DOCSLIB.ORG

This Is James Gleeson

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Is James Gleeson JAMES GLEESON INTERVIEWS: ELIZABETH VASSILIEFF on DANILA VASSILIEFF 8 & 15 November 1979 JAMES GLEESON: Elizabeth, we‖ve got a great deal to talk about. ELIZABETH VASSILIEFF: Indeed. JAMES GLEESON: When I look at the vast amount of work of Danila‖s. But I thought we might take as a single unit first of all, the group of sculptures that we‖ve got in the collection, and start off with the first one chronologically. That‖s one called the Hanged man. ELIZABETH VASSILIEFF: Yes. JAMES GLEESON: Now, that was made from Lilydale rock. ELIZABETH VASSILIEFF: Marble. JAMES GLEESON: Or marble. It was exhibited in an exhibition at the Tye‖s Gallery, April 5th to the 22nd 1949. ELIZABETH VASSILIEFF: Good. JAMES GLEESON: So it was done prior to that exhibition. ELIZABETH VASSILIEFF: Yes. JAMES GLEESON: You showed me some photographs of Danila working in the quarry. ELIZABETH VASSILIEFF: Indeed. Well, he wasn‖t doing his carving in the quarry. JAMES GLEESON: No. ELIZABETH VASSILIEFF: He was doing his selecting. JAMES GLEESON: Yes. Tell me about Lilydale rock. You told me that it had certain qualities; that it was very hard but very brittle. ELIZABETH VASSILIEFF: Well, there are limestone beds at Lilydale millions of years old, fossil remains of corals and shellfish and tilted up to their present position under tremendous pressure. This, incidentally, was founded in 1878 by the father of Dame Nellie Melba, which is why it is called the Mitchell Quarries. 8 & 15 November 1979 JAMES GLEESON: I see. ELIZABETH VASSILIEFF: And still called the Mitchell Quarries. JAMES GLEESON: Yes, yes. ELIZABETH VASSILIEFF: In her day, all rich people had bathrooms lined with glorious polished slabs of multi-coloured marble from this quarry. JAMES GLEESON: Isn‖t that interesting? ELIZABETH VASSILIEFF: It is remarkable for its variety of colour and graining. JAMES GLEESON: Yes. ELIZABETH VASSILIEFF: Everything from the darkest, richest blacks and greys and yellows and pinks, and everything in between and mixtures of the same. JAMES GLEESON: Yes. ELIZABETH VASSILIEFF: But the great problem as a stone—and it was also used by stonemasons for tombstones. They had to give up using it they told us when Danila and I sought advice on how to deal with it for sculpture, because it was so hard and so brittle that it was uneconomic to use it for those purposes. JAMES GLEESON: Yes. ELIZABETH VASSILIEFF: If it was smartly tapped, it was so brittle that it would open up a seam and fall apart. Then again, the other chief advantage was its hardness. To get a polish on it—and I may say that marble is the name for any limestone that takes a polish. JAMES GLEESON: I see. ELIZABETH VASSILIEFF: To get a polish on it, they had to use tools, abrasive tools, which wore out seven times faster than if they were doing it on granite. JAMES GLEESON: Good gracious. ELIZABETH VASSILIEFF: So it cost them a lot of money to get the surface value of the stone. As well as the fact that it might fall apart because of its hardness and brittleness. JAMES GLEESON: A wrong tap at the wrong place. ELIZABETH VASSILIEFF: A wrong tap at the wrong place. So they stopped using it for those purposes. By the time we found it, looked at it for sculpture, it was being used for nothing but crushing up for road metal. 2 8 & 15 November 1979 JAMES GLEESON: Good heavens. ELIZABETH VASSILIEFF: By the tons and tons and tons. JAMES GLEESON: Yes. ELIZABETH VASSILIEFF: For commercial uses at least a ton of waste would be handed just to get to—oh well, no, no, no. I would say, you know, umpteen tons just to get one ton of usable metal. JAMES GLEESON: Is that so? ELIZABETH VASSILIEFF: Yes. Of course, they‖re huge faces and men get up there, giants of men with tremendous drills and they bring down enormous and they blast enormous falls. Amongst the rocks that fall there are pieces of handable, manageable size. JAMES GLEESON: Yes. ELIZABETH VASSILIEFF: Anything from little pieces a foot square to something, well, more than you and I could lift. JAMES GLEESON: Go on. ELIZABETH VASSILIEFF: Of course, because they have natural seams, they tend to fall into interesting shapes. Normally this heap of interesting shapes is just crushed up by mechanical means and used as road metal. That‖s its main use. Well, for a lot of reasons which I won‖t go into, personal reasons mainly, Danila was depressed because he couldn‖t sell his paintings. JAMES GLEESON: Yes. ELIZABETH VASSILIEFF: He was mad on stone as a material. We were building our own beautiful stone house out of Warrandyte stone on the very land we lived on. JAMES GLEESON: This is Stoneygrad. ELIZABETH VASSILIEFF: Stoneygrad, because we didn‖t have enough money to buy anything else. I said, ―Well, why don‖t you do some sculpture? Let‖s go and get some stone‖. JAMES GLEESON: What year was that? ELIZABETH VASSILIEFF: That would be in 1949. JAMES GLEESON: So his sculpture really began then? 3 8 & 15 November 1979 ELIZABETH VASSILIEFF: We were married in 1947, and for two years he painted like mad, but he couldn‖t sell it. He couldn‖t live on it. He got very depressed about that. So I bought an old Ford utility truck and we went over with this thing and we asked the manager could we please buy some stone. He said, ―Buy it?‖. He said, ―You can cart it away, as much as you can carry‖. JAMES GLEESON: JAMES GLEESON: Good lord. ELIZABETH VASSILIEFF: When we told him we wanted to make sculptures, he thought we were rather dotty. JAMES GLEESON: Yes. ELIZABETH VASSILIEFF: He said, ―Well, I‖d very interested to see the results‖, and he always was interested. But we never could persuade him to buy any, because he didn‖t expect the kind of sculptures that Danila did. But, anyway, Danila battled on. JAMES GLEESON: In this Hanged man, the early ones were all done with hammer and chisel? ELIZABETH VASSILIEFF: That‖s right, yes. JAMES GLEESON: The old method of— ELIZABETH VASSILIEFF: That‖s the only tools he had. JAMES GLEESON: Yes, I see. ELIZABETH VASSILIEFF: This particular Hanged man was a gigantic stone. We had to get several enormous workmen to help us get it on the utility, and several enormous other people to roll it down the hill when we got home. But it was a challenge. He always looked at the shape of the stone first, and somehow saw within it something he could evoke from it. So the stone itself created the idea, and the idea was always something already in his head from his own past life. The image was already half formed in his head. So he then got to work with a hammer and chisel, tap, tap, tap, tap, tapping. I won‖t say that this was the very first one. JAMES GLEESON: No. ELIZABETH VASSILIEFF: This was the first big one and successful one. Because he did a lot of little ones where he learned that it falls apart, you see. JAMES GLEESON: Yes, I see. ELIZABETH VASSILIEFF: But in this one he could see a figure, an image of a man‖s head, a suffering man, a moustachioed man, who was in fact a hanged 4 8 & 15 November 1979 man that his image had remained with him in wartime. I think this man had been a Russian partisan. But, anyway, he typified all the many suffering humans that he had seen in the war as an officer. JAMES GLEESON: I see. This became a real theme for him. ELIZABETH VASSILIEFF: Absolutely. JAMES GLEESON: Because it comes out in the Stenka Razin and the Unknown political prisoner. ELIZABETH VASSILIEFF: Yes, yes. They were not only victims of war, but they very often–almost always–had a Russian cast to their features or their fashions. JAMES GLEESON: I see, yes, yes. ELIZABETH VASSILIEFF: Because that was his imagery. JAMES GLEESON: Yes. ELIZABETH VASSILIEFF: This particular character had a moustache, which was apparently a very usual sort of moustache for officers and Russians in general at this time. Well now, we had to have a lot of experience with the difficulty of the hammer and chisel. It was obvious he needed a tool which would be an abrasive style of thing rather than a tap, tap hammer thing, so that the material wouldn‖t be liable to shatter. So I went and bought him, with his direction, what he wanted, because I was the only wage earner. I was working at the university as a tutor, adult education. He had no income whatsoever from any source and no patrons whatsoever. So it was hard for us to buy this thing. Anyway, we went and got I forget how many horsepower or parts of a horsepower the machine was, with a long flexible cable and an end to which we attached circular abrasive wheels. JAMES GLEESON: So you ground out the form? ELIZABETH VASSILIEFF: Carborundums. Carborundums. JAMES GLEESON: I see. ELIZABETH VASSILIEFF: We then had to find a cheap way to get hold of carborundums, because it‖s not just a matter of getting one. You have to start with a coarse one and then work down through the finer and finer grades. JAMES GLEESON: I see, yes, yes. ELIZABETH VASSILIEFF: So, to our great delight, we found a foundry owner named Vassilieff, a Russian born gentleman, with a business in some part of St Kilda area.
Load more

Recommended publications
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • The Inextricable Link Between Literature and Music in 19Th
    COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57
    [Show full text]
  • Symphony Hall, Boston Huntington and Massachusetts Avenues
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 m INC. PIERRE MONTEUX, Conductor FORTY-SECOND SEASON, 1922-1923 WITH HISTORICAL AND DESCRIPTIVE * NOTES BY PHILIP HALE COPYRIGHT, 1922, BY BOSTON 8YMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice-President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 205 "CHE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt at his Steinway and convenience a Steinway can be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. Prices: $875 and up. Convenient terms. Used pianos taken in exchange. 5' HI N VV A' Y & S'l ) NS STEil N VV K Y S IALL ; 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED BY THE FOREMOST DEALERS EVERYWHERE 206 lostosa Symplhoinr Foity-second Season, 1922-1923 PIERRE MONTEUX, Conductor \k Violins.
    [Show full text]
  • Sidney Nolan's Ned Kelly
    Sidney Nolan's Ned Kelly The Ned Kelly paintings in the National Gallery of Australia With essays by Murray Bail and Andrew Sayers City Gallery_JWELLINGTON australia Te \Vliare Toi ■ national gallery of 7 © National Gallery of Australia 2002 Cataloguing-in-publication data This publication accompanies the exhibition Copyright of texts remains SIDNEY NOLAN'S NED KELLY SERIES with the authors Nolan, Sidney, Sir, 1917-1992. City Gallery Wellington, New Zealand Sidney Nolan's Ned Kelly: the Ned Kelly 22 February-19 May 2002 All rights reserved. No part of this publication paintings in the National Gallery of Australia. Part of the New Zealand Festival 2002 may be reproduced or transmitted in any form or by any means, electronic or Bibliography. mechanical, including photocopying, ISBN O 642 54195 7. Presented by recording or any information storage and retrieval system, without permission 1. Kelly, Ned, 1855-1880 - Portraits - Exhibitions. in writing from the publisher. 2. Nolan, Sidney, Sir, 1917-1992 - Exhibitions. EllERNST & YOUNG 3. National Gallery of Australia - Exhibitions. Co-published by the 4. Painting, Modern - 20th century - National Gallery of Australia, Canberra Australia - Exhibitions. 5. Painting, RUSSELL M�VEAGH and City Gallery Wellington, New Zealand Australian - 20th century - Exhibitions. I. Bail, Murray, 1941- . II. Sayers, Andrew. Produced by the Publications Department III. National Gallery of Australia. IV. Title. of the National Gallery of Australia Tele�erm NEW ZEALAND Designer Kirsty Morrison 759.994 Editor Karen
    [Show full text]
  • In the Lands of the Romanovs: an Annotated Bibliography of First-Hand English-Language Accounts of the Russian Empire
    ANTHONY CROSS In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of The Russian Empire (1613-1917) OpenBook Publishers To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/268 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. In the Lands of the Romanovs An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917) Anthony Cross http://www.openbookpublishers.com © 2014 Anthony Cross The text of this book is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt it and to make commercial use of it providing that attribution is made to the author (but not in any way that suggests that he endorses you or your use of the work). Attribution should include the following information: Cross, Anthony, In the Land of the Romanovs: An Annotated Bibliography of First-hand English-language Accounts of the Russian Empire (1613-1917), Cambridge, UK: Open Book Publishers, 2014. http://dx.doi.org/10.11647/ OBP.0042 Please see the list of illustrations for attribution relating to individual images. Every effort has been made to identify and contact copyright holders and any omissions or errors will be corrected if notification is made to the publisher. As for the rights of the images from Wikimedia Commons, please refer to the Wikimedia website (for each image, the link to the relevant page can be found in the list of illustrations).
    [Show full text]
  • Affairs of the Art Inside Heide, the Creative Crucible That Transformed Australia’S Cultural Landscape
    Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip APRIL 9-10 2016 Affairs of the art Inside Heide, the creative crucible that transformed Australia’s cultural landscape DESTINATION EUROPE WINE DINING GLORIA STEINEM TOP CHATEAUS, BEST MAX ALLEN ON THE FEMINISM, POLITICS AND VILLAGES, SUPER DEALS NEW BREED OF BAR A LIFE ON THE ROAD TRAVEL & INDULGENCE LIFE REVIEW V1 - AUSE01Z01AR Copyright Agency Limited (CAL) licenced copy Page 1 of 6 AUS: 1300 1 SLICE NZ: 0800 1 SLICE [email protected] Ref: 573001374 Weekend Australian Saturday 9/04/2016 Page: 1 Section: Review Region: Australia, AU Circulation: 225206 Type: National Size: 2,416.00 sq.cms. press clip THE ROARING 40S support and collect. After the Angry Penguins Art historian Richard Haese, whose 1981 study of Heide was seminal in establishing their put down their fertile intellectual and personal relationships in the public imagination — his book’s title, Rebels and roots in staid, stolid Precursors, was taken from a 1962 Heide group exhibition of the same name at the National Melbourne, the art world Gallery of Victoria — says their influence has been profound. “They’re immensely import- in Australia would never ant,” he says. “The Angry Penguin artists have retained a central position in Australian art and be quite the same again, our perception of Australian art is based on these artists. it FionaFi G rub er Haese points out how their work forms part writes of a broader grouping: “Alongside the artists you have the supporters and champions, writ- ow you experience Heide depends ers, poets and jazz musicians.” There have been on where you park.
    [Show full text]
  • European Influences in the Fine Arts: Melbourne 1940-1960
    INTERSECTING CULTURES European Influences in the Fine Arts: Melbourne 1940-1960 Sheridan Palmer Bull Submitted in total fulfilment of the requirements of the degree ofDoctor ofPhilosophy December 2004 School of Art History, Cinema, Classics and Archaeology and The Australian Centre The University ofMelbourne Produced on acid-free paper. Abstract The development of modern European scholarship and art, more marked.in Austria and Germany, had produced by the early part of the twentieth century challenging innovations in art and the principles of art historical scholarship. Art history, in its quest to explicate the connections between art and mind, time and place, became a discipline that combined or connected various fields of enquiry to other historical moments. Hitler's accession to power in 1933 resulted in a major diaspora of Europeans, mostly German Jews, and one of the most critical dispersions of intellectuals ever recorded. Their relocation to many western countries, including Australia, resulted in major intellectual and cultural developments within those societies. By investigating selected case studies, this research illuminates the important contributions made by these individuals to the academic and cultural studies in Melbourne. Dr Ursula Hoff, a German art scholar, exiled from Hamburg, arrived in Melbourne via London in December 1939. After a brief period as a secretary at the Women's College at the University of Melbourne, she became the first qualified art historian to work within an Australian state gallery as well as one of the foundation lecturers at the School of Fine Arts at the University of Melbourne. While her legacy at the National Gallery of Victoria rests mostly on an internationally recognised Department of Prints and Drawings, her concern and dedication extended to the Gallery as a whole.
    [Show full text]
  • Annual Report 2011–12 Annual Report 2011–12 the National Gallery of Australia Is a Commonwealth (Cover) Authority Established Under the National Gallery Act 1975
    ANNUAL REPORT 2011–12 ANNUAL REPORT 2011–12 The National Gallery of Australia is a Commonwealth (cover) authority established under the National Gallery Act 1975. Henri Matisse Oceania, the sea (Océanie, la mer) 1946 The vision of the National Gallery of Australia is the screenprint on linen cultural enrichment of all Australians through access 172 x 385.4 cm to their national art gallery, the quality of the national National Gallery of Australia, Canberra collection, the exceptional displays, exhibitions and gift of Tim Fairfax AM, 2012 programs, and the professionalism of our staff. The Gallery’s governing body, the Council of the National Gallery of Australia, has expertise in arts administration, corporate governance, administration and financial and business management. In 2011–12, the National Gallery of Australia received an appropriation from the Australian Government totalling $48.828 million (including an equity injection of $16.219 million for development of the national collection), raised $13.811 million, and employed 250 full-time equivalent staff. © National Gallery of Australia 2012 ISSN 1323 5192 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Produced by the Publishing Department of the National Gallery of Australia Edited by Eric Meredith Designed by Susannah Luddy Printed by New Millennium National Gallery of Australia GPO Box 1150 Canberra ACT 2601 nga.gov.au/AboutUs/Reports 30 September 2012 The Hon Simon Crean MP Minister for the Arts Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s Annual Report covering the period 1 July 2011 to 30 June 2012.
    [Show full text]
  • Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria
    HEIDE EDUCATION RESOURCE Albert Tucker Born: 29 December 1914 Melbourne, Victoria Died: 23 October 1999 Melbourne, Victoria Albert Tucker on the roof of the Chelsea Hotel, New York, 1967 Photograph: Richard Crichton This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means. For personal use only – do not store, copy or distribute Page 1 of 20 HEIDE EDUCATION RESOURCE Albert Tucker is known as one of Australia’s foremost artists and as a key figure in the development of Australian modernism in Melbourne. Primarily a figurative painter, his works responded to the world around him and his own life experiences, and they often reflected critically on society. During his career he played an active role in art politics, particularly in the 1940s, writing influential articles about the direction of art in Australia. He also held prominent positions within the art community, including President of the Contemporary Art Society in the late 1940s and again in the 1960s. Tucker grew up during the Depression and began his career as a young artist in the late 1930s, in the years leading up to the outbreak of World War II. At this time, his world was defined by financial insecurity, social inequality and war, and these concerns became the catalyst for much of his painting.
    [Show full text]
  • The Artist's Frame for a Work on Paper
    A fragile connection: the artist’s frame for a work on paper Louise Bradley ABSTRACT A frame and the artwork it encloses have a fragile connection. A frame is easily removed from the artwork and once removed may be discarded and information attached to that frame or the backing board may also be lost. Especially fragile in their connection are frames designed and made by artists for their own work. Some Australian modern artists made their own frames by hand from found materials or timber from the hardware store. These frames can have a very handmade, or rough, appearance that can jar visually with the aesthetic of a seamless white gallery space. What do we lose when these frames are removed? Should we preserve an artist’s frame if the frame is removed because storage concerns are paramount? In this paper I will focus on two Australian modern artists and their frame choices and offer a few solutions for the preservation of artist’s frames. Keywords Picture frame, Danila Vassilieff, Mike Brown, Peter Tyndall INTRODUCTION is an important consideration. The quality of mounting and hinging are sometimes lacking in high turnover commercial A picture frame protects an artwork but it is also a piece of framing, so the deframing and remounting of a work on paper decorative art in its own right. It may also carry information when it enters a museum collection may be necessary for about the enclosed artwork. Unfortunately a frame and the the longevity of the artwork. Deframing though cuts the artwork it encloses have a fragile connection.
    [Show full text]
  • An Investigation of the Role of Place and Identity in Artistic Thought and Practice
    Placing identity, identifying place: An investigation of the role of place and identity in artistic thought and practice. Shelley Margaret Hannigan BFA (Painting), Graduate diploma (Teaching), MEd (Creative arts therapies) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of Music Shelley Hannigan, PhD Abstract This thesis explores the phenomena of place and identity in the visual artistic practices of four artists and myself. Using narrative case study and autoethnography, three research questions were investigated and answered: 1. What can be understood about each artist’s account of place and identity? 2. How do the artists encounter, use, or draw on, themes of place and identity in their creative practice, products, and thinking? 3. In what ways do the artists’ places influence their constructions of identity? Methods and techniques used to investigate these questions were interview, observation and artefact analysis. Hermeneutic philosophy was compatible with the investigation of individual insights and experiences of five artists due to its focus on the interpretation of verbal and non-verbal communication. Methodologies of qualitative narrative research were used to foreground artists’ explanations and interpretations of their own artworks and encourage storying of themselves. I investigated my own place, identity and artistic practice through autoethnography. Heidegger’s contribution to place philosophy is discussed as this along with other theories contributed to notions of place as experience. Notions of space and place are reviewed that include historical developments such the spatial turn. This turn challenged the way space and place were understood within disciplines and inspired a turn toward more interdisciplinary understandings of place and space.
    [Show full text]
  • May, 1952 TABLE of CONTENTS
    111 AJ( 1 ~ toa TlE PIANO STYI2 OF AAURICE RAVEL THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Jack Lundy Roberts, B. I, Fort Worth, Texas May, 1952 TABLE OF CONTENTS LIST OFLLUSTRTIONS. Chapter I. THE DEVELOPMENT OF PIANO STYLE ... II. RAVEL'S MUSICAL STYLE .. # . , 7 Melody Harmony Rhythm III INFLUENCES ON RAVEL'S EIANO WORKS . 67 APPENDIX . .* . *. * .83 BTBLIO'RAWp . * *.. * . *85 iii LIST OF ILLUSTRATIONS Figure Page 1. Jeux d'Eau, mm. 1-3 . .0 15 2. Le Paon (Histoires Naturelles), mm. la-3 .r . -* - -* . 16 3. Le Paon (Histoires Naturelles), 3 a. « . a. 17 4. Ondine (Gaspard de a Nuit), m. 1 . .... 18 5. Ondine (Gaspard de la Nuit), m. 90 . 19 6. Sonatine, first movement, nm. 1-3 . 21 7. Sonatine, second movement, 22: 8. Sonatine, third movement, m m . 3 7 -3 8 . ,- . 23 9. Sainte, umi. 23-25 . * * . .. 25 10. Concerto in G, second movement, 25 11. _Asi~e (Shehdrazade ), mm. 6-7 ... 26 12. Menuet (Le Tombeau de Coupe rin), 27 13. Asie (Sh6hlrazade), mm. 18-22 . .. 28 14. Alborada del Gracioso (Miroirs), mm. 43%. * . 8 28 15. Concerto for the Left Hand, mii 2T-b3 . *. 7-. * * * .* . ., . 29 16. Nahandove (Chansons Madecasses), 1.Snat ,-5 . * . .o .t * * * . 30 17. Sonat ine, first movement, mm. 1-3 . 31 iv Figure Page 18. Laideronnette, Imperatrice des l~~e),i.......... Pagodtes (jMa TV . 31 19. Saint, mm. 4-6 « . , . ,. 32 20. Ondine (caspard de la Nuit), in. 67 .. .4 33 21.
    [Show full text]