Review 2010/11/12 Review 2010/11/12

Total Page:16

File Type:pdf, Size:1020Kb

Review 2010/11/12 Review 2010/11/12 Review 2010/11/12 Review 2010/11/12 Contents 3 Introduction from the Director 4 Extending and Broadening Audiences 10 Developing the Collection 14 Increasing Understanding of Portraiture and the Collection 18 Maximising Financial Resources 23 Developing Staff 24 Improving Services 26 Acquisitions 42 Exhibitions and Displays 46 Financial Review 48 Supporters Inside front cover BP Portrait Award: Next Generation participant Inside back cover Visitors in The Regency in the Weldon Galleries Photo: Claire Clutterbuck ‘I am delighted that the Gallery has achieved so much in these 3 Introduction past two years, in every aspect of Board of Trustees its work – and I greatly welcome 1 April 2010 to 31 March 2012 from the Director HRH The Duchess of Cambridge Professor Sir David Cannadine, joining us as the Gallery’s Patron.’ FBA, FRSL Chairman Zeinab Badawi Professor Sir David Cannadine, The special summer of 2012 – the year of the Diamond Jubilee Chairman, Trustees of the Ms C. Allegra Berman Chair of the Investment Committee and Olympic and Paralympic Games – is an appropriate time National Portrait Gallery (from August 2010) to review the past two years. While mindful of the country’s Professor Dame Carol Black DBE unsettled economic circumstances, the Gallery has focused Sir Nicholas Blake on its central ambition to celebrate achievement and promote Dr Rosalind Blakesley a wider interest in portraiture – both at the Gallery and beyond. Dr Augustus Casely-Hayford The Rt Hon. Nick Clegg MP Two million annual visits is a significant marker for so much that (ex-officio) has been accomplished. The outstanding Lucian Freud Portraits, Lord President of the Council (from 11 May 2010) the ever-growing numbers attending the BP Portrait Award and The Marchioness of Douro OBE DL the success of the Road to 2012 project with BT, through to Kim Evans OBE historical exhibitions, smaller displays and interventions around (from October 2010) the Gallery, demonstrate the inventiveness of the public Dame Amelia Chilcott Fawcett DBE programme, as also evident in our research, learning, outreach, Deputy Chairman and Chair of the national, digital and communication work. At the heart of all Development Board (until June 2011) activity is the Collection, and this period has seen many wonderful Sir Nicholas Grimshaw CBE (ex-officio) acquisitions ranging from portraits of Anne of Denmark and President of the Royal Academy of Anna Wintour to loans of Catherine of Aragon and Ayuba Arts (until 8 December 2011) Suleiman Diallo. New commissioned portraits are also to be Christopher Le Brun (ex-officio) celebrated, including those of The Queen and Duke of Edinburgh President of the Royal Academy of Arts (from 8 December 2011) by Thomas Struth and Sir James Dyson by Julian Opie. The Rt Hon. The Lord Janvrin GCB GCVO QSO During the period we welcomed Allegra Berman, Kim Evans David Mach RA and Mary McCartney as new Trustees, while being immensely (until August 2010) grateful to our ex-officio Trustees and also to retiring Trustees The Rt Hon. The Lord Mandelson Amelia Fawcett, Deputy Chair and first Chair of the Investment (ex-officio) Committee, Sara Selwood and David Mach for their excellent Lord President of the Council (until 10 May 2010) contributions. Mary McCartney (from February 2011) My thanks go to all those – Trustees, Development Council Sir William Proby Bt CBE DL individual donors, benefactors, sponsors, corporate partners, Deputy Chairman from June 2011 trusts and foundations and volunteers – who contribute David Ross so much to the Gallery’s work. I am also very grateful to all of Chair of the Audit and Compliance Committee my colleagues, whose knowledge and enthusiasm are central Professor Sara Selwood to the Gallery’s success and especially to Jacob Simon who (until May 2010) completed his period as Chief Curator in September 2011. Marina Warner CBE FBA Opposite: HRH The Duchess of Cambridge with Sandy Nairne, Director Photo: Natalia Calvocoressi 5 Extending and Broadening Audiences Over the past two years the Gallery has continued to attract new audiences, through communications, exhibitions and displays, learning programmes, targeted outreach activities and increased access to the Collection through our partnerships across the UK. The Gallery attracted 1.76 million visits in 2010/11 and 2.05 million in 2011/12, this was the best annual visitor figure in our history and the first time we have received over two million visits. The BP Portrait Award in both 2010 and 2011 attracted, on average, over 3,000 visitors a day – in 2011 341,000 visitors saw the exhibition, making it the most popular we have ever displayed. The Indian Portrait was a great success, receiving over 139,000 visitors, 82% over the expected visitor figure and Glamour of the Gods attracted over 87,000 visitors, 60% above target. Research results indicate that the Gallery continues to attract new and diverse audiences; since March 2010, 51% of visitors were first time attenders and 12% were from Black, Asian and minority ethnic (BAME) groups. Enjoyment and satisfaction levels remain high, with 97% rating their visit ‘good’ or ‘excellent’. 92% of visitors said that they would be likely to return in the future and 97% said that they would recommend a visit to the Gallery. Marketing The ‘Take another look’ marketing campaign won a series of accolades including a silver award at the DBA Design Awards 2011. Effective audience development was undertaken for The Indian Portrait and 24% of visitors to the exhibition were from BAME groups. Thursday and Friday nights were re-launched, with FTI Consulting’s support, as Late Shift in May 2010 and the accompanying marketing campaign has Opposite: encouraged a new, young audience. 74% of visitors were aware The Dance Union project, July 2011 of the Late Shift brand in 2011, a 20% year on year increase. Photograph: Othello de Souza-Hartley Director Sandy Nairne greets the Gallery’s two-millionth visitor in March 2011 6 7 Press Young People Campaigns for a range of Gallery activities resulted in The Gallery’s Youth Forum continues to play an active role in widespread media coverage. Making Art in Tudor Britain and shaping the programme and events have included visitor talks the Scharf archive project received extensive features in led by young people around the Taylor Wessing Photographic the popular press and the Gallery was featured in several Portrait Prize. Year one of the three-year Domino Effect NEET documentaries including The Genius of British Art. The BP (Not in Education, Employment or Training) project funded by Portrait Award 2011 winners’ ceremony was broadcast live from the Dorset Foundation worked with participants from Fairbridge the Gallery for the first time on Channel 4 News. Lucian Freud and Kids Company. After a photographic course each participant Portraits, The Queen: Art & Image tour and the announcement created a workbook and portrait and seventeen of the young that the Duchess of Cambridge had become Gallery Patron all people completed an Arts Council Arts Award qualification. received extensive national and international coverage. Schools and Colleges Interpretation 78,398 taught and self-directed learners used the Gallery The Gallery’s smartphone apps have been available since during the period, with a further 6,230 taught off-site. The January 2011. Often repurposing material made for the Gallery Learning team have continued to deliver high-quality taught audio guide, these offer videos, trails, audio commentaries and sessions including ‘Freud in Focus’ talks and a Continuing information about the Collection with specialised versions in Professional Development programme for teachers. The BP British Sign Language and Japanese. The Lucian Freud Portraits Portrait Award: Next Generation project, part of the Gallery’s audio guide was also made available globally in this way. Cultural Olympiad programme, featured summer schools for young people run by BP Portrait Award artists. Engagement Families through the Next Generation website continues, 250 portraits Illustrators Tim Hopgood and Jason Chapman created have been shared by young people through the Flickr ‘Your characters for the BP Portrait Award family labels and trail Portraits’ gallery and the artists’ films have received 12,685 in 2010 and 2011. This annual feature is now a high-profile views on YouTube. commission for children’s illustrators and forms an important part of our family-friendly provision each summer. A new visual Outreach identity for the family programme was created and has been Targeted community and outreach work continues to be introduced successfully across signage and materials. During over-subscribed and has included working with diverse the coming year, there will be additional self-directed resources, audiences such as basic skills groups, looked-after young interpretation and a staffed pick-up point for families. people, hospital schools and deaf and visually impaired students. Undergraduates from the University of East London have developed a series of documentary portraits on life in the Olympic host boroughs in the lead up to summer 2012. Each week they have worked with a different professional photographer to develop their ideas and practice. This material Portrait by participant in the Kids Company NEET Project will be published on the National Portrait Gallery/BT Road to Family art workshop photographic course, July 2011 2012 project website. Photo: Claire Clutterbuck Secondary school students visiting The Gallery’s smartphone App the BP Portrait Award 2011 8 9 Participation Projects National Programme Year two and three of Chasing Mirrors, a three-year community The partnership exhibition, Writers of Influence, curated by project funded by John Lyon’s Charity, attracted over 77,000 young people, included the first British tour of the Chandos visitors. The displays explored the representation of self and portrait of William Shakespeare and attracted over 85,000 were produced by young Arabic speaking people from West visitors in venues in Sheffield, Sunderland, Plymouth and London in collaboration with lead artists Alinah Azadeh, a Southampton.
Recommended publications
  • Sacred Psychoanalysis” – an Interpretation Of
    “SACRED PSYCHOANALYSIS” – AN INTERPRETATION OF THE EMERGENCE AND ENGAGEMENT OF RELIGION AND SPIRITUALITY IN CONTEMPORARY PSYCHOANALYSIS by JAMES ALISTAIR ROSS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY School of Philosophy, Theology and Religion College of Arts and Law The University of Birmingham July 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT From the 1970s the emergence of religion and spirituality in psychoanalysis is a unique development, given its traditional pathologizing stance. This research examines how and why ‘sacred psychoanalysis’ came about and whether this represents a new analytic movement with definable features or a diffuse phenomena within psychoanalysis that parallels developments elsewhere. After identifying the research context, a discussion of definitions and qualitative reflexive methodology follows. An account of religious and spiritual engagement in psychoanalysis in the UK and the USA provides a narrative of key people and texts, with a focus on the theoretical foundations established by Winnicott and Bion. This leads to a detailed examination of the literary narratives of religious and spiritual engagement understood from: Christian; Natural; Maternal; Jewish; Buddhist; Hindu; Muslim; Mystical; and Intersubjective perspectives, synthesized into an interpretative framework of sacred psychoanalysis.
    [Show full text]
  • 31 Days of Oscar® 2010 Schedule
    31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy
    [Show full text]
  • How Women Excelled at the BBC, 1923–1939
    MIA0010.1177/1329878X16664998Media International AustraliaMurphy 664998review-article2016 Review Essay Media International Australia 1 –10 ‘New and important careers’: © The Author(s) 2016 Reprints and permissions: how women excelled at the sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1329878X16664998 BBC, 1923–1939 mia.sagepub.com Kate Murphy Bournemouth University, UK Abstract From its beginnings in 1923, the BBC employed a sizeable female workforce. The majority were in support roles as typists, secretaries and clerks but, during the 1920s and 1930s, a significant number held important posts. As a modern industry, the BBC took a largely progressive approach towards the ‘career women’ on its staff, many of whom were in jobs that were developed specifically for the new medium of broadcasting. Women worked as drama producers, advertising representatives and Children’s Hour Organisers. They were talent spotters, press officers and documentary makers. Three women attained Director status while others held significant administrative positions. This article considers in what ways it was the modernity and novelty of broadcasting, combined with changing employment possibilities and attitudes towards women evident after the First World War, that combined to create the conditions in which they could excel. Keywords BBC, employment, history, interwar, radio, women Introduction In the conclusion to her chapter on women in the BBC in Women in Top Jobs, the sociologist Isobel Allen queried ‘whether women had done as well in the BBC as might be expected’ (Fogarty et al., 1971: 214). She pointed out that most of the very senior women were about to retire with no obvi- ous female successors. ‘There is certainly no reason to imagine’, she continued, ‘that anything like the situation in the early 1930s, when almost half the departmental heads in the BBC were women, could be repeated in the near future’ (Fogarty et al., 1971: 214).
    [Show full text]
  • Worldwide Entertainment Mint Sets & More PART 1
    Worldwide Entertainment Mint Sets & More MUSIC, MOVIES, BROADWAY, TV, RADIO, CARTOONS ++ PART 1 A-J Stamps are all Fine to Very Fine or Better, Never Hinged Please order by country name and Item #. OMNIBUS (Multi-Country) COLLECTION Item # Year & Description (Scott #) Retail Price E1-5 1996 “Rocky” Movies collection of 5 sheetlets of 3 from Gambia, Ghana,Grenada,St.Vincent & the Grenadines and Uganda in special pack ................................................................ 26.75 AFGHANISTAN E4 2003 Disney Cartoon Movie Posters, Sheet of 6 .................... 5.50 E5-10 same, Souvenir Sheets (6) ................................................. 22.75 E11-13 2003 Elvis Presley Souvenir Sheets with Walt Disney Background (3) ............................................... 11.50 E14 1999 Movie Stars - Junior: Sandra Bullock, Kate Winslet & Leonardo DiCaprio, Catherine Zeta- Jones, Kim Delaney, Gwyneth Paltrow, Matt.. Damon, Brad Pitt, Antonio Banderas, George Clooney Sheet of 9 ................................................ 5.50 E15 1999 Movie Stars - Medium: Harrison Ford & Anne Heche, Sylvester Stallone, Kevin Costner & Clint Eastwood, Jackie Chan, Helen Hunt, Tom Hanks, Gillian Anderson, Robert DeNiro, David Duchovny Sheet ot 9 ................................................ 5.50 E16 1999 Movie Stars - Senior: Brigitte Bardot (2), Fred.. Astaire & Ginger Rogers, Gerard Depardieu, Greta Garbo, Shirley Temple, Gary Cooper, Marcello Mastroianni, Sophia Loren, Sheet of 9 5.50 E17 1999 Music Stars - Junior: Mariah Carey, Backstreet
    [Show full text]
  • Review 2009/2010
    Review 2009/2010 Review 2009/10 Contents 3 Introduction from the Director 4 Extending and Broadening Audiences 8 Developing the Collection 12 Increasing Understanding of Portraiture and the Collection 16 Maximising Financial Resources 20 Improving Services 21 Developing Staff 22 Acquisitions 30 Financial Review 32 Supporters 35 Exhibitions and Displays Inside front cover Gallery Main Entrance Inside back cover Francis Alÿs: Fabiola display ‘The growing engagement with our programmes – whether new commissioned portraits or exhibitions, national and digital developments, or research and learning – gives me great confidence in the Gallery’s future development.’ Professor Sir David Cannadine, Chairman, Trustees of the National Portrait Gallery 3 Introduction Board of Trustees 1 April 2009 to 31 March 2010 from the Director Professor Sir David Cannadine, FBA, FRSL Chairman The Rt Hon. Baroness Whatever the continuing difficulties for the economy and Royall of Blaisdon (ex-officio) Lord President of the Council the country during the past year, the Gallery attracted a (until June 2009) growing audience, with record numbers to the BP Portrait Zeinab Badawi Award and over 250,000 visitors seeing the Taylor Wessing Professor Dame Carol Black Photographic Prize . All the year’s exhibitions – from Gay Icons (from March 2010) to Beatles to Bowie , The Indian Portrait , The Singh Twins Sir Nicholas Blake and Steve McQueen’s Queen and Country – successfully Dr Rosalind Blakesley demonstrated the connections between portraits and (from March 2010) individuals with fascinating and inspiring stories. Dr Augustus Casely-Hayford The Marchioness of Douro The launch of the National Portrait Gallery/BT Road to 2012 Dame Amelia Chilcott Fawcett, DBE was indicative of the Gallery’s determination to create new Deputy Chairman and Chair of the work and widen engagement with communities as part of Development Board the Cultural Olympiad.
    [Show full text]
  • Nelson H. White
    Nelson H. white 1 Nelson H. white Solo Show Exhibition July 24th to August 15th GreNNiNG Gallery Cover: P.O. Box 3049, 17 Washington Street, Sag Harbor, NY 11963 Waterford Beach Photography:Ted Hendrickson, Rabatti and Domonicie 16 x 24 inches Copyright, 2010 Grenning Gallery Tel. 631-725-8469, Fax 631-725-8467 Oil on Canvas, 2009 All reproduction rights reserved by the artist www.grenninggallery.com Nelson H. white Solo Show Exhibition July 24th to August 15th GreNNiNG Gallery P.O. Box 3049, 17 Washington Street, Sag Harbor, NY 11963 Tel. 631-725-8469, Fax 631-725-8467 www.grenninggallery.com 1 introduction While amazed, we are not surprised to see Nelson H. White’s work deepen in White holds court on a wide range of subjects including (most importantly) emotion and subtlety, as we exhibit his first solo show since 2005. Throughout the working practices of the artists. To the listener’s delight, however, he also his life, White has paired his fortuitous birth into a family of painters and shares funny and insightful stories about the artists’ personalities, life dramas, art historians, with indefatigable energy and drive. White has, quite simply, and quirky circumstances. applied himself with abandon to his craft since 1955. Following a rigorous weekly schedule of study, studio painting, and regular plein air painting trip, White’s fortitude is admirable, as few painters with his success and experience few painters (of any age) could keep up with him even today. It’s a rare day, would return to an atelier for additional training, which he did in 1999, when when White hasn’t been painting.
    [Show full text]
  • OZ 17 Richard Neville Editor
    University of Wollongong Research Online OZ magazine, London Historical & Cultural Collections 12-1968 OZ 17 Richard Neville Editor Follow this and additional works at: http://ro.uow.edu.au/ozlondon Recommended Citation Neville, Richard, (1968), OZ 17, OZ Publications Ink Limited, London, 48p. http://ro.uow.edu.au/ozlondon/17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] OZ 17 Description Editor: Richard Neville. Design: Jon Goodchild. Writers: Andrew Fisher, Ray Durgnat, David Widgery, Angelo Quattrocchi, Ian Stocks. Artists: Martin Sharp, John Hurford, Phillipe von Mora. Photography: Keith Morris Advertising: Felix Dennis, REN 1330. Typesetting: Jacky Ephgrave, courtesy Thom Keyes. Pushers: Louise Ferrier, Felix Dennis, Anou. This issue produced by Andrew Fisher. Content: Louise Ferrier colour back issue/subscription page. Anti-war montage. ‘Counter-Authority’ by Peter Buckman. ‘The alH f Remarkable Question’ - Incredible String Band lyric and 2p illustration by Johnny Hurford. Martin Sharp graphics. Flypower. Poverty Cooking by Felix and Anson. ‘The eY ar of the Frog’ by Jule Sachon. ‘Guru to the World’ - John Wilcock in India. ‘We do everything for them…’ - Rupert Anderson on homelessness. Dr Hipocrates (including ‘inflation’ letter featured in Playpower). Homosexuality & the law. David Ramsay Steele on the abolition of Money. ‘Over and Under’ by David Widgery – meditations on cultural politics and Jeff uttN all’s Bomb Culture. A Black bill of rights – LONG LIVE THE EAGLES! ‘Ho! Ho! Ho Chi Mall’ - the ethos of the ICA. Graphic from Nottingham University. Greek Gaols. Ads for Time Out and John & Yoko’s Two Virgins.
    [Show full text]
  • Glen Hansman
    PARKSVILLE QUALICUM RETIRED TEACHERS’ ASSOCIATION NEWSLETTER #9 – September 2017 PRESIDENT’S GREETING from Cathy Van Herwaarden: How about this summer??? It just goes on and on and on!!! However, hearing those early evening crickets always reminds me of going back to school. Did anyone else notice that there was always a cricket or two that would get into the school to keep you company while getting the classroom ready for the beginning of school? Probably a long, lost memory now! BCTF President – Glen Hansman As we approach the beginning of a new school year, disturbing signs of a resurgent neo-Nazi, white supremacist movement have got teachers talking about how best to confront these toxic forces and their potential impact on our students. It’s a dilemma we have faced over the decades. Here’s an excerpt from an article in the April 1943 issue of the B.C. Teachers’ Federation magazine: “In a very special sense, the teachers are involved in this great conflict, for they in themselves carry the light of learning and the torch of freedom — which Nazism and Fascism seek to extinguish — for if these tyrannies succeed, education ceases and propaganda takes its place. Between these two conceptions lies the world of difference between democracy and dictatorship. There can be no meeting place or compromise between them.” From the Second World War to Charlottesville, we are reminded how critically important it is to continue educating young people to understand that “world of difference between democracy and dictatorship.” B.C. teachers have a lot of experience with anti-racist education.
    [Show full text]
  • The Connoisseur (Sir Gerald Ryan
    1 TheConnoisseur An Illustrated Magazine For Collectors Edited by C. Reginald Grundy Vol. LIX. (JANUARY—APRIL. 1921) LONDON Published by the Proprietor, W. CLAUDE JOHNSON, at tiii., Editorial and Advertisement Okkices of The Connoisskuu, AT I, Duke Street, St. James's, S.W. i 192 1 MROSE AND SONS 1 DERIIY AND I.ONDO 8(i 1)656 NDEX ARTICLES AND NOTES A Beautiful Jacobean Hanging (Note) .Authors and Contributors—coiilinucd. "A Citv Banquet," by Fred Roc, K.I., R.B.C. Richardson, Mrs. Herbert. The Fashion Plates '(Note) of Horace Vernet (Art.) ... ... ... yy Adam and other Furniture (Note) ... Roberts, C. Clifton. Salopian China (Art.) ... 2.( Aitken, John E., Drawings by (Note) Roe. F. Gordon. The Life and Work of F. W. An Outpost of London, by Criticus (Note) Hayes, A.R.C.A., F.R.G.S. (Art.) 103 Angelica Kautfmann and Her .Art. by Lady Victoria Rusconi, Art. Jahn. The Tapestries of Mantua Manners (.\rt.) by Raphael (Art.) 77 Another New Gallery (Note) Williamson, Dr. G. C. Some Notes on the Portraits of Sir Pliilip Sidney (Art) ... Antique Business Extension (Note) 217 Antiques at Waring's (Note) Books Reviewed. Aquatints. Old (Note) A Bookseller's igo Authors and Contributor.s. Catalogue " A Catalogue of Etchings by Augustus John, Andrews, Cyril Bruyn. The Valencia Altar-piece 1901-1914." by Campbell Dodgson ... 5S (Art.) " A Dweller in Mcsnpntamia," by Donald Maxwell 1S7 Brochner, Georg. Old Danish Furniture (.Art.)... " A Hamll.".i. ..I Imlini Art," by E. B. Havell ... 188 Brockwell. Maurice W. Frans Hals Pictures at " Haarlem (Note) A Histiii\ <\ I \ri\,l,iy Things in England," by M.
    [Show full text]
  • Artaid 2002 Brochure
    REG CHARITY. 1011718 brochure 19/08/02 8/20/02 10:21 AM Page 1 Page AM 10:21 8/20/02 19/08/02 brochure brochure 19/08/02 8/20/02 10:21 AM Page 2 Cover: Venice, Night (detail) – Howard Hodgkin 17 October – 02 November 2002 at Bloomberg Space 50 Finsbury Square London EC2A 1HD Open Tuesday – Saturday 11.00am – 6.00pm brochure 19/08/02 8/20/02 10:21 AM Page 3 Pick me (detail), audition 10 Richard Cuerden ARTAID CRUSAID 03 – We are very fortunate indeed to be able Please be assured that it is the money raised targeting those most in need in the UK. We do hope you feel inspired to purchase one to show ARTAID 2002 in Bloomberg Space – via unique occasions such as this that We shall fund innovative educational of the highly collectable works in ARTAID a spectacular location – and our sincere allows Crusaid to distribute funding both in programmes and provide grants to over fifty 2002 - and you can feel confident in the gratitude goes to this year’s ARTAID sponsor, the UK and internationally – funding that HIV/AIDS programmes annually. knowledge that the art you buy will not only Bloomberg, and to the many leading does make a difference. In the UK alone, we provide years of pleasure, but will clearly help contemporary artists whose generosity and are seeing the highest incidence of infections We shall establish examples of best practice us to make a real difference. support have made this exhibition possible. since records began and we are faced with an in the international arena, such as the unprecedented global pandemic.
    [Show full text]
  • Publications Catalogue 2015–16
    Publications Catalogue 2015 –16 Vogue 100 New titles A Century of Style Robin Muir While principally a fashion magazine, Vogue has never been just that. It has assumed a central and vital role on the cultural stage, with a history that spans the most inventive decades in fashion and taste, and in the arts and society. Published to mark the magazine’s centenary, and accompanying a major exhibition, this book celebrates the twentieth century and beyond with an authoritative and discriminating eye. In more than 2,000 issues, British Vogue has acted as a cultural barometer, putting fashion in the context of the wider world – how we dress, how we entertain, what we eat, listen to, watch, who leads us, excites us and inspires us. The century’s most talented photographers, Lee Miller, Norman Parkinson, Cecil Beaton, Irving Penn, David Bailey, Snowdon and Mario Testino among them, have contributed to it. In 1916, when the First World War made transatlantic shipments of American Vogue impossible, its proprietor, Condé Nast, authorised a British edition. It was an immediate success, and over the following ten decades cover Provisional of uninterrupted publication continued to mirror its times – the austerity and optimism that followed two world wars, the ‘Swinging London’ scene 310 x 254 mm, 304 pages of the sixties, the radical seventies, the image-conscious eighties – and in Over 300 illustrations its second century remains at the cutting edge of photography and design. ISBN 978 1 85514 561 0 Decade by decade, Vogue 100 celebrates the greatest moments in Price £40 TBC (hardback) fashion, beauty and portrait photography.
    [Show full text]
  • Self-Portrait) My Work Is Purely Autobiographical
    ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD Lucian Freud’s Reflection (Self-Portrait) My work is purely autobiographical. It is about myself and my surroundings. It is an attempt at a record. I work with people that interest me, and that I care about and think about, in rooms that I live in and know. Lucian Freud1(p7) UCIAN FREUD (1922-2011), byKennethClark.5 Thedistinctionbetween phasized thickly applied white and deep grandson of Sigmund Freud, naked and nude is central to Clark’s dis- red colors. is considered to be the leading cussion. Clark writes that “to be naked is Because Freud stood when he painted, realist painter of the last cen- to be deprived of our clothes, and the word his figures often appear foreshortened. He Ltury. His father Ernst Freud, an architect, implies some of the embarrassment most preferred not to use professional models was the 4th of Sigmund Freud’s 6 children of us feel in that condition,”5(p23) but that as his subjects. Instead, his models were and was the youngest son. Lucian grew up the nude is balanced and confident. “[I]n peoplefromallwalksoflifewhomheknew, in Berlin, Germany, far from the influ- the greatest age of painting, the nude in- including his adult daughters, who found ence of the birthplace of psychoanalysis spired the greatest works.”5(p23) For Clark, thatposingforhimwasoneoftheonlyways in Vienna, Austria. Grandfather Sigmund the nude as a conceptual and artistic cat- to spend time with him and to get to know visited Lucian’s family in Berlin regularly egoryalwaysinvolvedthenotionofanideal him as a father.
    [Show full text]