NAM Report and Accounts 2013/14
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Cecil Beaton: VALOUR in the FACE of BEAUTY
Cecil Beaton: VALOUR IN THE FACE OF BEAUTY FROM BRIGHT YOUNG THING AND DOCUMENTER OF LONDON‘S LOST GENERATION OF THE 20S TO A DOCUMENTER OF A NEW GENERATION WHO WOULD LOSE THEIR LIVES IN THE SECOND WORLD WAR, THIS IS JUST ONE SLICE OF Cecil Beaton‘s REMARKABLE LIFE THROUGH PHOTOGRAPHY. ©THE CECIL BEATON STUDIO ARCHIVE AT SOTHEBY’S. STUDIO ARCHIVE AT ©THE CECIL BEATON TEXT Mark Simpson CECIL BEATON SELF-PORTRAIT, CAMBRIDGE FOOTLIGHTS, 1925 Another Another 254 Man Summer/Autumn 2020 Man 255 CECIL BEATON In a world saturated with social me-dear surveillance and Beaton: No, no one could help me. It was up to me to find suffused with surplus selfies, being ‘interesting’ becomes ever- the sort of world that I wanted. more compulsory – just as it becomes ever-more elusive. Not Face to Face, 1962 just for artists in this brave new connected, visual, attention- seeking world, but for civilians too. Cecil Walter Hardy Beaton was born in 1904 into a Little wonder that Cecil Beaton, a man who essentially prosperous Edwardian middle-class family in Hampstead, a invented himself and his astonishing career with a portable leafy suburb of London. He was the product of true theatrical camera loaded with his ambition and longing, one of the romance: his mother Esther was a Cumbrian blacksmith’s brightest of his bright young generation of the 1920s, has daughter who was visiting London when she fell in love with become more famous, not less. As we plough relentlessly into his father Ernest, a timber merchant, after seeing him onstage a 21st century that he anticipated in many ways, long before in the lead role in an amateur dramatic production. -
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. -
London Explorer Pass List of Attractions
London Explorer Pass List of Attractions Tower of London Uber Boat by Thames Clippers 1-day River Roamer Tower Bridge St Paul’s Cathedral 1-Day hop-on, hop-off bus tour The View from the Shard London Zoo Kew Gardens Shakespeare’s Globe Theatre Tour Westminster Abbey Kensington Palace Windsor Palace Royal Observatory Greenwich Cutty Sark Old Royal Naval College The Queen’s Gallery Chelsea FC Stadium Tour Hampton Court Palace Household Cavalry Museum London Transport Museum Jewel Tower Wellington Arch Jason’s Original Canal Boat Trip ArcelorMittal Orbit Beefeater Gin Distillery Tour Namco Funscape London Bicycle Hire Charles Dickens Museum Brit Movie Tours Royal Museums Greenwich Apsley House Benjamin Franklin House Queen’s Skate Dine Bowl Curzon Bloomsbury Curzon Mayfair Cinema Curzon Cinema Soho Museum of London Southwark Cathedral Handel and Hendrix London Freud Museum London The Postal Museum Chelsea Physic Garden Museum of Brands, Packaging and Advertising Pollock’s Toy Museum Twickenham Stadium Tour and World Rugby Museum Twickenham Stadium World Rugby Museum Cartoon Museum The Foundling Museum Royal Air Force Museum London London Canal Museum London Stadium Tour Guildhall Art Gallery Keats House Estorick Collection of Modern Italian Art Museum of London Docklands National Army Museum London Top Sights Tour (30+) Palaces and Parliament – Top Sights Tour The Garden Museum London Museum of Water and Steam Emirates Stadium Tour- Arsenal FC Florence Nightingale Museum Fan Museum The Kia Oval Tour Science Museum IMAX London Bicycle Tour London Bridge Experience Royal Albert Hall Tour The Monument to the Great Fire of London Golden Hinde Wembley Stadium Tour The Guards Museum BAPS Shri Swaminarayan Mandir Wernher Collection at Ranger’s House Eltham Palace British Museum VOX Audio Guide . -
John Whistler (1905–1944) Bolebec House, 7 Oving Road, Whitchurch
Reginald (Rex) John Whistler (1905–1944) Bolebec House, 7 Oving Road, Whitchurch HP22 4JF The artist Rex Whistler was born in 1905 in Eltham. He moved, with his family, to Farnham Common in Buckinghamshire in the 1920s just before he was accepted at the Royal Academy. He disliked the regime there and was ‘sacked for incompetence’. He then proceeded to study at the Slade School of Art. Upon leaving the Slade he became a professional artist. Rex’s most noted work during the early part of his career was for the café at the Tate Gallery, completed in 1927, which includes impressions of the Corinthian Arch and Boycott Pavilions at Stowe. One of the Boycott Pavilions also featured in a later self-portrait. Rex was part of a group of influential artists of the early 20th century who travelled up to the Slade art school from the commuter belts of Bucks and Berks. He painted many members of London society, including Edith Sitwell, Cecil Beaton and other members of the set to which he belonged, which became known as ‘The Bright Young Things’. Rex also produced mural and trompe l’oeil paintings at Plas Newydd, home of Lady Caroline Paget. He and Lady Caroline became close friends and he painted numerous portraits of her, including a startling nude (Whistler). His murals for Edwina Mountbatten’s 30-room luxury flat in Brook House, Park Lane, London were later installed by the Mountbattens’ son-in-law, decorator David Hicks, in his own houses. Rex also created designs for Wedgwood china and designed the scenery and costumes for Ninette de Valois and Gavin Gordon’s Hogarth-inspired 1935 ballet The Rake’s Progress as well as producing book illustrations, notably those for Hans Andersen’s Fairy Tales and Legends (Whistler). -
Museum Partnership Report Understanding the National Museums’ Partnership Activities in 2017/18
Museum Partnership Report Understanding the national museums’ partnership activities in 2017/18 August 2019 We can also provide documents to meet the Specifc requirements for people with disabilities. Please email [email protected] Department for Digital, Culture, Media & Sport Printed in the UK on recycled paper ©Crown copyright 2019 You may re-use this information (excluding logos and images) free of charge in any format or medium, under the terms of the Open Government Licence. To view this licence, visit http://www.nationalarchives.gov.uk/doc/ open-government-licence/ or e-mail: [email protected] Where we have identifed any third party copyright information you will need to obtain permission from the copyright holders concerned. Any enquiries regarding this document should be sent to us at [email protected] Museum Partnership Report : Understanding the national museums’ partnership activities in 2017/18 3 Contents EXECUTIVE SUMMARY 4 INTRODUCTION 5 Background to the Report 5 The national museums 6 The Survey 9 SHARING COLLECTIONS 10 Sharing collections in the UK 10 Sharing collections internationally 17 Sharing collections for research 19 Supporting new collections and acquisitions 20 Borrowing Collections 20 SHARING KNOWLEDGE 24 Partnering to build capacity and deliver professional development in the museums sector 24 Academic partnerships and collaborations 29 Acting as experts for Government 34 SUPPORTING AUDIENCE ENGAGEMENT AND SOCIAL OUTCOMES 36 Partnering to improve museum and cultural participation 37 Partnering to deliver education and learning 38 Partnering to support our health and wellbeing 41 Partnering to develop skills and careers 42 CONCLUSIONS AND LOOKING FORWARD 45 APPENDIX 1: LIST OF IMAGES 46 APPENDIX 2: THE SURVEY 48 APPENDIX 3: USEFUL LINKS 50 4 1. -
Rex Whistler 1905 - 1944
Rex Whistler Rex in front of his tank with his tank crew Rex Whistler 1905 - 1944 Christened Reginald John Whistler, but always known as Rex. He was born on June 24th 1905 in Eltham, Greater, London. From a very early age he was very good at drawing. He had a talent for drawing from memory which was quite frowned on when he was at The Royal Academy; he only lasted one term there. He was then taken on at Slade School of Art, where Professor Henry Tonks saw that he had a rare talent. He wanted his students to paint murals and that is how Rex came to paint the restaurant walls in the Tate Britain in London. Whilst at The Slade he was befriended by Stephen Tennant, son of Baron Glenconner and later on stepson of Viscount Grey. This was Rex’s introduction to the rich and famous and also to Wiltshire, which he really loved and came back time and time again. It was through Stephen that Rex came in contact with Edith Olivier, who lived at Daye House in the grounds of Wilton House. This was a platonic relationship as Edith was 33 years older than him. But she became his mentor on almost everything that was going on in his life. During his lifetime because of her and Stephen’s connections, Rex moved in the circle of the “bright young things “and painted for the rich and famous. He was not just an artist; he illustrated books, designed posters and china, did stage sets as well as the costumes. -
Imperial War Museumannual Report and Account2005/06
MUSEUMS AND GALLERIES ACT 1992 Presented pursuant to Museums and Galleries Act 1992, c. 44 para 9(8) IMPERIAL WAR MUSEUM ANNUAL REPORT AND ACCOUNT 2005/06 ORDERED BY THE HOUSE OF COMMONS TO BE PRINTED 24 JULY 2006 LONDON: THE STATIONERY OFFICE HC (1513) IMPERIAL WAR MUSEUM ANNUAL REPORT AND ACCOUNT 2005 - 2006 IMPERIAL WAR MUSEUM ANNUAL REPORT AND ACCOUNT 2005/06 MUSEUMS AND GALLERIES ACT 1992 Presented pursuant to Museums and Galleries Act 1992, c. 44 para 9(8) Ordered by the House of Commons to be printed on 24 July 2006 LONDON: The Stationery Office HC 1513 £16.25 Contents Annual Report 1. Objectives and Activities 1 2. Achievements and Performance 7 3. Plans for Future Periods 21 4. Financial Review 25 5. Structure, Governance and Management 27 6. Reference and Administrative Details of the Charity, 31 the Trustees and Advisors Statement of Internal Control 37 Remuneration Report 40 The Certificate and Report of the Comptroller and 41 Auditor General to the Houses of Parliament Consolidated Summary Income and Expenditure Account 43 Consolidated Statement of Financial Activities 44 Consolidated Balance Sheet 45 Cash Flow Statement 46 Notes to the Financial Statements 47 1. Objectives and Activities 1 IMPERIAL WAR MUSEUM ANNUAL REPORT AND ACCOUNT 2005 - 2006 1.1 Our vision, our goal, our mission Our vision is to be the world’s premier museum of modern conflict. Our goal is to enrich people’s understanding of the causes, course and consequences of modern war. Our mission is to enable people to have an informed understanding of modern war and its impact on individuals and society by: Creating stimulating learning opportunities and inspiring visitor experiences that are relevant to twenty-first century audiences and draw on unique collections and historical expertise. -
S T O R E H O U
13 OPULENT APARTMENTS LOCATED IN THE HEART OF LONDON’S MOST AFFLUENT AND DESIRABLE AREA AN AND STORE HOUSE DEVELOPMENT 13 exquisite one and two-bedroom riverside apartments Located on Cheyne Walk: London’s most prestigious address Part of the Royal Borough of Kensington and Chelsea Striking distance to King’s Road, Sloane Square and Chelsea Embankment Excellent domestic and international transport links AN ULTRA-PRIME LOCATION LONDON LIVING IN A THRIVING SUBURB AVERAGE WALKING TIMES: What you’ll find on Cheyne Walk’s doorstep St Thomas More Gardens: The Ivy Chelsea Gardens: Saatchi Art Gallery: 1 min 9 mins 19 mins IN WALKING The Royal Borough of Kensington and Chelsea is best 9 Chelsea Embankment Gardens: Restaurant Gordon Ramsey: Natural History Museum: DISTANCE 5 min mins 23 mins known for its array of extraordinarily lavish and upmarket establishments. And the area closely surrounding Cheyne Chelsea Psychic Gardens: National Army Museum: Stamford Bridge Stadium: 9 mins 11 mins 23 mins Walk is the epitome of these impressive characteristics. GOING FURTHER AFIELD UTILISING THE AREA’S TRANSPORT LINKS Being interconnected to other areas of the UK, and therefore the rest of the globe, is one of the most desirable traits a location can have as it provides locals with fast- paced and more simplified options when it comes to travel. Chelsea’s nearby ferry terminal, train station, surrounding main roads and proximity to London underground tube stations enable residents to travel with ease to destinations around the UK. KINGS CROSS POINTS OF -
1 the Anatomy of Memory Politics: a Formalist Analysis of Tate Britain's
The Anatomy of Memory Politics: A Formalist Analysis of Tate Britain’s ‘Artist and Empire’ and the Struggle over Britain’s Imperial Past Eric Taylor Woods, 2019 Abstract In this paper, I propose a new approach for understanding the meaning of memory politics, which draws upon the archetypal literary criticism of Northrop Frye. I suggest that the four archetypes elaborated by Frye – comedy, romance, tragedy, and satire – can be used as a heuristic device for interpreting the contested historical narratives that are associated with the politics of memory. I illustrate this approach through a case-study of ‘Artists and Empire: Facing Britain’s Imperial Past’, an exhibition held at Tate Britain in 2016, amidst increasing contestation over the meaning of the British Empire. In sum, I find that the exhibit narrated Britain’s imperial past as a comedy, in which a key theme was the progressive cultural mixing of the British and the people they colonized. To conclude, I discuss the implications of such a narrative for constructing an inclusive, postcolonial British identity. As an alternative, I draw on Aristotle to suggest that a tragic narrative would have been more propitious. Key Words: collective memory; formalism; Northrop Frye; British Empire; national identity; Tate Britain Introduction The past is very much in the present. From slavery in the United States to the "Nanjing Massacre" in China, around the world, struggles over the meaning of the past – the politics of memory – have become increasingly salient. I propose a new approach for understanding this phenomenon, which draws upon the archetypal literary criticism of Northrop Frye (1957). -
Curating Soldier Art Holly Furneaux*, Sue Prichard**
Museum & Society, 13 (4) 447 Contested Objects: Curating Soldier Art Holly Furneaux*, Sue Prichard** ‘all of six years on and off to make the quilt from different uniforms, more than a few pieces from poor fellows that fought hard for their country and fell in the struggle.’ Joseph Rawdon, British soldier in India, 1872 Letter to Mr Bootland of Bradford, quoted by Rae and Tucker 1995: 177. Abstract Joseph Rawdon’s account of his making of a military quilt incorporates an emotional object biography of a kind typically attached to this kind of material. He recalls the long period of production, an investment of physical and emotional labour of a different, but related, order to the effort of his dead colleagues, those ‘poor fellows that fought hard for their country and fell in the struggle’, and whose then surplus uniforms contribute to the fabric of the patchwork. In this co-authored article we draw upon objects like that produced by Rawdon, and the narratives that accompany them, to explore the value and challenges of curating objects produced by soldiers in wartime. Focusing on patchwork produced by Victorian military men, we seek to extend the understanding of trench art, in terms of chronology and form. Existing work on trench art has been almost exclusively directed to the First World War, with a particular emphasis on objects made from weaponry and ammunition, such as shell casing vases. Nicholas Saunders, the leading scholar in this field, gives the following definition: ‘Any object made by soldiers, prisoners of war and civilians, from war material or any other material as long as object and maker are associated in time and space with armed conflict or its consequences’ (2002: 4). -
News Release
News Release CECIL BEATON’S DAZZLING BRIGHT YOUNG THINGS BROUGHT TOGETHER FOR THE FIRST TIME IN MAJOR NEW EXHIBITION Rarely exhibited prints by renowned photographer Cecil Beaton go on display at National Portrait Gallery London L-R: Mrs Freeman-Thomas by Cecil Beaton, 1928. © The Cecil Beaton Studio Archive; Cecil Beaton by Paul Tanqueray, 1937. National Portrait Gallery, London © Estate of Paul Tanqueray; The Bright Young Things at Wilsford by Cecil Beaton, 1927. © The Cecil Beaton Studio Archive. Cecil Beaton’s Bright Young Things National Portrait Gallery, London 12 March – 7 June 2020 Cecil Beaton’s portraits from a golden age are brought together for the first time in a major new exhibition at the National Portrait Gallery, London. Featuring 170 works, many of which are rarely exhibited, Cecil Beaton’s Bright Young Things explores the extravagant world of the glamorous and stylish ‘Bright Young Things’ of the twenties and thirties, seen through the eye of renowned British photographer Cecil Beaton. Through the prism of Beaton’s portraits the exhibition presents the leading cast, to many of whom he would become close, and who in these early years helped refine his remarkable photographic style - artists and friends Rex Whistler and Stephen Tennant, set and costume designer Oliver Messel, composer William Walton, modernist poets Iris Tree and Nancy Cunard, glamorous socialites Edwina Mountbatten and Diana Guinness (née Mitford), actresses and anglophiles Tallulah Bankhead and Anna May Wong, among many others. Brought to vivid life each of them has a story to tell. There are the slightly less well known too – style icons Paula Gellibrand, the Marquesa de Casa Maury and Baba, Princesse de Faucigny-Lucinge, the eccentric composer and aesthete Lord Berners, modernist poet Brian Howard, part model for Brideshead Revisited’s mannered ‘Anthony Blanche’, ballet dancer Tilly Losch and Dolly Wilde Oscar’s equally flamboyant niece. -
Iwm Research Report 2011
IWM RESEARCH REPORT 2011 Contents 1. Introduction and overview 2 2 1.1 Introduction 2 1.2 Overview 3 2. Collaborative Doctoral Awards and PhDs 4 3. Publications 5 3.1 Publications by IWM staff 5 3.2 Media involvement by IWM staff 7 3.3 Expert assistance by IWM staff 9 4. Conferences, lectures, talks and other significant representation 10 2 1. Introduction and overview 1.1. Introduction The Department of Research in 2011 has continued to develop IWM’s longer-term strategies for Research under the guidance of the Research Board. These are still early days, but it is gratifying to note success across a number of fronts. The Department encourages the development of subject expertise across IWM, and fosters the expansion of collections-based research both by IWM staff and by external investigators. A new Research Associates scheme has been successfully launched, and all four of the Collaborative Doctorate Awards applications to the AHRC with which IWM was associated were successful. Eleven IWM staff members have reported 21 publications during the year, with several also making media appearances. 17 staff have given talks and papers, and the Department was represented at various conferences, including the Australian War Memorial’s conference Korea: In from the Cold, a colloquium at the Mémorial de Caen on representations of D Day and a further Federation of International Human Rights Museums (FIHRM) conference at the Museum of Slavery in Liverpool. A very successful ‘Voices of the First World War’ podcast series and an IWM Research Blog have been launched. The Department maintains partnerships and links with universities and other key external relationships, with outcomes including the successful seminar series, Reappraising the First World War, organised in partnership with King’s College London and Queen Mary University of London.