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Seeing and Tagging Things in Pictures
MICHAEL HANCHER Seeing and Tagging Things in Pictures What men or gods are these? What maidens loth? What mad pursuit? What struggle to escape? What pipes and timbrels? What wild ecstasy? —John Keats, ‘‘Ode on a Grecian Urn’’ Tagging Magritte A RT UK, FORMERLY KNOWN AS Your Paintings, is an ambitious project to document and make accessible online all the paintings that are held by public museums in Great Britain. Launched at the National Gallery in June 2011, it was initially supported by the British Broadcasting Corpo- ration and the Public Catalogue Foundation (now also renamed Art UK), a registered charity established in 2003.1 By August 2015, more than two hundred thousand paintings had been photographed for the project’s data- base.2 Basic metadata for each painting was supplied by museum profes- sionals, but more detailed metadata was crowdsourced by online volunteers, who ‘‘tagged’’ individual images with descriptive terms that could be entered in a search engine to call up relevant paintings. An interim history of the project noted that economy was a major incentive for the crowdsourcing: ‘‘It was obvious that it would be prohibitively expensive to pay expert fine art cataloguers to describe all 200,000 paintings systematically and that some sort of voluntary system would have to be devised.’’ Crowdsourcing prom- ised the contributing museums other benefits as well, including ‘‘the poten- tial to engage both existing and new audiences,’’ and the discovery of vernacular (rather than expert) search terms responsive to the interests of ‘‘the widest set of potential users.’’3 abstract Despite modernist precepts, digital projects that use crowdsourcing to annotate large collections of images of paintings and book illustrations with ‘‘tags’’ have encouraged viewers to see things in pictures and to say what they see. -
NATIONAL LIFE STORIES ARTISTS' LIVES Terry Frost Interviewed By
NATIONAL LIFE STORIES ARTISTS’ LIVES Terry Frost Interviewed by Tamsyn Woollcombe C466/22 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/22 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Frost Title: Sir Interviewee’s forename: Terry Sex: Male Occupation: Artist Dates: 1915 - 2003 Dates of recording: 1994.11.19, 1994.11.20, 1994.11.21, 1994.11.22, 1994.12.18 Location of interview: Interviewee’s studio and home Name of interviewer: Tamsyn Woollcombe Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F4312- F4622 Total no. -
Work Placement Handbook
Work Placement Handbook 2012 CONTENTS • Background to Falmouth Art Gallery • Falmouth Art Gallery’s Work placement Policy • Work placement Benefits • Getting the most from the placement • Guidelines General Safety Health Object Handling Supervision • Staff Lists • Forms Falmouth Art Gallery Falmouth Art gallery is a service funded by Falmouth Town Council. It is an accredited museum and complies with standards laid down for the Registration of Museums in the United Kingdom and works in partnership with: Age Concern, The Art Fund, Arts Council England, Brightwater Holidays, Combined Universities of Cornwall, Cornwall and Devon Media, Cornwall College, Cornwall Council Conservation Department, Cornwall Heritage Trust, CSV RSVP, Earls Retreat, Falmouth Arts Society, Falmouth BIDS, Falcare (formerly Mencap), Falmouth Marine School, Falmouth Stroke Club, Heritage Lottery Fund, Hine Downing Solicitors, Jason Thomas Dance Company, Kerrier Pupil Referral Unit, Kids in Museums, Langholme, Little Parc Owles Trust, Local schools, MLA (Museums, Libraries and Archives Council), MLA/V&A Purchase Grant Fund, Museums Association, National Maritime Museum Cornwall, Newquay Zoo, Penlee House Gallery & Museum, Royal Cornwall Museum, Royal Cornwall Polytechnic Society, Sully’s Picture Framing Penryn, Susie Group (victims of domestic abuse), Swamp Circus, Tate St Ives, The Tanner Trust, Truro and Penwith College, U3A, University College Falmouth, University of Exeter, Wayfarers,The West End Group – Murdoch and Trevithick Centre, The WILD Young Parents Group Falmouth Art Gallery The Origins of the Collection The first Falmouth Art Gallery was opened in Grove Place in 1894 under the Directorship of William Ayerst Ingram and Henry Scott Tuke. It featured their own work along with that of Sophie Anderson, Richard Harry Carter, Charles Davidson, Topham Davidson, Winifred Freeman and Charles Napier Hemy. -
David Croal Thomson Papers, 1879-1931
http://oac.cdlib.org/findaid/ark:/13030/kt058031zf No online items Finding aid for the David Croal Thomson papers, 1879-1931 Finding aid prepared by Rose Lachman. Finding aid for the David Croal 910126 1 Thomson papers, 1879-1931 Descriptive Summary Title: David Croal Thomson papers Date (inclusive): 1879-1931 Number: 910126 Creator/Collector: Thomson, David Croal, 1855-1930 Physical Description: 4.75 linear feet(circa 3100 items) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: English art dealer and writer, Thomson (1855-1930) worked at or managed several major galleries in London and edited the Art Journal. The papers primarily contain professional and personal correspondence. Letters to and from leading artists and social figures trace artistic trends and tastes as well as Thomson's growing stature in London society. Personal correspondence consists largely of letters between members of Thomson's family. The collection includes a small number of clippings, itineraries, and ephemera. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note David Croal Thomson was born in Edinburgh on October 24, 1855. He studied drawing and painting in Edinburgh, where he also apprenticed as a printseller and artist's colourman (1867), and went on to manage Hill's Picture Gallery and its art publications (1872-1880). He then went to Paris to continue his studies in art. In London, September 1880, he became the sub-editor of The Year's Art, assisting M. -
Download Our Exhibition Catalogue
FOREWORD Published to accompany the exhibition at We are delighted to welcome you to the second exhibition at Two Temple Place, London 26th January 2013 – 14th April 2013 Two Temple Place, Amongst Heroes: the artist in working Cornwall. Published in 2013 by Two Temple Place 2 Temple Place, London, wc2r 3bd The Bulldog Trust launched its Exhibition Programme at our Copyright © Two Temple Place headquarters on the Embankment in 2011. In welcoming the public to Two Temple Place we have three objectives: to raise Raising the Worker: awareness of museums and galleries around the UK by displaying Cornwall’s Artists and the Representation of Industry Copyright © Roo Gunzi part of their collections; to promote curatorial excellence by offering up-and-coming curators the opportunity to design a What are the Cornish boys to do? How Changing Industry Affected Cornwall’s Population high profile solo show with guidance from our experienced Copyright © Dr Bernard Deacon curatorial advisor; and to give the public the opportunity to Trustee of the Royal Institution of Cornwall and Honorary Research Fellow, University of Exeter visit and enjoy Two Temple Place itself. A catalogue record for this publication is available from the British Library Two Temple Place was originally built as an office for William Waldorf Astor in the late 19th century and the Bulldog Trust isbn 978-0-9570628-1-8 have been fortunate to own the house since 1999. For our curators, Designed and produced by NA Creative devising a show for the ornate and intricately decorated space is a huge challenge that calls for imagination and ingenuity. -
Terry Frost, Madrigal (1949)
1 Searching for Pure Form: Terry Frost, Madrigal (1949) Matthew Rampley Collection: Leamington Spa Art Gallery and Museum This article explores the place of Terry Frost’s painting Madrigal (Leamington Spa Art Gallery and Museum) in his career, and its relation to abstract painting elsewhere in post- war Britain and beyond. Keywords: Terry Frost, abstract, modernism, post-war, British Madrigal (fig.1) is one of three paintings by Terry Frost in the collections of Leamington Spa Art Gallery and Museum, the other two being Orange Umber (1960) (fig.2) and Orange and Blue (1963) (fig.3). Frost (1915–2003) was one of the most prominent painters and printmakers working in post-war Britain, and his work was typified by his use of large juxtaposed blocks of colour, sometimes in harmonious arrangements but sometimes, too, in awkward contrasts that created various effects of tension. Frost was a leading representative of the generation of British abstract painters who came to artistic maturity in the 1960s and were associated with the artists’ colony in St. Ives, including Patrick Heron (1920–99), Peter Lanyon (1918–1964) and Roger Hilton (1911–75). Frost was a latecomer to art. Born in Leamington Spa, he attended occasional art classes as a teenager, but it was not until he was in his late 20s and a prisoner-of-war in Germany that he took to it more seriously, influenced by his fellow prisoner, the painter Adrian Heath (1920–1992). After the Second World War he studied in St. Ives and then in London at Camberwell School of Art, under William Coldstream (1907–87) and Victor Pasmore (1908– 1998). -
Teacher Resource Notes – KS1-KS2 the Far and the Near International Art in St Ives 6 October 2012 – 13 January 2013
Teacher Resource Notes – KS1-KS2 The Far and the Near International Art in St Ives 6 October 2012 – 13 January 2013 These notes are designed to support KS1-2 teachers in engaging students as they explore the art work. As well as factual information they provide starting points for discussion, ideas for simple practical activities and suggestions for extended work that could stem from a gallery visit. To book a gallery visit for your group call 01736 796226 or email [email protected]. Season Overview This season Tate St Ives provides an opportunity to view St Ives art alongside British and International modernists such as Henri Matisse, Henry Moore and Jackson Pollock, as well as contemporary artists such as Yto Barrada and Nicholas Hlobo. Over fifty artists from 1900 to today, selected from Tate's global collection, are shown in a series of themed rooms. These open dialogues between the practice of St Ives artists, such as Patrick Heron, Barbara Hepworth, Trevor Bell, Sandra Blow and Alan Davie, and the historic modernist context, as well as contemporary relationships between Modernism and international art. The Heron Mall shows a sculpture by Yto Barrada, raising themes connected with a sense of place, including the aesthetic and political effects of tourism on a location. Gallery 5 considers the artist’s studio, both as a site for abstraction and as a means of framing views of the outside world. It includes paintings Patrick Heron made in his Porthmeor studio, as well as work by Pierre Bonnard and Georges Braque. Gallery 4 explores the connections between painting, Constructivism and architecture. -
19TH CENTURY EUROPEAN VICTORIAN and BRITISH IMPRESSIONIST ART Wednesday 14 March 2018
19TH CENTURY EUROPEAN VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 14 March 2018 19TH CENTURY EUROPEAN, VICTORIAN AND BRITISH IMPRESSIONIST ART Wednesday 14 March at 2.00pm New Bond Street, London VIEWING BIDS ENQUIRIES PHYSICAL CONDITION OF Friday 9 March +44 (0) 20 7447 7447 Peter Rees (Head of Sale) LOTS IN THIS AUCTION 2pm to 5pm +44 (0) 20 7447 7401 fax +44 (0) 20 7468 8201 Saturday 10 March To bid via the internet please [email protected] PLEASE NOTE THAT THERE IS 11am to 3pm visit bonhams.com NO REFERENCE IN THIS Sunday 11 March Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm Please note that bids should be (Head of Department) CONDITION OF ANY LOT. Monday 12 March submitted no later than 4pm on +44 (0) 20 7468 8360 INTENDING BIDDERS MUST 9am to 4.30pm the day prior to the sale. New [email protected] SATISFY THEMSELVES AS TO Tuesday 13 March bidders must also provide proof THE CONDITION OF ANY LOT 9am to 4.30pm of identity when submitting bids. Emma Gordon AS SPECIFIED IN CLAUSE 14 Wednesday 14 March Failure to do this may result in +44 (0) 20 7468 8232 OF THE NOTICE TO BIDDERS 9am to 12pm your bid not being processed. [email protected] CONTAINED AT THE END OF THIS CATALOGUE. SALE NUMBER TELEPHONE BIDDING Alistair Laird 24741 Bidding by telephone will only +44 (0) 20 7468 8211 As a courtesy to intending be accepted on a lot with a [email protected] bidders, Bonhams will provide a CATALOGUE lower estimate of or in written Indication of the physical £25.00 excess of £1,000 Deborah Cliffe condition of lots in this sale if a +44 (0) 20 7468 8337 request is received up to 24 ILLUSTRATIONS Live online bidding is available [email protected] hours before the auction starts. -
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. -
The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P
The role of the Royal Academy in English art 1918-1930. COWDELL, Theophilus P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20673/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version COWDELL, Theophilus P. (1980). The role of the Royal Academy in English art 1918-1930. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk onemeia u-ny roiyiecnmc 100185400 4 Mill CC rJ o x n n Author Class Title Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB NOT FOR LOAN Return to Learning Centre of issue Fines are charged at 50p per hour Sheffield Haller* University Learning snd »T Services Adsetts Centre City Csmous Sheffield SI 1WB ^ AUG 2008 S I2 J T 1 REFERENCE ProQuest Number: 10702010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10702010 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. -
Modern Art, Design & Studio Ceramics (579) Lot
MODERN MADE: Modern Art, Design & Studio Ceramics (579) Thu, 14th Nov 2019, Noho Studios, London Viewing Times: Viewing at Noho Studios, 48 Great Titchfield Street, London, W1W 7QA Tues 12 November 10am - 5pm Wed 13 November 10am - 5pm Morning of the sale 10am - 12pm Lot 231 Estimate: £300 - £500 + Fees DENIS MITCHELL, BARBARA HEPWORTH AND BEN NICHOLSON INTEREST COLLECTION OF EIGHT POSTCARDS Including four examples dated from 1950 sent from Venice by Nicholson and Hepworth to Denis Mitchell, and four examples from later in the 1950s Each postcard 9.5cm x 14.5cm (3.75in x 5.75in), under two mounts, unframed Note: Barbara Hepworth was in Venice in 1950 representing Britain at the Biennale, the year before Hepworth and Nicholson separated. Provenance: From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. -
Theartofwilhelmina Barns-Graham
ALL H INITY R mina CAMBRIDGE T l Graham - ilhe W of Barns Art ElementalEnergies he T ElementalEnergies:TheArtofWilhelminaBarns-Graham TrinityHall,Cambridge ALL H INITY R CAMBRIDGE T ElementalEnergies TheArtof Wilhelmina Barns-Graham ElementalEnergies TheArtof Wilhelmina Barns-Graham Elemental Energies, The Art of Wilhelmina Barns-Graham Curated by Mel Gooding Trinity Hall, Trinity Lane, Cambridge CB2 1TJ The exhibition is coordinated by Strand Gallery, Aldeburgh and Art First, London in cooperation with The Barns-Graham Charitable Trust The exhibition will be hung from Monday 17th September to Sunday 16th December, 2007 Open on Mondays from 9am–12pm & 2pm–3.30pm Open on Sundays: 2pm–5pm (closed on 18th November) TRINITY HALL For further information please call 01223 332555 during office hours, 9amº–5pm CAMBRIDGE WILHELMINA BARNS-GRAHAM CBE, RSA, RSW Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8th June 1912. As a child she showed very early signs of creative ability. Determining while at school that she wanted to be an artist she set her sights on Edinburgh College of Art where, after some dispute with her father, she enrolled in 1932, and, after periods of illness, from which she graduated with her diploma in 1937. At the suggestion of the College’s principal Hubert Wellington, she moved to St Ives in 1940. This was a pivotal moment in her life. Early on she met Borlase Smart, Alfred Wallis and Bernard Leach, as well as Ben Nicholson, Barbara Hepworth, and Naum Gabo who were living locally at Carbis Bay. She became a member of the Newlyn Society of Artists and St Ives Society of Artists but was to leave the latter in 1949 when she became one of the founding members of the breakaway Penwith Society of Artists.