DOCSLIB.ORG

A Distant Isle

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Distant Isle A Distant Isle Wilhelmina Barns-Graham in Lanzarote A Distant Isle Wilhelmina Barns-Graham in Lanzarote A Distant Isle Wilhelmina Barns-Graham in Lanzarote The exhibition has been arranged by Belgrave St Ives in association with the Wilhelmina Barns-Graham Trust. Exhibition: 10–29 June 2019 ISBN No. 978-1-9998524-2-9 Belgrave St Ives, 22 Fore Street St Ives, Cornwall TR26 1HE 01736 794888 [email protected] www.belgravestives.co.uk 3 Wilhelmina Barns-Graham in Lanzarote Quotes are extracts and are taken verbatim from the artist’s Plenty of subjects + v. difficult” (see La Geria, Lanzarote, page are a series of colour crayon drawings and gouaches that reflect island that features terraces of small, whitewashed houses with journals and notebooks. 33). This is a route to Timanfaya, the area of Montagna del “amazing strata bands of grey, red, darkish brown and some... bright green or blue doors and window frames typical of the Fuego (mountain of fire); she notes “…on right hand side the of blue grey” (see Untitled – Lava Study, Lanzarote, page 8). island. These flashes of colour create a rhythm against the white The exhibition marks the thirtieth anniversary of Wilhelmina lonely black mountain with red pink abstract lines and shapes…” walls which clearly caught Willie’s eye – her depictions of them (Willie) Barns-Graham’s first visit to the island of Lanzarote, (see Timanfaya Mt Fuego, page 7). On her third trip she writes Willie’s extensive study of Lanzarote’s lava fields is further remind one of her Orkney collages from a few years before in in February 1989. She had been invited by a friend with whom “we set off for La Geria where I meant to look out some fields illustration, if it were needed, of her interest in geological forms which spots of colour are arranged against a one-colour she stayed, the villa situated on the east coast north of Arrecife, always inspired me for abstract but light was wrong + began that underly the structure of a landscape. Since her move to background. She made several drawings using colour crayons Lanzarote’s main town. Willie needed the break; she was pencil drawing on white paper of hill + some volcanic shelf Cornwall in 1940 her drawings constantly reflect the patterns, on black paper (see Orzola Slipway, page 15) as well as small exhausted. During the latter months of 1988 she had been shapes foreground”. Her only complaint of La Geria was the natural and man-made, of a place, be it of the Scilly Isles, acrylics on board, the latter made when back at her home studios. working on an exhibition of new paintings for the Scottish wind; “wind awful”– “always windy” which could make it Switzerland’s Grindelwald Glacier (1949), the quarries and ravines How did Lanzarote contribute to her work in the UK? One can Gallery in London, and on a major retrospective that was to open difficult to work, on occasion further complicated by the of Tuscany/Sicily (1953–1955) or the rocky edge of the Balearics see new developments in a small number of paintings in which at Newlyn Art Gallery in June. It was thought she would benefit intense heat and brightness. (1958). That she made five trips to Lanzarote in as many years elements of the landscape have become simplified, moving from the warmer, drier climate, on which she concurred, noting indicates strongly that she found the lava landscape inspiring, Willie’s fourth trip to Lanzarote (1992) was “confined to lava away from what she described as being “fairly traditional but in her diary that Lanzarote was “very health giving – no aches with the added benefit of the climate being good for her health. movement + mostly from one place”, close by San Bartolomé. interesting volcano shapes” into ever increasing abstraction and pains worth mentioning”. The visit was a huge success, There she saw “excellent examples of molten lava, merging + Willie’s Lanzarote visits were made in February and March, (see La Geria Road II, page 19 and Red Chasm, page 47). Furthest leading to her making four further visits, the last in 1993. spiral shapes” (see Lava, Lanzarote Series, page 37). She ”got during months when the island receives its highest rainfall, removed from the direct experience is a series of very gestural, Anyone who has been to Lanzarote appreciates what an to the congealed lava by Manrique house...very complicated bringing the landscape into bloom. “…lots of yellow white + almost minimalist paintings where the influence is purely one extraordinary place it is. The island is dominated by the rhythms...had a struggle with this detailed subject…trying purple flowers, specially so this year after extra rainfall…motored of palette – the reds, blacks and ochres she mentions in her substantial volcanic activity, the last eruptions being very recent to get weight and rhythm”. She returns time and time again around… Musdache (sic) + on return quick pencil note of field diaries – and where the splashes of black can be interpreted in geological terms. Well-documented eruptions took place to this lava site, describes it as “very difficult… I improved a abstract pattern greens + browns on hillside” (see Maquez, page 9). as a final evocation of the lava fields (see Untitled, page 39). in the Timanfaya area between 1730 and 1736, when lava and drawing in part + maybe overdid on other parts but anxious A special feature of the Lanzarote landscape is the man-made pits, The Lanzarote collection is a remarkable and significant body ash covered around two-thirds of the island and buried many to study the movement of the congealed lava”. filled with volcanic cinder and protected by curved walls, in which of work from Willie’s later career, the extent of which is still to villages and fertile agricultural land in the process. It is thought vines and vegetables are farmed. They pepper the lower slopes of In much of La Geria the lava is still raw and sharp, as yet be fully assessed. This exhibition sets out some of the island’s that over thirty volcanoes spewed forth at this time. A century the hills throughout La Geria and beyond, clearly seen in Willie’s unaffected by erosion. It is not easy to walk amongst it, which influences and encompasses the breadth of what she achieved. later, in 1824, there was a further eruption in the same area. images, and provide much of the greenery (see La Geria Study is why she often draws on the roadside (see Untitled – Black Volcanic Rock, page 18). Geoffrey Bertram Willie marvelled at the black rock formations and strange conic Mountain, Lanzarote, page 23). In these images the smooth April 2019 hills. One of the main roads wends its way up the centre of the conical shapes of the volcanoes are set off against the chaotic One Lanzarote series that is not on a volcanic theme is that of island curving through the La Geria region, “…magnificent. patterning of the lava. Most are done with pencil though there the salt pans of Orzola, a small community on the top of the 4 5 W. BARNS-GRAHAm 1912–2004 Timanfaya Lanzarote (Tabayesco) / 1989 mt. Fuego / 1989 Pencil on paper Acrylic on paper 57 x 75 cm 36 x 49.5 cm 6 7 [Untitled – Lava Study maquez / 1989 Lanzarote] / 1989 Acrylic on paper mixed media on paper 38 x 56.5 cm 36 x 50 cm 8 9 Timanfaya National Park, La Geria (Vineyard) / 1989 Lanzarote Acrylic on paper Photographer unknown 56.5 x 75.5 cm 10 11 [Church, masdache, Gautiza Evening Lanzarote] / c1989 Lanzarote / 1989 Oil pastel on paper Acrylic on paper 57 x 77 cm 40 x 57.5 cm 12 13 Orzola Houses Orzola Slipway, Lanzarote / 1990 Photo: Geoffrey Bertram Pastel on paper 49 x 68 cm 14 15 Salt Pans No.4 / 1990 Acrylic on card Salt Pans No.5 / 1990 Salt Pans No.7 / 1990 20 x 28 cm Acrylic on card Acrylic on card 28 x 21 cm 27 x 20 cm 16 17 La Geria Study La Geria Road II / 1990 Volcanic Rock / 1990 Gouache on paper Pastel on paper 55.5 x 77 cm 49 x 70 cm 18 19 La Geria Fields La Geria / 1990 Photo: Geoffrey Bertram Gouache on paper 56 x 76.5 cm 20 21 montana Negra [Untitled – Black mountain, Lanzarote] / 1990 Photo: Geoffrey Bertram mixed media on paper 38.5 x 56.5 cm 22 23 maguez / 1990 Lanzarote [Timanfaya] / 1991 Pencil on paper Gouache on paper 57 x 76.5 cm 56 x 75 cm 24 25 The artist, La Geria, looking Lanzarote, nr. Tias / 1991 towards montana Testeyna Pastel on paper Photographer unknown 49 x 69 cm 26 27 Black Volcano, La Geria / 1991 Lanzarote / 1991 Pastel on paper Pencil on paper 49.5 x 70 cm 21 x 30 cm 28 29 Nr. Yaiza Lanzarote / 1991 Nr. Gautiza, march ‘91 / 1991 Pen and ink on paper Pen and ink on paper 29 x 40 cm 29 x 40 cm 30 31 La Geria / 1991 La Geria, Lanzarote / 1991 Pen and ink on paper Pencil on paper 29 x 49.5 cm 56.5 x 75.5 cm 32 33 Lava muerte, Lanzarote Volcanic Formations / 1992 Photographer unknown Gouache on paper 25 x 35 cm 34 35 [Untitled – Lava Series, [Lava Lanzarote Series] / 1992 Lanzarote] / 1992 Pencil on paper Pencil on paper 28.5 x 40 cm 57 x 76 cm 36 37 Lanzarote Series / 1991 Untitled / 1992 Gouache on paper Gouache on paper 56 x 76 cm 56 x 76.5 cm 38 39 Lava at manrique Foundation [Lava Series, Lanzarote] / 1993 nr.
Load more

Recommended publications
  • Auckland City Art Gallery
    Frances Hodgkins 14 auckland city art gallery modern european paintings in new Zealand This exhibition brings some of the modern European paintings in New Zealand together for the first time. The exhibition is small largely because many galleries could not spare more paintings from their walls and also the conditions of certain bequests do not permit loans. Nevertheless, the standard is reasonably high. Chronologically the first modern movement represented is Impressionism and the latest is Abstract Expressionism, while the principal countries concerned are Britain and France. Two artists born in New Zealand are represented — Frances Hodgkins and Raymond Mclntyre — the former well known, the latter not so well as he should be — for both arrived in Europe before 1914 when the foundations of twentieth century painting were being laid and the earlier paintings here provide some indication of the milieu in which they moved. It is hoped that this exhibition may help to persuade the public that New Zealand is not devoid of paintings representing the serious art of this century produced in Europe. Finally we must express our sincere thanks to private owners and public galleries for their generous response to requests for loans. P.A.T. June - July nineteen sixty the catalogue NOTE: In this catalogue the dimensions of the paintings are given in inches, height before width JANKEL ADLER (1895-1949) 1 SEATED FIGURE Gouache 24} x 201 Signed ADLER '47 Bishop Suter Art Gallery, Nelson Purchased by the Trustees, 1956 KAREL APPEL (born 1921) Dutch 2 TWO HEADS (1958) Gouache 243 x 19i Signed K APPEL '58 Auckland City Art Gallery Presented by the Contemporary Art Society, 1959 JOHN BRATBY (born 1928) British 3 WINDOWS (1957) Oil on canvas 48x144 Signed BRATBY JULY 1957 Auckland City Art Gallery Presented by Auckland Gallery Associates, 1958 ANDRE DERAIN (1880-1954) French 4 LANDSCAPE Oil on canvas 21x41 J Signed A.
    [Show full text]
  • Alan Davie: Jingling Space Richard Slee: Panorama Partou Zia: Entering the Visionary Zone
    Alan Davie: Jingling Space Richard Slee: Panorama Partou Zia: Entering the Visionary Zone 25 October 2003 – 25 January 2004 Tate St Ives Notes for Teachers 1 Contents Page No. Introduction 3 Gallery 1 The Pier Arts Centre Collection 5 Upper Gallery 2 Richard Slee Panorama 7 Lower Gallery 2 Alan Davie Jingling Space 9 Studio Alan Davie 12 The Apse William Blake Collection Works 14 Gallery 3 Partou Zia Entering the 16 Visionary Zone Gallery 4 Alan Davie Artists on Artists 18 Gallery 5 Alan Davie Jingling Space 20 Café /Mall Alan Davie 22 Resources available at Tate St Ives 23 Further Reading 23 Appendix I Artists Biographies 25 Appendix II Pier Arts Centre Collection 27 Extracts from labels & captions Appendix III Glossary of Art Terms 30 Appendix IV Alan Davie The Artist’s Words 31 Appendix V Suggested Activities 33 2 Introduction This winter Tate St Ives presents Jingling Space an exhibition of the work of Scottish artist Alan Davie. The exhibition highlights aspects of his work from the 1930s to the present day and includes oil paintings, gouaches, drawings and prints. The exhibition offers fresh insight particularly in his relationship to European Surrealism. Also on display, Alan Davie Artists on Artists A group of paintings selected from the Tate Collection including Max Ernst, Paul Klee, Pablo Picasso, Henri Matisse, Joan Miró and Jackson Pollock. The Pier Arts Centre Collection An exhibition of works by St Ives artists including Barbara Hepworth, Ben Nicholson, Peter Lanyon, Terry Frost and Alfred Wallis. Partou Zia Entering the Visionary Zone A group of works selected from more than 40 paintings made by Partou Zia during her six- month residency at the Porthmeor Studios.
    [Show full text]
  • William Crosbie Centenary Exhibition
    WILLIAM CROSBIE Centenary Exhibition WILLIAM CROSBIE (1915-1999) Centenary Exhibition 7 - 31 JANUARY 2015 16 Dundas Street, Edinburgh EH3 6HZ TEL 0131 558 1200 EMAIL [email protected] www.scottish-gallery.co.uk Front cover: Music of Living - Monkey and Nude, 1988, oil on board, 71 x 91.4 cms, cat. 33 Left: Self Portrait, 1956, oil on board, 60.3 x 43.1 cms, cat. 11 2 INTRODUCTION There are many Scottish painters who have made a mark on our culture and consciousness in the last century and it is tempting to try to attach each to a school or movement. The artist has a habit of resisting any attempt at taxonomy however, wriggling free from the entomologist’s chloroform bottle and display pin, to be unruly, unpredictable and provide no favours for the art historian. Yes, we had The Glasgow Boys, a coherent group of realist painters before the beginning of the 20th Century. And then came The Scottish Colourists, our first modernists, who certainly exhibited as a group and can be understood as British post-impressionists. In the post-War years the choice seemed to be to stay in Scotland under the wing of your Art College or move to the South, like Colquhoun and MacBryde, Alan Davie, William Gear and W. Barns-Graham. Of course the complex reality denies a simple telling; for every adherent there is an opponent and many of the most powerful and individual painters of the period like James Cowie or Joan Eardley neither left nor taught in Glasgow or Edinburgh.
    [Show full text]
  • Modern British and Irish Art Wednesday 28 May 2014
    Modern British and irish art Wednesday 28 May 2014 MODERN BRITISH AND IRISH ART Wednesday 28 May 2014 at 14.00 101 New Bond Street, London duBlin Viewing Bids enquiries CustoMer serViCes (highlights) +44 (0) 20 7447 7448 London Monday to Friday 08.30 to 18.00 Sunday 11 May 12.00 - 17.00 +44 (0) 20 7447 4401 fax Matthew Bradbury +44 (0) 20 7447 7448 Monday 12 May 9.00 - 17.30 To bid via the internet please +44 (0) 20 7468 8295 Tuesday 13 May 9.00 - 17.30 visit bonhams.com [email protected] As a courtesy to intending bidders, Bonhams will provide a london Viewing Please note that bids should be Penny Day written Indication of the physical New Bond Street, London submitted no later than 4pm on +44 (0) 20 7468 8366 condition of lots in this sale if a Thursday 22 May 14.00 - 19.30 the day prior to the sale. New [email protected] request is received up to 24 Friday 23 May 9.30 - 16.30 bidders must also provide proof hours before the auction starts. Saturday 24 May 11.00 - 15.00 of identity when submitting bids. Christopher Dawson This written Indication is issued Tuesday 27 May 9.30 - 16.30 Failure to do this may result in +44 (0) 20 7468 8296 subject to Clause 3 of the Notice Wednesday 28 May 9.30 - 12.00 your bid not being processed. [email protected] to Bidders. Live online bidding is available Ingram Reid illustrations sale number for this sale +44 (0) 20 7468 8297 Front cover: lot 108 21769 Please email [email protected] [email protected] Back cover: lot 57 with ‘live bidding’ in the subject Inside front cover: lot 13 Catalogue line 48 hours before the auction Jonathan Horwich Inside back cover: lot 105 £20.00 to register for this service Global Director, Picture Sales Opposite: lot 84 +44 (0) 20 7468 8280 [email protected] Please note that we are closed Monday 26 May 2014 for the Irish Representative Spring Bank Holiday Jane Beattie +353 (0) 87 7765114 iMportant inforMation [email protected] The United States Government has banned the import of ivory into the USA.
    [Show full text]
  • Edinburgh Printmakers Process & Possibilities
    Edinburgh Printmakers Celebrating 50 years of printmaking innovation Process & Possibilities curated by Lesley Logue 27 January to 15 April 2017 gave me a solid foundation and skill set to work from, and the ability to expand on my approach and develop ideas through other forms of making. This multidisciplinary Process & Possibilities is the first of a series approach is true of many artists who have of exhibitions that will showcase prints from had an engagement with printmaking at some the Edinburgh Printmakers archive as the point within their creative practice. organisation celebrates its 50th year. Having been given the opportunity to make a selection from a vast number of prints I chose works As an artist now working across various art that convey the complexity of mark making and mediums including drawing, photography, responsive nature of printmaking. Looking back print and sculpture, I still see printmaking at my time as an undergraduate fine art student as having a fundamental influence on my art it was the works of Gear, Bellany, McCulloch practice. I would say that a key part of my and Lamb that sparked my interest in print. methodology is thinking through making and Reflecting on what it was about printmaking by that I mean allowing the process, though that appealed to me, I recall the freedom to not exclusively the print process, to work experiment and the exciting possibilities that in partnership with the development of an the printmaking processes had to offer. This idea. For the artists in this exhibition, apart included working with and perfecting traditional from Lamb, printmaking is not necessarily techniques as well as combining processes and their main specialism.
    [Show full text]
  • Scottish Gallery 2007.Pdf
    Wilhelmina Barns-Graham 23 North Sea, Fife 2, 1979 mixed media, 27 x 20 cms Wilhelmina Barns-Graham (1912-2004) Paintings and Drawings 1952-2003 4 - 26 June 2007 1 Black Rocks, 1952 oil on board, 61 x 76 cms Foreword This will be the first show of work by Wilhelmina Barns-Graham in her native Scotland since her death in 2004. As a major British artist and a key figure in the St Ives School, she has long been represented in important survey exhibitions relating to modernism, abstraction and St Ives and has been the subject of major retrospectives at Tate St Ives and the Scottish National Gallery of Modern Art. Born in St Andrews, she graduated from Edinburgh College of Art in 1937 and moved to St Ives in 1940 where she soon became an important member of its lively community of forward-looking artists. Over the next 20 years she showed successfully in solo and group exhibitions in St Ives and Newlyn but also in London and America. Scotland, however, always remained a very important part of her life, art and exhibiting career, ever more so when she inherited a house near St Andrews in 1960. She soon settled into a routine of moving between her twin centres of St Andrews and St Ives, her Scottish retreat offering perhaps an opportunity to work and to reassess in a different milieu and atmosphere and under a different set of influences and inspirations. Her relationship with The Scottish Gallery was always close and productive. Her first exhibition with us in 1956 was followed by six further shows culminating in 2002 with her magnificent 90th birthday exhibition of recent work.
    [Show full text]
  • The Representation of Association Football in Fine Art in England From
    The Representation of Association Football in Fine Art in England From its Origins to the Present Day by Ray Physick A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire April 2013 The Representation of Association Football in Fine Art in England King Kenny by Christine Physick (2011) From its Origins to the Present Day Ray Physick: The Representation of Association Football in Fine Art in England Table of Contents Table of Contents ................................................................................................................... 3 Acknowledgements ................................................................................................................ 4 Abstract ..................................................................................................................................... 5 Preamble ................................................................................................................................... 6 Chapter One: Introduction (part one) ............................................................................... 15 Chapter Two: Introduction (part two) and Literature Review ..................................... 41 Chapter Three: Representations of Football in Art - Origins to 1918 ........................ 76 Chapter Four: Representations of Football in Art – 1918-1945 .................................. 135 Chapter Five: Representations of Football in Art – 1945-1960 .................................
    [Show full text]
  • Theartofwilhelmina Barns-Graham
    ALL H INITY R mina CAMBRIDGE T l Graham - ilhe W of Barns Art ElementalEnergies he T ElementalEnergies:TheArtofWilhelminaBarns-Graham TrinityHall,Cambridge ALL H INITY R CAMBRIDGE T ElementalEnergies TheArtof Wilhelmina Barns-Graham ElementalEnergies TheArtof Wilhelmina Barns-Graham Elemental Energies, The Art of Wilhelmina Barns-Graham Curated by Mel Gooding Trinity Hall, Trinity Lane, Cambridge CB2 1TJ The exhibition is coordinated by Strand Gallery, Aldeburgh and Art First, London in cooperation with The Barns-Graham Charitable Trust The exhibition will be hung from Monday 17th September to Sunday 16th December, 2007 Open on Mondays from 9am–12pm & 2pm–3.30pm Open on Sundays: 2pm–5pm (closed on 18th November) TRINITY HALL For further information please call 01223 332555 during office hours, 9amº–5pm CAMBRIDGE WILHELMINA BARNS-GRAHAM CBE, RSA, RSW Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8th June 1912. As a child she showed very early signs of creative ability. Determining while at school that she wanted to be an artist she set her sights on Edinburgh College of Art where, after some dispute with her father, she enrolled in 1932, and, after periods of illness, from which she graduated with her diploma in 1937. At the suggestion of the College’s principal Hubert Wellington, she moved to St Ives in 1940. This was a pivotal moment in her life. Early on she met Borlase Smart, Alfred Wallis and Bernard Leach, as well as Ben Nicholson, Barbara Hepworth, and Naum Gabo who were living locally at Carbis Bay. She became a member of the Newlyn Society of Artists and St Ives Society of Artists but was to leave the latter in 1949 when she became one of the founding members of the breakaway Penwith Society of Artists.
    [Show full text]
  • Wilhelmina Barns-Graham a Scottish Artist in St Ives
    Wilhelmina Barns-Graham Wilhelmina Barns-Graham A Scottish artist in St Ives A Scottish artist St Ives in The Barns-Graham Charitable Trust The Barns-Graham Charitable Trust The Barns-Graham Charitable Trust Wilhelmina Barns-Graham A Scottish artist in St Ives The Barns-Graham Charitable Trust 1 W. Barns-Graham: A Scottish artist in St Ives Lynne Green Published by The Barns-Graham Charitable Trust, in association with the 2012 exhibition W. Barns-Graham: A Scottish artist in St Ives curated by Lynne Green at The Fleming Collection, London and the City Art Centre, Edinburgh All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. W. Barns-Graham: A Scottish artist in St Ives © 2012 Trustees of The Barns-Graham Charitable Trust Text © 2012 Lynne Green All works by Wilhelmina Barns-Graham © 2012 Trustees of The Barns-Graham Charitable Trust Photography: Bruce Pert except Plates Scorpio Series No.1, The Blue Studio, Warm Up, Cool Down, Red Playing Games I, Autumn Series No.5 Balmungo and Warbeth I by Coline Russelle Designed by Flit and Briony Anderson flitlondon.co.uk | [email protected] Typeset in Plantin and Grotesque MT Printed by Empress Litho ISBN: 978-0-9571050-0-3 The Barns-Graham Charitable Trust Balmungo House Balmungo St Andrews Fife KY16 8LW www.barns-grahamtrust.org.uk Cover image: View of St Ives, 1940 (detail), oil on canvas,
    [Show full text]
  • 1 Ejler Bille Eugène Brands
    Ejler Bille Eugène Brands (Danish, 1910–2004) (Dutch, 1913–2002) Large Mask (Store Maske), Mask, 1946 1944 Papier maché Bronze NSU Art Museum Fort Lauderdale, NSU Art Museum Fort Lauderdale, The Golda and Meyer Marks Cobra The Golda and Meyer Marks Cobra Collection; M-352 Collection; M-235 After studying commercial drawing at the Amsterdam School for Applied Arts, Eugène Ejler Bille, a writer and a painter, was a Brands became an artist in the 1930s, key member of the Danish avant-garde making assemblages of found objects groups Linien (The Line), Helhesten (The inspired by Surrealism. Just after the end of Hell-Horse), and Høst (Autumn), which the war, Amsterdam art dealer Frits Lemaire continued the avant-garde legacy of Dada, commissioned Brands to create precise Surrealism, and German Expressionism in pencil drawings of his extensive collection Denmark in the 1930s and 1940s. Bille’s of ethnographic masks and objects from Large Mask reflects the Danish avant-garde’s west Africa and Oceania for a book he was investigation of ethnographic objects and publishing. This project inspired Brands to ancient Scandinavian art. Rather than a design and manufacture his own versions of mask to be worn, the heaviness of the masks. Often beginning with a papier-mâché bronze suggests something ancient and base, he would add paint and elements of permanent, much like the prehistoric Nordic assemblage, such as egg shell or snake rock carvings discussed in the journal skin, to form the masks. Lemaire also took a Helhesten (1941–1944). The mask takes on series of photographs of Brands imaginatively an anthropomorphic quality through the posing with these masks, as seen in the extensions suggesting limbs that protrude exhibition slide show.
    [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 July 2015) 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 FRANK BOWLING MILEIN COSMAN IVOR ABRAHAMS ALAN BOWNESS STEPHEN COX NORMAN ACKROYD IAN BREAKWELL TONY CRAGG NORMAN ADAMS GUY BRETT MICHAEL CRAIG-MARTIN ANNA ADAMS STUART BRISLEY JOHN CRAXTON CRAIGIE AITCHISON RALPH BROWN DENNIS CREFFIELD EDWARD ALLINGTON ANNE BUCHANAN CROSBY KEITH CRITCHLOW ALEXANDER ANTRIM STEPHEN BUCKLEY VICTORIA CROWE RASHEED ARAEEN ROD BUGG KEN CURRIE EDWARD ARDIZZONE LAURENCE BURT PENELOPE CURTIS DIANA ARMFIELD ROSEMARY BUTLER SIMON CUTTS KENNETH ARMITAGE JOHN BYRNE ALAN DAVIE MARIT ASCHAN SHIRLEY CAMERON DINORA DAVIES-REES FRANK AVRAY WILSON KEN CAMPBELL AILIAN DAY GILLIAN AYRES STEVEN CAMPBELL PETER DE FRANCIA WILLIAM BAILLIE CHARLES CAREY ROGER DE GREY PHYLLIDA BARLOW NANCY CARLINE JOSEFINA DE WILHELMINA BARNS- ANTHONY CARO VASCONCELLOS GRAHAM FRANCIS CARR TONI DEL RENZIO WENDY BARON B.A.R CARTER RICHARD DEMARCO GLENYS BARTON SEBASTIAN CARTER ROBYN DENNY
    [Show full text]
  • Complete Dissertation
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of East Anglia digital repository Table of Contents Page Title page 2 Abstract 3 Acknowledgements 4 Introduction 5 Chapter 1 A brief biography of E J Power 8 Chapter 2 Post-war collectors of contemporary art. 16 Chapter 3 A Voyage of Discovery – Dublin, London, Paris, Brussels, 31 Copenhagen. Chapter 4 A further voyage to American and British Abstraction and Pop Art. 57 Conclusion 90 List of figures 92 Appendices 93 Bibliography 116 1 JUDGEMENT BY EYE THE ART COLLECTING LIFE OF E. J. POWER 1950 to 1990 Ian S McIntyre A thesis submitted in partial fulfilment of the requirements for the degree of MASTER OF ARTS THE UNIVERSITY OF EAST ANGLIA September 2008 2 Abstract Ian S McIntyre 2008 JUDGEMENT BY EYE The art collecting life of E J Power The thesis examines the pattern of art collecting of E J Power, the leading British patron of contemporary painting and sculpture in the period after the Second World War from 1950 to the 1970s. The dissertation draws attention to Power’s unusual method of collecting which was characterised by his buying of work in quantity, considering it in depth and at leisure in his own home, and only then deciding on what to keep or discard. Because of the auto-didactic nature of his education in contemporary art, Power acquired work from a wide cross section of artists and sculptors in order to interrogate the paintings in his own mind. He paid particular attention to the works of Nicolas de Stael, Jean Dubuffet, Asger Jorn, Sam Francis, Barnett Newman, Ellsworth Kelly, Francis Picabia, William Turnbull and Howard Hodgkin.
    [Show full text]