DOCSLIB.ORG

Establishing Tate Modern: Vision and Patronage

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Establishing Tate Modern: Vision and Patronage Establishing Tate Modern: Vision and Patronage The London School of Economics and Political Science Establishing Tate Modern: Vision and Patronage Caroline Donnellan A thesis submitted to the Department of Sociology at the London School of Economics for the degree of Doctor of Philosophy, London, July 2013 1 Establishing Tate Modern: Vision and Patronage Declaration I certify that the thesis I have presented for examination for the Ph.D. degree of the London School of Economics and Political Science is solely my own work, other than where I have clearly indicated that it is the work of others, in which case the extent of any work carried out jointly by me and any other person is clearly identified in it. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. 2 Establishing Tate Modern: Vision and Patronage Abstract Tate Modern has attracted significant academic interest aimed at analysing its cultural and urban regeneration impact. Yet there exists no research which provides an in-depth and contextual framework examining how Tate Modern was established, nor is there a study which assesses critically the development of Tate’s collection of international modern and contemporary art. Why is this important? It is relevant because a historic conflict of interests developed within the Tate’s founding organisation which was reluctant to host it. The outcome was that gaps were created in the original National Modern Foreign Collection, which had to be later compensated for within the spaces of Tate Modern. Furthermore, Tate Modern was established by the Tate, in place of a London or national government. Manoeuvring to the position of civic patron was a long process for the Tate, which had been affected by changing political and cultural circumstances. From the organisation’s inception, a complex model of public and private vision and patronage emerged, which was impeded by conflicting national and international agendas. Modernisation and modernity impacted on the organisation through political and cultural necessity, forcing it to adjust to the new social climate. However, the underlying theme in the Tate’s development has been the relationship between culture and commerce. These are the reasons why this thesis examines how Tate Modern was established in the particular way that it was, and why it was re-imagined as a distinct kind of museum of modern art in London, and one that was relevant for the new millennium. 3 Establishing Tate Modern: Vision and Patronage Acknowledgements The topic of Ph.D. research began when Professor Robert Tavernor, Cities Programme, London School of Economics and Political Science, and Dr Victoria Walsh of Tate Britain made a joint application to the Arts and Humanities Research Council, for the funding of collaborative research studentships. The outcome was that two grants were awarded: Establishing Tate Modern: Vision and Patronage, and Establishing Tate Modern: The Cultural Quarter. During the research period for this thesis — Establishing Tate Modern: Vision and Patronage — I have received the utmost attention in my supervisions from both supervisors. Professor Tavernor has given my work meticulous consideration concerning the aims and objectives of the Ph.D., by reading the various drafts from beginning to end. Dr Walsh has also spent considerable time in her direction, with her extensive knowledge of the Tate. I am extremely grateful to both of them for their professional direction and expertise, as well as support and encouragement throughout this Ph.D. 4 Establishing Tate Modern: Vision and Patronage Table of Contents Title Page 1 Declaration 2 Abstract 3 Acknowledgements 4 Table of Contents 5 Chapter 1. Introduction 8 Background 8 Case Study Method 10 Thesis Structure 12 Cultural Policy: Museums and Galleries 14 Impact on the Tate Gallery 17 The Tate Gallery of Modern Art: A Civic Vision 21 Literature Review 25 Central, London and Local Government Publications 27 Cultural Policy and Economics Publications 33 Art History Publications 39 Tate Gallery and Related Publications 41 Museology and Theory Publications 44 Branding and Marketing Publications 51 Chapter Synopsis 55 Chapter 2. Creating the Tate 58 The Museums Act (1845) 58 Henry Tate’s Enterprise 62 Creating the National Gallery of British Art 64 A Nineteenth-Century Model of Partnership 66 Building the Urban Vision 67 Developing the Organisation 70 The Hugh Lane Bequest 73 Trustees and Funding 76 National Gallery Millbank 78 The Modern Foreign Art Galleries 79 Rejecting Matisse, Rejecting Modernism 80 Traditionalism and Modernism 82 London and New York 85 Arts Council of Great Britain 89 The Festival of Britain 92 The National Gallery and Tate Gallery Act (1954) 94 The State and the Arts 97 5 Establishing Tate Modern: Vision and Patronage The Modern Museum of Art as Spectacle 98 Chapter 3. Towards Tate Modern 101 New Government, New Tate Gallery 102 Patron: Industry Supports the Arts 106 Neue Nationalgalerie, Berlin 108 ‘The Bricks’ 115 Centre National d’Art et de Culture Georges Pompidou, Paris 116 A GLC Lottery 118 The Arts: the Way Forward 119 Action for Cities: the Tate Gallery Liverpool 123 Tate Prize, Turner Prize 127 Partnership: Making Arts Money Work Harder 128 Grasping the Nettle 129 Chapter 4. Vision and Concept 132 The Tate Gallery St Ives 136 Defining the Vision 137 Operation Moby Dick 141 Site Proposals 142 Tate Canary Wharf 144 Tate Vauxhall 144 Tate South Bank 146 Tate Greenwich 146 Tate Bankside 148 Selling Bankside 151 Purchase and Consultation 153 Creating the Brief, Completing the Vision 155 Chapter 5. Patronage and Funding 158 Funding Strategy 158 Buying Bankside 161 Quantifiable Evidence 163 The National Lottery 165 English Partnerships 167 Southwark Station 170 Branding Tate 173 The Tate Gallery of Modern Art Becomes Tate Modern 175 The Change Management Programme 178 Chapter 6. Competition and Building 182 Researching the Process 183 Architecture Competition Reception 186 6 Establishing Tate Modern: Vision and Patronage The Tate Gallery of Modern Art Assessors 189 Architecture Competition 190 Shortlisted Designs 191 Architect’s Vision 193 Millennium Bridge 202 Chapter 7. Conclusion 205 The Final Analysis 205 Communicating Change 209 Defining Moments 210 Testing the Public Realm, Testing the Market 211 The Museum in the Market Place 214 Shifting Public Geographies 216 Re-thinking the Museum of Modern Art in the City 218 Evaluating the Impact 219 The Cultural Box Office 221 Debating the Tate 223 Signposting for Future Research 226 Bibliography 228 Appendix A 243 Appendix B 268 7 Establishing Tate Modern: Vision and Patronage Chapter 1. Introduction This Ph.D. examines how Tate Modern was established. From the founding organisation’s inception, a complex model of public and private vision and patronage emerged, which was affected by conflicting national and international agendas. Through political and cultural necessity, modernisation and modernity impacted further on the Tate Gallery, forcing it to adjust to new economic and social circumstances. Additionally, the interconnected relationship between culture and commerce continued to shape the practices of the Tate Gallery, which resulted in its creating a new type of museum of modern art, for the twenty-first century. Owing to the scope of these themes, to comprehensively examine Tate Modern, this thesis is cast within the framework of an interdisciplinary case study, which utilises archival data and a range of secondary sources. Furthermore, in reviewing the related literature, this has revealed a gap of relevant scholarly research in the field which this PhD aims to fill. Background There are two branches of Tate in London. The older is Tate Britain, at Millbank, which was founded originally as the National Gallery of British Art, in 1897. The aim was to exhibit work by British artists born after 1790, and non-nationals that produced work on British shores. Owing to a change in circumstances, a modern foreign collection was later given to the National Gallery of British Art. Subsequently, the organisation was renamed the ‘National Gallery Millbank’, to indicate that it was no longer solely responsible for British art. A further change in the title arose when the organisation was officially named the ‘Tate Gallery’, in 1932, after its founding benefactor. By the end of the twentieth century, however, the combined British and modern foreign art works had outgrown the available space within the Tate Gallery at Millbank. The decision was taken for the modern foreign art to be relocated to a new site, to be named the ‘Tate Gallery of Modern Art’, which later became ‘Tate Modern’. The British art was to remain at the Millbank site under the name the ‘Tate Gallery of British Art’, re-named ‘Tate Britain’. When Tate Britain and Tate Modern opened in 2000, they were established under very different circumstances from when the founding organisation had opened. The Tate 8 Establishing Tate Modern: Vision and Patronage organisation had become responsible for four permanent exhibition sites rather than one, including Tate Liverpool and Tate St Ives, as well as a much expanded collection. Overseeing the entire development was the Tate’s governance in the body of the Director and Trustees, which was much more powerful than that of the original institution’s as it operated with far greater autonomy. Owing to this re-positioning of responsibility the organisation was able to re-cast the initial aims of the Tate Gallery of Modern Art into Tate Modern: Museum of Modern Art. Furthermore, the Tate’s governance, aware of the ongoing debates concerning the changing role of the modern art museum, took these accounts into consideration when defining the vision for the new exhibition site.
Load more

Recommended publications
  • TURNER PRIZE: Most Prestigious— Yet Also Controversial
    TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J.
    [Show full text]
  • DAME BARBARA HEPWORTH 1903 Wakefield - St
    LE CLAIRE KUNST SEIT 1982 DAME BARBARA HEPWORTH 1903 Wakefield - St. Ives 1975 Marble Form Oil and pencil over gesso-prepared board. Signed and dated lower left Barbara Hepworth 1963. Further signed, titled, dated and inscribed on the reverse. 455 x 660 mm PROVENANCE: Mr and Mrs H. Davidson, Toronto – Private collection, U.S.A. EXHIBITIONS: Barbara Hepworth: Sculpture and Drawings, Gimpel-Hanover Galerie, Zurich, 16 November 1963 - 11 January 1964 (drawings not listed) – Barbara Hepworth: Sculptures and Drawings, Gimpel Fils, London, 2 - 27 June 1964 (drawings not listed) – Focus on Drawings, Art Gallery of Toronto, Toronto, 15 October – 7 November 1965, cat. no. 117. RELATED DRAWINGS IN PUBLIC COLLECTIONS: Art Gallery of Ontario, Toronto – Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. – National Gallery of Australia, Canberra – Manchester City Art Gallery – Milwaukee Art Gallery – Piers Art Centre, Stromness, Orkney Islands – Rijksmuseum Kröller-Müller, Otterlo – Tate, London Vision is not sight ‒ it is the perception of the mind. It is the discernment of the reality of life, a piercing of the superficial surfaces of material existence that gives a work of art its own life and purpose and significant power.1 (Barbara Hepworth, 1937) In 1966, in her autobiographical essay A Sculptor’s Landscape, Barbara Hepworth reiterated the mental, rather than the visual inspiration that informed virtually all of her abstract, sculptural drawings from the early 1940s onwards, when she wrote: I rarely draw what I see – I draw what I feel in my body.2 By sculp- tural, I mean that the drawings echoed, were a two-dimensional exploration of her current three- dimensional obsessions.
    [Show full text]
  • Tate Report 2009–2010 – Text Only
    Tate Report 2009–10 Contents Introduction 03 Art and Ideas / Collection Acquisitions 10 Collection care 12 Research 14 Acquisition highlights 16 Art and Ideas / Programme Tate Britain 34 Tate Modern 36 Tate Liverpool 39 Tate St Ives 41 Calendar 43 Audiences / Learning Families and young people 47 Adult programmes and live events 49 Audiences / Beyond Tate Online and media 54 Tate National 56 Tate International 59 1 Improving Tate Developing staff 62 Operational effectiveness 63 Sustainable practice 63 Funding and trading 64 Future Developments 69 Financial Review 72 Donations, Gifts, Legacies and Sponsorships 75 2 Introduction We are committed to enriching people’s lives through their encounter with art. And so, this year Tate again reached out across the country and to the world beyond – through our galleries, partnerships and online – to invite people to look again at the familiar, and to think about the new experiences offered by the art of our own time. Broadening global and artistic perspectives Our environment is characterised by rapid technological, social and economic change. We have therefore been strengthening our foundations and broadening our perspectives to ensure we continue to stimulate audiences and engage their attention, making art relevant to their lives today. The emergence of new art centres across the world and an art world which is increasingly complex and interconnected oblige us to re-examine our focus on traditional geographical areas of interest. Significant acquisitions this year included a group of thirteen contemporary works by artists from Algeria, Lebanon, Turkey, Iran and Egypt, as well as important works by artists including Do-Ho Suh, Chen Zhen and Santu Mofokeng.
    [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]
  • Thecourtauldregister of Interestsgb 2019
    THE COURTAULD INSTITUTE OF ART REGISTER OF RELEVANT INTERESTS – February 2019 The CUC code of practice advises that ‘The institution shall maintain and publicly disclose a register of interests of members of the governing body’. The declared interests of the members of The Board of Directors of The Courtauld Institute of Art are as follows INDEPENDENT DIRECTORS Chairman Lord Browne of Madingley, Edmund John Phillip Browne Executive Chairman, L1 Energy (UK) LLP Interest (organisation name) Registration details (iF Capacity Start date disclosed) Francis Crick Institute Chairman August 2017 Pattern Energy Group Director October 2013 Huawei Technologies (UK) Co Limited Chairman February 2015 L1 Energy (UK) LLP Executive Chairman March 2015 DEA Deutsche Erdoel AG Chairman of the Supervisory Board March 2015 Accenture Global Energy Board Chairman April 2010 Stanhope Capital Advisory Board Chairman July 2010 L1 Energy Advisory Board Chairman June 2013 NEOS GeoSolutions Adviser December 2015 Angeleno Group Member of the Board of Advisors August 2016 Velo Restaurants Ltd Shareholder NA SATMAP Inc doing business as Afiniti Advisory board (and shareholder) April 2016 Gay Star News Shareholder NA Kayrros SAS Shareholder NA Windward Maritime Limited Shareholder NA Pattern Energy Group Inc Shareholder NA IHS Markit Director and Shareholder NA UKTI Business Ambassador Honorary – not current Edelman Ltd Member of the Advisory Board September 2016 Board of Donmar Warehouse Chair December 2014 American Friends of Donmar Theatre Inc Director March 2015 International
    [Show full text]
  • Fundraiser Catalogue As a Pdf Click Here
    RE- Auction Catalogue Published by the Contemporary Art Society Tuesday 11 March 2014 Tobacco Dock, 50 Porters Walk Pennington Street E1W 2SF Previewed on 5 March 2014 at the Institute of Contemporary Arts, London The Contemporary Art Society is a national charity that encourages an appreciation and understanding of contemporary art in the UK. With the help of our members and supporters we raise funds to purchase works by new artists Contents which we give to museums and public galleries where they are enjoyed by a national audience; we broker significant and rare works of art by Committee List important artists of the twentieth century for Welcome public collections through our networks of Director’s Introduction patrons and private collectors; we establish relationships to commission artworks and promote contemporary art in public spaces; and we devise programmes of displays, artist Live Auction Lots Silent Auction Lots talks and educational events. Since 1910 we have donated over 8,000 works to museums and public Caroline Achaintre Laure Prouvost – Special Edition galleries – from Bacon, Freud, Hepworth and Alice Channer David Austen Moore in their day through to the influential Roger Hiorns Charles Avery artists of our own times – championing new talent, supporting curators, and encouraging Michael Landy Becky Beasley philanthropy and collecting in the UK. Daniel Silver Marcus Coates Caragh Thuring Claudia Comte All funds raised will benefit the charitable Catherine Yass Angela de la Cruz mission of the Contemporary Art Society to
    [Show full text]
  • Design of a 45 Circuit Duct Bank
    ReturnClose and to SessionReturn DESIGN OF A 45 CIRCUIT DUCT BANK Mark COATES, ERA Technology Ltd, (UK), [email protected] Liam G O’SULLIVAN, EDF Energy Networks, (UK), liam.o’[email protected] ABSTRACT CIRCUIT REQUIREMENTS Bankside power station in London, closed in 1981 but the The duct block was designed to carry the following XLPE substation that is housed in the same building has remained insulated cable circuits without exceeding the operating operational. The remainder of the building has housed the temperature of any cable within the duct block. Tate Modern art gallery since 2000. EDF Energy Networks is now engaged in a project to upgrade and modernise o Four 400/230V circuits with a cyclic loading of 300A. Bankside substation. Part of this work involves the o Twenty 11kV circuits with a cyclic loading of 400A. diversion of about 45 cable circuits into a duct block within o Sixteen 20kV circuits with a cyclic loading of 400A the basement of the substation. The circuits include pilot o Four 66kV circuits with a cyclic loading of 300A circuits, LV circuits and 11 kV, 22 kV, 66kV and 132 kV o Two 132kV circuits with a cyclic loading of 700A circuits. This paper describes the process involved in o Six pilot circuits. designing the duct bank. The cyclic load was taken to be a step wave with 100 % load factor from 08.00hrs to 20.00hrs and 0.8pu from KEYWORDS 20.00hrs to 08.00hrs. Duct bank, Magnetic field, Surface temperature, Cable rating. The cables selected for this installation were of types commonly used by distribution companies in the UK.
    [Show full text]
  • Press Release CORPUS: the Body Unbound Courtauld Gallery 16 June
    Press Release CORPUS: The Body Unbound Courtauld Gallery 16 June – 16 July 2017 Wolfgang Tillmans, Dan, 2008. C-Type print, 40 x 30 cm ​ ​ ​ Arts Council Collection, Southbank Centre, London © Wolfgang Tillmans, courtesy Maureen Paley, London ● An exhibition curated by MA Curating the Art Museum students at The Courtauld Institute of Art ​ ​ ● Featuring major artworks from The Courtauld Collection and the Arts Council Collection ● CORPUS: The Body Unbound explores how artists past and present have engaged with the ​ body to interrogate, analyse and reimagine fundamental aspects of the human condition ● Curated in response to The Courtauld Gallery’s Special Display Bloomsbury: Art & Design ​ CORPUS: The Body Unbound explores how artists past and present have engaged with the ​ body - the corpus - to interrogate, analyse and reimagine fundamental aspects of the human condition. For artists, the human figure has been a site of optimism, a source of anxiety, as well as a symbol of limitations imposed by the self and society. Curated by the students of the Courtauld’s MA Curating the Art Museum, CORPUS: The Body Unbound responds to The ​ ​ Courtauld Gallery’s Special Display Bloomsbury Art & Design, on view in the adjacent gallery. ​ ​ Spanning more than 600 years of artistic practice, this exhibition brings together works from The Courtauld Gallery and the Arts Council Collection, creating unexpected confrontations and dialogues across time, space and media. Works by artists including Peter Paul Rubens (1577-1640), Henry Moore (1898-1986) and Wolfgang Tillmans (b.1968) explore the strength and fragility of the body and the potential optimism of the human spirit in times of conflict.
    [Show full text]
  • Bankside Power Station’S Former Design Effect the Restoration and What Effect Did the Changes Have?
    INTERNATIONAL BACCALAUREATE EXTENDED ESSAY An Exploration into how Herzog & de Meuron designed the Tate Modern by considering the industrial attributes that affect the function of the museum. How did the Bankside Power Station’s former design effect the restoration and what effect did the changes have? Name: Maxim Goldau Student Number: Subject: Visual Arts King William’s College Centre Number: 26th September 2014 Word Count: 3791 1 Abstract: This essay explores the approach Herzog & de Meuron took to restore and design the Tate Modern. The building being restored was the Bankside Power Station, designed by Giles Gilbert Scott in 1947. The Power Station was designed with an industrial purpose at its heart. I wanted to discover what procedure was necessary to adapt a former industrial building to serve a very opposing purpose, which led me to my research question: “How did the Bankside Power Station’s former design effected the restoration and what effect did the changes have?” I proceeded by analysing the original structure of the Bankside Power Station and in which ways Herzog & de Meuron changed elements of the building; especially the reasons for changing sections of the building. I analysed the single parts of the former Power Station were investigated to gather information about the approach, ideas and intended effects. To investigate the structure of the Tate Modern, I was analysed various layouts and images. My main sources were online articles, essays and the homepages of the artists, the Tate and Herzog & de Meuron. Most articles were just documenting and informing the readers with the very basic information, but I found the website of Herzog& de Meuron reflected their thinking process.
    [Show full text]
  • Environment Template (REF5) GOLDSMITHS – Art & Design
    Environment template (REF5) GOLDSMITHS – Art & Design Institution: Goldsmiths, University of London Unit of Assessment: 34 – Art & Design: History, Practice and Theory a. Overview Goldsmiths’ Departments of Art, Design and Visual Cultures are recognised internationally as distinctive and distinguished contributors to contemporary research. Their work in the period under review has led the field in the production of scholarly, artistic, environmental, curatorial, moving image, digital and computational research, and in the development of significant new approaches to processes and methods in these areas. Core to our ethos is a commitment to material and formal investigation of the highest standard. Our research culture is informed by an ethos of experimentation and innovation in terms both of the types of work we produce and the range of audiences and social situations we address. We invest in new forms of public engagement for academic work through resourceful configurations of collaboration and co-production. Our research environment supports the close connection and interdependence of practice-based research and scholarship, encouraging proactive engagements with the institutions and professions with whom we work. Our research embodies an ethos of critical and conceptual affinity with the social contexts we inhabit; we are committed to the civic role of aesthetic and scholarly production. These core attributes, detailed below, are manifest not only in our artworks, design artefacts, publications and curatorial projects, but also in partnerships with collaborating institutions and funding organisations. They fundamentally guide our recruitment processes, our doctoral research programmes and research strategy. b. Research Strategy The three departments are united in a strategic commitment to the development of innovative practice-based and scholarly research that challenges typical forms of investigation and opens up new publics for research.
    [Show full text]
  • Review of the Year April 2005 to March 2006 March 2005 to Year April of the Review He T
    The Rothschild Archive review of the year april 2005 to march 2006 THE ARCHIVE ROTHSCHILD • REVIEW OF THE YEAR 2005 – 2006 The Rothschild Archive review of the year april 2005 to march 2006 The Rothschild Archive Trust Trustees Baron Eric de Rothschild (Chair) Emma Rothschild Lionel de Rothschild Julien Sereys de Rothschild Anthony Chapman Victor Gray Professor David Cannadine Staff Melanie Aspey (Director) Caroline Shaw (Archivist) Elaine Penn (Assistant Archivist, to June 2005) Barbra Ruperto (Assistant Archivist, from January 2006) Annette Shepherd (Secretary) The Rothschild Archive, New Court, St Swithin’s Lane, London ec4p 4du Tel: +44 (0)20 7280 5874 Fax: +44 (0)20 7280 5657 E-mail: [email protected] Website: www.rothschildarchive.org Company No. 3702208 Registered Charity No. 1075340 Front cover The Temple of Rameses II at Abu Simbel, from the autochrome collection of Lionel de Rothschild (1882‒1942). 2007 marks the centenary of the public availability of the autochrome, which was the first commercially viable and successful colour process. Lionel was a keen and talented photographer whose collection of plates, a gift to The Rothschild Archive from his family, is one of the most extensive to survive in the UK. On his return from an Italian honeymoon, Lionel made a speech of thanks for their wedding gift to his parliamentary constituents of Mid Bucks revealing his dedication to his hobby and his eagerness to share its results with others: I must thank you for a very pleasant four weeks’ holiday which I have had in Italy, but I want to tell you that during those four weeks I was not idle, for I managed to take a camera with me, and I took a great many coloured photographs.
    [Show full text]
  • A Tate Gallery: De Millbank a Bankside
    UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS A TATE GALLERY: DE MILLBANK A BANKSIDE Célia Maria da Costa Baixa Orientador: Professor Doutor Álvaro Luís Antunes Pina Tese especialmente elaborada para a obtenção do grau de Doutor em Estudos de Literatura e de Cultura, especialidade em Cultura e Comunicação 2015 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS A TATE GALLERY: DE MILLBANK A BANKSIDE Célia Maria da Costa Baixa Orientador: Professor Doutor Álvaro Luís Antunes Pina Tese especialmente elaborada para a obtenção do grau de Doutor em Estudos de Literatura e de Cultura, especialidade em Cultura e Comunicação Júrí: Presidente: Doutora Maria Paula Nina Morão, Faculdade de Letras da Universidade de Lisboa Vogais: - Doutora Maria Cláudia Silva Afonso e Álvares, Escola de Comunicação, Artes e Tecnologias da Informação da Universidade Lusófona de Humanidades e Tecnologias - Doutora Ana Cláudia dos Santos Gonçalves, Escola Superior de Hotelaria e Turismo do Estoril - Doutor Eduardo Manuel Dias Brito Henriques, Instituto de Geografia e Ordenamento do Território da Universidade de Lisboa - Doutor Álvaro Luís Antunes Pina, Faculdade de Letras da Universidade de Lisboa - Doutor Manuel Amador Frias Martins, Faculdade de Letras da Universidade de Lisboa 2015 Resumo Esta tese explora os contextos de evolução da Tate Gallery em Londres desde a sua origem no século XIX até ao presente. Através de uma abordagem multidisciplinar filiada nos Estudos Culturais este estudo tem como objetivo dar um contributo para a análise das transformações da cultura e da sociedade assim como fornecer um enquadramento para estudar conceitos como ideologia, representação, identidade e poder. Criada no contexto de consolidação do Estado-nação e sob o conceito vitoriano de museu como motor de progresso social, a Tate Gallery, abriu em Millbank, Londres em 1897 com o nome National Gallery of British Art para alojar as quase 70 obras de arte britânica doadas por Henry Tate ao Estado.
    [Show full text]