December 2014 Newsletter
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Contemporary Art Society Report 1942-43
TH E C O N TEM P O R A R Y A R T SO CIETY FOR TH E A CQU I SI TION OF WOR KS OF MOD ERN AR T FOR L OAN OR G I FT TO PU BL I C GALL ER I E S President L O R D H OWA R D D E W A L D E N Chairman SIR E DWA R D M A RSH, K .C .V.O ., C.B ., C.M .G . Treasurer TH E H O N. J AS P E R R I D LE Y 440 Strand, W.C.2 Hon. Secretary L O R D IV O R S P E N C E R -C H U R C HI L L g Dilke Street, S.W.3 Committee S1R EDWARD MA RSH , K .c.v.o., c .B ., c .M.G. ( Chairman) The Earl of Crawford and Balcarres Lord Keynes, c.B. Major Sir Muirhead Bone, R.M. T. E. Lowinsky Mrs. Cazalet Keir, M.P. Ernest Marsh Sir Kenneth Clark, K.C.B. The Hon. Jasper Ridley Samuel Courtauld J. K. M. Rothenstein Sir A. M. Daniel, K.B.E . The Earl of Sandwich Campbell Dodgson, C.B.E. Lord Ivor Spencer-Churchill _ A. M. Hind, o.B.E. C. L. Stocks, c.B. Assistant Secretary: R OB I N I R O NSIDE Speech by the Chairman at the Thirteenth Ordinary General Meeting of the C.A.S. held at the Tate Gallery on 21 April 1944 Ladies and Gentlemen, I find it a pleasing reflection that we are able to meet here on this annual occasion for the fifth time since the war began, with at least a part of our minds free to consider a sphere of human activity which is concerned neither with war nor with politics. -
OF the CLASS You and Your Child’S School up CLOSE & PERSONAL GDPR for Individuals
SPRING / SUMMER 2018 ISSUE 5 HIDDEN GEMS Wiltshire’s secret days out TOP OF THE CLASS You and your child’s school UP CLOSE & PERSONAL GDPR for individuals WILSONS LEGAL & LIFESTYLE MAGAZINE OF OUT THE SHADOWS A new exhibition shines a light on Salisbury artist Henry Lamb Beautiful Jewellery Independent Jewellers 12 Bridge Street, Salisbury, SP1 2LX 01722 324395 www.tribbecks.com COVER IMAGE: Self Portrait, 1932 Henry Lamb WELCOME veryone knows Wiltshire as the county of Stonehenge, Avebury and Salisbury Cathedral, all E of which are hugely rewarding places to visit. Yet sometimes taking the path less trodden can have its own memorable rewards, especially in a wonderful county with a rich history like ours. And that’s the gist of our feature on page 36 of this issue – Wiltshire’s Hidden Gems. Whether it’s an exquisite ancient earthworks like Figsbury Ring or a romantic ruin such as Old Wardour Castle (left) there’s something special round every corner. We also profile the artist Henry Lamb who spent most of his later years with his family in Coombe Bissett. An important 20th-century figurative painter, and co-founder of the Camden Town Group, Lamb is perhaps less well-known than some of his contemporaries, but a major exhibition of his work at the Salisbury Museum sets out to put that right. See our feature on page 24. Elsewhere in the magazine, the Wilsons team shares its insights with you on a number of legal matters. First, we take a look at the new General Data Protection Regulation (GDPR) and how it is giving us the opportunity to take control of our own personal data (p.8). -
“Uproar!”: the Early Years of the London Group, 1913–28 Sarah Macdougall
“Uproar!”: The early years of The London Group, 1913–28 Sarah MacDougall From its explosive arrival on the British art scene in 1913 as a radical alternative to the art establishment, the early history of The London Group was one of noisy dissent. Its controversial early years reflect the upheavals associated with the introduction of British modernism and the experimental work of many of its early members. Although its first two exhibitions have been seen with hindsight as ‘triumphs of collective action’,1 ironically, the Group’s very success in bringing together such disparate artistic factions as the English ‘Cubists’ and the Camden Town painters only underlined the fragility of their union – a union that was further threatened, even before the end of the first exhibition, by the early death of Camden Town Group President, Spencer Gore. Roger Fry observed at The London Group’s formation how ‘almost all artist groups’, were, ‘like the protozoa […] fissiparous and breed by division. They show their vitality by the frequency with which they split up’. While predicting it would last only two or three years, he also acknowledged how the Group had come ‘together for the needs of life of two quite separate organisms, which give each other mutual support in an unkindly world’.2 In its first five decades this mutual support was, in truth, short-lived, as ‘Uproar’ raged on many fronts both inside and outside the Group. These fronts included the hostile press reception of the ultra-modernists; the rivalry between the Group and contemporary artists’ -
The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P
The role of the Royal Academy in English art 1918-1930. COWDELL, Theophilus P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20673/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version COWDELL, Theophilus P. (1980). The role of the Royal Academy in English art 1918-1930. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk onemeia u-ny roiyiecnmc 100185400 4 Mill CC rJ o x n n Author Class Title Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB NOT FOR LOAN Return to Learning Centre of issue Fines are charged at 50p per hour Sheffield Haller* University Learning snd »T Services Adsetts Centre City Csmous Sheffield SI 1WB ^ AUG 2008 S I2 J T 1 REFERENCE ProQuest Number: 10702010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10702010 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. -
One Day, Something Happens: Paintings of People
One Day, Something Happens: Paintings of People Education information pack Contents Page How to use this pack 2 The Arts Council Collection 2 Introduction to the exhibition 3 Artists and works in the exhibition 5 Glossary of art terms and movements 31 In the gallery – looking at the exhibition 37 Project and activity ideas: 38 Art as storytelling 39 Moments in time – movement and stillness 42 Real people, invented characters 45 A true likeness 48 Expression and abstraction 50 Being human – the inside view 53 Seeing and being seen 55 Art as social documentary 59 Useful websites and further reading 62 Jennifer Higgie – exhibition catalogue essay 63 1 How to use this pack This pack is designed for use by teachers and other educators including gallery education staff. It provides background information about the exhibition and the exhibiting artists, as well as a glossary of key terms and art movements. The pack also contains a selection of project ideas around some key themes. As well as offering inspiration for art, One Day, Something Happens: Paintings of People also links well to literacy, drama, history and geography. The project suggestions are informed by current National Curriculum requirements and Ofsted guidance. They are targeted primarily at Key Stage 2 and 3 pupils, though could also be adapted for older or younger pupils. They may form part of a project before, during, or after a visit to see the exhibition. Information in the pack will also prove useful for pupils undertaking GCSE and ‘A’ level projects. This education information pack is intended as a private resource, to be used for educational purposes only. -
1 All Work, No Play … : Representations of Child Labour In
All Work, No Play … : Representations of Child Labour in Films of the First World War Stella Hockenhull University of Wolverhampton During the First World War, even though cinema was still in its infancy, it was seen as a viable tool for propagandist purposes. Furthermore, despite the domination of battle scenes and fighting at the front, a number of Home Front films were also produced to encourage patriotism and to advertise the effort required by the populace to support the troops.1 Indeed, Home Front newsreels were seen by the Government as mobilising useful moral support through nationalism, and, notably, a number featured children in their campaign. However, unlike preceding imagery of childhood, particularly that which had dominated the work of film directors such as Cecil Hepworth (1874-1953), these films did not depict them as embodiments of innocence and in need of protection, nor were they sentimentalised or represented as victims.2 Instead, propaganda cinema of the First World War displayed infancy and youth in military style and as willing individuals ready to serve the nation; this was achieved by detailing their day to day activities in which they were seen as capable, and physically able to help with important tasks such as animal husbandry and food production. Indeed, depictions of children standing in line and operating in perfunctory fashion were habitually displayed, rather than engaged in play activities. and this chimed with the work of artists of the period, and contemporaneous and modernist art movements such as Vorticism.3 One such example, Even Children Help (1917), shows a group of schoolchildren working the land in an orderly and 1 mechanistic way, and Children Grow Vegetables (1914-18) is comprised of shots of disciplined adolescent gardeners, these children dedicated to their task, and demonstrating the correlation between food and survival. -
Manifestoes: a Study in Genre
University of Rhode Island DigitalCommons@URI Open Access Dissertations 2003 Manifestoes: A Study in Genre Stevens Russell Amidon University of Rhode Island Follow this and additional works at: https://digitalcommons.uri.edu/oa_diss Recommended Citation Amidon, Stevens Russell, "Manifestoes: A Study in Genre" (2003). Open Access Dissertations. Paper 682. https://digitalcommons.uri.edu/oa_diss/682 This Dissertation is brought to you for free and open access by DigitalCommons@URI. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. MANIFESTOES: A STUDY IN GENRE BY STEVENS RUSSELL AMIDON A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH UNIVERSITY OF RHODE ISLAND 2003 DOCTOR OF PHILOSOPHY DISSERTATION OF STEVENS R. AMIDON APPROVED: Dissertation Committee: Major Professolf_J.,J:S~~~~:L:::~~~~~ ~-yab H; .,_,, ~ DEAN~- OF THE GRADUATE SCHOOL UNIVERSITY OF RHODE ISLAND 2003 Abstract: This project is a book-length study of the manifesto, which attempts to trace adaptations writers have made to the genre, beginning with the Luther's "95 Theses." From there I move to political manifestoes, including the "Twelve Articles of the Swabian Peasants and Marx and Engels' "Manifesto of the Communist Party," and then to the aesthetic manifestoes of modernism. Later I treat manifestoes of critique, examining texts by Virginia Woolf, Frank O'Hara, Eve Kosofsky Sedgwick, and Donna Haraway, the Students for a Democratic Society and the Lesbian Avengers. While this project is a study of genre and influence, it is grounded in contemporary theories of social reproduction. -
Contemporary Art Society Annual Report 1953-54
Contemporary Art Society Contemporary Art Society, Tate Gallery, Millbank, S.W.I Patron Her Majesty Queen Elizabeth the Queen Mother Executive Committee Raymond Mortimer, Chairman Sir Colin Anderson, Hon. Treasurer E. C. Gregory, Hon. Secretary Edward Le Bas, R.A. Sir Philip Hendy W. A. Evill Eardley Knollys Hugo Pitman Howard Bliss Mrs. Cazalet Keir Loraine Conran Sir John Rothenstein, C.B.E. Eric Newton Peter Meyer Assistant Secretary Denis Mathews Hon. Assistant Secretary Pauline Vogelpoel Annual Report 19534 Contents The Chairman's Report Acquisitions, Loans and Presentations The Hon. Treasurer's Report Auditor's Accounts Future Occasions Bankers Orders and Deeds of Covenant 10 Oft sJT CD -a CD as r— ««? _s= CO CO "ecd CO CO CD eds tcS_ O CO as. ••w •+-» ed bT CD ss_ O SE -o o S ed cc es ed E i Gha e th y b h Speec This year the Society can boast of having been more active than privileged to visit the private collections of Captain Ernest ever before in its history. We have, alas, not received by donation Duveen, Mrs. Edward Hulton, Mrs. Oliver Parker and Mrs. Lucy or legacy any great coliection of pictures or a nice, fat sum of Wertheim. We have been guests also at a number of parties, for money. Sixty members have definitely abandoned us, and a good which we have to thank the Marlborough Fine Art Ltd., (who many others, you will be surprised to hear, have without resigning, have entertained us twice), the Redfern Gallery, Messrs. omitted to pay their subscription. -
British Paintings & Works on Paper 1890–1990
British Paintings & Works on Paper 1890–1990 LISS FINE ART TWENTIETH-CENTURY MYTHS Twentieth-century British art is too often presented as a stylistic progression. top right In fact, throughout the century, a richness and diversity of styles co-existed. Albert de Belleroche, Head of This catalogue is presented in chronological order and highlights both some a woman – three quarter profile, late 1890s (cat. 62) extraordinary individual pictures and the interdependent nature of the artistic ground from which they flowered. bottom right Michael Canney, Sidefold V, Abstraction may well have been the great twentieth century art invention, yet 1985 (cat. 57) most of its leading artists were fed by both the figurative and abstract traditions and the discourse between them. Sir Thomas Monnington,the first President of the Royal Academy to make abstract paintings, acknowledged the importance of this debate, when he declared,‘You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent.You can apply the same judgements to it as you can to traditional works’.1 Many of the artists featured in this catalogue – Monnington, Jas Wood, Banting, Colquhoun, Stephenson, Medley, Rowntree,Vaughan, Canney and Nockolds – moved freely between figurative and abstract art. It was part of their journey. In their ambitious exploration to find a pure art that went beyond reality, they often stopped, or hesitated, and in many cases returned to figurative painting. Artists such as Bush, Knights, Kelly and Cundall remained throughout their lives purely figurative.Their best work, however, is underpinned by an economy of design, which not only verges on the abstract, but was fed by the compositional purity developed by the pursuit of abstraction. -
Woolf and the Art of Exploration Helen Southworth
Clemson University TigerPrints Woolf Selected Papers 2006 Woolf and the Art of Exploration Helen Southworth Elisa Kay Sparks Follow this and additional works at: https://tigerprints.clemson.edu/cudp_woolfe Recommended Citation Woolf and the Art of Exploration: Selected Papers from the Fifteenth International Conference on Virginia Woolf, edited by Helen Southworth and Elisa Kay Sparks (Clemson, SC: Clemson University Digital Press, 2006), xiv, 254 pp. ISBN 0-9771263-8-2 This Book is brought to you for free and open access by TigerPrints. It has been accepted for inclusion in Woolf Selected Papers by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Woolf and the Art of Exploration Selected Papers from the Fifteenth International Conference on Virginia Woolf Woolf and the Art of Exploration Selected Papers from the Fifteenth International Conference on Virginia Woolf Lewis & Clark College, Portland, Oregon 9–12 June 2005 Edited by Helen Southworth and Elisa Kay Sparks A full-text digital version of this book is available on the Internet, at the Center for Vir- ginia Woolf Studies, California State University, Bakersfi eld. Go to http://www.csub.edu/ woolf_center and click the Publications link. Works produced at Clemson University by the Center for Electronic and Digital Publishing, including Th e South Carolina Review and its themed series “Virginia Woolf International,” may be found at our Web site: http://www. clemson.edu/caah/cedp. Contact the director at 864-656-5399 for information. Copyright 2006 by Clemson University ISBN 0-9771263-8-2 Published by Clemson University Digital Press at the Center for Electronic and Digital Publishing, Clemson University, Clemson, South Carolina. -
The Great War and After,1910-1930
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • My sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
Contemporary Art Society Annual Report 1955-56
The Contemporary Art Society • The Contemporary Art Society, Tate Gallery, Millbank SWI Patron Her Majesty Queen Elizabeth the Queen Mother Executive Committee Raymond Mortimer (Chairman) Peter Meyer (Hon. Treasurer) Loraine Conran (Hon. Secretary) Sir Colin Anderson Sir Philip Hendy W. A. Evill E. C. Gregory Eardley Knollys Howard Bliss Mrs. Cazalet-Keir Sir John Rothenstein, C.B.E. Eric Newton Mrs. Oliver Parker A. B. Lousada Dr. Alastair Hunter Organising Secretary Pauline Vogelpoel Chairman's Report The cheerful report on the year 1956 that I am privileged to offer you is defaced by one black spot: Mr. Denis Mathews, who had been our Assistant Secretary for ten years, resigned in the Spring. He wished to give all his time to painting, and as I greatly admire his gift I must applaud as well as regret his decision. By his enthusiasm, enterprise, tact and imagination as well as by his patient industry he did far more than anybody else to revive this Society, and on your behalf I wish to express the deepest gratitude. The Committee elected in his place as Organising Secretary, Miss Pauline Vogelpoel, who had been working as his assistant: her abilities have already proved even greater than we had hoped. She is now receiving some valuable help from Mrs. Meninsky. The Exhibition of paintings and sculpture depicting "The Seasons", which had been organised by the Society, was housed in the Tate by the generous permission of the Director and Trustees. Forty-four painters and thirteen sculptors accepted our invitation. Their works attracted nearly thirteen thousand visitors. The Sub-Committee appointed for the purpose, purchased for the Society paintings by Josef Herman, Patrick Heron, Derek Hill, Mary Kessell and William Scott, and bronzes by Reg Butler, F.