Church History 2006 Final-1
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Hubert Herkomer, William Powell Frith, and the Artistic Advertisement
Andrea Korda “The Streets as Art Galleries”: Hubert Herkomer, William Powell Frith, and the Artistic Advertisement Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) Citation: Andrea Korda, “‘The Streets as Art Galleries’: Hubert Herkomer, William Powell Frith, and the Artistic Advertisement,” Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012), http://www.19thc-artworldwide.org/spring12/korda-on-the-streets-as-art-galleries-hubert- herkomer-william-powell-frith-and-the-artistic-advertisement. 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. Korda: Hubert Herkomer, William Powell Frith, and the Artistic Advertisement Nineteenth-Century Art Worldwide 11, no. 1 (Spring 2012) “The Streets as Art Galleries”: Hubert Herkomer, William Powell Frith, and the Artistic Advertisement by Andrea Korda By the second half of the nineteenth century, advertising posters that plastered the streets of London were denounced as one of the evils of modern life. In the article “The Horrors of Street Advertisements,” one writer lamented that “no one can avoid it.… It defaces the streets, and in time must debase the natural sense of colour, and destroy the natural pleasure in design.” For this observer, advertising was “grandiose in its ugliness,” and the advertiser’s only concern was with “bigness, bigness, bigness,” “crudity of colour” and “offensiveness of attitude.”[1] Another commentator added to this criticism with more specific complaints, describing the deficiencies in color, drawing, composition, and the subjects of advertisements in turn. Using adjectives such as garish, hideous, reckless, execrable and horrible, he concluded that advertisers did not aim to appeal to the intellect, but only aimed to attract the public’s attention. -
Graves of Artists and Architects Buried There
Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage. -
William Holman Hunt's Portrait of Henry Wentworth Monk
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 William Holman Hunt’s Portrait of Henry Wentworth Monk Jennie Mae Runnels Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4920 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. William Holman Hunt’s Portrait of Henry Wentworth Monk A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History at Virginia Commonwealth University. Jennie Runnels Virginia Commonwealth University Department of Art History MA Thesis Spring 2017 Director: Catherine Roach Assistant Professor Department of Art History Virginia Commonwealth University Richmond, Virginia April 2017 Contents Acknowledgments Introduction Chapter 1 Holman Hunt and Henry Monk: A Chance Meeting Chapter 2 Jan van Eyck: Rediscovery and Celebrity Chapter 3 Signs, Symbols and Text Conclusion List of Images Selected Bibliography Acknowledgements In writing this thesis I have benefitted from numerous individuals who have been generous with their time and encouragement. I owe a particular debt to Dr. Catherine Roach who was the thesis director for this project and truly a guiding force. In addition, I am grateful to Dr. Eric Garberson and Dr. Kathleen Chapman who served on the panel as readers and provided valuable criticism, and Dr. Carolyn Phinizy for her insight and patience. -
1/137 Research Report 1997-1999 One of the Vital Activities of Any National Museum Is Research. the Myriad Public Functions of A
Research Report 1997-1999 One of the vital activities of any national museum is research. The myriad public functions of a modern museum are dependent on sound knowledge of the objects in the museum's care. Research allows the Victoria and Albert Museum to play a role with the creative industries; it underpins education programmes that render the collections meaningful to school children, students and distance learners; it enables the giving of pleasure to a mass audience. Scholarship, alongside collections management and conservation, guarantees the continued prosperity of the nation's heritage. This report covers a three-year period in which hundreds of exhibitions, books, journal articles and electronic publications have made available a vast amount of scholarly material. Victoria and Albert Museum specialists on the art and design of the last thousand years, across all continents, have continuously published ground-breaking research in significant quantities. Apart from the individual efforts of the Museum's major scholars, perhaps a particularly impressive aspect of the research effort in this period has been the collaborative projects undertaken with universities and museums in Britain and abroad. They include topics as varied as Gothic art, historic tapestries, Anglo-Indian furniture, the Victorians, modern product design and electronic media. As research becomes more interdisciplinary, and technology becomes more central, so the methods of research progress. This report shows that a powerful and varied research culture remains one of the distinguishing characteristics of the V&A. It reports on the last years of the 20th century. I think we can all be assured that the research effort will continue and will enlighten the new century as much as it did the old one. -
“He Hath Mingled with the Ungodly”
―HE HATH MINGLED WITH THE UNGODLY‖: THE LIFE OF SIMEON SOLOMON AFTER 1873, WITH A SURVEY OF THE EXTANT WORKS CAROLYN CONROY TWO VOLUMES VOLUME I PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2009 2 ABSTRACT This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist‘s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London. The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‗deviancy‘. Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under- researched and unrecorded. -
Press Release Pre-Raphaelites on Paper, Leighton House Museum
PRESS RELEASE Pre-Raphaelites on Paper: Victorian Drawings from the Lanigan Collection An exhibition at Leighton House Museum organised by the National Gallery of Canada, Ottawa 12 Feb 2016 – 29 May 2016 Press Preview 11 Feb 2016 Pre-Raphaelites on Paper: Victorian Drawings from the Lanigan Collection will be the first exhibition opening at Leighton House Museum in 2016, presenting an exceptional, privately- assembled collection to the UK public for the first time. Featuring over 100 drawings and sketches by the Pre- Raphaelites and their contemporaries, the exhibition is organised by the National Gallery of Canada (NGC). It expresses the richness and flair of British draftsmanship during the Victorian era displayed in the unique setting of the opulent home and studio of artist and President of the Royal Academy (PRA) Frederic, Lord Leighton. From preparatory sketches to highly finished drawings intended as works of art in themselves, visitors will discover the diverse ways that Victorian artists used drawing to further their artistic practice, creating, as they did so, images of great beauty and accomplishment. Portraits, landscapes, allegories and scenes from religious and literary works are all represented in the exhibition including studies for some of the most well-known paintings of the era such as Edward Burne- Jones’ The Wheel of Fortune (1883), Holman Hunt’s Eve of St Agnes (1848) and Leighton’s Cymon and Iphigenia (1884). With the exception of Leighton’s painting studio, the permanent collection will be cleared from Leighton House and the drawings hung throughout the historic interiors. This outstanding collection, brought together over a 30-year period by Canadian Dr. -
AFTERWORD Why a Spooky Tale?
AFTERWORD Why a spooky tale? Charles Dickens’ ‘A Christmas Carol’ has proved an enduringly popular ghost story. It was first published on 19th December 1843 and had sold out by Christmas Eve. Another twelve editions followed within its first year and it has never been out of print since. M. R. James (1862 – 1936), former Provost of King’s College, Cambridge and Director of the Fitzwilliam Museum, was also instrumental in making ghost stories a seasonal ‘treat’. M.R. James – 1900 Illustration: James McBryde Photographer unknown – public domain M. R. James’s (1904) ‘Ghost Stories of an Antiquary’ M. R. James would read his latest tale to friends at his college - in his own words, ‘usually at the Christmas season’ - thereby establishing a Cambridge tradition. Mark Gatiss explained in his BBC television programme on M. R. James, ‘He could combine his historical expertise, his scholarly fascination for the strange and the obscure with the desire to thrill, delight, and above all to connect with his friends… What must have made the reading really compelling is the rich detail and knowledge that Monty brought to them.’ Eluding to the entities which are invoked in M. R. James’s stories, Gatiss said of the author, rather chillingly, ‘It sounded as though he knew whereof he spoke.’ In this ‘Afterword’, the David Parr House will be linked to Monty James via William Morris and Charles Fairfax but, as it is October, first some more spookiness… Last month’s submission covered William Morris’s interest in medieval manuscripts and the printing press, so I shall start with the word: ‘Ghost’. -
19Th Century European, Victorian and British Impressionist Art New Bond Street, London I 26 September 2018
19th Century European, Victorian and British Impressionist Art New Bond Street, London I 26 September 2018 19th Century European, Victorian and British Impressionist Art Wednesday 26 September 2018 at 2pm New Bond Street, London VIEWING ENQUIRIES REGISTRATION PHYSICAL CONDITION OF Thursday 20 September Peter Rees (Head of Sale) IMPORTANT NOTICE LOTS IN THIS AUCTION 9am to 4.30pm +44 (0) 20 7468 8201 Please note that all customers, PLEASE NOTE THAT THERE IS Friday 21 September [email protected] irrespective of any previous NO REFERENCE IN THIS 9am to 4.30pm activity with Bonhams, are Sunday 23 September Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm (Head of Department) required to complete the Bidder CONDITION OF ANY LOT. Monday 24 September +44 (0) 20 7468 8360 Registration Form in advance of INTENDING BIDDERS MUST 9am to 4.30pm [email protected] the sale. The form can be found SATISFY THEMSELVES AS TO Tuesday 25 September at the back of every catalogue THE CONDITION OF ANY LOT 9am to 4.30pm Emma Gordon and on our website at www. AS SPECIFIED IN CLAUSE 14 Wednesday 26 September +44 (0) 20 7468 8232 bonhams.com and should be OF THE NOTICE TO BIDDERS 9am to 12pm [email protected] returned by email or post to the CONTAINED AT THE END OF THIS CATALOGUE. specialist department or to the SALE NUMBER Alistair Laird bids department at 24742 +44 (0) 20 7468 8211 As a courtesy to intending [email protected] [email protected] bidders, Bonhams will provide a written Indication of the physical CATALOGUE To bid live online and / or leave condition of lots in this sale if a £25.00 Deborah Cliffe internet bids please go to +44 (0) 20 7468 8337 request is received up to 24 www.bonhams.com/ ILLUSTRATIONS [email protected] hours before the auction starts. -
Awg-History-Gavin-Stamp-Edited.Pdf
A Hundred Years of the Art Workers’ Guild By Gavin Stamp What is the Guild? The sculptor and first Master of the Guild, George Blackall Simmons, concluded in 1885 that, ‘The AWG differs from all art societies in that it is not formed for the propagation of any one branch or style of art. It is not a school, it is not a club, and it is not a debating society. In the AWG I find something of a spirit of the studio life of Rome’. In the dark days of the Great War, the Master for 1917, Henry Wilson, had a less high-flown answer. ‘For myself, I know no more consoling atmosphere, few more recreative, regenerative influences than those to be found in the Guild.’ To the outer world however, the Guild is a club of artists, and, as everybody who is anybody knows, artists are unpractical cranks. A very great crank, C.R. Ashbee, writing in 1938, thought the Guild ‘spirit’ had a very high purpose. ‘It is the yeast of revolution. Its roots of course are in the Middle Ages and in Hellas: but it lived on through the classic Renaissance and as such is a main thread in what we call civilization itself, which is but a gathering together of many traditions. The Art Workers’ Guild, indeed, has been dubbed: the last citadel of traditionalism’. So, by the 1930s, tradition was enshrined at No. 6 Queen Square, London WC1. Writing in 1982, Frederick Bentham recalled how, then, ‘The Guild’ was something indeed to inspire awe. -
English Romantic Art Romantic Art
1850-1920 English Romantic Art Romantic Art shepherd gallery ENGLISH ROMANTIC ART 1850–1920 autumn 2005 English Romantic Art 1850-1920 English Romantic Art 1850-1920 September 20th – October 22nd, 2005 Shepherd & Derom Galleries in association with Campbell Wilson Christopher Wood cat. 1 Herbert Gustave Schmalz (1856–1935) A Fair Beauty Signed and dated 1889; oil on canvas, 24 × 20 ins Provenance: George Hughes, Newcastle; Mawson, Swan & Morgan, Newcastle; Private Collection. ‘Another Victorian worthy who enjoyed a great reputation in his day was Herbert Schmalz. He painted subjects from classical and biblical history, only choosing episodes which offered opportunities for elaborate and exotic architectural settings.’ (Christopher Wood, Olympian Dreamers p. 254.) In 1890 he visited Jerusalem and the Holy Land to collect material for his biblical subjects, many of which were turned into prints. He also painted portraits, and romantic figurative subjects. After the First World War, he changed his name to Carmichael. cat. 2 cat. 3 Henry John Stock (1853–1930) Arthur Gaskin (1862–1928) Portrait of The Hon.Mrs George Leveson-Gower Portrait of Joscelyne Verney Gaskin, aged 12 yrs, Signed and signed and inscribed on an old label on the reverse; oil on canvas, 28½ × 22½ ins the Artist’s Daughter Born in Soho, Stock went blind in childhood but recovered his sight on being sent to Inscribed and signed on the reverse; oil on canvas, 14 × 11 ins live in the New Forest. He studied at St Martin’s School of Art and the RA Schools and Provenance: Joscelyne Turner, née Gaskin, the artist’s daughter and thence by direct descent to present. -
THE Anglo-Catholic Revival's Contribution to the Resurgence Of
THE ANGLO-CATHOLIC REVIVAL‟S CONTRIBUTION TO THE RESURGENCE OF THE VENETIAN ENAMEL MOSAIC INDUSTRY A Thesis submitted to the Faculty of The School of Continuing Studies and of The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Studies By Rita S. Kovach, M.B.A. Georgetown University Washington, D.C. September 24, 2012 THE ANGLO-CATHOLIC REVIVAL‟S CONTRIBUTION TO THE RESURGENCE OF THE VENETIAN ENAMEL MOSAIC INDUSTRY Rita S. Kovach, M.B.A. MALS Mentor: Percy North, Ph.D. ABSTRACT The art of mosaic decoration has existed for millennia. The earliest examples are floors made of pebbles from the eighth century BC that were found in Asia Minor. The Greeks were the first to produce enamel mosaic two thousand years ago, and the process travelled around the Mediterranean before eventually spreading to the adjacent continents. Byzantine craftsmen created an innovative style with their extensive use of rich metallic colors, and they had a great influence on the emergence of Venice in the thirteenth century as a leading, global force in enamel mosaic manufacture for hundreds of years. The deregulation of the industry and the lack of skilled masters contributed to the drastic decline of Venetian enamel mosaic workshops by the early 1800s; however, within a century, the industry was booming again, with new architectural mosaics being installed all over Europe and North America. By examining the religious, social, and cultural environment in Great Britain during the late nineteenth century, as well as by conducting a case study of Salviati enamel mosaics, this thesis will postulate that the Anglo-Catholic revival had a direct effect on the renewed popularity of Venetian mosaic architectural decoration. -
The Burne-Jones Pianos and the Victorian Female Gender Performance
PERFORMING UPON HER PAINTED PIANO: THE BURNE-JONES PIANOS AND THE VICTORIAN FEMALE GENDER PERFORMANCE By AMELIA KATE ANDERSON A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2017 THESIS APPROVAL PAGE Student: Amelia Kate Anderson Title: Performing Upon Her Painted Piano: The Burne-Jones Pianos and The Victorian Female Gender Performance This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Dr. Nina Amstutz Chairperson Dr. Joyce Cheng Member Dr. Marian Smith Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Amelia Kate Anderson iii THESIS ABSTRACT Amelia Kate Anderson Master of Arts Department of the History of Art and Architecture June 2017 Title: Performing Upon Her Painted Piano: The Burne-Jones Pianos and The Victorian Female Gender Performance This thesis centers around three pianos designed and/or decorated by the Victorian artist Sir Edward Coley Burne-Jones: The Priestley Piano, The Graham Piano, and the Ionides Piano. I read and interpret the Burne-Jones pianos not only as eXamples of the artist’s exploration of the boundaries of visual art and music, but also as reflections of the Victorian era female gender performance. Their physical forms and decorations, both designed and eXecuted by Burne-Jones, enhance the piano as an instrument and accentuate their respective female performers.