Contemporary Art Society Annual Report 1953-54
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Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery, -
Intangible Heritage(S): an Interplay of Design, Social and Cultural Critiques of the Built Environment
TANGIBLE - INTANGIBLE HERITAGE(S): AN INTERPLAY OF DESIGN, SOCIAL AND CULTURAL CRITIQUES OF THE BUILT ENVIRONMENT • Paper / Proposal Title: ‘ARCHITECTS – WHERE IS YOUR VORTEX? VORTICISM, THE CITY AND URBAN EXPERIENCE • Author(s) Name: Dr. JONATHAN BLACK FRSA • University or Company Affiliation: KINGSTON SCHOOL OF ART, KINGSTON UNIVERSITY • Presentation Method. I would like to: i. present in person (with/without a written paper)* • Abstract (300 words): From its conception in the spring of 1914 the British avant garde art movement known as Vorticism was obsessed with the city and urban existence as central to the forward march of technologically innovative modernity. Indeed, the movement largely owed its very name to the American poet Ezra Pound having already identified London as the ‘great modern vortex’, the end point for all the energies of modern life and of British/Imperial power. My paper is rooted in many years of research into Vorticism and British Art before, during and after the First World War. It will focus on some of the many images that evoked the strikingly positive Vorticist vision of the city – one that as much looked to the example of vertically vertiginous New York as that by experimental thinkers on the European continent – by leading adherents of the movement such as: Wyndham Lewis, Edward Wadsworth, Frederick Etchells, Jessica Dismorr and Helen Saunders. Living in London much of their imagery was indebted to that city. However, examples will be discussed alongside a group of woodcut prints produced c. 1914-18 by Wadsworth inspired by the cities and industrial towns of his native Yorkshire such as Leeds, Bradford, Halifax and Huddersfield. -
Get Book # Benton End Remembered: Cedric Morris, Arthur Lett
TQOTPZQN4L5T » Doc Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... Benton End Remembered: Cedric Morris, A rth ur Lett-Haines and th e East A nglian Sch ool of Painting and Drawing (Paperback) Filesize: 3.92 MB Reviews It in a of the best publication. It is among the most remarkable publication i have read through. Your lifestyle period will be change once you complete reading this article publication. (Crystal Rolfson) DISCLAIMER | DMCA 5Q6DUZU54SXK > Kindle < Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... BENTON END REMEMBERED: CEDRIC MORRIS, ARTHUR LETT-HAINES AND THE EAST ANGLIAN SCHOOL OF PAINTING AND DRAWING (PAPERBACK) Unicorn Publishing Group, United Kingdom, 2018. Paperback. Condition: New. Language: English . Brand New Book. In 1940, Cedric Morris and Arthur Lett-Haines, both established artists with international reputations who had become disillusioned with the commercial aspects of the art world, moved to Benton End, overlooking the River Brett on the outskirts of Hadleigh, Suolk. What they found there was a somewhat ramshackle but capacious sixteenth-century farmhouse, standing in over three acres of walled gardens lost beneath brambles and elder trees; the house had not been lived in for fieen years. But Benton End became both their home and the new premises of the East Anglian School of Painting and Drawing which, in 1937, they had founded together in Dedham, Essex. From 1940 until Lett Haines died in 1978 and Cedric Morris in 1982, Benton End was an exotic world apart where art, literature, good food, gardening and lively conversation combined to produce an extraordinarily stimulating environment for amateurs and professionals alike. -
Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard. -
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. -
Elements of Innovators' Fame
Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences Columbia University 2017 © 2017 Mitali Banerjee All rights reserved Abstract Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame. -
South East England & the Bloomsbury Group July 10-18
South East England & The Bloomsbury Group July 10-18, 2021 In the early part of the 20th century a group of writers, intellectuals, philosophers and artists who lived and worked in Bloomsbury were perhaps best known for their liberal views on politics and social conventions as well as their infamous love triangles. Luminaries including Virginia Woolf, John Maynard Keynes, Vanessa Bell, Duncan Grant, E. M. Forster and Lytton Strachey also undertook an experimental attitude to ways they decorated their homes, resulting in highly original and inspired designs. We uncover the finest examples of their work as we visit the houses where they lived and loved. Saturday, July 10: Arrival On arrival at Heathrow airport, a private transfer will take you to our overnight hotel, the Castle Hotel Windsor – MGallery. In the evening, join the group for a welcome drink, followed by dinner. (D) Sunday, July 11: Knole House and Standen After breakfast, we check out of our hotel and journey to visit Knole House in Kent where we enjoy a guided tour*. One of Britain’s most important and complete historic homes, the property is now cared for by the National Trust and here we can discover more about its colorful past. Knole House was home to the Sackville family for 400 years, including novelist Vita Sackville-West who used the house as inspiration for her novel The Edwardians. Next we visit Standen, a fine Arts and Crafts property, which combines the skills of architect Philip Webb and his friend William Morris. The light, airy rooms are decorated with Morris’ wallpapers and textiles with William de Morgan pottery. -
Simon Carter 2013 Complete.Pdf
Simon Carter Front cover (detail) Winter Sea, 2011 (catalogue no. 46) Photograph: Noah Carter Noah Photograph: Simon Carter The Shapes of Light 2013 www.messums.com 8 Cork Street, London W1S 3LJ Telephone: +44 (0)20 7437 5545 … how days pass in the studio Today is the 22nd November. It is Thursday and, like most I trace over some of the drawings on the light box, taking a days, I have been down to the beach to make drawings. The degree of expression out of the lines to see how they work as sun was beginning to dissolve amongst a vast Turneresque glow. design. With some paintings I repeatedly copy drawings on the The wind was blowing pale rivers of sand across the beach and light box; I like the way that unexpected outcomes sometimes corrugating the sea, waves coming in small and packed together. arise from the imperfections of this process. I might square up There were a few gulls and a few sanderling at the water’s edge. one of these copies and use it to rework the canvas. This as a On the horizon freight ships were lining up to enter Felixstowe way of forcing change onto the painting and of not allowing a and wind farms flickered in distant sunlight. There was a single sense of satisfaction with it. As the painting develops over the yacht passing. next few weeks and months, I will return to the beach many times. I will also make drawings from the painting and from I made 7 drawings quickly and without much attempt at revision the location drawings; edging forward looking for something or second thought. -
The Explosion of Modernism Transcript
The Explosion of Modernism Transcript Date: Wednesday, 19 October 2011 - 1:00PM Location: Museum of London 19 October 2011 Christian Faith and Modern Art The Explosion of Modernism The Rt Revd Lord Harries Prologue Christian art once provided a shared “symbolic order” (Peter Fuller). Shared narratives and recognised images through which the deeper meaning of life could be explored. This has gone. “The disassociation between art and faith is not written in stone but is not easy to overcome”. Formidable obstacles: of style-how to avoid pastiche, images that have gone stale-overwhelming plurality of styles, so artist has to choose-forced to choose a private language, and so lose some of the audience. [1] David Jones, particularly aware of this. Human beings are essentially sign makers. Most obviously we give someone a bunch of flowers or a kiss as a sign. So what are works of art a sign of? Here we come across the great crisis with which Jones wrestled both in his writing and his art. For he believed, and he said this view was shared by his contemporaries in the 1930’s, that the 19th century experienced what he called “The Break”.[2] By this he meant two things. First, the dominant cultural and religious ideology that had unified Europe for more than a 1000 years no longer existed. All that was left were fragmentary individual visions. Secondly, the world is now dominated by technology, so that the arts seem to be marginalised. They are no use in such a society, and their previous role as signs no longer has any widespread public resonance. -
Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1Pm Knightsbridge, London
Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge, London Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge Bonhams Bids Enquiries Please see page 2 for bidder Montpelier Street +44 (0) 20 7447 7448 Modern British & Irish Art information including after-sale Knightsbridge +44 (0) 20 7447 7401 fax Emma Corke collection and shipment London SW7 1HH To bid via the internet please visit +44 (0) 20 7393 3949 www.bonhams.com www.bonhams.com [email protected] Please see back of catalogue for important notice to bidders Viewings Please note that bids should be Shayn Speed submitted no later than 24 hours +44 (0) 20 7393 3909 Illustration [email protected] East Anglian Pictures only before the sale. Front cover: Lot 91 The Guildhall Back cover: Lot 216 East Anglian Pictures Guildhall Street New bidders must also provide Inside front: Lot 46 Daniel Wright Bury St Edmunds proof of identity when submitting Inside back: Lot 215 +44 (0) 1284 716195 Suffolk, IP33 1PS bids. Failure to do this may result [email protected] in your bids not being processed. Tuesday 5 November 9am to 7pm Bidding by telephone will only be Customer Services Monday to Friday 8.30am to 6pm Wednesday 6 November accepted on a lot with a lower +44 (0) 20 7447 7447 9am to 4pm estimate in excess of £400. ----------- St Michael’s Hall Sale Number: 20779 Church Street Live online bidding is Reepham available for this sale Catalogue: £12 Norfolk, NR10 4JW Please email [email protected] with “Live bidding” in the subject Tuesday 12 November line 48 hours before the auction 9am to 7pm to register for this service. -
Modernist Sculpture and the Maternal Body
REVIEWS (Devangana Desai) – Guha-Thakurta relegates important debates and acknowl- edgements to rather dismissive footnotes. Considering that most of Monuments, Objects, Histories is republished material, the structure of the book needs to be called into question. Such a project demands a far weightier introduction than the nine-page offering the reader encounters here or, alternatively, the addition of a concluding chapter. This could have usefully taken the place of the chapter on ‘Art History and Nationalism in Bengal’, which covers very similar ground to the author’s first monograph and is the oldest of the articles. Despite these minor flaws, and the predictable temporal linearity of the various sections (colonial-national-postcolonial), the monograph deals effectively with important cultural, political and methodological issues, and should be covered by those teaching and learning in the ‘new humanities’. Daniel J. Rycroft School of World Art Studies, University of East Anglia Note 1 See for example Vidya Dehejia, ed., Representing the Delhi, 2003; Shivaji K. Pannikkar et al., eds, Body: Gender Issues in Indian Art, New Delhi, 1997; Towards a New Art History: Studies in Indian Art,New Sumathi Ramaswamy, ed., Beyond Appearances? Delhi, 2003. Visual Practices and Ideologies in Modern India,New MODERNIST SCULPTURE AND THE MATERNAL BODY Mother Stone: The Vitality of Modern British Sculpture by Anne Wagner,New Haven and London: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2004, 256 pp., 60 col. and 110 b. & w. illus., d30.00 Anne Wagner’s account of modernist sculpture does more than draw renewed attention to such important, but often misunderstood, artists as Jacob Epstein, Barbara Hepworth, and Henry Moore. -
The Generous Ghosts at Benton End, Spiritual Home of Garden
ald Blythe, who described how, as a shy young man, he was bewitched by the place. Once, 10 years ago, I stopped by the roadside to famous peer over the wall but the haven friend I was with called: Benton End in “There’s nothing there. Just Suffolk; Cedric the walls”. It was not until re- Morris’s Flowers cently that I realised how in Feering, right wrong he was. For this spring, the ghost of Morris’s garden stirred back to life, thanks to a gardener hired by the Pinchbecks to cut back the undergrowth: on the last day before lockdown, Corydalis bul- bosa ‘Alba’ was revealed under the medlar tree, also the widow iris that Morris loved to paint, and double- headed Fritillaria pyrenaica. Morris and Lett-Haines acquired the house in 1940 and ran it as the East An- glian School of Painting and Drawing – an art school famous for its links with the young Lucian Freud and Maggi Hambling. It was also a social hub: in the kitchen, Lett-Haines’ cousin, the food writer Elizabeth David, could be found at the stove, childrens’ author Kathleen Hale handed around platters – and, yes, the marmalade cat of her sto- ries looked on – while Lett-Haines mixed martinis and told stories of tiffs with Hemingway in 1920s Paris. To Blythe, then a shy young librar- ian, the atmosphere was “out of this world so far as I had previously tasted it. The generous ghosts at Rough and ready and fine mannered. Also faintly dangerous.” The sloping garden combined Mor- ris’s artist-bred irises with perhaps the most interesting collection of plants in post-war Britain.