Hubert Von Herkomer, R.A.; a Study and a Biography
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DD391 Papers of Alexander Macdonald of Kepplestone and His Trustees
DD391 Papers of Alexander Macdonald of Kepplestone and his trustees c.1852 - 1903 The fonds consists of correspondence and other papers generated by Alexander Macdonald, including letters from the artists that Macdonald patronised. The trustees' papers include minutes, accounts, vouchers and correspondence detailing their administration of Macdonald's estate from 1884 until the division of the estate among the residuary legatees in 1902. The bundles listed by the National Register of Archives (Scotland) have not been altered since their deposit in the City Archives. During listing of the remaining papers, any other original bundles have been preserved intact. Bundles aggregated by the archivist during listing are indicated in the list with an asterisk. (15 boxes and one volume) DD391/1 Macdonald of Kepplestone: trust disposition, inventory, executry and subsidiary legal papers (1861, 1882-1885) 18611882 - 1885 DD391/1/1: Trust disposition and deed of settlement (1885); DD391/1/2: Copy trust disposition and settlement (1882) DD391/1/3: Draft abstract deed of settlement (1884); DD391/1/4: Inventories of estate (1885); DD391/1/5: Confirmation of executors (1885); DD391/1/6: Copy contract of marriage between Alexander Macdonald and Miss Hope Gordon (3 June 1861). (9 items) DD391/1/1 Alexander Macdonald of Kepplestone: Trust disposition and deed of settlement, 11 December 1882, 1885 1882 - 1885 *Trust disposition and deed of settlement of Alexander Macdonald dated 11 December 1882. Printed at the Aberdeen Journal Office, 1885 (1 bundle, 14 copies) DD391/1/2 Alexander Macdonald of Kepplestone: copy trust disposition and settlement, 11 December 1882 11 December 1882 *Copy trust disposition and settlement of Alexander Macdonald, and two draft trust dispositions and deed of settlements, 11 December 1882 (1 bundle, 3 items) DD391/1/3 Alexander Macdonald of Kepplestone: draft abstract deed of settlement, 11 December 1882 11 December 1882 *Draft abstract deed of settlement of Alexander Macdonald dated 11 December 1882. -
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. -
A Century of British Painting a Century of British Painting
A Century of British Painting A Century of British Painting Foreword There’s a passage in Tess of the D’Urbervilles, This year’s exhibition is no exception; where Hardy describes the complete sensory in between Greaves and Spear are works by experience of walking across a field, the thrum Farquharson, Tuke, La Thangue, Hemy, and of insects, motes and sunbeams, the ammoniac Heath, artists whose quiet social realism tang of cows, snail shells crunching underfoot. developed out of the sincere connection It’s a very sensual account, and given that it they held to their part of Britain. Masters at comes from what is still held to be one of the manipulating tone and perspective, these most sentimental novels of the Victorian era, artists never tried to modify the realties of their surprisingly unromantic. Farquharson’s Grey world, only the ‘light’ in which they are seen. Morning immediately struck me as a perfect Following on, are pictures by Bond, Knight, cover illustration for one of Hardy’s novels, Wyllie and other artists who explored realism, which led me to get out my copy of Tess. alongside the possibilities of Impressionism to While I skimmed some favourite passages, his depict rural subjects and the more communal characters began to take on faces painted by narratives of maritime trade: the backbone of La Thangue; as I later learned, when the book the British Empire. Well into the post-WWI was serialised in The Graphic, it was illustrated era, Impressionism would prove the perfect by Hubert von Herkomer. vehicle for depicting city life and genteel The pictures in this catalogue cover privilege; sport and leisure, the development of approximately 100 years. -
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. -
A Stroll Through Tate Britain
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The History of the Tate • The Aesthetic Movement, 1860-1880 • Golden Age to Civil War, 1540-1650 • Late Victorians, 1880-1900 • Restoration to Georgians, 1650-1730 • The Edwardians, 1890-1910 • The Georgians, 1730-1780 • The Great War and After, 1910-1930 • Revolutionary Times, 1780-1810 • The Interwar Years, 1930s • Regency to Victorian, 1810-1840 • World War II and After, 1940-1960 • William Blake • Pop Art & Beyond, 1960-1980 • J. -
Social Realism and Victorian Morality
• After portraits and landscapes, genre painting was the most popular type of painting in Britain. • Early in the century genre or subject painting told a simple story which often made a moral point but as artists started to represent the harsher aspects of society the category became more controversial. • However, from the middle of the century William Powell Frith started to paint a different type of modern-life painting that showed the complexity of the interacting Victorian class system. This was done in a light-hearted way that made the paintings extremely popular as engravings. • See journalist Henry Mayhew's London Labour and the London Poor (1851–62). 2 Luke Fildes (1843-1927), The Doctor, 1891, Tate Britain His name is pronounced to rhyme with ‘childs’. • Starting with a late subject painting Key point: when we understand the Victorian period some paintings have more significance Fildes, The Doctor • Perhaps what lifts a work of art from the ‘merely’ sentimental is a better understanding of the social circumstances and intent behind the painting. An academic reading is much more difficult if we become ‘entangled’ in the emotions of a work. For example, this is Luke Fildes’s painting The Doctor (1891), depicting a night vigil beside a child. When I saw this painting at the Tate with a group of art historians the feminist view was that it shows the power of the male doctor. The way he sits reminds us of Lorenzo de’ Medici carved by Michelangelo (1520-1534, tomb of Lorenzo de’Medici, Duke of Urbino, containing figures of Dawn and Dusk). -
A Year in Our Life... 2012/13
A year in our life... 2012/13 Patron Trustees Art Fund staff 2012 Charlotte Mullins Her Majesty the Queen Caroline Butler Elinor Andrew Rosalie Neath Chairman Richard Calvocoressi CBE Linda Ashworth Emmie Payne David Verey CBE Professor Michael Craig-Martin Angelina Bacon (until July 2012) Treasurer RA CBE Jessica Bray Sarah Philp Paul Zuckerman Dame Liz Forgan Rachael Browning Dan Pickford Director Philippa Glanville FSA Caroline Bugler (until June 2012) Stephen Deuchar CBE Professor Chris Gosden (until August 2012) Chloe Priest Antony Griffiths FBA Penny Bull (until November 2012) Alastair Laing FSA Kanchan Chudasama Dennie Ranson James Lingwood MBE Lizzie Clark (until October 2012) Christopher Lloyd CVO Zanna Clarke Katy Richards Jonathan Marsden LVO FSA Cathy Cobley Beth Rivers Sally Osman Catherine Corbet Milward Amy Ross Professor Deborah Swallow (until January 2012) Moe Shimizu Professor Lisa Tickner FBA Stephen Deuchar Alyssa Taffet Professor William Vaughan FSA Victoria Diaz-Vilas Paul Tourle (until July 2012) Michael G Wilson OBE Ali Fletcher Kara Webster (until July 2012) Quintilla Wikeley Kerstin Glasow Liz Workman Catherina Gray Sally Wrampling Katherine Harding Carolyn Young Alice Hargreaves Val Young Sophie Harrison Steve Hopkinson Interns Annie Howland (3–6 month placements) (until April 2012) Leia Clancy Caroline Hunt Lucie Ellis Charlotte Jennings Poppy Goodheart Edward Knight Jenny Harris Tom Lydon Emma Mills Andrew Macdonald Ellie Moss Rebecca Maude Gabby Okon Debbie McDonnell Ruth Piper Beth Meade Julia Scott Catherine -
N E W S L E T T E R III/2013 September 2013
I.G.L.D. N e w s l e t t e r III/2013 September 2013 Dear IGLD Members, Dear Brothers and Sisters, Meanwhile all of the National Druid Orders have finished their summer breaks, and nobody in Europe has reason to complain about the weather. After a hard and long winter and a following cool and rainy springtime accompanied by widespread flooding the unpleasant time has been compensated by some warm and sunny months. I am sure everybody enjoyed this time and is now full of power and good ideas for the upcoming period of druidic work. And now please take note of that what happened since May – as far as I was aware of. Norway In the past has been mentioned that the Norwegian FGDO generously supports the research on prostate cancer. Recipient of the donations collected from the Brothers for this purpose is the Radiumhospitalts Legater, an institution which is exclusively built and operating from donations and testamentary gifts from people and organizations. The donation for 2012 amounted to 100,000 NOK (€ 12,675; GBP 10,620) and was handed over to the recipient by the President of the Norwegian Druid Order, Brother Kay Hagby and Honorary Druid Brother Arvid Jellum. The money is intended solely for research. Sweden The most important event of the last months, probably of the year 2013, was the General Assembly (Riksmöte) of the Swedish Druid Order from 1 st to 4 th of August in Lund. And the most important item on the agenda was definitely the election of the new Executive Board. -
In the Lands of the Romanovs an Annotated Bibliography of First-Hand English-Language Accounts of the Russian Empire (1613-1917)
In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917) Anthony Cross Publisher: Open Book Publishers Year of publication: 2014 Published on OpenEdition Books: 29 November 2016 Serie: OBP collection Electronic ISBN: 9782821876224 http://books.openedition.org Printed version ISBN: 9781783740574 Number of pages: xvi + 432 Electronic reference CROSS, Anthony. In the Lands of the Romanovs: An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917). New edition [online]. Cambridge: Open Book Publishers, 2014 (generated 19 décembre 2018). Available on the Internet: <http://books.openedition.org/ obp/2350>. ISBN: 9782821876224. © Open Book Publishers, 2014 Creative Commons - Attribution 4.0 International - CC BY 4.0 ANTHONY CROSS In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of The Russian Empire (1613-1917) OpenBook Publishers IN THE LANDS OF THE ROMANOVS In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917) Anthony Cross http://www.openbookpublishers.com © 2014 Anthony Cross The text of this book is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt it and to make commercial use of it providing that attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Cross, Anthony, In the Land of the Romanovs: An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917), Cambridge, UK: Open Book Publishers, 2014. -
People and Places in the Nineteenth Century
Tate Britain People and Places in the Nineteenth Century 12:00-12:45 Laurence Shafe 1 People and Places in the Nineteenth Century All Nineteenth-Century Works ........................................................................................................................... 5 Key Works .......................................................................................................................................................... 8 Joseph Mallord William Turner (1775-1851), ‘The Field of Waterloo’, exhibited 1818 .................................... 9 John Constable, ‘Flatford Mill’ (‘Scene on a Navigable River’), 1816–7 .......................................................... 13 Benjamin Robert Haydon (1786-1846), ‘Punch or May Day’, 1829 ................................................................ 17 Richard Redgrave (1804-1888), ‘The Sempstress’, 1846 ................................................................................. 20 John Everett Millais (1829-1896), ‘Christ in the House of His Parents (The Carpenter’s Shop)’, 1849–50 .... 23 Dante Gabriel Rossetti, ‘The Girlhood of Mary Virgin’, 1848–49 (not on display) .......................................... 27 Emily Mary Osborn (1828-1925), ‘Nameless and Friendless’, 1857 ................................................................ 30 John Everett Millais (1829-1896), ‘Ophelia’, 1851–2 ...................................................................................... 34 William Holman Hunt, ‘The Awakening Conscience’, 1853 (not on display) ................................................. -
The Art of Christie's Bistro
THE ART OF CHRISTIE’S BISTRO The Art of Christie’s Bistro he Christie building was built in 1898 as a library. T It was designed by Alfred Waterhouse in a neo-gothic style. The building houses busts and paintings relating to the history of the University, and features a stained- glass memorial window of the building’s namesake, Richard Copley Christie. The art of Christie’s bistro is an important part of the University’s heritage. This booklet introduces the subjects, the artists, and their stories. The University Collections he University of Manchester holds The Collections are diverse and include: dominance of certain groups throughout our a important place in history. The • Paintings and sculpture, including a large history. For example, women have historically T city of Manchester helped to amount of portraiture of key figures; not held as many senior positions as they do shape the modern world and the University today, in part because a marriage bar prevented • The University’s public art collection; of Manchester, from its origins in workers’ women from pursuing successful careers until education, medical schools and Owens • Ceremonial and decorative objects the 1950s. In addition, as elsewhere in society, College has been a major part of that related to the University, including black and minority ethnic figures have been history. The University was the first and silverware and gowns; particularly poorly represented within the most eminent of the civic universities, and • Scientific instruments and apparatus, institution’s elite positions. our founders forged liberal and progressive including the Museum of Medicine values that have allowed us to do things and Health; On 1st July 2010, the University appointed differently: to think freely, challenge social Dame Nancy Rothwell as its first female leader • Clothing, such as historic University blazers, and intellectual boundaries, and make a real and, in June 2015, students voted for Lemn sports kit and medals difference across the world. -
Connecting Whistler-2010-12-01
Connecting Whistler Essays in Honour of Margaret F. MacDonald Edited by Erma Hermens, Joanna Meacock and Grischka Petri First published 2010. Copyright for the texts © the authors, 2010, all rights reserved. The moral rights of the authors have been asserted. Title illustration: James McNeill Whistler, Arrangement in Grey: Portrait of the Painter , Detroit Institute of Arts. Photo: Wikimedia Commons. All images from the authors’ private archives except: © Hunterian Art Gallery, Glasgow: 2.1, 8.1, 8.2, 9.1; 9.2; Library of Congress, Washington, DC: 3.1, 10.2; © Philadelphia Museum of Art: 4.1; © University of Glasgow, Special Collections: 6.3, 6.6; © Victoria & Albert Museum, London: 5.1; © Whistler Etchings Project: 13.1, 13.2, 13.3; Wikimedia Commons: 1.1, 14.1., 15.1. Margaret F. MacDonald Contents Preface · iii Abbreviations and Bibliography · v Norman MacDonald 40 Years with Margaret and Jimmy · 1 Beginnings Georgia Toutziari-Stewart Working on an Electronic Correspondence · 5 Pamela Robertson Whistler’s St Luc · 10 Dominoes, Kimonos and Fans Victoria Irvine Whistler and the Cancan Dancer: A Case Study of Finette · 17 Claire McKechnie Pots and Paints: James McNeill Whistler and the Lange Leizen · 23 Nick Pearce ‘Blue porcelain … and … coy maidens’ – Some Thoughts on Whistler’s Purple & Rose: The Lange Leizen of the Six Marks · 29 Robyne Erica Calvert An Artistic Fan in Victorian Society · 35 Pigment and Frame Sarah Parkerson Day Framing & Connecting: Whistler, Freer and the Little Blue Girl · 43 Erma Hermens A Note on Whistler’s Venetian pastels: Bright Beauty – Merry Lightness and Daintiness · 49 Joyce H.