National Museums and Galleries on Merseyside Annual Report and Accounts 2005-2006 HC 75
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MANN ISLAND, Liverpool Merseyside
MANN ISLAND, Liverpool Merseyside Archaeological Excavation Report Oxford Archaeology North March 2012 Countryside Neptune llp Issue No: 2011-12/1243 OA North Job: L10312 NGR: SJ 3403 9008 Mann Island, Merseyside: Archaeological Excavation Report 1 CONTENTS CONTENTS ...................................................................................................................................... 1 SUMMARY....................................................................................................................................... 4 ACKNOWLEDGEMENTS................................................................................................................... 6 1. INTRODUCTION ........................................................................................................................ 7 1.1 Circumstances of the Project .............................................................................................. 7 1.2 Site Location, Topography and Geology............................................................................. 8 1.3 Previous Work.................................................................................................................... 8 2. METHODOLOGY........................................................................................................................ 10 2.1 Project Design.................................................................................................................. 10 2.2 Excavation and Watching Brief ....................................................................................... -
Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Visitor Attraction Trends England 2003 Presents the Findings of the Survey of Visits to Visitor Attractions Undertaken in England by Visitbritain
Visitor Attraction Trends England 2003 ACKNOWLEDGEMENTS VisitBritain would like to thank all representatives and operators in the attraction sector who provided information for the national survey on which this report is based. No part of this publication may be reproduced for commercial purp oses without previous written consent of VisitBritain. Extracts may be quoted if the source is acknowledged. Statistics in this report are given in good faith on the basis of information provided by proprietors of attractions. VisitBritain regrets it can not guarantee the accuracy of the information contained in this report nor accept responsibility for error or misrepresentation. Published by VisitBritain (incorporated under the 1969 Development of Tourism Act as the British Tourist Authority) © 2004 Bri tish Tourist Authority (trading as VisitBritain) Cover images © www.britainonview.com From left to right: Alnwick Castle, Legoland Windsor, Kent and East Sussex Railway, Royal Academy of Arts, Penshurst Place VisitBritain is grateful to English Heritage and the MLA for their financial support for the 2003 survey. ISBN 0 7095 8022 3 September 2004 VISITOR ATTR ACTION TRENDS ENGLAND 2003 2 CONTENTS CONTENTS A KEY FINDINGS 4 1 INTRODUCTION AND BACKGROUND 12 1.1 Research objectives 12 1.2 Survey method 13 1.3 Population, sample and response rate 13 1.4 Guide to the tables 15 2 ENGLAND VISIT TRENDS 2002 -2003 17 2.1 England visit trends 2002 -2003 by attraction category 17 2.2 England visit trends 2002 -2003 by admission type 18 2.3 England visit trends -
Rabin, Lucille Feiden Papers
Lucille Feiden Rabin Papers A Finding Aid to the Collection in the Helen Farr Sloan Library & Archives, Delaware Art Museum Acquisition Information Gift of Douglas Rabin, 2010-2011 Extent 5.5 linear feet Access Restrictions Unrestricted Processed Katelyn Wolfrom and Rachael DiEleuterio, 2010, 2011 Contact Information Helen Farr Sloan Library & Archives Delaware Art Museum 2301 Kentmere Parkway Wilmington, DE 19806 (302) 571-9590 [email protected] Preferred Citation Lucille Feiden Rabin Papers, Helen Farr Sloan Library & Archives, Delaware Art Museum 1 Biographical Note on Lucille Feiden Rabin Lucille Feiden Rabin (1926-2007) attended Sophie-Newcomb College and Florida State University, where she graduated with Phi Beta Kappa honors. She continued her graduate studies at Bryn Mawr College, where she received her M.A. and Ph.D. in art history. She was a noted scholar and recognized authority in her field of art history and the author of "Ford Madox Brown and the Pre-Raphaelite History-Picture." Source: The St. Augustine Record, http://staugustine.com/stories/061507/obits_46567A3.shtml (accessed October 28, 2014) Scope and Contents Note Collected largely while writing her doctoral dissertation in the late sixties through mid-seventies, the Lucille Feiden Rabin papers focus most extensively on Ford Madox Brown, the Pre-Raphaelite Brotherhood, Howard Pyle, and the Wyeth family, particularly Andrew Wyeth. Rabin’s research on Ford Madox Brown and his connection to later artists took several avenues in the course of writing her dissertation, eventually published as a book. The collection mirrors that diverse research strategy, including information on artists from the 19th century up to modernist painters of the mid- 20th century. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Welcome Guide to the Walker Art Gallery
Welcome guide 1 Welcome to the Walker Art Gallery Welcome to the Walker Art Gallery This guide will help you find your way around the gallery, if you have any questions please ask a member of staff to help you. • The Gallery ground floor entrance is up the flight of steps shown in the Entrance building pictured above. • You can use a ramp to enter the building which can be found to the right of the steps. • The main entrance takes you straight to the gallery information desk via two sets of automatic glass doors. Ramp entrance Ramp view from the main entrance 2 Getting into the Walker Art Gallery There are two pairs of large doors. Outside doors Automated doors 3 2 1 3 4 15 5 14 13 8 SPECIAL EXHIBITION Stairs 6 GALLERIES 12 Stairs Lift 7 9Staff 10 Staff wear blue shirts and name badges. ENTRANCE Fire alarms 11 TO SPECIAL EXHIBITIONS If the fire alarm sounds please follow staff instructions and ask for assistance if required. Fire alarm tests are planned, if unexpected loud noises are a concern to you please call in advance to check when the next test will take place. Floor plan Member of staff You can see the gallery is made up of lots of small rooms. You can walk a round the rooms in any order. Ground Floor A Big Art for Little Artists B Sculpture Gallery C Craft & Design Gallery Stairs A CAFE Lift SHOP Stairs C B ENTRANCE 4 GROUND FLOOR As you enter you will be faced with the Information Desk. -
The Art of Regeneration: the Establishment and Development of the Foundation for Art and Creative Technology, 1985–2010
The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985–2010 Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy by Jane Clayton School of Architecture, University of Liverpool August 2012 iii Abstract The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985-2010 Jane Clayton This thesis is about change. It is about the way that art organisations have increasingly been used in the regeneration of the physical environment and the rejuvenation of local communities, and the impact that this has had on contemporary society. This historical analysis of the development of a young art organisation, the Foundation for Art and Creative Technology (FACT), which has previously not been studied in depth, provides an original contribution to knowledge with regard to art and culture, and more specifically the development of media and community art practices, in Britain. The nature of FACT’s development is assessed in the context of the political, socio- economic and cultural environment of its host city, Liverpool, and the organisation is placed within broader discourses on art practice, cultural policy, and regeneration. The questions that are addressed – of local responsibility, government funding and institutionalisation – are essential to an understanding of the role that publicly funded organisations play within the institutional framework of society, without which the analysis of the influence of the state on our cultural identity cannot be achieved. The research was conducted through the triangulation of qualitative research methods including participant observation, in-depth interviews and original archival research, and the findings have been used to build upon the foundations of the historical analysis and critical examination of existing literature in the fields of regeneration and culture, art and media, and museum theory and practice. -
Museums and Migration, 2009–17
MUSEUMS AND MIGRATION, 2009–17 A report exploring the case for a national migration museum, and a migration museums network Authors: Dr Cathy Ross and Emma Shapiro 1 CONTENTS PAGE 1. Introduction 3 2. Museums and migration, 2009–17 4 • Local, regional and city museums • Specialist museums • Museum practice • National museums • The wider heritage sector • Universities and schools 3. The future 15 • Is there a role for a national museum of migration? • Is there a role for a migration network among existing museums? 4. Summary and key findings 18 2 1. INTRODUCTION This report looks at the representation of migration in English museums since 2009. The report has been prompted by two questions: • Would a national museum of migration make a useful contribution to the museum sector? • Would a specialist network about migration make a useful contribution to the museum sector? This report follows on from an earlier report by Dr Mary Stevens, published by the IPPR in 2009,1 which concluded that migration was a subject of such fundamental importance to Britain’s national story that it merited a new museum ‘dedicated to telling the whole story’. Stevens saw Britain’s ‘collective failure to engage in an informed way with contemporary migration patterns’ as deriving from ‘our ignorance about this aspect of our history’. Moreover, Britain’s ‘carefully orchestrated amnesia’ about migration contrasted with the situation in other countries. In short, ‘our migration stories deserve a more prominent place in our national self-understanding and need to be more visible in our heritage institutions’. This report seeks to provide a short update of developments in UK museums and galleries since Stevens’ analysis. -
Myths and Legends
Teachers’ notes Myths and Legends Pan, by an unknown sculptor of the French School Room 19 (North Rotunda) FREE ENTRY liverpoolmuseums.org.uk/ladylever @leverartgallery Myths and Legends Introduction to the Gallery Self-guided visits The Lady Lever Art Gallery houses the personal Teachers are welcome to explore the Gallery collection of William Hesketh Lever. It contains without direct input from Gallery staff as part of one of the UK’s finest collections of fine and a self-guided visit. We have a range of resources decorative art. It has the best collection of for teachers to utilise, either on their own or with Wedgwood jasperware anywhere in the world their class. and its collection of Pre-Raphaelite paintings is internationally renowned. Education sessions The Gallery was founded by William Hesketh Lever (1851-1925) and is dedicated to the Book one of our education sessions led by a memory of his wife Elizabeth. Lever wanted to member of staff, which offer an exploration and share his collections with the public. At first he hands-on experience of the Gallery. All of our used the village library for small displays, but he sessions link to the national curriculum and utilise needed a bigger building for his collections. Lever our collections and displays. Booking well in personally selected works of art from his huge advance is advised. A full listing of all our gallery- collection for the Gallery. The Gallery still contains led and self-led sessions is listed on our website the best of his personal art collection. at liverpoolmuseums.org.uk/learning or by contacting our group bookings team on 0151 478 4788 or [email protected] Notes These notes are designed to support Key Stage Teachers’ events 2 teachers exploring the collections at the Lady Lever Art Gallery focusing on the theme of Myths If you are interested in bringing a group to the and Legends. -
3. Pre-Raphaelite Brotherhood
• Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 1 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works. -
2. Pre-Raphaelite Brotherhood
The paintings produced by the Pre-Raphaelite Brotherhood or PRB are today regarded as staid and irrelevant Victorian pictures. I will show that at the time there were controversial and even revolutionary. The brotherhood was founded in 1848, the year of revolutions across Europe. There was a very large Chartist meeting on 10th April in Kennington Common but luckily confrontation was avoided and the petition with six million signatures was handed in to Downing Street. House of Commons clerks estimated the true figure to be 1.9 million signatures and some joke signatures were publicized to undermine the credibility of the movement. John Everett Millais and Holman Hunt accompanied the crowd from Russell Square but at the Common they were careful to remain outside the rails. In September of that year they met in Millais’s parents house to form the Pre-Raphaelite Brotherhood. The term ‘brotherhood’ was later of concern to critics as it suggested anarchy and a revolution. 1 Top row, left to right: William Holman Hunt, John Everett Millais, (b. 1829 – d. 1896) John Everett Millais, William Holman Hunt, 1854, (1827-1910) William Holman Hunt, Dante Gabriel Rossetti, 1853, (1828-1882) Bottom row, left to right: Dante Gabriel Rossetti, Thomas Woolner, 1852 (1825-1892, sculptor and poet), National Portrait Gallery James Collinson, self-portrait, undated (1825-1881, only 1848-50, a devout Christian who resigned when Millais painted Christ in the House of His Parents) John Everett Millais, Frederic George Stephens (1828-1907, art critic) Dante Gabriel Rossetti, William Michael Rossetti (1829-1919, writer and art critic) Seven ‘Brothers’ • The three years 1849-1851 were an exceptional event in the history of art because rarely do you find a group of artists who set out to radically change the status quo and who take on the leading art establishment – the Royal Academy. -
Picturing Music in Victorian England Suzanne Fagence Cooper
Picturing Music in Victorian England A Thesis submitted for the Degree of Doctor of Philosophy By Suzanne Fagence Cooper Volume 2 Faculty of Design Buckinghamshire C~ilterns University College Brunei University November 2005 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author under the terms of the United Kingdom Copyright Acts. No quotation from the thesis and no information derived from it may be published without proper acknowledgement. Figure 2 Edward Burne-Jones, Painted Piano (St.Cecilia / Chant d'Amour) (1860, American walnut, paint and gesso, Victoria and Albert Museum) Figure 4 James McNeill Whistler, Symphony in White No.1: The White Girl (1862, oil on canvas, National Gallery of Art, Washington) ...... -ex> ex>...... I W Q.~ -(I) 00. ::J (I) n ~. III n ::Jr < (I) ~ cO· 11 - ;:?; cO· roe: ~.::J ;;:! (C - '" ::::T~0l-e: ::Jo CIJ_. In 00. ~m. (I) III ~= e: CIJ (I) e: 3 '-' ...... -co ......co I (...) Figure 7 Frederic Leighton, design for the Marquand ceiling (colour sketch) (c.1886, oil on canvas, Private Collection) Figure 9 Edward Burne-Jones and Kate Faulkner, Grand Piano (1884-5, oak, stained and decorated with silvered and gilt gesso, Victoria and Albert Museum) Figure 10 Dolmetsch workshop and Edward Burne-Jones, St. Margaret Clavichord Illustrated in Art Journal. Easter Art Annual, 1900 (1897, painted and gilded wood, Private Collection) Figure 11 Edward Burne-Jones, Sketchbook: a. bell-cittern, b. crwth and c. viola d'amore (after 1867, pencil, Victoria and Albert Museum) 1».