June 1969 ITALIAN POW in SOUTH AFRICA
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Natalie Fossey Nicola Grobler
DEPARTMENT OF VISUAL ARTS, UNIVERSITY OF PRETORIA SELECTED CREATIVE OUTPUTS 2015 – 2018 Natalie Fossey Selected group exhibitions 2018 Drawing conclusions II, Association of Arts, Pretoria In the Public Domain, Pretoria Art Museum 2018/17 Young Collectors III , Fried Contemporary, Pretoria 2016 Awesome women, Association of Arts Pretoria Tempo, Old Merensky Building and The Edoardo Villa Museum, University of Pretoria 2015 UP Staff show, Anton Van Wouw House, Pretoria 2014/15 Sounds of Africa, Durban National Gallery, KwaZulu-Natal and Guanlan Original Printmaking Base, China Curatorial output 2016 Tempo, University of Pretoria, Old Merensky Building, The Edoardo Villa Museum (Group Exhibition) Nicola Grobler Public interventions 2018 The Visitor Centre II, a series of art interventions held at The Pretoria Art Museum, The Ditsong Museum of Natural History and the City of Tshwane’s Biodiversity Festival at Fountains Valley Resort, 16 May – 24 June 2016 The Visitor Centre I, a series of art interventions and artist workshops held at Tswaing Meteorite Crater Reserve, Soshanguve and Roodeplaat Nature Reserve, 4 – 11 June & 16 June. Selected group exhibitions 2018 In the Public Domain, UP Staff exhibition curated by Avitha Sooful and held at The Pretoria Art Museum 2016 Tempo, Old Merensky Building and The Edoardo Villa Museum, University of Pretoria 2015 UP Staff show, Anton Van Wouw House, Pretoria Collections Foundation Lettera27, Milan, Italy Jack Ginsberg artist book collection, Johannesburg Local and international private collections -
A History of the Kimberley Africana Library
Fig. 1: JL Lieb: A map of the Griqua territory and part of the Bechuana country of South Africa, 1830 (M029) THE HISTORY AND DEVELOPMENT OF THE KIMBERLEY AFRICANA LIBRARYAND ITS RELATIONSHIP WITH THE KIMBERLEY PUBLIC LIBRARY by ROSEMARY JEAN HOLLOWAY submitted in fulfilment of the requirements for the degree of MASTER OF INFORMATION SCIENCE at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR : PROFESSOR T B VAN DER WALT SEPTEMBER 2009 i TABLE OF CONTENTS FOREWORD SUMMARY ABBREVIATIONS CHAPTER 1 The history and development of the Kimberley Africana Library and its relationship with the Kimberley Public Library 1.1 Introduction ……….. ……….. ………. 1 1.2 Background to the study ……….. ……….. ………. 2 1.3 The aim, purpose and value of the study ……….. ………. 7 1.4 Delimitation ……….. ……….. ………. 9 1.5 Explanation of relevant concepts ……. ……….. ………. 11 1.6 Methodology and outline of the study ……….. ………. 12 CHAPTER 2 The Kimberley Public Library/Africana Library within an environmental perspective 2.1 Introduction ……….. ………… ………. 18 2.2 The land and the people ……….. ………… ………. 18 2.3 Politics and the economy ……….. ………… ………. 29 2.3.1 Kimberley and the growth of the South African economy ……….. ………… ……….. 30 2.3.2 Kimberley and local politics … ………… ……….. 32 2.3.3 British hegemony in South Africa and territorial claims ……….. ………… ……….. 33 2.3.4 From mining camp to a town .. ………… ……….. 35 2.3.5 The illicit trade in diamonds … ………… ……….. 36 2.3.6 International economic and political events to affect Kimberley ………… ………… ……….. 37 2.3.7 Conclusion ………... ………… ……….. 43 ii CHAPTER 3 The Kimberley Public Library within the context of the development of public libraries in South Africa 3.1 Introduction ………… ………… ………. -
'Bitter Hedge': Narrative, Nationalism, and the Construction of Afrikaner Identity In
SPECIAL ISSUE ––– 2011 PERSPECTIVES ON POWER CONFERENCE VOLUME VI ISSUE 11 2013 ISSN: 1833-878X Pages 29-38 Sheilagh Ilona O’Brien The Construction of a ‘Bitter Hedge’: Narrative, Nationalism, and the Construction of Afrikaner Identity in the Voortrekker Monument ABSTRACT During the early settlement of South Africa, the governor, Jan Van Riebeeck, grew a hedge of Bitter Almond to divide the fledgling colony from the local population. The journey of the Voortrekkers who escaped British rule into the interior would become an important focal point of Afrikaner nationalism, and the single most important event in Afrikaner history and mythology. The construction of the Voortrekker Monument, and the narrative it presents, are important for understanding how the Afrikaners constructed and used their past. Afrikaners clung to their imagined past in a present where everything seemed doubtful, and in so doing they attempted once again to cut themselves off from the world around them. Through Afrikaner nationalism Jan Van Riebeeck’s ‘Bitter Almond hedge’ returned to South Africa in the twentieth-century. BIOGRAPHY Sheilagh Ilona O’Brien has a Bachelor of Arts (Hons), with a double-major in History and First Class Honours, and a Masters of International Studies both from The University of Queensland. She is currently a PhD Candidate in the School of History, Philosophy, Religion and Classics at The University of Queensland. Her major fields of interest are oppression and its causes, genocide and communal violence, and history as myth: how we tell narratives about the past. 29 THE CONSTRUCTION OF A ‘B ITTER HEDGE ’: NARRATIVE , NATIONALISM , AND THE CONSTRUCTION OF AFRIKANER IDENTITY IN THE VOORTREKKER MONUMENT This In 1938, centennial celebrations took place upon the site of a nineteenth-century battle at Bloedrivier , in commemoration of the conflict between the Dutch Voortrekkers – who in 1838 were moving north to escape British rule – and the Zulu impis . -
THE STATUE N the 20Th of August, 1895, Mr
THE PRESIDENT 'This speech was delivered b'J) M. B. N aidoo, vice-principal of the Sastri Indian College. Durban. at Caux (Switzeria'nd) on the 15th jul'J). 1954. The occasion was a world conference -of the M oral Rearmament Movement. ESTERDAY was the anniversary of Paul Kruger and it is only fitting Y_ that as a South African I should pay homage and tribute to the memory of a great South African whose vision and statesmanship had paved the way for South Africa's economic prosperity. One cannot help admiring a man who carried in his veins the blood of the Afrikaner and one who derived his inspiration and his entire philosophy of life from the Holy Bible. At the twilight of his political career, he found Asylum along the beautiful shores of lake Geneva and his troubled mind seared by the frustrations and sorrows of the events in South Africa, found solace and divine fellowship in the precincts of Caux. Whatever be our political and social disabilities, as South Africans, we cannot help but recognise the greatness of one who will for ever be revered as one of the most illustrious sons of our country. M. B. NATDOO. Caux. 15th July, 1954. THE STATUE N the 20th of August, 1895, Mr. P. Samuel Marks donated £10,000 O for the purpose of erecting a statue of President Kruger on Church Square. This gift from a rich Jew of Johannesburg, was meant as a gesture of goodwill and esteem by all the subjects of the Transvaal Republic no matter to what denomination they belonged. -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
Una Misión Fascista En América Latina: La Travesía De La R
Centro de Investigación y Docencia Económicas A.C. División de Historia. Una misión fascista en América Latina: la travesía de la R. Nave Italia, 1922-1924. Tesis que para obtener el grado de Maestro en Historia Internacional presenta Walter Raúl de Jesús Martínez Hernández. Asesor: Dr. Marco Zuccato. 2014. 1 Índice. Agradecimientos. 3 Introducción. 5 Capítulo I. Punto de partida. 14 Capítulo II. Una nave llamada Italia. 27 Capítulo III. La travesía Latinoamericana. 63 Capítulo IV. México: un estudio de caso. 87 Epílogo. 129 Consideraciones finales. 146 Anexo I. 154 Anexo II. 163 Fuentes. 177 2 Agradecimientos. Dedico este trabajo a mi familia, que me apoyó y reconfortó en los momentos más complicados. Agradezco infinitamente el cariño y el apoyo moral que me ha brindado la mujer con la que he compartido los últimos seis años de mi vida, Daniela Calderón Canseco. Expreso también mi agradecimiento al Ingeniero Roberto Hernández López, sin cuyo respaldo no hubiera podido concretar este y otros proyectos de vida. Mi gratitud inmensa para el profesor Stefano Tedeschi de la Università La Sapienza di Roma, quien tuvo la gentileza de aceptar y asesorar mi estancia de investigación en Italia. Doy gracias, igualmente, al Dr. Paolo Evangelisti por haberme dado orientación y asesoría personalizada durante mi labor en el Archivio Storico della Camera dei Deputati en Roma. Quiero agradecer al Dr. Marco Zuccato, mi asesor de tesis, por el compromiso que asumió con mi trabajo y todos los consejos francos y útiles que me ha dado. No olvidaré tampoco las críticas, opiniones y recomendaciones tan valiosas de la Dra. -
Important South African
1 Maggie (Maria Magdalena) Laubser SOUTH AFRICAN 1886-1973 A Bird On A Branch signed and dated ‘46 pencil and watercolour 36 by 26,5 cm R4 000–6 000 2 Johannesburg Country Club After Jacob Hendrik Pierneef SOUTH AFRICAN 1886-1957 9 March 2009 – 20h00 Hoenderhok, Meerlust (Nilant, 3) signed with the studio stamp and numbered 5/8 in pencil in the margin linocut 26 by 26 cm Important South African Art R4 000–6 000 3 Jacob Hendrik Pierneef SOUTH AFRICAN 1886-1957 Lots 1-165 Plaas In Vrystaat, Brandfort (Nilant 57) signed, dated 1927, numbered 3/50 in pencil in the margin linocut 12 by 20 cm R4 000–6 000 4 Jacob Hendrik Pierneef SOUTH AFRICAN 1886-1957 Huis Van Generaal Smit, Pretoria (Nilant 29) signed and dated 1920 in pencil in the margin linocut 13,5 by 26 cm R8 000–12 000 2 3 5 Attributed to Lady Anne Barnard BRITISH 1750-1825 A Malay Woman watercolour 22 by 10 cm R7 000–10 000 cf. A watercolour of the same subject and by the same hand attributed to Thomas Bowler illustrated in the Frank Bradlow, Thomas Bowler his life and work, Cape Town, 1967, no. 24, page 100 7 Jacob Hendrik Pierneef SOUTH AFRICAN 1886-1957 Middelburg 6 signed, dated November 52 and inscribed with the title pencil and watercolour Thomas William Bowler 9,6 by 34,5 cm SOUTH AFRICAN 1812-1869 R30 000–40 000 Table Bay from Kloof Nek signed and dated 18(?) oil on canvas 17,5 by 74 cm R90 000–120 000 PROVENANCE J. -
Download PDF Van Tekst
Jaarboek van de Maatschappij der Nederlandse Letterkunde, 1945 bron Jaarboek van de Maatschappij der Nederlandsche Letterkunde te Leiden, 1943-1945. E.J. Brill, Leiden 1946 Zie voor verantwoording: http://www.dbnl.org/tekst/_jaa003194501_01/colofon.htm © 2005 dbnl 1 Verhandelingen Jaarboek van de Maatschappij der Nederlandse Letterkunde, 1945 3 Letterkundig leven in bezettingstijd door Dr H.E. van Gelder Het leek voor ons Bestuur een dwingende eisch om op de eerste ledenbijeenkomst, ook al moest zij door den dwang der omstandigheden het karakter van een buiten-gewone bijeenkomst dragen, toch der gewoonte getrouw te blijven en te zorgen, dat zij met een voordracht zou worden beëindigd. En wat lag dan meer voor de hand dan een onderwerp, dat nauw verband houdt met het werkgebied onzer Maatschappij en dan wel voornamelijk met dat gedeelte ervan, dat in de jaren, welke achter ons liggen, niet door haar kon worden betreden? Het is mij een voorrecht met dit onderwerp de eerste spreker te kunnen zijn in het nieuwe vereenigingsjaar. Maar ik wil dit niet ondernemen zonder vooraf enkele opmerkingen te maken. Vooreerst deze: span Uwe verwachtingen niet te hoog. Het onderwerp is namelijk zoo uitgebreid, dat het nauwelijks mogelijk is het reeds volkomen te overzien, bovendien is de materie uit den aard van de zaak zoo moeilijk bereikbaar, dat het zelfs hun, die zich er bijzonderlijk mede hebben beziggehouden, nog slechts ten deele bekend is. Het kan mijn doel dan ook niet zijn U een volledig beeld te geven; ik heb er niet naar getracht. Wat ik mij voor oogen hield, is iets anders: uitsluitend dit: te beproeven om, met behulp van een slechts zeer beperkt materiaal, de bijzondere strekking en de bijzondere beteekenis van ons letterkundig leven in bezettingstijd te doen kennnen; U, zoo mogelijk, te doen gevoelen, welke belofte het voor ons Nederlandsch cultuurleven, ook in de komende jaren, zou kunnen in zich dragen. -
Massimo De Grassi Luciano Mercante Scultore
MASSIMO DE GRASSI LUCIANO MERCANTE SCULTORE “Per corso di studi e diploma conseguito, provengo dall’architettura, seguendo la tra- dizione umanistica. Dal gioco delle masse e dei volumi, dalla staticità e dal dinamismo, dagli effetti prospettici e decorativi, sono passato al più libero campo della scultura. […] Con tutto ciò, quanto ancora poteva urgere come espressione d’idee e come ricerca di nuove sensibilità non trovava la propria corrispondenza plastica, e solo dopo aver appre- so quelle sottigliezze stilistiche che il piccolo tondo suggerisce nella sua maneggiabilità, […] ho sentito di non aver più vincoli alla possibilità d’espressione”1. Così si esprimeva Luciano Mercante a proposito della propria attività artistica, individuando con chiarezza le direttrici da cui sin dalle origini si era dipanata la propria ricerca. Quello che si cercherà di fare in questa sede è provare a fornire un quadro dei riferi- menti culturali su cui si articola lo sviluppo della produzione plastica di questo artista, non amplissima in termini assoluti, soprattutto dal punto di vista numerico, ma sicuramente significativa per quanto riguarda la qualità e la varietà delle soluzioni messe in campo nell’arco di una quarantina d’anni. Si tratta di una sequenza di opere che corre in parallelo con l’attività nel campo delle medaglie e delle placchette, non senza però significative oscil- lazioni nelle scelte stilistiche tra le due discipline. In termini cronologici il primato nell’esordio ufficiale spetta alla scultura: nella pri- mavera del 1928 Mercante espone infatti una testa di giovane, Lucio2, che testimonia il suo allineamento alle tendenze più aggiornate della scultura romana di quegli anni; ma già l’occasione successiva, la Biennale veneziana del 1930, lo vede conquistare il Premio 1 L. -
Painting Signage
Hoyt Sherman Place Art Collection Signage Rev. April 17, 2016 ASHFORD, FRANK CLIFFTON b. 1880 Perry, IA d. 1960 PORTRAIT of Mrs. R.R. PETERS. Oil on canvas. 11th President of the Club, 1896-97. Donated by Mrs. Peters in 1935. The artist studied at the Art Institute of Chicago and with Chase School of Art in New York. He had a studio in Paris and exhibited at the Paris Salon. BALDWIN, CLARENCE EDGAR b. 1862 New York d. 1939 New Jersey "PORTRAIT OF A LADY" Part of the original 1907 gallery collection Oil on canvas. Purchased by the Club in 1895. Adopted by Sharon Chalup Baldwin studied with the Chase School of Art (Parsons School of Design) in New York and in Munich. He was a member of the Society of American Artists and the Salmagundi Club. Director of Art School in Des Moines, 1892-1895. BALDWIN, CLARENCE EDGAR b. 1862 New York d. 1939 New Jersey Part of the original 1907 gallery collection “FANTASY” Oil on canvas. Club purchased in 1895. Adopted by Anna Belle Wonders BALDWIN, CLARENCE EDGAR b. 1862 New York d. 1939 New Jersey “PORTRAIT OF LAWRENCE BYERS” Oil on canvas. Byers Collection (Name found in Byers inventory) Adopted by the Shirley Smith Bequest BALDWIN, CLARENCE EDGAR b. 1862 New York d. 1939 New Jersey Part of the original 1907 gallery collection "READY FOR SHOPPING" Oil on canvas. Purchased by the Club in 1895. Adopted by Carol Pollock BALDWIN, CLARENCE EDGAR b. 1862 New York d. 1939 New Jersey 1 Hoyt Sherman Place Art Collection Signage Rev. -
The Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days of Fascism
Italian Studies ISSN: 0075-1634 (Print) 1748-6181 (Online) Journal homepage: http://www.tandfonline.com/loi/yits20 The Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days Of Fascism Laura Moure Cecchini To cite this article: Laura Moure Cecchini (2016): The Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days Of Fascism, Italian Studies, DOI: 10.1080/00751634.2016.1222755 To link to this article: http://dx.doi.org/10.1080/00751634.2016.1222755 Published online: 12 Sep 2016. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=yits20 Download by: [Duke University Medical Center], [Laura Moure Cecchini] Date: 13 September 2016, At: 17:51 ITALIAN STUDIES, 2016, 1–30 The Nave Italia and the Politics of Latinità: Art, Commerce, and Cultural Colonization in the Early Days Of Fascism Laura Moure Cecchini Colgate University During 1924 the Nave Italia visited every Latin American city with a significant Italian community. This ship carried industrial and artisanal products, and numerous artworks by commercially successful but aesthetically conservative Italian artists. The Italia aimed to establish commercial partnerships with the emerging markets of Latin America, and to extend the political influence of Italy across the Atlantic. To do so, the organizers emphasized the concept of latinità, suggesting a common heritage shared by Italy and Latin America. This paper analyzes the artistic content of the Italia and how it manifested the ambiguities of Fascism’s project of cultural colonization of Latin America. -
VINCENZO ROMANELLI Animal Sculpture the ROMANELLI FAMILY
VINCENZO ROMANELLI Animal Sculpture THE ROMANELLI FAMILY For over nearly two centuries, the Romanelli family has made its mark on Florence’s art scene and heritage. It is Florence’s oldest surviving family of artists, with six sculptors spanning six ge- nerations down the male line. Collectively their artworks stand in many piazzas, churches, museums and private households, not only in Italy but also throughout Europe and beyond. VINCENZO ROMANELLI: THE SIXTH GENERATION Vincenzo Romanelli represents the sixth generation to pass through the doors of the family’s historical Florentine atelier and gallery and embark on a career as a sculptor. By doing so, he is con- tinuing a family tradition that spans nearly two centuries. Whilst the atelier and gallery has provided him with the tools to carve a career path in the art world, it has been with time, dedication and talent that sculpting has flourished into a way of life. This year marks the ten year anniversary of sculpting for Vincenzo, who feels a close affinity to his relatives and has been greatly inspired by working amongst their pieces, using techniques and original tools passed down from generation to generation. Florence too, of course, has been a constant source of inspiration. Vincen- zo describes it as a museo a cielo aperto: an open air museum. MASTERING THE TECHNIQUES As is rarely the case with other contemporary artists, Vin- In 2006, Vincenzo Romanelli decided to turn his hands cenzo is well versed in all phases of his chosen artistic path, seriously to pursuing a career in sculpture and enrolled in and is personally involved at every stage of every piece he classes at Charles H.