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Frederick Coates, First World War 'Facial Architect'
Frederick Coates: First World War 'facial architect' Article Accepted Version Gehrhardt, M. and Steele, S. (2017) Frederick Coates: First World War 'facial architect'. Journal of War and Culture Studies, 10 (1). pp. 7-24. ISSN 1752-6280 doi: https://doi.org/10.1080/17526272.2016.1238564 Available at http://centaur.reading.ac.uk/66446/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1080/17526272.2016.1238564 Publisher: Taylor and Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Frederick Coates: First World War ‘facial architect’ Abstract: The role of artists in the First World War is often understood only in terms of their artistic response to the conflict in paint, music, sculpture or photography. In fact, artists’ contributions were also engaged at an applied level, in the areas of propaganda, camouflage, map-making and many other trades. Beyond this, a small number actively participated as artists in repairing the damage caused by the conflict. Frederick Coates, a British-born sculptor who emigrated to Canada in 1913, was one of these artists. After enlisting with the Canadian Expeditionary Force, he worked for three years alongside surgeons and other artists in England to try and help give new features to facially injured combatants. -
Making New Histories of 20Th Century British Sculpture
University of Huddersfield Repository Crellin, Sarah Bodies of Evidence: Making New Histories of 20th Century British Scuplture Original Citation Crellin, Sarah (2015) Bodies of Evidence: Making New Histories of 20th Century British Scuplture. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/27075/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ BODIES OF EVIDENCE: MAKING NEW HISTORIES OF 20TH CENTURY BRITISH SCULPTURE SARAH CRELLIN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy by publication September 2015 2 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and she has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
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. -
31 July 2014
31st July 2014 - Gavin Stamp & Jon Wright Introduction. The United Kingdom National Inventory of War Memorials, (UKNIWM) now has over 60,000 sites on its database and the number continues to grow each year. The variety and diversity of them is staggering. Today, we are going to look at twenty or so C20th/21st London memorials chosen to show the range of artistic responses to commemoration, both after major conflict and more recently, to address retrospective concerns about the lack of monuments to various groups. When our previous chairman Gavin Stamp curated the Silent Cities exhibition at the Heinz Gallery in 1977, there were many who thought it wrong to focus in on the ‘art’ of war memorials, as if in some way that in so doing, one would be ignoring, or at least lessening their importance as sites of remembrance. We are still to fully understand the architectural significance of the huge number of sites built by Lutyens, Herbert Baker, Charles Holden and others, but as Gavin has continued to show through his foreign trips and publications, the building programme for overseas cemeteries and domestic memorials easily eclipsed any public works undertaking before or since. The C20 Society looks at memorials rather differently than the vital organisations set up to document, conserve and care for memorial sites specifically. The War Memorials Trust, whose conservation work remains vitally important to the upkeep of UK memorials is foremost among these groups. English Heritage have listed a significant amount of memorials, and like us, they do judge the monuments for architectural and artistic significance, while bearing in mind the inherent importance of the sites in a social and historic context. -
The J. Paul Getty Trust 2007 Report the J
THE J. PAUL GETTY TRUST 2007 REPORT THE J. PAUL GETTY TRUST 2007 REPORT 4 Message from the Chair 7 Foreword 10 The J. Paul Getty Museum Acquisitions Exhibitions Scholars Councils Patrons Docents & Volunteers 26 The Getty Research Institute Acquisitions Exhibitions Scholars Council 38 The Getty Conservation Institute Projects Scholars 48 The Getty Foundation Grants Awarded 64 Publications 66 Staff 73 Board of Trustees, Offi cers & Directors 74 Financial Information e J. Paul Getty Trust The J. Paul Getty Trust is an international cultural and philanthropic institution that focuses on the visual arts in all their dimensions, recognizing their capacity to inspire and strengthen humanistic values. The Getty serves both the general public and a wide range of professional communities in Los Angeles and throughout the world. Through the work of the four Getty programs–the Museum, Research Institute, Conservation Institute, and Foundation–the Getty aims to further knowledge and nurture critical seeing through the growth and presentation of its collections and by advancing the understanding and preservation of the world’s artistic heritage. The Getty pursues this mission with the conviction that cultural awareness, creativity, and aesthetic enjoyment are essential to a vital and civil society. e J. Paul Getty Trust 3 Message from the Chair e 2007 fi scal year has been a time of progress and accomplishment at the J. Paul Getty Trust. Each of the Getty’s four programs has advanced signifi cant initiatives. Agreements have been reached on diffi cult antiquities claims, and the challenges of two and three years ago have been addressed by the implementation of new policies ensuring the highest standards of governance. -
The Destiny and Representations of Facially Disfigured Soldiers During the First World War and the Interwar Period in France, Germany and Great Britain
The Destiny and Representations of Facially Disfigured Soldiers during the First World War and the Interwar Period in France, Germany and Great Britain Submitted by Marjorie Irène Suzanne Gehrhardt to the University of Exeter as a thesis for the degree of Doctor of Philosophy in French in September 2013 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 2 Abstract The frequency and seriousness of facial injuries during the First World War account for the presence of disfigured men in significant numbers in European interwar society. Physical reconstruction, psychological and social consequences had long-term consequences for experts and lay people alike. Despite the number of wounded men and the impact of disfigurement, the facially injured soldiers of the First World War have rarely been the focus of academic research. This thesis aims to bridge this gap through a careful investigation of the lives and representations of gueules cassées, as they came to be known in France. It examines the experience and perceptions of facial disfigurement from the moment of the injury and throughout the years following, thereby setting the parameters for a study of the real and the mediated presence of disfigured veterans in interwar society. The chronological frame of this study begins in 1914 and ends in 1939, since the perception and representations of facial disfigurement were of particular significance during the First World War and its aftermath. -
Francis Henry Newbery and the Glasgow School of Art
Rawson, George Mansell (1996) Francis Henry Newbery and The Glasgow School of Art. PhD thesis. http://radar.gsa.ac.uk/5419 Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given RADAR http://radar.gsa.ac.uk/ [email protected] FRANCIS HENRY NEWBERY AND THE GLASGOW SCHOOL OF ART Thesis presented to the Department of Architecture of the University of Glasgow for the Degree of Doctor of Philosophy by GEORGE MANSELL RAWSON October 1996 © George Rawson This is a one volume 1216 edition of the original two volume thesis held in Glasgow University Library with slightly different pagination. 1 ABSTRACT This thesis takes the form of a biographical study of the art teacher and painter Francis Henry Newbery. Its focus is Newbery’s thirty-three year association with the Glasgow School of Art. The first two chapters examine Newbery’s early life and his educational background in Dorset and London where he attended the National Art Training School at South Kensington. John Beard, Newbery’s headmaster at the Bridport General School in Dorset, the educational theory of Friedrich Froebel and the modern approach to art teaching of Edward Poynter the Principal of the National Art Training School are all identified as formative influences in the development of Newbery’s own approach to pedagogy at Glasgow. -
The Stones of London's War Memorials
Urban Geology in London No. 23 The Stones of London’s War Memorials ‘If I should die, think only this of me; That there’s some corner of a foreign field That is forever England’ The Soldier, Rupert Brooke (1887-1915) Memorial at the Tower of London for the centenary of the outbreak of WWI: 'Blood Swept Lands and Seas of Red' by ceramicist Paul Cummins. The opening lines of Rupert Brooke’s famous poem (above) illustrates muCh of the sentiments assoCiated with the design of war memorials and war graves. It has beCome traditional, on the most part, for stones representing the soldiers’ Countries of origin to be used in memorials ConstruCted to Commemorate them. For example, the war memorials commemorating the British Forces killed during WWI in FranCe and Belgium, such as Thiepval and the Menin Gate, are built from briCk, with piers, vaults, Columns and the panels bearing the insCriptions of names in Portland Stone. As we will see below, stones have been imported from all over the World to Commemorate the soldiers from those Countries who fought in the European theatres of the first half of the 20th Century. Indeed there are Corners of foreign fields, or in faCt London, that are forever Australian, Canadian or Maltese. I am predominantly foCusing on memorials to WWI and WWII. Many of the War Memorials and their stones catalogued below have been previously desCribed in other Urban Geology in London Guides. These inClude the memorials in the vicinity of Hyde Park Corner (Siddall & Clements, 2013), on the ViCtoria Embankment (Siddall & Clements, 2014) and the Malta Memorial near the Tower of London (Siddall, 2014). -
The Timeline of the New Sculpture Movement
The Timeline of the New Sculpture Movement 1856 – Alfred Stevens wins the commission for the Wellington Monument at St. Pauls Cathedral. 1859 – Frederic Leighton settles and starts exhibiting in London. 1863 – The Government School of Design (South Kensington) is renamed National Training Art School. Alphone Legros moves to England from France. 1868 – Leighton is elected ARA. Watts completes his model Clytie in marble. 1871 – Aimé-Jules Dalou moves to London and starts teaching at the South Kensington National Art Training School (and later at the Lambeth Art School in South London). The firm H. Young & Co is established in Pimlico – the first major art-bronze foundry in the country, employing French bronze- moulders and chasers. 1874 – Cox & Sons set up a factory designed for casting statuary at Thames Ditton, Surrey. 1875 – Hamo Thornycroft wins the RA gold medal for the best work of sculpture on a given theme with A Warrior Carrying a Wounded Youth from the Field of Battle, beating Alfred Gilbert. Gilbert moves from London to Paris to study under the sculptor Pierre-Jules Cavalier (1814-1894). Alfred Stevens dies on 1 May. 1876 – Alphone Legros is appointed Professor of Art at University College, London. 1877 – Leighton’s An Athlete Wrestling with a Python goes on display at the Royal Academy. Dalou’s Charity is installed at the Royal Stock Exchange. 1878 – Leighton is elected president of the RA. Thornycroft exhibits the marble Lot’s Wife at the RA. Frampton moves to Paris aged 18 to work as an architectural decorator on the Hôtel de Ville. 1880 – Thornycroft exhibits his marble Stone Putter at the RA. -
Visions of the End in Interwar British Art Thomas Bromwell Phd
Visions of the End in Interwar British Art Thomas Bromwell PhD University of York History of Art September 2019 Abstract The cessation of hostilities to the Great War with the signing of the Armistice on 11 November 1918 brought the largest and most devastating war hitherto known to an end. It was meant to be the “War to End War”, yet a little over twenty years later in 1939 it was eclipsed by the devastation of the Second World War. The shadow of war loomed over the intervening years, which were marked by pronounced speculation on where human society was going; for every prophet of doom anticipating collapse into degradation, animosity, and self-annihilation there was a contrasting viewpoint awaiting the move towards a better new world. Further, these assessments often overlapped. This thesis examines the impact of apocalyptic ideas within British art in the interwar years. It looks at painting, drawings, prints, and sculpture, addressing the use and development of apocalyptic concepts during the period 1918-1939, and explicitly relates contemporary anxieties and apocalyptic evocations with Christian apocalyptic narratives. Interwar British society at large identified with Christian traditions, either as products of a Christian education and state, or through belief. The Apocalypse is central to Christian hope. The project surveys this underappreciated aspect of the period in order to recognize the influence of Judeo-Christian apocalyptic traditions. The apocalyptic orientation, both in its religious and secular forms, has been recognised as a manifestation arising from anxiety in the contemporary context. This thesis reveals a British permutation of a general (European) trend. -
An Exhibition from the Antony Wallace Archive of BAPRAS
An exhibition from the Antony Wallace Archive of BAPRAS 1 FOREWORD The meeting of the European plastic and reconstructive surgeons so close to the outbreak of the First World War set BAPRAS and its Antony Wallace Archive to thinking about the development of the specialty brought about by the conflict. There is ample information available from Sir Harold Gillies’ papers and the clinical notes rescued from the Queens Hospital at Sidcup on the early days of plastic surgery in Britain. However our knowledge of the situation across the Channel is deficient. This exhibition A Strange New Art is intended to display what we know, stimulate discussion and collect information, particularly from the Continent about this important time for plastic and reconstructive surgery. Brian Morgan Honorary Archivist, Antony Wallace Archive (BAPRAS) Exhibition curated by Kristin Hussey (Assistant Curator) and Brian Morgan (Honorary Archivist) Written by Kristin Hussey 3 Two Canadian wounded, INTRODUCTION heavily bandaged, being removed by motor This was a strange new art, and unlike the student today, who is ambulance from the weaned on small scar excisions and gradually graduated to a single Battle of Passchendaele, harelip, we were suddenly asked to produce half a face. 1917. Courtesy of the Harold Gillies, The Principles and Art of Plastic Surgery (1957) Imperial War Museums (IWM), IWM: CO 1636 Plastic surgery techniques have been in use for over 2,000 years, however it was not until the First World War (1914–1918) that these practices were brought together as a distinct specialty. Mechanised conflict on a global scale resulted in traumatic facial injuries never before encountered by surgeons. -
American Women and the Veteranist-Commemoration of the First World War, 1917-1945
ABSTRACT Title of Document: CARRY ON: AMERICAN WOMEN AND THE VETERANIST-COMMEMORATION OF THE FIRST WORLD WAR, 1917-1945 Allison Sarah Finkelstein, Ph.D., 2015 Directed By: Associate Professor Saverio Giovacchini, Department of History The commemoration of the First World War deeply impacted American culture between 1917 and 1945, and incited a contentious debate about the best forms of military memorialization. All kinds of American women participated in commemorations alongside men, the government, veterans, and the military. Even more frequently, they took part in predominantly female memorialization projects, many of which aided veterans. Organizations composed of American women who believed they served or sacrificed during the First World War defined community service and veterans advocacy as forms of commemoration that they pursued in addition to, or sometimes instead of, more permanent forms of commemoration. In keeping with women’s contributions to the war effort and their Progressive era service and reform activities, many American women pursued service-based commemorative projects to serve the nation in ways normally prohibited to them because of gender-based restrictions on their citizenship. This dissertation investigates how American women who served during the First World War commemorated the conflict during the interwar period and through the end of World War Two. It employs the term “veteranist-commemorations” to describe the service-based memorialization projects these women advocated, and designates these women as female “veteranist-commemorators.” Rejecting traditional monuments, female veteranist-commemorators placed the plight of male and female veterans at the center of their memorialization efforts. Women’s veteranist- commemorations did not solely address veterans of strictly defined military service, but included anyone who sacrificed during the war.