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Charles Ginner, A.R.A
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Charles Ginner, A.R.A. (Cannes 1878 – 1952 London) St. Just in Cornwall – A landscape with cottages Signed ‘C. GINNER’ (lower left) Pen and ink and watercolour on paper 9 ¾ x 11 ¾ in. (25 x 30 cm.) Provenance Gifted by the Artist to Mrs. Frank Rutter. The Fine Art Society, 1985. Henry Wyndham Fine Art Ltd, London. Private Collection. Exhibited London, St George's Gallery, Charles Ginner and Randolph Schwabe, March 1926 (details untraced). London, The Fine Art Society, Charles Ginner, 7th - 25th October 1985, cat. no.13, illustrated. Literature Charles Ginner, List of Paintings, Drawings, etc. of Charles Ginner, Book II, 1919-1924, p. 135. Primarily a townscape and landscape painter, Charles Ginner grew up in France where his father, a doctor, practised, but settled in London in 1910. He was heavily influenced by Vincent van Gogh, Paul Gauguin and Paul Cézanne. In 1909, Ginner visited Buenos Aires, Argentina, where he held his first one-person show, which helped to introduce post-Impressionism to South America. Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com He was a friend of Harold Gilman and Spencer Gore and through them was drawn into Walter Sickert’s circle, becoming a founder member of the Camden Town Group in 1911 and the London Group in 1913. -
Scarica La Lista in Formato
Artinvest2000, i principali movimenti artistici. http://www.artinvest2000.com Dalla lettera A alla G ASTRATTISMO Astrattismo tendenza artistica del XX Secolo. Abbandonando la rappresentazione mimetica del mondo esterno, trova in generale le sue ragioni nella riflessione sulle specificità della ricerca formale e della percezione visiva. Parallelamente allo sviluppo di una speculazione estetica tra positivismo e spiritualismo (K. Fiedler, Origine dell'attività artistica, 1887; W. Worringer, Astrazione e empatia, 1908), molti artisti tendono alla rifondazione del proprio campo d'azione attraverso lo studio degli elementi formali che costituiscono le fondamenta sintattiche del linguaggio visivo, innescando un processo di sempre più radicale semplificazione e scomposizione delle forme. Una tendenza del genere, complicata dall'interesse per il meccanismo dei procedimenti percettivi, sposta progressivamente in secondo piano o elimina del tutto ogni preoccupazione rappresentativa. Sono soprattutto il "Sintetismo" e il decorativismo simbolista e la stilizzazione "Art nouveau" carica di suggestioni irrazionali e vitalistiche. ad alimentare il terreno culturale sul quale, attorno al 1910, si sviluppano diverse tendenze astratte nell'ambito dei movimenti d'avanguardia tedesco, russo, ceco e ungherese. Loro antecedenti immediati sono i due grandi movimenti innovatori dell'inizio del secolo, "Fauvisme" e "Cubismo". A questa duplice matrice formale si collegano i due modi principali dell'astrattismo, entrambi cresciuti nella ricerca di un ordine e di -
Interior Scene, Attributed to an Unknown
The Courtauld Institute of Art Painting Pairs: Art History and Technical Study Interior Scene, by an unknown artist (after Harold Gilman) Chloé D’Hondt, MA History of Art Luz Vanasco, Postgraduate Diploma in the Conservation of Easel Paintings 2018 – 2019 Table of contents LIST OF FIGURES ................................................................................................................. 3 INTRODUCTION TO THE PROJECT ................................................................................ 4 INTERIOR SCENE: INTRODUCTORY REMARKS ......................................................... 5 HAROLD GILMAN ................................................................................................................ 7 COMPARATIVE VISUAL ANALYSIS .............................................................................. 10 MATERIALS AND TECHNIQUE ....................................................................................... 13 HAROLD GILMAN ............................................................................................................................................. 13 INTERIOR SCENE VS. HAROLD GILMAN ........................................................................................................... 16 Support ......................................................................................................................................................... 16 Ground ........................................................................................................................................................ -
Nold, B.A.; Hon
'<,~ t~ (';~k w(~.:~~ IIL". THE LEEDS ART COLLECTIONS FUND President The Rt. Hon. the Earl of Halifax; Vice-President The Rt. Hon. the Earl of Harewood, LL.D.; Trustees C. S. Reddihough, George Black, F.R.c.s.,W. T. Oliver, M.A.; Committee Mrs. Sheila Bidgood, D. B. Feather, F.R.c.s., Mrs. Sara Gilchrist, A. Haigh, J. M. McCloy, Councillor Dr. J. R. Sherwin, Mrs. S. M. C. Tomlinson; Hon. Treasurer Martin Arnold, B.A.; Hon. Secretary Robert Rowe; Hon. Membership Secretary W. B. Black- burn; Hon. Social Secretary Mrs. M. A. Goldie. The Leeds Art Collections Fund is one of the oldest supporting bodies for the visual arts in Great Britain, a source of regular funds for buying works of art for the Leeds collections. Why not identify yourself with the Art Gallery, Temple Newsam House and Lotherton Hall, receive your Arts Calendar free, receive invitations to all functions, private views and organised visits to places of interest. The minimum subscription is g3 00 individual and g5 00 for husband and wife. Enquiries and application forms from the Hon. Secretary at Temple Newsam House, Leeds LS15 OAE. The Arts Calendar may be obtained for a subscription ofgl per annum, including postage (2 issues); single copies may be purchased at the Art Gallery, Temple Newsam House and Lotherton Hall, 50p each. Note: starting with the first issue published in 1947, the entire Leeds Arts Calendar is now available on microfilm. Write for information or send orders direct to Xerox University Microfilms, Ann Arbor, Michigan 48106, U.S.A. -
Old and New in Modernist Art
Chapter 2: Old and New in Modernist Art Mr. Thomas T. Baxter presents what appears to be a figure of Christ teaching a dickey-bird to chew worms. This work is labelled "St. Francis" (D‟Asise). I cannot concede his background but the face is remarkable; it is painted with very great skill, and the frenetic modernist who rushes by the picture merely because of the demoded subject-matter will miss one of the best pieces of detail in the exhibition. (Ezra pound, writing as B. H. Dias, in The New Age for January 17, 1918--22.12.235, emphasis added) Among the many kinds of artists, it may be that there are some who are hybrid. Some, that is to say, bore deeper and deeper into the stuff of their own art; others are always making raids into the lands of others. Sickert, it may be, is among the hybrids, the raiders. But . he is probably the best painter now living in England. (Virginia Woolf, writing in 1933, The Captain's Death Bed and Other Essays, 201-202, emphasis added) In 1918, we find Ezra Pound worrying about "the frenetic modernist" who will miss something of great beauty because its subject matter, which Pound himself has mocked, is "demoded." And, as late as 1933, we find Virginia Woolf, reporting on a conversation in "Bloomsbury" about Walter Sickert, in which a consensus is reached that this derivative painter, whose work is often naturalistic in its content, and might well have been associated by Woolf with her despised Edwardians, is the best that England has to offer. -
The Camden Town Group Teachers' Pack
13 FEBRUARY – 5 MAY 2008 THE CAMDEN TOWN GROUP TEACHER & STUDENT NOTES BY SARA PAPPWORTH MODERN PAINTERS: THE CAMDEN TOWN GROUP Introduction The Camden Town Group was formed in 1911. Its artists employed a wide variety of styles but shared a common desire to explore everyday subjects using consciously modern painting techniques. This exhibition at Tate Britain provides the first major survey of the Camden Town Group for more than twenty years. It focuses on the key themes of their work and examines their lasting impact. The impetus for the Camden Town Group’s formation was Roger Fry’s highly influential exhibition Manet and the Post- Impressionists (1910–1911), where avant-garde continental artists, such as Gauguin, Van Gogh and Cézanne, were seen in Britain for the first time. This heralded a new spirit in British painting in which The Camden Town Group, briefly, led the way. Camden artists pursued greater modernism of style and subject matter. Many, such as Spencer Gore and Harold Gilman, adopted the Post-Impressionists’ use of vivid, bright, pulsating colours, which were applied in dabs of thick, matt paint. They also displayed a strong awareness of the decorative potential of simplified forms and the startling impact of unpredictable compositions. Their subject matter challenged Edwardian propriety with its vision of gritty urban interiors, music halls, prostitutes, cityscapes and suburbia. They embraced the lives of ordinary, humdrum humanity, without the moral comment or specific narratives of Victorian convention. London in 1911 was a city of change in which the foundations of modern urban living were being established. -
REALISM / NEOREALISM CONTINUOUS REALISM My Phd Thesis Entitled REALISM / NEOREALISM CONTINUOUS REALISM Attempts to Highlight
REALISM / NEOREALISM CONTINUOUS REALISM My PhD thesis entitled REALISM / NEOREALISM CONTINUOUS REALISM attempts to highlight the characteristics of these artistic trends and to demonstrate the continuity and connection between 19th century realism and contemporary neorealism. Realism was a major artistic movement, which included not only the world of visual arts, but also literature and dramaturgy. There are many social and political considerations for which realism is of particular importance, but what interests us here is especially the aesthetic dimension of this general trend, because this dimension, in all its complexity, appears in the context of the contemporary artistic phenomenon in different forms and formulas, which raise problems and require critical examination. The first chapter, Realism and neorealism in the visual arts - brief history, aims to offer a perspective on realism in the visual arts, showing the main features of realism and exposing the artistic, political and social context in which it has developed. Reality is one of the essential ideas not only of Western philosophy and culture, but also of human thinking in general. It is no wonder that the history of Western thought has revolved around this concept which is closely linked to the question of truth and knowledge. And also it is not surprising that, especially since the modern European culture has concentrated, especially through German philosophy, on knowledge and truth, this concern has affected and involved the arts as well. This is how realism appeared, one of the typical trends of the nineteenth century, in which the emphasis is placed on the connection between art and reality, on the authenticity of reality and the accurate presentation of its details. -
A NARRATIVE in RELIEF the Historiography of English Modern Painting (1910-1915), from the 1910S to the 1950S
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2010 A NARRATIVE IN RELIEF The Historiography of English Modern Painting (1910-1915), from the 1910s to the 1950s BRAND, CAROL FRANCES http://hdl.handle.net/10026.1/2249 University of Plymouth 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. A NARRATIVE IN RELIEF The Historiography of English Modern Painting (1910-1915), from the 1910s to the 1950s. by CAROLFRANCESBRAND A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities and Performing Arts Faculty of Arts July 2010 ii Carol Frances Brand A NARRATIVE IN RELIEF The Historiography of English Modern Painting (1910-1915), from the 1910s to the 1950s. Abstract The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research. More precisely, the accounts of Vorticism, Bloomsbury post-Impressionism and the modern art of painters associated with Sickert, (principally the Camden Town Group), have been critically examined over a forty year period in order to trace the narrative of their place in contemporary art criticism and their entry into histories of what soon became the recent past. -
2012 Long List of People to Thank and Often It Takes up a Lot of My Piece
NEWSLETTER From the President Whenever I sit down to write to the Group I always have a 2012 long list of people to thank and often it takes up a lot of my piece. This surely has a great deal to say about how much the Group achieves. It would be unthinkable for me not to say any thank-yous but I will keep my list short, concentrate on the Open and give apologies to those I don’t mention. First of all what would we do without Mike Liggins? Thank you for everything. Thank you also to Tommy Seaward for doing so much for the Open and to Jane Humphrey for the excellent catalogue, PV cards, flyers and posters. I would also like to thank Jeff Lowe, Ece Clarke and her husband, Gill Ingham and the Hanging Teams and their leaders, Tom Scase, Ian Parker and Annie Johns. The wonderful success of the Open precipitated the timing Arthur Wilson at Part 1 Private View of this newsletter. With our proposed change to the date of the AGM (see my note on this) we wouldn’t be produc- ing a newsletter for many months, which initially seemed thoroughly convenient but as there is so much to say about the Open we would like to celebrate it now and not when we have forgotten about it. What a triumph the Open was, with nearly the whole Group showing, an excellent open-submission of 735 entries, a very high calibre of non-members’ work, the terrific line up of nine prizes, the added stimulation of our Guest exhibitors and knock-out Private Views. -
Art Exhibition Catalogs
Art Exhibition Catalogs Microfiche collection Nineteenth Century Art Subject list Pro uesf --- Start here. ---- This volume is a finding aid to a ProQuest Research Collection in Microform. To learn more visit: www.proguest.com or call (800) 521-0600 About ProQuest: ProQuest connects people with vetted, reliable information. Key to serious research, the company has forged a 70-year reputation as a gateway to the world's knowledge - from dissertations fo governmental and cultural archives to news, in all its forms. Its role is essential to libraries and other organizations whose missions depend on the delivery of complete, trustworthy information. 789 E. Eisenhower Parkway • P.O Box 1346 • Ann Arbor, Ml 48106-1346 • USA •Tel: 734.461.4700 • Toll-free 800-521-0600 • www.proquest.com Art Exhibition Catalogs Nineteenth Century Art Subject List KEYWORD MUSEUM TITLE YEAR FICHE NUM. #OF #OF FICHE ILL. Alma-Tadema LONDON - Royal Academy of 44th winter exhibition. 1913 15.031.069 1 Arts Sir Lawrence Alma- Tadema American TORONTO-Art Gallery American painting 1865- 1961 5.271.057 1 30 1905 Animal BIRMINGHAM,ENG. Museum Modern English animal 1892 4.051.003 1 23 and Art Gallery painters Architectural LONDON-Victoria and Albert Victorian architectural 1973 6.169.089 1 Museum source books Art Nouveau LONDON - Arts Council Art Nouveau in Britain 1965 2.055.010 1 9 Art Nouveau ZURICH - Kunstgewerbemuseum Um 1900. Art Nouveau 1952 3.090.001 1 24 und Jugendstil Art Nouveau LONDON - Royal Academy of Vienna Secession. Art 1971 1.031.013 1 49 Arts Nouveau to 1970 Art Nouveau PARIS- Hotel Bing Salon de L'Art Nouveau 1896 4.146.001 3 Arts and LEEDS, ENG. -
Sickert Lessore
SICKERT LESSORE 6 Mason’s Yard St James’s London SW1Y 6BU 4th-24th April 2019 www.mooregwynfineart.co.uk Sickert Lessore CATALOGUE OF SELECTED WORKS (other works in this exhibition and full cataloguing can be viewed online) An Exhibition of Works by Walter Sickert and his wife Thérèse Lessore alongside their artistic contemporaries in the Camden Town, London and Cumberland Market groups Third Floor, 6 Mason’s Yard, St James’s, London SW1Y 6BU 4 - 24 April 2019 (closed, 16 April and Easter Monday) harry moore-gwyn british art all enquiries: +44 7765 966 256/ harry@mooregwynfineart.co.uk cat. 2 Walter Sickert, RA (1860-1942) cat. 1 Walter Sickert, RA (1860-1942) The Old Middlesex, c.1906 The Old Middlesex, c.1906 Pen and ink with black crayon and white chalk on brown paper, 22 by 31.5 cm Signed l.r.: Sickert and titled and inscribed Cartoon for lithograph Pencil, pen, ink wash and red chalk on paper, 31.5 by 44 cm Provenance: acquired by the previous owner from Agnew's in 2004 Provenance : Bought at the Leicester Galleries in 1964 by Dr. S. Leonard Exhibited: Sydney, Richard Nagy and Spink & Son in association with DC- Simpson; thence by descent to the present day. ART, Walter Richard Sickert, Lucien Pissarro, September 1989, cat.no.14, (ill.) Literature: Keith Roberts, Burlington Magazine, February 1964 (repr. Fig. 40, Literature: Wendy Baron, Sickert: Paintings & Drawings , Yale University Press, review of Leicester Galleries exhibition): “A pervasive spirit of gentleness that New Haven and London, 2006, p.331, cat.no.282.4 touched almost every item”; Wendy Baron Sickert, 2006 (p.282) .2). -
Modern British Art in Finland, 1906–1964
Issue No. 4/2016 ‘New relations, unsuspected harmonies’: Modern British Art in Finland, 1906–1964 Inga Fraser // Assistant Curator of Modern British Art, Tate, London __________ The above quotation1 is taken from a description penned by Roger Fry of a painting by Paul Cézanne, Les Maisons Jaunes, (1879–82), now known as The Viaduct at L’Estaque, which was shown at the exhibition, ‘Manet and the Post-Impressionists’, at the Grafton Galleries in London from 8 November, 1910 to 11 January, 1911. This work was acquired for the collection of the Finnish Art Society at the Art Museum of the Ateneum in Helsinki,2 following discussion involving the London-based Finnish art historian Tancred Borenius and the Finnish professor of aesthetics and literature Yrjö Hirn. Copies of the letters between Borenius and Hirn held in the archive collections of the Finnish National Gallery show the extent to which Fry influenced this particular acquisition. Borenius refers to Fry’s direct involvement in the selection of acquisitions, recommends Fry to Hirn as one of Europe’s foremost connoisseurs and, finally, mentions the fact that Fry promised to publish a written appraisal of the acquisition in The Burlington Magazine, thus validating the quality and value of the painting in the eyes of the public. With increasing infrastructure and affluence in the first half of the 20th century, travel and international communications became more viable for artists, critics, scholars and collectors alike in Europe. Consequently, the period 1905–65 was witness to the rapid expansion of the art market. National museums in a number of European capitals outside the established art market centres of London, Paris, Vienna, Moscow and St.