DOCSLIB.ORG

Gwen John and Augustus John Teachers' Pack

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gwen John and Augustus John Teachers' Pack Teacher and student notes with key work cards Gwen John and Augustus John Tate Britain, 29 September 2004 - 9 January 2005 Gwen John (1876-1939) The Student 1903-4 Oil on canvas 56.1 x 33.1 cms. Manchester City Art Galleries. © Estate of Gwen John 2004. All Rights Reserved, DACS Gwen John and Augustus John Introduction These introductory notes are intended both for teachers and students from KS4 onwards. They contain some background information about the artists and pinpoint central themes and ideas in the Gwen and Augustus John exhibition. The key work cards that follow (which you could print out and laminate) focus on individual paintings and include suggested discussion points, activities and links to other works, both in the Tate collection and elsewhere. They can be used not only to support an exhibition visit, but also as a classroom resource with a longer shelf-life. Please note: further sets of key work cards are available for sale in Tate shops as part of the Tate Britain and Tate Modern Teachers' Kits, or in themed packs (£9.99) which are currently available on Portraits and Identity and Landscape and Environment. The set of key work cards focusing on portraits provides the historical background to the theme. It would therefore be a useful extension to your study of these two 20th century portraitists. Make sure that you look at some of the historic portraits in the Collection displays while you are at Tate Britain, as well as visiting the exhibition. This will help you measure the Johns' achievements in dispensing with rank and status as prerequisites for portraiture. Key themes of the exhibition David Fraser Jenkins, curator of this exhibition, opens his catalogue essay by highlighting two aspects of the artists, Gwen and Augustus John. Firstly he highlights the importance of the simple fact that they were brother and sister and, according to Augustus, 'not opposites but much the same really, but we took a different attitude'. Next he explains that they felt themselves to be outsiders because they were Welsh, not English, and there were not many Welsh artists at that time. Their defensive position was, according to Fraser Jenkins, that they 'abhorred the whole notion of belonging to anything' and as a result they 'were simply not part of the weave of British art'. These defining characteristics should provide a way into the exhibition for students, many of whom have siblings and some of whom, for whatever reason, feel themselves to be outsiders. For discussion before and during your visit - Why do artists make portraits, using paint, sculpture and photography? Is it simply to record appearance, or can you think of other reasons? Look at press photos in newspapers as well as pictures in art books to help you decide. Think about what you want to achieve when you compose a portrait. - Consider what unites and separates you from your brothers and sisters whom you may sometimes feel are your best friends, at other times your worst enemies. In the exhibition look out for similarities and differences between the paintings of this brother and sister. - Do you ever feel yourself to be an outsider? What are the strengths and disadvantages of this position? Look at the work of Gwen and Augustus's contemporaries in rooms 17, 19, 20 and 23 of the Tate Britain collection displays. Can you see what separates the Johns' work from that of artists like Harold Gilman, William Rothenstein or Vanessa Bell? Are there similarities? Gwen John and Augustus John A brief outline of the artists' lives Gwen was the older child, born in Haverford West in 1876 while Augustus was born in Tenby in 1878. Their mother died when Gwen was eight and Augustus six, leaving them in the care of an uncommunicative Welsh solicitor father who left them largely to their own devices. Both artists studied at the Slade School of Art in London, then unusual in offering an equal education to both women and men. Augustus stood out immediately from other students because of his skill in drawing which was the basis of art school curriculum at that time, and a great future was predicted for him. In 1901 he married Ida Nettleship, a fellow student and friend of Gwen's. In 1903 Augustus and Gwen shared an exhibition at the Carfax Gallery in London. Augustus wrote to his friend and fellow painter William Rothenstein saying: 'Gwen has the honours or should have ...The little pictures to me are almost painfully charged with feeling'. John Rothenstein, son of William and later director of the Tate Gallery, described Augustus peering 'fixedly, almost obsessively, at pictures by Gwen as though he could discern in them his own temperament in reverse'. One of Augustus's endearing qualities was that he could appreciate his sister's work to the extent of valuing it over and above his own. Augustus's household was complicated by the inclusion of his mistress as well as his wife. This was Dorothy McNeill, discovered by Gwen and given the name Dorelia by the Johns. Also a close friend of Ida, Dorelia like her bore Augustus's children. In 1907 Ida died from complications after the birth of her fifth son and Dorelia filled her place as mother to all their children. From 1907 until 1910 Augustus was praised as the outstanding young artist in London. That valuation declined from about 1916, just as Gwen was coming into her own. Meanwhile from 1904 Gwen had settled in Paris where she earned money by posing for artists. While modelling for sculptor Auguste Rodin she fell in love with him, becoming his mistress. He was 64 and famous; she was 28 and virtually unknown. According to Augustus, whereas she had been 'shy as a sheep' before she met Rodin, she became 'amorous and proud' afterwards. From 1911 until he died of cancer in 1924, an American patron, John Quinn, provided Gwen with a regular income. (Quinn also collected works by Seurat, Cézanne, Picasso and Matisse). From January 1911 Gwen rented three rooms in the top storey of a house in rue Terre Neuve in Meudon, about twenty kilometres outside Paris. It was there that she turned to religion, attending church from 1913. She died in Dieppe (nobody knows why she had gone there) in 1939 at the age of 63, shortly after the outbreak of the second world war. Her nephew Edwin, who had visited her in Meudon, made sure that her paintings, neglected by her for some years, were rescued from the outhouse where she had kept them. Augustus lived on to be nearly 84 at the time he died in 1961. He had long since outlived his fame, was drinking too much and was subject to moods of deep depression. Poor Augustus. Using key work cards One aim of this exhibition is to allow us to reassess the work of the two artists. The key work cards present you with a number of contrasts and comparisons to help you identify some characteristics of each artist's work. The first comparison is between the brother and sister's different ways of seeing Dorelia as a Woman Smiling and as The Student. Next you could compare outdoors and indoors with Augustus's Lyric Fantasy set in a landscape and Gwen's interior The Artist's Room in Paris. The third comparison is between Gwen's two outstandingly frank portraits of model Fenella Lovell, clothed and naked. And finally the contrast between Augustus's Joseph Hone and Gwen's The Nun invites you to consider two very different ways of making a portrait. There are many other linked paintings in the exhibition for you to compare. See how many pairings you can find. For discussion Do you prefer one of the artists to the other? Is is there one whose work you prefer, for personal reasons perhaps? Gwen John and Augustus John Augustus John (1878-1961) Woman Smiling 1908-9 Oil on canvas, 1960 x 982 mm Tate. Presented by the Contemporary Art Society 1917 © copyright courtesy of the artist's estate / www.bridgeman.co.uk Gwen John and Augustus John 'The vitality of this gypsy Gioconda is fierce, disquieting, emphatic.' Roger Fry's reaction to Woman Smiling, published in The Burlington Magazine, May 1909. Augustus John (1878-1961) Woman Smiling 1908-9 Oil on canvas, 1960 x 982 mm Tate. Presented by the Contemporary Art Society 1917 © copyright courtesy of the artist's estate / www.bridgeman.co.uk Background For discussion Can you imagine being taken aback, or perhaps .There are at least twenty works in this even shocked, by this portrait if you had seen it in exhibition, drawings as well as paintings, by the exhibition of Fair Women in 1909? Probably not. Augustus of Dorelia. She posed frequently for From today's standpoint it is even difficult to him not just because he loved her but because conceive of an exhibition with such a sexist name she was very good at adapting herself to the ever taking place. In that show contemporary pose the artist wanted. How do you interpret artworks like Woman Smiling were juxtaposed with the different poses Augustus asked her to old master paintings so that viewers could contrast adopt? What roles does she play other than the beauties of one age with those of another. By that of gypsy? describing her as a "gypsy Gioconda", art critic .To put yourself in the position of viewers of this Roger Fry was making a link between the sitter's painting when it was first exhibited, have a smile and the most famous of all portraits, Leonardo look at some traditional portraits in the da Vinci's Mona Lisa, otherwise known as La collection displays, starting with the Gioconda.
Load more

Recommended publications
  • Auckland City Art Gallery
    Frances Hodgkins 14 auckland city art gallery modern european paintings in new Zealand This exhibition brings some of the modern European paintings in New Zealand together for the first time. The exhibition is small largely because many galleries could not spare more paintings from their walls and also the conditions of certain bequests do not permit loans. Nevertheless, the standard is reasonably high. Chronologically the first modern movement represented is Impressionism and the latest is Abstract Expressionism, while the principal countries concerned are Britain and France. Two artists born in New Zealand are represented — Frances Hodgkins and Raymond Mclntyre — the former well known, the latter not so well as he should be — for both arrived in Europe before 1914 when the foundations of twentieth century painting were being laid and the earlier paintings here provide some indication of the milieu in which they moved. It is hoped that this exhibition may help to persuade the public that New Zealand is not devoid of paintings representing the serious art of this century produced in Europe. Finally we must express our sincere thanks to private owners and public galleries for their generous response to requests for loans. P.A.T. June - July nineteen sixty the catalogue NOTE: In this catalogue the dimensions of the paintings are given in inches, height before width JANKEL ADLER (1895-1949) 1 SEATED FIGURE Gouache 24} x 201 Signed ADLER '47 Bishop Suter Art Gallery, Nelson Purchased by the Trustees, 1956 KAREL APPEL (born 1921) Dutch 2 TWO HEADS (1958) Gouache 243 x 19i Signed K APPEL '58 Auckland City Art Gallery Presented by the Contemporary Art Society, 1959 JOHN BRATBY (born 1928) British 3 WINDOWS (1957) Oil on canvas 48x144 Signed BRATBY JULY 1957 Auckland City Art Gallery Presented by Auckland Gallery Associates, 1958 ANDRE DERAIN (1880-1954) French 4 LANDSCAPE Oil on canvas 21x41 J Signed A.
    [Show full text]
  • Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
    art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard.
    [Show full text]
  • Copyright Statement
    COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
    [Show full text]
  • A Rocky Gorge, South of France SOLD REF: 2525 Artist: ALBERT RUTHERSTON
    A Rocky Gorge, South of France SOLD REF: 2525 Artist: ALBERT RUTHERSTON Height: 25 cm (9 3/4") Width: 34.5 cm (13 1/2") Framed Height: 43 cm - 16 1/1" Framed Width: 52 cm - 20 1/2" 1 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/a-rocky-gorge-south-of-france 24/09/2021 Short Description ALBERT RUTHERSTON, RWS (1881-1953) A Rocky Gorge, South of France Watercolour and bodycolour Framed 25 by 34.5 cm., 9 ¾ by 13 ½ in. (frame size 43 by 52 cm., 17 by 20 ½ in.) Provenance: The artist and by descent to Gloria, Countess Bathurst. Born Albert Daniel Rothenstein, he was the youngest of the six children of Moritz and Bertha Rothenstein, German-Jewish immigrants who had settled in Bradford, Yorkshire in the 1860s. He and his siblings proved to be a hugely talented and artistic family, his elder brother became Sir William Rotherstein (1872-1945), the artist and director of the Royal College of Art; two of his other siblings, Charles Rutherston and Emily Hesslein, both accumulated major modern British and French art collections and his nephew Sir John Rothenstein was direct of the Tate Gallery. He was educated at Bradford Grammar School before moving to London in 1898 to study at the Slade School of Art where he became close friends with Augustus John and William Orpen. He met Walter Sickert during a painting holiday in France in 1900 and by introducing Sickert to Spencer Gove became instrumental in the beginning of the Camden Town Group.
    [Show full text]
  • Portrait of Charles Haslewood Shannon, R.A. Pencil and Coloured Chalks on Light Brown Paper
    William Rothenstein (Bradford 1872 - Far Oakridge, Gloucestershire 1945) Portrait of Charles Haslewood Shannon, R.A. Pencil and coloured chalks on light brown paper. Signed, dedicated and dated WMR to ClH.S / Jan. 96 at the lower left. 380 x 298 mm. (15 x 11 3/4 in.) A portrait of the printmaker, draughtsman and book illustrator Charles Haslewood Shannon (1863- 1937), at the age of thirty-three. Shannon was a key figure in the London art world between 1890 and 1930 and, together with his lifelong partner Charles Ricketts, designed and illustrated a large number of books, published an art journal entitled The Dial, and in 1894 established the Vale Press, named after their home in Chelsea. It was through Oscar Wilde that Rothenstein first met Shannon and Ricketts in 1893, soon after his return to London from Paris. As he recalled in his memoirs, ‘Oscar Wilde had taken me to the Vale to see Ricketts and Shannon before I came to live in Chelsea, when I was charmed by these men, and by their simple dwelling, with its primrose walls, apple-green skirting and shelves, the rooms hung with Shannon’s lithographs, a fan-shaped watercolour by Whistler, and drawings by Hokusai – their first treasures, to be followed by so many others.’ Ricketts and Shannon formed an impressive collection of Old Master drawings and paintings, antiquities, Persian miniatures and Japanese prints. In 1894 Rothenstein and Shannon shared a joint exhibition of their drawings and lithographs at E. J. van Wisselingh’s Dutch Gallery on Brook Street, London. This was to be Rothenstein’s first major London exhibition, and included thirty-one of his works, mostly portrait lithographs as well as some drawings and pastels.
    [Show full text]
  • Bernard Fleetwood-Walker (1893-1965) By
    The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits.
    [Show full text]
  • Indian Angles
    Introduction The Asiatic Society, Kolkata. A toxic blend of coal dust and diesel exhaust streaks the façade with grime. The concrete of the new wing, once a soft yellow, now is dimmed. Mold, ever the enemy, creeps from around drainpipes. Inside, an old mahogany stair- case ascends past dusty paintings. The eighteenth-century fathers of the society line the stairs, their white linen and their pale skin yellow with age. I have come to sue for admission, bearing letters with university and government seals, hoping that official papers of one bureaucracy will be found acceptable by an- other. I am a little worried, as one must be about any bureaucratic encounter. But the person at the desk in reader services is polite, even friendly. Once he has enquired about my project, he becomes enthusiastic. “Ah, English language poetry,” he says. “Coleridge. ‘Oh Lady we receive but what we give . and in our lives alone doth nature live.’” And I, “Ours her wedding garment, ours her shroud.” And he, “In Xanadu did Kublai Khan a stately pleasure dome decree.” “Where Alf the sacred river ran,” I say. And we finish together, “down to the sunless sea.” I get my reader’s pass. But despite the clerk’s enthusiasm, the Asiatic Society was designed for a different project than mine. The catalog yields plentiful poems—in manuscript, on paper and on palm leaves, in printed editions of classical works, in Sanskrit and Persian, Bangla and Oriya—but no unread volumes of English language Indian poetry. In one sense, though, I have already found what I need: that appreciation of English poetry I have encountered everywhere, among strangers, friends, and col- leagues who studied in Indian English-medium schools.
    [Show full text]
  • Gwen John: an Artist and Her Teapot in a Man's World
    Gwen John: An Artist and Her Teapot in a Man’s World Jocelyne Fletcher A common trend in scholarly discourse about female artists is to orient them as they relate to their male counterparts. This scholarship implies that a female artist is forever trying to meet a standard set by a ‘creative genius’, a dominant male. Feminist thinking has challenged this apparent necessity: Is it not possible to focus on the artistic production of a female artist independently? Might a talented woman stand alone in critical readings of her artwork? Or must we continuously refer to Artemesia Gentileschi only as she pertains to her father Orazio? Must Lee Krasner always be compared to Jackson Pollock? Georgia O’Keefe to Alfred Steiglitz? This essay will examine the case of the British artist Gwen John (1876-1939) who is nearly always considered in relation to the significant male relationships of her life. In this essay, I consider the view that women ought to be regarded as artists independently of their relationship to men. Seeking to go beyond Victorian era gender ideals by which women artists are understood to be derivative of and dependent on their male counterparts, in this essay I show that there are other reasons why certain male relations should be included in a discussion about a woman artist. The presence of Gwen John’s brother Augustus John and her lover Auguste Rodin in the dialogue surrounding her artwork undoubtedly stems from age-old gendered norms. The real significance of these relationships, in terms of influence on her artistic output, cannot be appreciated using these antiquated models.
    [Show full text]
  • The EY Exhibition. Van Gogh and Britain
    Life & Times Exhibition The EY Exhibition and his monumental Van Gogh and Britain London: a Pilgrimage. Tate Britain, London, Whistler’s Nocturnes 27 March 2019 to 11 August 2019 and Constable’s country landscapes also made a VINCENT IN LONDON considerable impression London seems to have been the springboard on him. Yet he did not for Vincent van Gogh’s creative genius. He start painting until he trained as an art dealer at Goupil & Cie in had unsuccessfully tried The Hague, coming to the company’s Covent his hand at teaching and Garden office in 1873, aged 20. He lodged in preaching. South London, initially in Brixton, and for a He returned to the short time stayed at 395 Kennington Road, Netherlands at the age of just a few minutes from my old practice 23, where, in 1880, after in Lambeth Walk. He soaked up London further unsatisfactory life and loved to read Zola, Balzac, Harriet forays into theology and Beecher Stowe, and, above all, Charles missionary work, his Dickens. This intriguing exhibition opens art dealer brother Theo movingly with a version of L’Arlésienne encouraged him to start (image right), in which Dickens’s Christmas drawing and painting. Stories and Uncle Tom’s Cabin lie on the Van Gogh’s earliest table. paintings were almost He became familiar with the work of pastiches of Dutch British illustrators and printmakers, and landscape masters, but, as he absorbed Vincent van Gogh (1853–1890), L’Arlésienne, 1890. Oil paint on canvas, 650 × also that of Gustav Doré (below is van 540 mm.
    [Show full text]
  • Mapping Gwen John: Lives, Lines and Images
    • I N T R O D U C T I O N • Mapping Gwen John: Lives, Lines and Images Picking up beautiful children at Tenby, to draw and adore on the sands, we stood looking at the children, the sea and the shore … On leaving the Slade, I lived in a small room Over a mortuary in the Euston Road And then, alone, in a cellar in Howland Street making water-colours of cats. … Ida Nettleship, Gwen Salmond and I shared a top flat in the Rue Froidveau. I knew Rodin … well. Corresponded with Rilke Never met Proust. Attended Whistler’s School. … Dorelia came with me. Journeying by way of Bordeaux and Toulouse we made our way to Paris. … alone now, often alone alone, now, always. Pearce (1996, 67-7) n his poem To Dieppe: A Lifescape, Brian Louis Peirce (1996) has drawn a literary portrait for Gwen John, who irrupted as an event in my project of I writing a genealogy of women artists. Indeed, my interest in John’s life and work unfolded in unpredicted but passionate ways. In the beginning she was not even included in my genealogical archive. While working with fin-de-siècle women artists’ life documents however, I read Janet Wolff’s essay “Rodin, Rilke and Gwen John in Paris” (1994) and I instantly became interested in finding out more about the grey female figure in Wolff’s essay. A research 2 •NOMADIC NARRATIVES• grant from the Arts and Humanities Research Council and the University of East London allowed me to delve into John’s letters and papers in Wales and Paris and the rest is the book.
    [Show full text]
  • Paul Mellon Centre for Studies in British Art Library: New Accessions
    Paul Mellon Centre for Studies in British Art Library: New accessions May 2015 D10738 Holburne Museum of In the public eye : treasures from the West of England : an Bath: Holburne Museum of Art, [2002] 062 BAT-HOL Art exhibition at the Holburne Museum of Art, Bath, organised by Sotheby's in association with the Historic Houses Association, 15th October to 8th December 2002 D11728 Sutherland, Adam After Ford 151 : Blackwell’s dark place [Coniston]: Grizedale Arts, 2014 062 BOW-BLA 1902671902 Hammer, Martin My generation : a festival of British Art in the 1960s [Kent]: University of Kent, [2015] 062 CAN-UNI 1907052445 Durant, Stuart The John Scott Collection : truth, beauty, power : the designs of Dr London: The Fine Art Society, 2014 062 LON-FIN Christopher Dresser, 1834-1904. Volume five 1907052526 Morgan-Cox, Rowena The John Scott Collection : art nouveau : continental design & London: The Fine Art Society, 2015 062 LON-FIN sculpture. Volume seven 1855144867 National Portrait BP Portrait Award 2014 London: National Portrait Gallery, 2014 062 LON-NPG Gallery 1855144875 National Portrait Taylor Wessing Photographic Portrait Prize 14 London: National Portrait Gallery, c2014 062 LON-NPG Gallery D11659 Tate Britain Salt and silver : early photography 1840-1860 [London]: Tate Britain, [2015] 062 LON-TAT 1854378392 Tate Britain Turner prize 10 London: Tate, 2010 062 LON-TAT D11931 Tate Britain Turner Prize 2000 London: Tate, c2000 062 LON-TAT 1854374656 Tate Britain Turner Prize 2002 : Fiona Banner, Liam Gillick, Keith Tyson, London: Tate, c2002
    [Show full text]
  • Fttfe MUSEUM of MODERN1 ART
    jr. ,•&-*- t~ V* *«4* /C^v i* 41336 - 2Z f± **e y^^A-^-^p, fttfE MUSEUM OF MODERN1 ART P WEST 53RD STREET, NEW YORK -uEPHONE: CIRCLE 5-89CO FOE IMMEDIATE RELEASE (Note* Photographs of paintings available) BRITAIN DELIVERS WAR PAINTINGS TO MUSEUMxOF MODERN ART. LORD HALIFAX TO OPEN EXHIBITION. On Thursday evening, May 22, Lord Halifax, Great Britain's Ambassador to the United States, will formally open at the Museum of Modern Art an exhibition of the Art of Britain At War, designed to show the wartime roles England assigns to her artists and de­ signers. It will be composed of oils, watercolors, drawings, prints, posters, cartoons, films, photographs, architecture and camouflage of the present war as well as work of British artists during the first World War. The exhibition will open to the public Friday morning, May 23, and will remain on view throughout the summer. It will then be sent by the Museum to other cities in the United States and Canada, The nucleus of the exhibition opening in May will be the group of paintings, watercolors and prints which the Museum expected to open as a much smaller exhibition in November 1940. After several postponments the Museum was finally forced to abandon it as, due to wartime shipping conditions, the pictures did not arrive although word had been received that the shipment had left London early in November. The Museum received the shipment late in January. After weeks of further negotiation with British officials in this country and by cable with London the Museum decided that it would be possible to augment the material already received with other work done by British artists since the first material was sent.
    [Show full text]