maritime and Naval 48 Military 50 Places of Worship 54 Street Furniture 62 Transport Buildings 65 Utilities and Communications 66 INDEX 68 TheListed London in London: List: yearbookyearbook 20102010 22 Contents Foreword ....................................................................................4 Gazetteer ...................................................................................5 Commemorative Structures .......................................................6 Commercial Buildings ..................................................................12 Cultural and Entertainment .....................................................18 Domestic ............................................................................................22 Education ............................................................................................32 Garden and Park ............................................................................36 Health and Welfare ......................................................................38 Industrial ..............................................................................................44 Law and Government .................................................................46 Maritime and Naval ......................................................................48 -
It Is Now a Number of Years Since the Bowman Sculpture Gallery Has Held
It is now a number of years since the Bowman Sculpture Gallery has held an exhibition solely focused on The New School of British Sculpture and it is a pleasure to see the Gallery again showing extensive examples of the leading artists involved. The New British School, also referred to as the New Sculpture, followed a period when the Neo Classicism of such sculptors as Canova, Thorvaldsen and Gibson was regarded as the acme of their art and they featured in many of the great Houses of the time. Towards the end of the 19th Century the expanding middle class, who had a growing interest in the Arts, created a demand for smaller and more domestic sculpture began. At the same time painters such as Lord Leighton, who sculpted Athlete Wrestling with a Python and The Sluggard, and George Frederick Watts, who produced the great monument Physical Energy, were bringing ‘colour’ into the subject by varied patination and their treatment of shape. This movement was undoubtedly fuelled by a reaction against what was seen to be the severity of the Neo Classicists but the principal initiators of this ‘New’, most attractive and impressive period of British Sculpture, were Jules Dalou who taught at The South Kensington School of Art, for eight years from 1871, his friend Édouard Lantéri, who taught at The National Art Training College (later renamed The Royal College of Art) and Alfred Stevens. The result was, as one critic has said, ‘a perfect synthesis of the spiritual and the sensual’. This approach to the subject was adopted by the ‘New’ sculptors. -
Tate Report 08-09
Tate Report 08–09 Report Tate Tate Report 08–09 It is the Itexceptional is the exceptional generosity generosity and and If you wouldIf you like would to find like toout find more out about more about PublishedPublished 2009 by 2009 by vision ofvision individuals, of individuals, corporations, corporations, how youhow can youbecome can becomeinvolved involved and help and help order of orderthe Tate of the Trustees Tate Trustees by Tate by Tate numerousnumerous private foundationsprivate foundations support supportTate, please Tate, contact please contactus at: us at: Publishing,Publishing, a division a divisionof Tate Enterprisesof Tate Enterprises and public-sectorand public-sector bodies that bodies has that has Ltd, Millbank,Ltd, Millbank, London LondonSW1P 4RG SW1P 4RG helped Tatehelped to becomeTate to becomewhat it iswhat it is DevelopmentDevelopment Office Office www.tate.org.uk/publishingwww.tate.org.uk/publishing today andtoday enabled and enabled us to: us to: Tate Tate MillbankMillbank © Tate 2009© Tate 2009 Offer innovative,Offer innovative, landmark landmark exhibitions exhibitions London LondonSW1P 4RG SW1P 4RG ISBN 978ISBN 1 85437 978 1916 85437 0 916 0 and Collectionand Collection displays displays Tel 020 7887Tel 020 4900 7887 4900 A catalogue record for this book is Fax 020 Fax7887 020 8738 7887 8738 A catalogue record for this book is available from the British Library. DevelopDevelop imaginative imaginative education education and and available from the British Library. interpretationinterpretation programmes programmes AmericanAmerican Patrons Patronsof Tate of Tate Every effortEvery has effort been has made been to made locate to the locate the 520 West520 27 West Street 27 Unit Street 404 Unit 404 copyrightcopyright owners ownersof images of includedimages included in in StrengthenStrengthen and extend and theextend range the of range our of our New York,New NY York, 10001 NY 10001 this reportthis and report to meet and totheir meet requirements. -
International Symposium
Xl. ve XVIII. yüzyıllar Xl. to XVIII. centuries iSLAM-TÜRK MEDENiYETi VE AVRUPA ISLAMIC-TURKISH CIVILIZATION AND EUROPE Uluslararası Sempozyum International Symposium iSAM Konferans Salonu !SAM Conference Hall Xl. ve XVIII. yüzyıllar islam-Türk Medaniyeti ve Avrupa ULUSLARARASISEMPOZYUM 24-26 Kas1m, 2006 · • Felsefe - Bilim • Siyaset- Devlet • Dil - Edebiyat - Sanat • Askerlik • Sosyal Hayat •Imge fl,cm. No: Tas. No: Organizasyon: Türkiye Diyanet Vakfı islam Araştırmaları Merkezi (iSAM) T.C. Diyanet işleri Başkanlığı Marmara Üniversitesi ilahiyat Fakültesi © Kaynak göstermek için henüz hazır değildir. 1 Not for quotation. ,.1' Xl. ve XVIII. yüzyıllar Uluslararası Sempozyum DIFFERING ATTITUDES OF A FEW EUROPEAN SCHOLARS AND TRAVELLERS TOWARDS THE REMOVAL OF ARTEFACTS FROM THE OTTOMAN EMPIRE Fredrik THOMASSON• The legitimacy of removal of artefacts from the Ottoman Empire during the Iate 181h and early 191h century was already debated by contemporary observers. The paper presents a few Swedish scholars/travellers and their views on the dismemberment of the Parthenon, exeavation of graves ete. in the Greek and Egyptian territories of the Empire. These scholars are often very critica! and their opinions resemble to a great extent many of the positions in today's debate. This is contrasted with views from representatives from more in:fluential countries who seem to have fewer qualms about the whotesale removal of objects. The possible reasons for the difference in opinions are discussed; e.g. how the fact of being from a sınaller nation with less negotiating and economic power might influence the opinions of the actors. The main characters are Johan David Akerblad (1763-1819) orientalist and classical scholar, the diplomat Erik Bergstedt (1760-1829) and the language scholar Jacob Berggren (1790-1868). -
Hoock Empires Bibliography
Holger Hoock, Empires of the Imagination: Politics, War, and the Arts in the British World, 1750-1850 (London: Profile Books, 2010). ISBN 978 1 86197. Bibliography For reasons of space, a bibliography could not be included in the book. This bibliography is divided into two main parts: I. Archives consulted (1) for a range of chapters, and (2) for particular chapters. [pp. 2-8] II. Printed primary and secondary materials cited in the endnotes. This section is structured according to the chapter plan of Empires of the Imagination, the better to provide guidance to further reading in specific areas. To minimise repetition, I have integrated the bibliographies of chapters within each sections (see the breakdown below, p. 9) [pp. 9-55]. Holger Hoock, Empires of the Imagination (London, 2010). Bibliography © Copyright Holger Hoock 2009. I. ARCHIVES 1. Archives Consulted for a Range of Chapters a. State Papers The National Archives, Kew [TNA]. Series that have been consulted extensively appear in ( ). ADM Admiralty (1; 7; 51; 53; 352) CO Colonial Office (5; 318-19) FO Foreign Office (24; 78; 91; 366; 371; 566/449) HO Home Office (5; 44) LC Lord Chamberlain (1; 2; 5) PC Privy Council T Treasury (1; 27; 29) WORK Office of Works (3; 4; 6; 19; 21; 24; 36; 38; 40-41; 51) PRO 30/8 Pitt Correspondence PRO 61/54, 62, 83, 110, 151, 155 Royal Proclamations b. Art Institutions Royal Academy of Arts, London Council Minutes, vols. I-VIII (1768-1838) General Assembly Minutes, vols. I – IV (1768-1841) Royal Institute of British Architects, London COC Charles Robert Cockerell, correspondence, diaries and papers, 1806-62 MyFam Robert Mylne, correspondence, diaries, and papers, 1762-1810 Victoria & Albert Museum, National Art Library, London R.C. -
Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Secondary and FE Teacher Resource for Teaching Key Stages 3–5 Sculpture in the RA Collection a Sculpture Student at Work in the RA Schools in 1953
Secondary and FE Teacher Resource For teaching key stages 3–5 Sculpture in the RA Collection A sculpture student at work in the RA Schools in 1953. © Estate of Russell Westwood Contents Introduction Illustrated key works with information, quotes, key words, questions, useful links and art activities for the classroom Glossary Further reading To book your visit Email studentgroups@ royalacademy.org.uk or call 020 7300 5995 roy.ac/teachers ‘...we live in a world where images are in abundance and they’re moving, [...] they’re doing all kinds of things, very speedily. Whereas sculpture needs to be given time, you need to just wait with it and become the moving object that it isn’t, so this action between the still and the moving is incredibly demanding for all. ’ Phyllida Barlow RA The Council of the Royal Academy selecting Pictures for the Exhibition, 1875, Russel Cope RA (1876). Photo: John Hammond Introduction What is the Royal Academy of Arts? The Royal Academy (RA) was Every newly elected Royal set up in 1768 and 2018 was Academician donates a work of art, its 250th anniversary. A group of known as a ‘Diploma Work’, to the artists and architects called Royal RA Collection and in return receives Academicians (or RAs) are in charge a Diploma signed by the Queen. The of governing the Academy. artist is now an Academician, an important new voice for the future of There are a maximum of 80 RAs the Academy. at any one time, and spaces for new Members only come up when In 1769, the RA Schools was an existing RA becomes a Senior founded as a school of fine art. -
Patron Events
Historic Royal Places – Descriptors Small Use Width 74mm Wide and less Minimum width to be used 50mm Depth 16.5mm (TOL ) Others Various Icon 7mm Wide Dotted line for scaling Rules 0.25pt and minimum size establishment only. Does not print. autumn / winter 2017 December 19 Royal Collection Tour Help us reawaken Hampton Court Palace the dragons of Kew 6 Chief Executive 11.00 Christmas Drinks Join Royal Collection We are seeking supporters to help us to recreate one of Patron Events The Tower of London Club: Superintendent, Christopher the most stunning original features of the Great Pagoda: The Keys Stevens, in the stores at its flight of 80 dragons. 18.30 Hampton Court Palace as he prepares a number of key Our ambition is to recreate and like Chambers’ original vision for the Join new Chief Executive, pieces for the forthcoming reinstate the dragons in time for the Great Pagoda can be restored John Barnes, for his first Royal Academy of Arts reopening of the Great Pagoda in and maintained. Christmas drinks in the unique exhibition ‘Charles I: King 2018. Expert research has created an surroundings of the newly and Collector’. authentic design and the dragons will We invite you to support the refurbished Tower of London be manufactured using a combination production of one of these dragons Club: The Keys. Only accessible of traditional craftsmanship and the and help us to restore the Great to invited guests the club latest technology. Pagoda, a landmark in the capital boasts an array of Beefeater and one of the greatest examples of The eight dragons on the lowest level Chinese-inspired design anywhere memorabilia, including plaques We hope you enjoyed the last six representing the regiments from of the building will be hand carved by in the world. -
Frank Bowling Cv
FRANK BOWLING CV Born 1934, Bartica, Essequibo, British Guiana Lives and works in London, UK EDUCATION 1959-1962 Royal College of Art, London, UK 1960 (Autumn term) Slade School of Fine Art, London, UK 1958-1959 (1 term) City and Guilds, London, UK 1957 (1-2 terms) Regent Street Polytechnic, Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 1962 Image in Revolt, Grabowski Gallery, London, UK 1963 Frank Bowling, Grabowski Gallery, London, UK 1966 Frank Bowling, Terry Dintenfass Gallery, New York, New York, USA 1971 Frank Bowling, Whitney Museum of American Art, New York, New York, USA 1973 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1973-1974 Frank Bowling, Center for Inter-American Relations, New York, New York, USA 1974 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1975 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, William Darby, London, UK 1976 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, Watson/de Nagy and Co, Houston, Texas, USA 1977 Frank Bowling: Selected Paintings 1967-77, Acme Gallery, London, UK Frank Bowling, Recent Paintings, William Darby, London, UK 1979 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA 1980 Frank Bowling, New Paintings, Tibor de Nagy Gallery, New York, New York, USA 1981 Frank Bowling Shilderijn, Vecu, Antwerp, Belgium 1982 Frank Bowling: Current Paintings, Tibor de Nagy Gallery, -
Academy Architectvre and Arch1tectvral Review
ACADEMY ARCHITECTVRE AND ARCH1TECTVRAL REVIEW. A REVIEW OF THE ROYAL ACADEMY ARCH1TECTVRAL EXHIBITION LONDON. AN ARCHITECTURAL REVIEW OF GARDEN ARCHITECTURE PUBLIC BUILDINGS BANKS MONUMENTS & MEMORIALS COTTAGE HOMES AND HOUSING SCHEMES VOLUME 51 o 1920 A\\\\\U i \\i\n if r substantial work is, and always has been "worth while." To earn a reputation for skilful tradesmanship and BOUNDthorough execution is to place yourself in the position of being able to select your own jobs and name your own price. To such an end this House tenders its services. If you are in any our Chemists are difficulty or are up against any unusual problem your Chemists and our Laboratories your Laboratories whilst as to goods, remember we, too, have earned a reputation. PINCHIN, JOHNSON &, CO., Ltd Sole Proprietors <anc? Manufacturers of MINERVA Pizre Paints SYRONITE Iron Preservative and Fiaxe VarnisKe^ FENCOL Wood Preservative SATINETTE Enamel. N.DK.CeniiUcayJ Stone Preservative DEVDOL Distemper PIXV POLISHES'. WooifiUars Stains , Japans. Lacquers, etc for every class at work C*t^effu*t*,xiSlJr Card, njD<w j5-. an j-eyuMe Head ! Office. General Buildings, ALDWYCH, LONDON, W.C.2 KJ S3JfcL24fcS' WORKS: SILVER-TOWN. POPLAR .nd WEST DRAYTON. BRANCHES AND AGENTS* TuT' OVER"'""WORLD B Y-AFFOIMTMBNT ELSLEY'S- FIREPLACES BASKET GRATE, in the late Seventeenth Centuru- suitable for stijle, burning either wood or coal ;matj be had with a, brass or bronze front and terminals; it is finished hi$hlij , and fitted with bright bars and fire lump D&ck. REGISTER GRATE % with highly finished steel front-? bright mouldin&s, bright shaped b&rs,and fire lump Tj^ckjitis adapted to fit either in a marble mantle piece or with marble surrounds . -
Observations on the Intended Reconstruction of the Parthenon on Calton Hill
Marc Fehlmann A Building from which Derived "All that is Good": Observations on the Intended Reconstruction of the Parthenon on Calton Hill Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005) Citation: Marc Fehlmann, “A Building from which Derived ‘All that is Good’: Observations on the Intended Reconstruction of the Parthenon on Calton Hill,” Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005), http://www.19thc-artworldwide.org/autumn05/207-a- building-from-which-derived-qall-that-is-goodq-observations-on-the-intended-reconstruction- of-the-parthenon-on-calton-hill. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2005 Nineteenth-Century Art Worldwide Fehlmann: A Building from which Derived "All that is Good" Nineteenth-Century Art Worldwide 4, no. 3 (Autumn 2005) A Building from which Derived "All that is Good": Observations on the Intended Reconstruction of the Parthenon on Calton Hill by Marc Fehlmann When, in 1971, the late Sir Nikolaus Pevsner mentioned the uncompleted National Monument at Edinburgh in his seminal work A History of Building Types, he noticed that it had "acquired a power to move which in its complete state it could not have had."[1] In spite of this "moving" quality, this building has as yet not garnered much attention within a wider scholarly debate. Designed by Charles Robert Cockerell in the 1820's on the summit of Calton Hill to house the mortal remains of those who had fallen in the Napoleonic Wars, it ended as an odd ruin with only part of the stylobate, twelve columns and their architrave at the West end completed in its Craigleith stone (fig. -
310 Charles Robert Cockerell's Formation of Architectural Principles
Proceedings of the Society of Architectural Historians Australia and New Zealand Vol. 32 Edited by Paul Hogben and Judith O’Callaghan Published in Sydney, Australia, by SAHANZ, 2015 ISBN: 978 0 646 94298 8 The bibliographic citation for this paper is: Kohane, Peter. “Charles Robert Cockerell’s Formation of Architectural Principles.” In Proceedings of the Society of Architectural Historians, Australia and New Zealand: 32, Architecture, Institutions and Change, edited by Paul Hogben and Judith O’Callaghan, 310-318. Sydney: SAHANZ, 2015. Peter Kohane, UNSW Australia Charles Robert Cockerell’s Formation of Architectural Principles In contributing to the conference theme of the ‘history of architectural and design education’, this paper focuses on an aspect of Charles Robert Cockerell’s career, which is the genesis of design principles, most significantly the human analogy. The architect’s early ideas are worthy of consideration, because they remained vital to his mature work as Professor of Architecture at the Royal Academy in London. When lecturing at this institution from 1841 to 1856, he set out principles that had a significant impact on architects in Britain. Cockerell’s initial concepts will be identified in statements about sculptures and buildings, which were studied when travelling in Greece, Asia Minor and Italy. His responses to renowned ancient Greek and Renaissance works were recorded in letters and diaries. These offer insight into a principle, in which an architect imitates the ‘human form divine’ and historical monuments. Cockerell was especially impressed by the representation of human vitality in Greek figure sculptures, as well as the delicate curved line of a column.