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The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years
THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24 -
Class 10: Between Reason and Romance
Class 10: Between Reason and Romance A. William Blake and the Crisis of Faith 1. Title Slide 1 (Blake: Newton) 2. Phillips: William Blake (1807, London, National Portrait Gallery) I have shown pictures before by William Blake (1757–1827)—his Ezekiel in last week’s class, for instance. He keeps on cropping up whenever you look at the turn of the Eighteenth and Nineteenth Centuries, the passage from Reason to Romance. And yet he is difficult to fit into any continuity before or after: a maverick, a genius, a mystic, or simply a madman. I struggled a lot with the shape of today’s class, until I realize that it was this quality—Blake’s refusal to fit in—that made him such a perfect entry into what appears to have been a very troubled time. 3. Blake: “The Lamb,” video reading 4. Blake: “The Lamb” (1789, Library of Congress) Blake was a Christian—or at least he began as one. When looking at his early poetry collection, Songs of Innocence (1789), we might think of his faith as rather simplistic, as exemplified, for instance, in his poem “The Lamb.” The images in this video enhance the poem’s apparent naiveté, though hardly any more than Blake’s own hand-tinted engraving. Blake apprenticed as an engraver before studying at the Royal Academy; his work as a poet is entirely that of an amateur, though he published his poetry and art together as integrated artwork. 5. Blake: “The Tyger,” video reading by Tom O’Bedlam 6. Blake: “The Tyger,” detail (1795, British Museum) Blake followed up Songs of Innocence in 1794 with Songs of Experience, in which the naïve images are replaced by altogether more disturbing ones. -
The Art of Horticulture II: the Use of Plants in and As Art Hort 203
The Art of Horticulture II: The Use of Plants in and as Art Hort 203 Instructor: Marcia Eames-Sheavly 169 Plant Science Building 607-255-1781 [email protected] Horton Lab, Ken Post Labs Time: Tuesdays, 1:25 – 4:25 p.m. Course website: hort.cornell.edu/art 2 credits Code of Academic Integrity: You should be familiar with Cornell’s Code which may be found at http://cuinfo.cornell.edu/Academic/AIC.html. You are responsible for knowing and complying with the code. Office hours Tuesdays, 8:30 – 11:30, by appointment, in 15B Plant Science Other times as arranged. I am not in the office Wednesdays. Rationale As part of a Hort 201-203 sequence, this experiential course will focus on plant materials that are used to create art, or that are manipulated into pieces of art. It will acquaint students with a range of topics such as the use of plants in fibers and dyes, floral design, and living sculpture practices such as topiary, the woven branch, turfworks, tree sculpture and bonsai. Students will create a final project focused on these or related methods. Taking this course will also provide students with a unique chance to view science from a very different perspective. Creativity is the cornerstone of advancement in science. Exploring the relationship between art and science can foster an understanding of principles of design and presentation in living forms. Exploring the art of horticulture will help students view plant forms through a unique lens. Who should take the course? Given that we define horticulture as both the “art and science of growing plants,” the course would provide horticulture and plant science majors with a context for the aesthetic aspects of the discipline. -
Espaliers1 Sydney Park Brown, Thomas H
CIR627 Espaliers1 Sydney Park Brown, Thomas H. Yeager, and Robert J. Black2 espaliers are used mostly for decorative accents in the landscape. An espalier is a living sculpture in the garden and is especially effective against a blank wall as an alternative to a monotonous row of shrubs. An espalier is also a good choice for a narrow area where spreading shrubs or trees cannot be easily maintained. With landscape spaces becom- ing smaller around homes, an espaliered plant may have considerable appeal. From Ornamentals to Espaliers Almost any plant can be espaliered by continually directing growth along a flat plane and removing growth in unde- sired directions. Some plants are particularly suitable as Figure 1. Espaliered pear tree (Pyrus communis), in the garden of the Cloisters in upper Manhattan. espaliers, especially ones that produce many flexible lateral Credits: © 2004 Matthew Trump, CC BY-SA 3.0 branches and attractive flowers, fruit, foliage, and/or bark. The plants listed in Tables 1–3 are only suggestions and are An “espalier,” (pronounced “es-PAL-yer” or “es-pal-YAY”) not intended to be inclusive. Other plants are worth trying is any plant trained to grow in a flat plane against a wall, and may prove to be equal to, if not better than, those listed. fence, or trellis. The word espalier also may be used to describe the technique of training a plant to this flat plane. Selecting an Espalier Pattern The Romans originated the technique, but later generations The choice of a pattern for an espalier greatly influences of Europeans refined it into an exacting but rewarding art. -
Lintons Summer '07
Leafl et Order fresh fl orals 24/7 at lintons.com Summer Edition 2007 • Vol. 13/Issue 2 Garden Centre • Floral & Interior Décor Shoppe • Landscaping • Lawn Care • Nursery Plant An Evening Garden colored fence, house or statue, like light Foliage color and texture can also play By Laura Sherman pink or light blue. a wonderful role in the garden. Hosta, You have worked all day and now you sun-loving Hosta, Caryopteris, Golden would like to sit outside and relax. Perennials usually only bloom once a Barberry, Artemisia, Dusty Miller However, itʼs dark in the garden and year so choose a variety of plants that Coleus, Lemon Daddy Hydrangea and there is no view to really look at. I have different blooming seasons. Marguerite Sweet Potato vine are just would like to give you some ideas for some of the many choices that you can planning an evening garden. Some white fl ower choices are Babyʼs fi nd at Lintonʼs Garden Centre. Breath, Shasta Daisy, Bleeding Heart, Colors are important for your evening Garden Phlox, Hydrangea, Alyssum, At Lintonʼs Garden Centre our garden. Dark colors such as purple and Impatiens, Petunias and Geraniums. knowledgeable staff is happy to help you deep blue would be lost in the evening. plan your evening garden. Now there is Light colors take on a luminescent Some yellows or cream colors no reason, not to enjoy your garden no quality in the evening. White, cream, or are Coreopsis Columbine, Mums, matter what time of day it is. yellow would show up in a dark space. -
Samuel Palmer Trail Leaflet
Samuel Palmer (1805 – 1881) was a WALK DIRECTIONS British artist most celebrated for the work he produced while living in Shoreham in 1. From Shoreham station, make your way down to the village. the Darent Valley in Kent. Turn right out of the station and walk down Station Road, passing the golf course on your left. Follow the road around to your right and you will see the church in the corner opposite the pub. There is no pavement from the station to the village so please take extra care when walking along the road edge. 2. From the church, turn right and walk down Church Street. Shortly after the pub on the corner, you will find Ivy Cottage on your right. 3. Continue down Church Street until you reach the bridge over the River Darent. Pause before the bridge at the junction with Cornfield by Moonlight © The Trustees of the British Museum. Shared under a Creative Commons Darenth Way. Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) licence. 4. Turn right along Darenth Way (do not cross the bridge), following the Darent Valley Path. Walk towards a large white straight up the hill. Look out for ancient oaks on your right house (Water House) with a plaque on the left-hand side of after about 20 metres. the wall. 12. Before getting to some agricultural buildings, take a sharp 5. Follow the small lane to the left of Water House and pause at left turn along a path through a hazel grove. Follow this the green. -
Espalier Fruit Trees for Wall, Hedge, and Pergola: Installation . Shaping . Care Free
FREE ESPALIER FRUIT TREES FOR WALL, HEDGE, AND PERGOLA: INSTALLATION . SHAPING . CARE PDF Karl Pieber,Peter Modl | 160 pages | 01 Jun 2014 | Schiffer Publishing Ltd | 9780764344886 | English | Atglen, United States How to Espalier Fruit Trees - Stark Bro's The art of espalier is all about selectively pruning and training to a desired shape. Follow these steps and learn how to espalier fruit trees. A growing legacy since For over years, Stark Bro's has helped people around America provide Hedge home-grown food for their families. We love to keep in touch with our customers and Espalier Fruit Trees for Wall about what's happening each season at Stark Bro's. Follow us on Espalier Fruit Trees for Wall favorite social networks and share what you grow! You'll find answers to many questions on our FAQ page. If you need further assistance, we're always eager to help. Contact Us Featured Item. Featured Article. Adding Fruit to Your Homestead For over years, Stark Bro's And Pergola: Installation. Shaping. Care has been helping homesteaders across America live more self-sufficient lifestyles. As the oldest continually operating nursery in the country, we've curated a time- tested collection of over unique varieties of fruit trees, nut trees and berry plants. This will prevent many features on our site from working as expected. You can enable JavaScript in the settings of your web browser. The origins of espalier Espalier is the ancient horticultural art of pruning and training a tree or shrub to grow flat against a support, creating a living sculpture. -
British Neo-Romanticism 10 June – 24 September 2017
PRESS RELEASE 2017 A Different Light: British Neo-Romanticism 10 June – 24 September 2017 In summer 2017, Pallant House Gallery will present an exhibition on British Neo-Romanticism, exploring the lyrical, mystical and often poetic work of a group of young artists during and just after the Second World War. This exhibition explores the personal and artistic journeys taken by Paul Nash, John Piper, Graham Sutherland, Prunella Clough, Robert Colquhoun, John Craxton, , Robert MacBryde, and Keith Vaughan. The display draws from Pallant House Gallery’s permanent collection of 20th century Modern British art and coincides with a major exhibition on John Minton, a contemporary and friend to many of these artists . The term ‘Neo-Romanticism’ was first used in the early 1940s to loosely define the work of a group of artists who had a personal and often poetical identification with nature. Although never an organised movement there was a shared interest in the work of Romantic British visionaries such as William Blake (1757 – 1827) and Samuel Palmer (1805 – 1881) especially amongst the older generation of artists; Paul Nash (1889 – 1946), Graham Sutherland (1903 – 1980) and John Piper (1903 – 1992). Along with a number of younger artists including John Craxton (1922 – 2009) and Keith Vaughan (1912 – 1977) they also responded to the work of modern European art movements such as Cubism and Surrealism. Graham Sutherland, Two Trees, 1947, Ink and wash with black chalk on paper, Pallant House Gallery, Chichester During the long, culturally isolated years of the Second (Hussey Bequest, Chichester District Council, 1985) © The World War, these artists drew inspiration from a estate of Graham Sutherland romantic spirit found within British art. -
Von Analogen Und Digitalen Zugängen Zur Kunst – Festschrift Für Hubertus Kohle Zum 60
Samuel Palmer and German Art William Vaughan Abstract The striking imagery and style of the early landscapes of Samuel Palmer stand out in the history of British art for their unusual character. At the same time, it has often been remarked that this work, particularly its so-called “visionary“ nature, has affinities with some landscapes produced at the time in Germany, particularly those of Caspar David Friedrich. The possibility of any connection between the two is so remote that it can almost certainly be ruled out. On the other hand, it can be shown that Palmer had an interest in certain aspects of German art, both historical and contemporary. This article explores those interests and considers the extent that these supported the way in which he developed his unique approach to art. Keywords British Art, German Art, Anglo-German relations, Romanticism, Landscape, Samuel Palmer, William Blake, Albrecht Dürer, Carl Wilhelm Kolbe, Nazarenes. Introduction approach to landscape and that of certain German con- Samuel Palmer’s remarkable early pictures, created temporaries, most notably Caspar David Friedrich. Like between 1825 and 1835, stand out in the tradition of Friedrich, Palmer promoted the inner vision in approach- English landscape painting. Their radical primitivism ing landscape (Figs. 2, 3). makes them some of the most innovative and original of There are also some visual affinities, particularly in the period – rivalled in this respect only by the most ex- the use of silhouettes and lighting affects, and in a radi- perimental work of J.M.W. Turner. They are furthermore cal approach to spatial design. -
The Romantic Age of English Painting
The Romantic Age • The Romantic period started in the eighteenth century but was at its peak between 1800 and 1850. Among the greatest Romantic painters were Henry Fuseli (1741-1825), JMW Turner (1775-1851), John Constable (1776-1837), and overseas, Francisco Goya (1746-1828), Caspar David Friedrich (1774-1840), Theodore Gericault (1791-1824) and Eugene Delacroix (1798-63). • The Romantic movement can be seen as a way of liberating human personality from the limitations of social convention and social morality. ‘Man is born free and everywhere is in chains’–Jean-Jacques Rousseau (1712-1778). He later stated during a controversial essay that ‘Man is naturally good, and only by institutions is he made bad’. However, ‘The Social Contract’ was even more dangerous for it advocated democracy and denied the divine right of kings: thus bringing Rousseau a storm of social condemnation. Romantics: • Value emotions. Romanticism regards intense emotions as providing an authentic source of aesthetic experience and social validity. This included emotions such as horror and awe which were associated with a new aesthetic category, the sublime. React against reason and the ‘Age of Enlightenment’ with its assumption that all problems can be solved through the application of reason. Romanticism also created and valued childhood as an age of innocence whereas previously children were simply young adults who had not yet grown up. • Value nature. William Wordsworth and Samuel Taylor Coleridge presented poetry as an expression of personal experience filtered through an individual’s emotion and imagination. They believed the truest experience was to be found in nature and the sublime strengthened this through an appeal to the wilder aspects of nature where the sublime could be experienced directly. -
Diploma Lecture Series 2011 Art and Australia Ll: European Preludes and Parallels
Diploma Lecture Series 2011 Art and Australia ll: European Preludes and Parallels The endurance of Romanticism Barry Pearce 26 / 27 October 2011 Lecture summary: Although Romanticism is more a state of mind than an art movement, certain paradigms of Romantic landscape painting from the early 19th century are essential to our understanding of the term in the context of European cultural history. Three artists in particular - Caspar David Friedrich, Samuel Palmer and J. M. W. Turner - produced images that have an uncanny resonance with how the the work of three Australians blossomed in the second half of the 20th century: Rick Amor, William Robinson and Lloyd Rees respectively. The Romantic impulse, that complex phenomenon with elusive boundaries treated warily by most art historians, may be seen here alive in our time within the Australian vernacular, and destined to continue. Recommended reading: Gavin Fry Rick Amor Beagle Press 2008; Lynne Sear (ed) Darkness & Light: the art of William Robinson Queensland Art Gallery 2001; Lloyd Rees/Renee Free Lloyd Rees: an artist remembers Craftsman House 1987; Andreas C. Papadakis (ed) The new Romantics Art & Design (London) 1988. William Robinson: The Transfigured Landscape (2011) Hart, Deborah. UT & Piper Press Barry Pearce Slide list: Introduction 1. Caspar David Friedrich 1774-1840 Wreck in the moonlight 1835 Nationalgalerie Berlin 2. J. M. W. Turner 1775-1851 A mountain scene, Val d’Aosta c.1835 NGV 3. Samuel Palmer 1805-81 A hilly scene c.1824-26 Tate, London 4. Ferdinand Hodler 1853-1918 The Dents Blanches near Champéry 1916 Winterthur, Switzerland Rick Amor b.1948 5. -
{PDF EPUB} How to Grow a Chair the Art of Tree Trunk Topiary by Richard Reames How to Grow a Chair: an Interview with Richard Reames
Read Ebook {PDF EPUB} How to Grow a Chair The Art of Tree Trunk Topiary by Richard Reames How To Grow A Chair: An Interview with Richard Reames. Using ancient grafting techniques and a few basic tools, Richard Reames shapes living trees into furniture and sculpture near his home in Oregon for clients worldwide. He is the author of two self-published books, How to Grow a Chair: The Art of Tree Trunk Topiary with Barbara Delbol, and Arborsculpture: Solutions for a Small Planet, published in June. His work was on display this summer at the World Expo in Aichi, Japan. Joshua Foer spoke to Reames in July 2005 by telephone. richard reames: arborsculpture. ‘I coined the word arborsculpture in 1995 because no single word had been used to recognize this unique art form. a branch of topiary with the potential to savethe environment. there are other words and terms that are used to describe this art. pleaching, permaculture, tree trunk topiary, botanical art, botanical architecture, biotechture, living art, visionary art, and really weird. the difference between my work and that of other topiary artists is that I work with the inside of a tree, from the trunk while most other topiaries are formed from the outside. I love being outside all day, I like experimenting, and I feel that I am perpetuating a remarkable art, one that might some day flourish and produce the most environmentally sensitive houses you could imagine.’ – richard reames. Growing Furniture. Train and graft a tree for half a dozen years or so and you have strong, local, one piece (tree) furniture.