DOCSLIB.ORG

Bernard Meadows C466/013/F2999-A/Page 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bernard Meadows C466/013/F2999-A/Page 1 Bernard Meadows C466/013/F2999-A/Page 1 IMPORTANT Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. NATIONAL LIFE STORY COLLECTION ARTISTS' LIVES BERNARD MEADOWS interviewed by Tamsyn Woollcombe Bernard Meadows C466/013/F2999-A/Page 2 F2999 side A Bernard Meadows talking to Tamsyn Woollcombe at his home in London on the 3rd of November 1992. Tape 1. So, today we might start by talking a bit about your childhood, and I don't know whether you remember your grandparents, you know, back a generation, or whether you know anything about them. I know, or I knew, my paternal grandparents. My maternal grandparents died before I was born. Right. And where did the paternal grandparents live? In Norwich. In Norwich as well? Yes. Where you were born? Yes. Right. And so, did both your parents, did they come from Norwich? Yes. They did as well, oh right. It's a bit, it was a society where, people didn't move about much. Absolutely, no. Right, and so it was in Norwich itself that you lived, was it? Yes, well on the outskirts. Right. So did you find...did you used to go out into the country all round there? Bernard Meadows C466/013/F2999-A/Page 3 Yes. I used to paint. As a small child as well? No, not as a small child. But did you always have an artistic bent? It's the only thing I could do! (laughs) And were you one of several children? No, I just had a brother. Right. And can you remember anything about your...the home that your parents lived in, that you grew up in? It was just an ordinary lower working-class family home. And did you have any particular toys that you used to play with? Yes, I suppose at that time every boy had a Meccano set. I had rather a splendid one which I built up over the years. Have you still got it? No! (laughs) I grew out of it. Yes. So you started quite early building constructions as it were. Yes yes, being interested in practical things. And can you remember, were there any books, illustrated books or anything like that that you used to read, or get read to you? No, none. Not many books in the house at all? Bernard Meadows C466/013/F2999-A/Page 4 Very very few. A few which, for some reason, perhaps it was my mother who had them, but books like `Tess of the D'Urbervilles', and...various books of... Classic novels? Pardon? Sort of classic novels. Sort of fringe type of classic novels, yes, yes. I didn't read them, but obviously...either somebody had...somebody in the family had at some time read them, or they were gifts. Right. And so your mother obviously stayed at home and looked after you children. Yes. And your father, what did he do? He worked for the Norwich Union. Oh right. And my grandfather worked with the Norwich Union! (laughing) And do you still have some connections with that area? I have connections with the Norwich Union, I still pay insurance premiums. And do you go back to Norwich, and that area? Oh yes, I've still got a cousin living there. I go back less and less, because there's little to go back for. At one time I was a governor of the School of Art, but I dropped that. Right. And so, you went to school locally presumably? In Norwich, yes. Bernard Meadows C466/013/F2999-A/Page 5 What, you went to a sort of kindergarten first did you, primary school, whatever? Primary school, yes, and then to the...it would now rank as a grammar school, but there was a grammar school in Norwich already, which was a sort of minor public school, which had a foundation of some sort. But you went to something like I think you ... City of Norwich School? Is that right? I went to the City of Norwich School, yes. Yes, right. And so, when you were at your...going back to your primary school, can you remember bringing back works of art? No. Or handicraft? No I don't. It wasn't that sort of school. So when you got to the City of Norwich School, there was presumably an art mistress or art master? Art master, yes. And did you have an afinity with him? Did he see that you were...? Yes, I got on quite well with him. He was quite a good watercolour painter, I suppose in the Arthur Rackham tradition. And did he exhibit anywhere? He exhibited in Norwich; there was quite a good, lively art club, an amateur art club called the Norwich Art Circle. And did they get visiting lecturers in, or... No no no. Bernard Meadows C466/013/F2999-A/Page 6 Or was it an annual... Before that time, that sort of time, yes. So it was, what, they had annual exhibitions? They had annual exhibitions. And so were they probably the first pictures that you saw, paintings or...or ... can you remember? I suppose so. Norwich has a tradition, I mean Norwich School... Yes, absolutely, yes. Cromer, and Cotman, and... Yes, exactly. A few other people. And they were on show in the Castle Museum, and the Castle Museum...do you know Norwich? I've never been there I'm ashamed to say, no. Norwich Castle was a Norman castle which had been refurbished in the Victorian era sometime, I forget when, and done over rather badly I think. The fabric was all straightened out and made pristine again, which spoilt the whole result. But nevertheless it had quite a good collection? Yes, it has a very good collection of Cromer and Cotman and other people, yes. So did your schoolmaster take you there, or...? No, no, no. It was before those days too. Right. Sounds very bleak. Bernard Meadows C466/013/F2999-A/Page 7 Things didn't happen as they happen now. No, no. Right, so at your school, did you...art was the thing that you shone at was it? As I say, it was the only thing I could do. Yes, right. So had you always got in mind that you would probably go to art school and...? It was a dream, yes. But in those days parents always made sure if they could that one went...did something safe. Yes. I know that...I think it was Terry Frost who said that his parents...it was thought a sissy thing to do to go...well to be an artist anyway, I don't know about going to art school. I don't think that that was the case, it was just the case that my father, working at the Norwich Union had a safe job, and he thought that was the be-all and end-all of all one's dreams ever could be. Yes, I can see his point. And so, you were in Norwich, but did you make expeditions out into the countryside and to the sea and things, because that's quite near? Yes, yes, yes. And did you...what, with your brother, and your... Did you have cousins and things as well, or...? I had cousins, yes. And were you interested in...like, you know, inevitably pebbles and driftwood and can you remember collecting things like that? Not really, no. No, right. So, whose idea...did your art master encourage you about...who raised the question about attending art school? I did I suppose. When I left school it was in the middle of the last big recession, 1931, and I got a job in an accountant's office. Bernard Meadows C466/013/F2999-A/Page 8 Oh right, oh that was very good to get a job straight away. And I was paid half a crown a week. What's that? Two and six, which is...twelve and a half p. Twelve and a half p. a week, yes. Probably even less than that now. And I worked at that for three years, doing the ordinary sort of round the house chores, and I got fed up with it, and I think the final straw was when the person who owned the business had my father along and told him I was no good! (laughs) Oh no! So, this was 1934, and finally I got round to persuading him to let me go to the Norwich School of Art full-time. Right. And so, who...did you go in to study painting, or...? Yes. Was it general, or what? No. At that time there were very few schools of art with sculpture departments, very few, and I mean even Henry Moore at Leeds, he had to set himself up a sculpture department, because there wasn't even one there, and that was a much bigger school than Norwich. Yes. So, can you remember who...your teachers there, can you...? Yes, I can remember. I can remember them as personalities. I can't say that they were going to set the world alight. Can you remember...actually can I just go back. You were talking about your art master at the City of Norwich School. Can you remember his name? Bernard Meadows C466/013/F2999-A/Page 9 Yes, it was Walter T. Watling. Right, so now we're back to the Norwich School of Art.
Load more

Recommended publications
  • Eduardo Paolozzi Born Edinburgh, Scotland. 1924 Resident London
    Eduardo Paolozzi Born Edinburgh, Scotland. 1924 ResidentLondon Eduardo Paolozziwas visited in London by MT in Octo- really preparedto offer him the kind of freedom or the ber, 1968. When A & T was describedto Paolozzion degreeof accessto their personneland hardwarethat he that occasion,he respondedby expressinginterest in required--thoughthe corporation was equipped techni- working with computers. His work at that time was cally to deal with whatever demandsthe artist might involved in computer-generatedimagery, and thus it was make in the areaof computer graphics.On the evening natural that he should wish to developthese ideas. In after this encounter,Paolozzi telephoned Jane Living- Paolozzi'sletter to us of October 30, he spoke about the ston from his hotel and explainedto her that he saw no areashe visualizedpursuing: point in touring the San Josefacility or bothering It is my intention of bringing a portfolio of schemes further with lBM. Paolozzithen visited Wyle Laborator- in connection with the Los Angelesshow. These ies.He was interviewedby the company's president, schemesare an extension of work concerningimages Frank Wyle [1] ; Gail Scott wrote the following memo and words (ref: the Berkeleycatalogue; Christopher recountingthis event and later discussion: Finch's book Art and Objectsl. You may realizethat I did a certain amount of com- puter researchwhile at Berkeley,but the Art Depart- ment there was unable to extend any of these ideas- which certainly could be realizedwithin the frame- work that we discussedin London during your visit. At the moment, I have an assistantworking on colour mosaicsand endlesspermutations on the grid pattern. This is accordingto my interpretation of current computer literature and can be used in connection with sound experiments.Also the reverse,I under- stand, is possible;which is, soundscan be usedto create patterns.
    [Show full text]
  • The Archives of the Slade School of Fine Art, University College London Information for Researchers
    The archives of the Slade School of Fine Art, University College London Information for Researchers OVERVIEW OF THE SLADE ARCHIVE The Slade School of Fine Art is a department in University College London. The archives of the Slade School are housed in three repositories across UCL: • UCL Library Special Collections, Archives & Records department • UCL Art Museum • Slade School of Fine Art A brief overview of the type and range of material held in each collection is found below. To learn more about a specific area of the archive collection, or to make an appointment to view items please contact each department separately. Please note: In all instances, access to the archive material is by appointment only. UCL LIBRARY SPECIAL COLLECTIONS, ARCHIVES & RECORDS DEPARTMENT The Slade archive collection (UCLCA/4/1) centres on the papers created by the school office since the 1940s, but there are records dating back to 1868. The papers consist of early staff and student records, building, curriculum, teaching and research records. The core series are the past 'Office papers' of the School, the bulk of which dates from after 1949. There is only a little material from the World War II period. The pre-1949 series includes Frederick Brown (Slade Professor 1892-1917) papers and Henry Tonks' (Slade Professor 1918-1930) correspondence. The post-1949 material includes lists of students, committee minutes and papers, correspondence with UCL and other bodies, William Coldstream papers (Slade Professor 1949-1975), and papers of Lawrence Gowing (Slade Professor, 1975-1985). There are Slade School committee minutes from 1939 to 1995.
    [Show full text]
  • Artists' Lives
    National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS
    [Show full text]
  • THE ART of LIVING Marianka Swain Shares Her Capital Cultural Highlights
    THE ART OF LIVING MARIANKA SWAIN SHARES HER CAPITAL CULTURAL HIGHLIGHTS PICK OF THE MONTH DON’T MISS PUBLIC DISPLAY MODERN MASTER How often do you walk past a piece of art without Historic England has taken action by listing 40 giving it a second glance? A new Historic England pieces, which should demonstrate the value of such exhibition at Somerset House aims to change that by art to councils and developers. “There are sculptors highlighting exceptional public work created between like Anthony Gormley who would love more public 1945 and 1985 by artists like Barbara Hepworth, platforms if the commissions were there,” notes Sarah. Henry Moore, Geoffrey Clarke and Elisabeth Frink – much of which has since disappeared, explains She hopes the exhibition, which features drawings, curator Sarah Gaventa. maquettes, letters and photographs as well as large- scale pieces, opens our eyes to such art. “There’s “We’re desperately trying to track these pieces down, a Barbara Hepworth Winged Figure off Oxford and leads are still coming in. There’s actually a wall Street ignored by a million people every day. Let’s in the exhibition with descriptions of lost art, like the appreciate how much this work enriches our lives, missing cat posters stuck on trees. This is our – the because it might not be there if we don’t.” nation’s – collection, but unless we all get involved, we’re in danger of losing even more of it.” OUT THERE: OUR POST-WAR PUBLIC ART The post-war period was extraordinarily democratic, TO APRIL 10 notes Sarah, with local authorities regularly commissioning art to go with new structures like hospitals.
    [Show full text]
  • Oral History Interview with Jack Flam, 2017, June 1-7
    Oral history interview with Jack Flam, 2017, June 1-7 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jack Flam on June 1 and 7, 2017. The interview took place at the Dedalus Foundation offices in NY, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. Jack Flam and James McElhinney have reviewed the transcript. Their corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JAMES MCELHINNEY: This is James McElhinney speaking with Jack Flam, also known in France as Jacques Flam, on Thursday, June the 1st, 2017. Good afternoon. JACK FLAM: Hello. JAMES MCELHINNEY: Well normally when I start one of these oral history interviews I ask a leading question, like, "What's the first time you were in the presence of a work of art," or something like that; "When's the first time you were mindful of being in the presence of a work of art." But I think today I'll ask you what are you working on now? JACK FLAM: Right now, I just finished writing an essay about Matisse. And I'm kind of between projects. In recent years, I've been the President of the Dedalus Foundation and so a lot of what I'm working on right now is running the Dedalus Foundation, which tends to be very time consuming.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [Show full text]
  • Download Publication
    Arts Council OF GREAT BRITAI N Patronage and Responsibility Thirty=fourth annual report and accounts 1978/79 ARTS COUNCIL OF GREAT BRITAIN REFERENCE ONLY DO NOT REMOVE fROwI THE LIBRARY Thirty-fourth Annual Report and Accounts 1979 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W 1V OAU Designed by Duncan Firt h Printed by Watmoughs Limited, Idle, Bradford ; and London Cover pictures : Dave Atkins (the Foreman) and Liz Robertson (Eliza) in the Leicester Haymarket production ofMy Fair Lady, produced by Cameron Mackintosh with special funds from Arts Council Touring (photo : Donald Cooper), and Ian McKellen (Prozorov) and Susan Trac y (Natalya) in the Royal Shakespeare Company's small- scale tour of The Three Sisters . Contents 4 Chairman's Introductio n 5 Secretary-General's Report 12 Regional Developmen t 13 Drama 16 Music and Dance 20 Visual Arts 24 Literature 25 Touring 27 Festivals 27 Arts Centres 28 Community Art s 29 Performance Art 29 Ethnic Arts 30 Marketing 30 Housing the Arts 31 Training 31 Education 32 Research and Informatio n 33 Press Office 33 Publications 34 Scotland 36 Wales 38 Membership of Council and Staff 39 Council, Committees and Panels 47 Annual Accounts , Awards, Funds and Exhibitions The objects for which the Arts Council of Great Britain is established by Royal Charter are : 1 To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; and 3 To co-operate with government departments, local authorities and other bodies to achieve these objects .
    [Show full text]
  • Download Artist's CV
    NIGEL HALL RA 1943 Born Bristol Lives and works in London Education 1960-64 West of England College of Art, Bristol 1964-67 Royal College of Art, London Fellowships, Awards and Posts 1967-69 Harkness Fellowship, USA 1971-74 Tutor, Royal College of Art, London 1974-81 Principal Lecturer, Head of MA Sculpture, Chelsea School of Art, London 1977-79 External Examiner, Royal College of Art, London 1979-83 Faculty Member of British School at Rome 1992-94 External Examiner, Royal College of Art, London 1995 Pollock-Krasner Award 2001 Residency at Chretzeturm, Stein Am Rhein, Switzerland 2002 Jack Goldhill Sculpture Prize, Royal Academy 2003 Elected to Royal Academy 2017 Awarded Honorary Doctorate from the University of the Arts, London Selected Solo Exhibitions 2020 12 Images 12 Poems, (1 each month for the year), Wren Library, Trinity College, Cambridge Tangled up in Blue, Annely Juda Fine Art 2019 Una Individual, Galería Álvaro Alcázar, Madrid Call and Response, Galerie Scheffel, Bad Homburg 12 Images 12 Poems, Yorkshire Sculpture Park 2018 From Memory, Galerie Andres Thalmann, Zurich Drawings and Small Sculpture, Zuleika Gallery, London 2017 Sculpture in Steel and Bronze, Heidelberg Sculpture Park, Germany Drawings and Smaller Works, Isaac Newton Institute, Cambridge 2016 Here and Now, There and Then, Annely Juda Fine Art, London Orbits and Ellipses, One Canada Square, London 2015 Curved Spaces, Galerie Alvaro Alcazar, Madrid Plus ça change, plus c’est la même chose, Galerie Scheffel, Bad Homburg 2014 Galerie Andres Thalmann, Zurich (with Manijeh Yadegar) 2013 Jock Colville Hall, Churchill College, Cambridge 2012 Southern Shade, Galerie Andres Thalmann, Zurich 2011 The Spaces Between, Annely Juda Fine Art, London Artists Laboratory, Royal Academy, London 2010 Carbon Handprints, City Arts Center, Oklahoma City, USA Chinese Whispers, Galerie Andres Thalmann, Zurich Galerie Scheffel, Bad Homburg, Germany 2009 Sala Pelaires, Palma de Mallorca Galeri C.
    [Show full text]
  • In a M Ed Ieval Space
    ARK IN A MEDIEVAL SPACE SCULPTURE EXHIBITION at Chester Cathedral Education partner MODERN ART EXHIBITION CURATED BY GALLERY PANGOLIN 7 July - 15 October 2017 Chester Cathedral’s historic interior is an atmospheric and creative space. It will provide a fascinating and accessible context for viewing world-class sculpture as part of the ARK exhibition. The cathedral is the largest exhibition space within Chester. The largest FREE TO ENTER contemporary and modern sculpture exhibition to be held in the north west of England. ARK will feature 90 works of art by more than 50 celebrated sculptors, including Damien Hirst, Antony Gormley, Lynn Chadwick, Barbara Hepworth, Sarah Lucas, David Mach, Elisabeth Frink, Eduardo Paolozzi, Kenneth Armitage and Peter Randall-Page. AN EXCITING INTERNATIONAL ART EVENT & YOU CAN BE PART OF IT ARK is for everyone. For those new to sculpture and for aficionados. For adults and for children. For families. For you. We will be running an education programme alongside our exhibition. Join us for masterclasses, lectures and workshops for all ages. ARK SCULPTURE EXHIBITION Artists at Chester Cathedral Several sculptors will be showing brand new works of art whilst some will be on loan from private collections. It will be the first time these pieces have been seen together. ANTHONY ABRAHAMS ANN CHRISTOPHER ANTHONY ABRAHAMS ANN CHRISTOPHER KENNETH ARMITAGE GEOFFREY CLARKE KENNETH ARMITAGE GEOFFREY CLARKE BAILEY MICHAEL COOPER BAILEY MICHAEL COOPER BRUCE BEASLEY TERENCE COVENTRY BRUCE BEASLEY TERENCE COVENTRY NICK BIBBY
    [Show full text]
  • The Smart Museum of Art BULLETIN 1998-1999
    The Smart Museum of Art BULLETIN 1998-1999 CONTENTS Board and Committee Members 4 Report of the Chair and Director 5 Mission Statement 7 Volume 10, 1998-1999 Front cover: Three Kingdoms period, Silla King­ Studies in the Permanent Collection Copyright © 2000 by The David and Alfred Smart dom (57 B.c.E-935 C-E-) Pedestalledjar, 5th—6th Museum of Art, The University of Chicago, 5550 century stoneware with impressed and combed Metaphors and Metaphorphosis: The Sculpture of Bernard Meadows South Greenwood Avenue, Chicago, Illinois, decoration and natural ash glaze deposits, h. 16 in the Early 1960s 9 60637. All rights reserved. inches (40.6 cm), Gift of Brooks McCormick Jr., RICHARD A. BORN 1999.13. ISSN: 1099-2413 Back cover: The Smart Museum's Vera and A.D. Black and White and Red All Over: Continuity and Transition in Elden Sculpture Garden, recently re-landscaped Editor: Stephanie P. Smith with a gift from Joel and Carole Bernstein. Robert Colescott's Paintings of the Late 1980s 17 Design: Joan Sommers Design STEPHANIE P. SMITH Printing: M&G Commercial Printing Photography credits: Pages 8-13, 16, 18, 24-40, Tom van Eynde. Page 20, Stephen Fleming. Pages Activities and Support 41 —43» 4 6> 48> 51. Lloyd de Grane. Pages 44, 45, 49, Rose Grayson. Page 5, Jim Newberry. Page 53, Acquisitions to the Permanent Collection 25 Jim Ziv. Front and back covers, Tom van Eynde. Loans from the Permanent Collection 36 The images on pages 18-22 are reproduced courtesy of Robert Colescott. The work by Imre Kinszki illustrated on page 24 and 31 is reproduced Exhibitions 39 courtesy of Howard Greenberg Gallery, New York.
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • Lynn Chadwick out of the Shadows Unseen Sculpture of the 1960S
    LYNN CHADWICK OUT OF THE SHADOWS UNSEEN SCULPTURE OF THE 1960S 1 INTRODUCTION ince my childhood in Africa I have been fascinated and stimulated by Lynn SChadwick’s work. I was drawn both by the imagery and the tangible making process which for the first time enabled my child’s mind to respond to and connect with modern sculpture in a spontaneous way. I was moved by the strange animalistic figures and intrigued by the lines fanning across their surfaces. I could see that the lines were structural but also loved the way they appeared to energise the forms they described. I remember scrutinising photographs of Lynn’s sculptures in books and catalogues. Sometimes the same piece appeared in two books but illustrated from different angles which gave me a better understanding of how it was constructed. The connection in my mind was simple. I loved skeletons and bones of all kinds and morbidly collected dead animals that had dried out in the sun, the skin shrinking tightly over the bones beneath. These mummified remains were somehow more redolent of their struggle for life than if they were alive, furred and feathered and to me, Lynn’s sculpture was animated by an equal vivacity. His structures seemed a natural and logical way to make an object. Around me I could see other structures that had a similar economy of means; my grandmother’s wire egg basket, the tissue paper and bamboo kites I built and the pole and mud constructions of the African houses and granaries. This fascination gave me a deep empathy with Lynn’s working method and may eventually have contributed to the success of my relationship with him, casting his work for over twenty years.
    [Show full text]