DOCSLIB.ORG

Archive Trail B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Archive Trail B Can you follow this trail to piece together The Epstein-Garman Family Tree the Garman Epsteintree? family Margaret Dunlop (Peggy) b. 1873 - d. 1947 Married 1906 Informally adopted = Peggy Jean & Jackie Epstein Jacob Epstein b. 1880 - d. 1959 Married 1955 An = Kathleen Garman Theodore Garman b. 1901 - d. 1979 b. 1924 - d. 1954 archivist’s job is Esther Garman about finding or being b. 1929 - d. 1954 Archive Trail given historical information Kitty Garman Married 1948 ? Divorced 1954 and artefacts and objects. From b. 1926 = these, they work out who might Jacob Epstein Lucian Freud b. 1880 - d. 1959 b. 1922 have owned them, used them, Not married Anne Freud An or loved them. Or is there b. 1948 another relationship to Meum Lindsell Stewart these objects? Annabel Freud b. 1897 - d. 1957 archivist b. 1948 Peggy Jean Epstein Jacob Epstein investigates b. 1918 b. 1880 - d. 1959 Not married the ephemeraof life. Isabel Nicholas b. 1912 - d. 1992 Jackie Epstein b. 1934 - d. 2009 ? Archive Trail Floor 1 Animals & Birds : Meet Frisky This sculpture of Frisky is called ‘Lost’. The letter on display − Design a reward poster for Frisky. in the cupboards below the sculpture says Frisky went missing and a reward was offered for his safe return. − Who let us know that Frisky was found again? Archive Trail Floor 1 Main Hall : Meet Kathleen Below the sculpture is a letter that was sent to Kathleen. − Can you copy the address on the envelope here? − Can you find when this sculpture of Kathleen was made? − Who was the artist? − How has the letter been signed off? Archive Trail Floor 1 Landscapes room : Meet Theo Look in the cupboard on the wall. Here is a letter from Theo Theo asked for paint as he liked painting. This is one of his to his ‘Darling Mom’. Theo was studying away from home paintings called ‘Summer Garden, South Harting’ and wrote to his mom. − What 3 things does Theo want his mom to send? (Write them in the spaces on the letter below). − If you were away from home, what 3 things would you ask your mom to send to you? Archive Trail Ground Floor DiSCO : Meet Kitty − Draw the picture of Kitty that is nearest to your own age now. − How old is Kitty here? Have a look at all the photographs on the table below the pictures. Can you find out the relationship between Kathleen, Theo and Kitty? − Write their name in the boxes below like a family tree. When Kitty grew up she had her own children. Archive Trail Floor 2 Childrens portraits : Meet Anne and Annabel This is a sculpture of Anne and Annabel, Kitty’s daughters. Their father is the artist Lucien Freud. − Which daughter has her portrait on display here painted by her dad? − Kitty’s father drew Kitty. Find her portrait here. What is the name of her father, the artist? − What is the relationship between Kitty’s father to Anne and Annabel? Archive Trail The Family Tree Can you draw or write in the people in the missing spaces to complete the family tree with everything you have found out so far? Frisky the dog − Who could belong in the empty box? Archive Trail Floor 1 Portraits : Meet Esther Esther was the third child of Kathleen Garman and Jacob Epstein. There are more sculptures and paintings of Esther throughout the gallery, as there are of Kitty and Theo. Look at all the ones you can find in this room. − Can you also find the drawings of their dad? Archive Trail Floor 1 Archives : Meet Esther − Does learning about the Garman Epstein family inspire you to make some art? − Can you draw something here? The artist, Bob and Roberta Smith has been working with the archive curator at the gallery from 2009 to 2011. Together they have been exploring all the photos, letters and diaries from the Garman Epstein family and making lots of work about this exploration. Bob believes that the sculpture of Esther is like the Mona Lisa for Walsall. You can see some of it in this room. You can also do more research about him and the family in the library on the Mezzanine level of the gallery..
Load more

Recommended publications
  • Newsletter 147
    ______________________________________________________________________ LOUGHTON & DISTRICT HISTORICAL SOCIETY NEWSLETTER 147 MARCH/APRIL 2001 Price 20p, free to members ______________________________________________________________________ The Historian – 1 William Chapman Waller 1850–1917: Loughton’s historian Richard Morris has written a biography of William Chapman Waller which has just been published by the Society and Mr Morris has contributed the following article, based on his research, which is the second of the series. Waller was very much involved locally with St John’s Church, the Lopping Hall Endowment and other charities. However, his interest in the history of Loughton is what he is most remembered for. Through his connection with the church he started in 1889 to contribute to the local Parish Magazine articles on the history of Loughton and this continued through to 1900. In those days there was only one Parish Magazine covering both St John’s and St Mary’s. William Waller attended St John’s and there is a memorial to him and his son Geoffrey under a window in the north transept. He also donated the lych gate to the church in memory of his daughter Vera. A small housing development built in the early 1980s on what was part of the grounds of Ash Green is called Waller’s Hoppett. William Waller’s interest in history started at the time of his education when in July 1871 he was awarded a prize for “modern history” by the Department of General Literature and Science at King’s College London. In 1887 Waller applied to the College of Arms for a Grant of Arms for himself and his sister Jane Elizabeth.
    [Show full text]
  • Darren Banks the Raven
    The New Art Gallery Walsall February to May 2015 February to May Photo ©Tate, London, 2014 London, ©Tate, Photo ~ Image Cover Ellen Gallagher, Ellen Gallagher, Design by Stereographic Design by DeLuxe, 2004-5 DeLuxe, (detail) What’s On February — May 2015 Exhibitions – FOUND – Sikander Pervez – Small Worlds – Siân Macfarlane: We Are Illuminated – St Ives Artists: from The Clive Beardsmore Gift – Darren Banks: The Raven – The Clive Beardsmore Gift Visit our website: thenewartgallerywalsall.org.uk Join the blog, Facebook us or just follow on Twitter @newartgallery Small Worlds is supported by: Sikander Pervez and artist development supported by: Events supported by: The gallery is accredited by: 2014, Ink on newspaper Ink 2014, Old NewsOld (foam), Elizabeth Rowe, the artist Courtesy Artists' Studio Coming Soon... Elizabeth Rowe Group Occupation III Until 5 April 2015 Floor 1 5 May — 8 September 2015 Elizabeth Rowe’s collages bring together disparate Eastside Projects’ Extra Special found images sourced from women’s magazines, People (ESP) programme and National Geographic volumes, and old books in her The New Art Gallery Walsall are own collection. The various collage components teaming up for a third time to are assembled and reassembled incrementally, host Group Occupation, a series before being applied directly to a surface. of three short interconnecting residencies involving nine artists. Following a period of experimentation in the Artists’ Studio, Elizabeth's residency will culminate in the creation of a new temporary work for the Garman Ryan hall, beginning in February 2015. The gallery will remain open throughout, providing a rare insight into the artist’s working practice.
    [Show full text]
  • The New Art Gallery
    The New Art Gallery Customer Service Standards Publication date Oct 2008 Version 2.0 Created by The New Art Gallery The new Art Gallery Customer service standard Page 1 of 7 A. What does the The New Art Gallery service do? We provide the West Midlands a high quality cultural and educational service and a focus for civic pride and community identity. A gallery of outstanding excellence, our artistic programming, presentation, development and interpretation of collections are a model of how art galleries can contribute meaningfully to 21 st century culture. B. What can our customers expect from The New Art Gallery service? These are our Customer care values. We will: 1. Manage your request promptly 2. Provide good quality services 3. Be helpful, fair, honest, professional, courteous and consistent 4. Provide the relevant information that you need 5. Take ownership of your query 6. Be realistic in what we say we can do, or can’t 7. Treat your personal information as confidential and keep it secure 8. Listen to your comments ~ and learn from them. 9. To have all gallery information provided in a clear and concise format that I can understand/interpret. 10. Excellent customer service 11. Quality exhibitions and interpretation 12. Educational value 13. Community satisfaction 14. To be creative in our approach to all our work 15. To support and nurture artists in every aspect of their work 16. To work with audiences and artists together 17. To explore that which can be innovative and challenging 18. To be inclusive and welcoming in everything we do 19.
    [Show full text]
  • A Study of Roy Campbell As a South African Modernist Poet
    A Study of Roy Campbell as a South African modernist poet Alannah Birch Dissertation submitted in partial fulfilment of the degree of D.Litt University of the Western Cape May 2013 Supervisor: Prof. A.N. Parr Abstract Roy Campbell was once a key figure in the South African literary canon. In recent years, his poetry has faded from view and only intermittent studies of his work have appeared. However, as the canon of South African literature is redefined, I argue it is fruitful to consider Campbell and his work in a different light. This thesis aims to re-read both the legend of the literary personality of Roy Campbell, and his prose and poetry written during the period of “high” modernism in England (the 1920s and 1930s), more closely in relation to modernist concerns about language, meaning, selfhood and community. It argues that his notorious, purportedly colonial, “hypermasculine” personae, and his poetic and personal explorations of “selfhood”, offer him a point of reference in a rapidly changing literary and social environment. Campbell lived between South Africa and England, and later Provence and Spain, and this displacement resonated with the modernist theme of “exile” as a necessary condition for the artist. I will suggest that, like the Oxford dandies whom he befriended, Campbell’s masculinist self-styling was a reaction against a particular set of patriarchal traditions, both English and colonial South African, to which he was the putative heir. His poetry reflects his interest in the theme of the “outsider” as belonging to a certain masculinist literary “tradition”. But he also transforms this theme in accordance with a “modernist” sensibility.
    [Show full text]
  • A New Kind of Bleak. Journeys Through Urban Britain
    A NEW KIND OF BLEAK engineeringwithraj engineeringwithraj A NEW KIND OF BLEAK Journeys Through Urban Britain OweN HatHERleY engineeringwithraj London • New York First published by Verso 2012 © Owen Hatherley 2012 All rights reserved The moral rights of the author have been asserted 1 3 5 7 9 10 8 6 4 2 Verso UK: 6 Meard Street, London W1F 0EG US: 20 Jay Street, Suite 1010, Brooklyn, NY 11201 www.versobooks.com Verso is the imprint of New Left Books ISBN-13 978-1-84467-857-0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Hatherley, Owen. A new kind of bleak : journeys through urban Britain / Owen Hatherley. -- 1st ed. p. cm. Includesengineeringwithraj bibliographical references and index. ISBN 978-1-84467-857-0 -- ISBN 978-1-84467-909-6 (ebook) 1. Great Britain--Social conditions--21st century. 2. Great Britain--Economic policy--21st century. 3. Great Britain--Politics and government--21st century. I. Title. HN385.5.H38 2012 306.0941--dc23 2012010811 Typeset in Fournier by MJ Gavan, Truro, Cornwall Printed by ScandBook AB in Sweden …We wanted something new, and we Would sacrifice most anything (Well, decorum definitely) To get our gawky, sky-jostling Ruck with nature set in knifey Portland stone. Of course, I know Time hasn’t widened out the way We reckoned all those years ago. You plan for that, allow for that. I know the building might have housed The odd careerist democrat Or two, and yes, we missed Our chance to make a truly ideal Hive, a fair organic whole.
    [Show full text]
  • 20 June 2012 the New Art Gallery, Walsall Report of the Community Services Scrutiny and Performance Panel
    Agenda item 15 Cabinet – 20 June 2012 The New Art Gallery, Walsall Report of the Community Services Scrutiny and Performance Panel Portfolio: Councillor A Harris – Leisure and Culture Directorate: Neighbourhoods Report The Community Services Scrutiny and Performance Panel established a working group to consider issues at the New Art Gallery at its meeting on 28 February 2012. The working group considered the following issues: · Community engagement role; · Achievements and challenges; · Finance and funding. The working group’s final report and recommendations was presented to and approved by the Community Services Scrutiny and Performance Panel at its meeting on 10 April 2012. At the meeting the Panel were particularly supportive of the idea in the working group report that the New Art Gallery bid to host the Turner Prize. Recommendations of the Panel That: 1. The New Art Gallery continues to strengthen its links with activities held within local communities; 2. Future events are considered by the New Art Gallery that have the potential to contribute both cultural and economically to Walsall; 3. That innovative use of social media continues to be used by the New Art Gallery, particularly in attracting and retaining young audiences; 4. The New Art Gallery continues its efforts to engage with local communities; 5. The council considers supporting the re-opening of the New Art Gallery on Sundays. Contact officer Craig Goodall – Scrutiny Officer ( 01922 653317 * [email protected] Chair’s Foreword The working group was established to consider a number of issues in relation to the New Art Gallery. This included consideration of its community engagement role, together with achievements, challenges and finance and funding.
    [Show full text]
  • Jacob Epstein: Babies and Bloomsbury
    JACOB EPSTEIN: BABIES AND BLOOMSBURY Catalogue essay by Gill Hedley for exhibition at The Foundling Museum, Jan 2015 IN BLOOMSBURY Antony Gormley said in 2009 that Epstein was solely responsible for the arrival of Modernism, and in particular for bringing direct carving to Britain. Since Jacob Epsteins first public commission in London in 1908, he had been criticised, often viciously, for his monumental avant-garde sculpture. Throughout his career, he also consistently produced lyrical, intimate portraits of his wife, his lovers and their children. Epstein lived for many years in Bloomsbury but was never part of the literary, painterly Bloomsbury Group often characterised as people who lived in squares, moved in circles and loved in triangles. This might also serve as a desiptio of Epsteis o complex family life. He knew Bloomsbury for over twenty years. It was where he first stayed in London, had a series of studios and stores, a family home and where his first children were born. It was also the location of the British Museum whose collections of ancient and non-European sculpture were his early inspiration. Jacob Epstein was born in 1880, the second son of a businessman Max Epstein and his wife Mary Solomon who were middle-class, Orthodox Russian-Polish Jewish refugees in New York. He was the third of eight surviving children and his interest in drawing came from long periods of enforced rest due to pleurisy. Aged 22, Epstein moved to Paris to study art formally in academies and then independently, regularly visiting museums. In 1904, he made a brief exploratory trip to London and stayed in Bloomsbury visiting more museums, above all the British Museum.
    [Show full text]
  • The Back Pages Viewpoint
    The Back Pages viewpoint A day in the life... NOTHER Monday morning in a 21st century Lanarkshire general practice, revived by a Aweek s holiday. A cubic metre of mail to inspect. First, the National Service Framework for Older People: documentation so bulky that it comes with its own built-in plastic box. Thank goodness for the handy 32-page Executive Summary. Onwards to the North Lanarkshire Council, Department of Community Services, Sport and Recreation Section, Get Active ‘Whereas an Programme, Information Notes, where referral procedures are outlined... doctors et al epidemiologist today complete registration form and hand to patient . So far, so good. But things turn serious ... to emergency referral of patients, where the Emergency Admissions Project Team ease the burden would save his feet of transferring patients from darkened bedrooms to CCU with a sample SIGN-recommended by using applied admissions letter , to improve communication (grammar corrected) between primary and statistical techniques secondary care . The sample letter contains 18 separate information fields for completion, on representative though to achieve a balance between data capture and user-friendliness the EAPT triumph in condensing all 18 into a single A4 sheet. subgroups, Chekhov had 10 000 index cards Would access to CPN services be managed with similar brevity? No such luck. The old system of referral featuring random messy phonecalls: I m a bit worried about this chap, do you printed in the local think he could be seen soonish is clearly failing. So the CPN service, now split beteween a police sweat-shop. He Focused Intervention Team (FIT) and an Assertive Outreach Team, is to be accessed with yet had come like the another form.
    [Show full text]
  • Jacob Epstein: Babies and Bloomsbury
    JACOB EPSTEIN: BABIES AND BLOOMSBURY Sir Jacob Epstein (1880-1959) began his career as a sculptor in Bloomsbury, subject to public hostility and notoriety. He ended it in Kensington with a knighthood and a secure place as a leading sculptor in the history of British modernism. Antony Gormley said in 2009 that Epstein ‘was solely responsible for the arrival of Modernism, and in particular for bringing direct carving to Britain.’ Epstein’s earliest avant-garde works were made in various studios around Bloomsbury and, from 1916 to 1927, he and his wife lived directly opposite the gates of the Foundling Hospital, which continues today as the children’s charity Coram. His daughter Peggy Jean grew up in this house and Epstein began a long and lasting affair with Kathleen Garman who lived just behind the Hospital. They had three children together. Epstein drew and modelled all his children and later his grandchildren. Babies and Bloomsbury focuses on these intimate and personal works which were a constant counterpoint to his public commissions. To work from a child the sculptor has to have endless patience. He must wait and observe, and observe and wait. The small forms, so seemingly simple, are in reality so subtle, and the hunting of the form is an occupation that is at once tantalizing and fascinating. Jacob Epstein and Portland Mason, c.1952 Curated by Gill Hedley Designed by Joe Ewart for Society Supported by This exhibition has been made possible by the provision of insurance through the Government Indemnity Scheme. The Foundling Museum would like to thank HM Government for providing Government Indemnity and the Department for Culture, Media and Sport and Arts and individual donors Council England for arranging the indemnity.
    [Show full text]
  • Find Doc // the Rare and the Beautiful: the Lives of the Garmans
    NEUR8DFLWGZV PDF « The Rare and the Beautiful: The Lives of the Garmans Th e Rare and th e Beautiful: Th e Lives of th e Garmans Filesize: 2.1 MB Reviews The book is straightforward in read safer to recognize. This really is for anyone who statte there had not been a worthy of looking at. You may like just how the blogger create this publication. (Friedrich Nolan) DISCLAIMER | DMCA 9Z3DHQ5A6WPR > Book // The Rare and the Beautiful: The Lives of the Garmans THE RARE AND THE BEAUTIFUL: THE LIVES OF THE GARMANS HarperCollins Publishers, United Kingdom, 2005. Paperback. Book Condition: New. 192 x 130 mm. Language: English . Brand New Book. The compelling biography of the beautiful, talented Garman sisters and the glittering, romantic era in which they lived. Each of the seven Garman sisters were strikingly beautiful, artistic and wild. Born around the turn of the nineteenth century, most of the siblings were to become involved in the radical literary and political circles of British life between the First and Second World Wars. Their morals were unconventional: bisexuality, unfaithfulness and illegitimate children were a matter of course. Nevertheless they were high-minded and intensely loyal. They were the last muses: women who were prepared to sideline their own talent, friendships, material comforts - even their own children - in order to beguile and inspire the men they loved. Cressida Connolly s family biography delves into the lives of three of the sisters in intense and revealing detail. Kathleen Garman, the father s favourite, ran away to London to study music. She was spotted by the American sculptor Jacob Epstein, who promptly fell in love with her, and remained his muse until his death.
    [Show full text]
  • The Studio Practice of Jacob Epstein (1880-1959) As Revealed by an Examination of Selected Contemporaneous Photographs and a Selection of His Sculptural Fragments
    THE STUDIO PRACTICE OF JACOB EPSTEIN (1880-1959) AS REVEALED BY AN EXAMINATION OF SELECTED CONTEMPORANEOUS PHOTOGRAPHS AND A SELECTION OF HIS SCULPTURAL FRAGMENTS By ELIN JANE MORGAN A Thesis Submitted to the University of Birmingham for the degree of MPHIL (B) Department of Art History School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham March 2012 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 This thesis explores the studio practice of Jacob Epstein (1880-1959), via an examination of selected contemporaneous photographs of the sculptor and his studio, and a selection of his sculptural fragments. Whilst the photographs purport to ‘document’ Epstein’s work in the studio, more accurately the images reveal a partial, highly constructed projection of Epstein’s self-image. In contrast, the sculpted fragments, not only function as indexes of the sculptor’s creative process, but also open up multiple lines of enquiry regarding Epstein’s approach to sculpture. Additionally, the juxtaposition of two disparate sources – photographs and part-objects – which, despite their crucial differences, lend themselves to a discussion of Epstein’s studio practice, also provokes discussion of Epstein’s convergence and departure from many of his contemporaries.
    [Show full text]
  • Yasmin David Press Release
    PRESS RELEASE Yasmin David: Into the Light 12 March – 10 October 2021 https://thenewartgallerywalsall.org.uk/ Press previews by appointment The New Art Gallery presents an exhibition of atmospheric landscape paintings by Yasmin David. David was the niece of Kathleen Garman, benefactor to the Gallery, and daughter of poet Laurie Lee. Her brother, Michael Wishart, was an acclaimed painter, but his sister’s work has never before been exhibited to the wider public. This Spring, The New Art Gallery Walsall presents the first solo exhibition by British painter Yasmin David (1939-2009). Yasmin was one of few women working in landscape painting during the post-war period and produced a body of work which is both intimate and dramatic, emotional and turbulent, and captures the molten qualities of sky and land. While Yasmin was compelled to paint (and write) continuously throughout her life, producing a significant body of work over 50 years, she did not exhibit her work publicly. Since her death her daughter, the filmmaker Clio David, has discovered some 100 unseen paintings and over 150 drawings and notebooks, hidden in cupboards and in her mother’s studio at the family home in rural Devon; many of these only uncovered during last summer’s lockdown. A selection of these will be seen for the first time in the exhibition at The New Art Gallery which runs from 12 March until 10 October. Yasmin David was the daughter of Lorna Wishart (née Garman), the youngest of the beautiful and unconventional Garman sisters, and muse and lover of both Laurie Lee and Lucian Freud.
    [Show full text]