Yasmin David, Into the Light, Exhibition Guide
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Get Book # Benton End Remembered: Cedric Morris, Arthur Lett
TQOTPZQN4L5T » Doc Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... Benton End Remembered: Cedric Morris, A rth ur Lett-Haines and th e East A nglian Sch ool of Painting and Drawing (Paperback) Filesize: 3.92 MB Reviews It in a of the best publication. It is among the most remarkable publication i have read through. Your lifestyle period will be change once you complete reading this article publication. (Crystal Rolfson) DISCLAIMER | DMCA 5Q6DUZU54SXK > Kindle < Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... BENTON END REMEMBERED: CEDRIC MORRIS, ARTHUR LETT-HAINES AND THE EAST ANGLIAN SCHOOL OF PAINTING AND DRAWING (PAPERBACK) Unicorn Publishing Group, United Kingdom, 2018. Paperback. Condition: New. Language: English . Brand New Book. In 1940, Cedric Morris and Arthur Lett-Haines, both established artists with international reputations who had become disillusioned with the commercial aspects of the art world, moved to Benton End, overlooking the River Brett on the outskirts of Hadleigh, Suolk. What they found there was a somewhat ramshackle but capacious sixteenth-century farmhouse, standing in over three acres of walled gardens lost beneath brambles and elder trees; the house had not been lived in for fieen years. But Benton End became both their home and the new premises of the East Anglian School of Painting and Drawing which, in 1937, they had founded together in Dedham, Essex. From 1940 until Lett Haines died in 1978 and Cedric Morris in 1982, Benton End was an exotic world apart where art, literature, good food, gardening and lively conversation combined to produce an extraordinarily stimulating environment for amateurs and professionals alike. -
Download Our Guide To
BEST OF CORNWALL 2020 Marianne Stokes, née Priendlsberger 1855 - 1927 Lantern Light, 1888 Oil on canvas, 82.5 x 102 cm Penlee House Gallery & Museum Purchased by private treaty from Mr & Mrs Allan Amey with assistance from The Art Fund, The MLA/V&A Purchase Grant Fund and the Friends of Penlee A brief and incomplete history of ... art and artists in Cornwall By Andrea Breton Cornwall has always appealed to the creative type; a land of mists and megaliths, it combines a wide variety of landscape, from perfectly sanded coves to dramatic cliffs and breakers; bleak, haunted moors to lush vegetal valleys. There are picturesque harbours and grand country houses set in vast acreages. There are impressive landmarks from the past such as Tintagel Castle, St Michael’s Mount and more standing stones and Neolithic sites than you can shake a stick at. They exist happily alongside the present day futuristic domes of Eden, the stately grey bulk of Tate St Ives, old Mine chimneys (sensibly bestowed with World Heritage status) and the spoil heaps of the clay pits near St Austell. 35 BEST OF CORNWALL 2020 However there is more to Cornwall’s appeal than It was clear that luck landmarks. It is the geographical distance to the rest of was needed. Fortunately, the England; the quirk of geology which makes Cornwall Victorian age was coming somewhat longer than it is wide. Surrounded by the sea, and with it the age of steam it gives the county an all enveloping bright light, allegedly powered travel and the artists’ a couple of lux higher than the mainland. -
Peter Lanyon's Biography
First Crypt Group installation, 1946 Lanyon by Charles Gimpel Studio exterior, Little Park Owles c. 1955 Rosewall in progress 1960 Working on the study for the Liverpool mural 1960 On Porthchapel beach, Cornwall PETER Lanyon Peter Lanyon Zennor 1936 Oil on canvas November: Awarded second prize in John Sheila Lanyon Moores Exhibition, Liverpool for Offshore. Exterior, Attic Studio, St Ives February: Solo exhibition, Catherine Viviano Records slide lecture for British Council. February: Resigns from committee of Penwith Gallery, New York. Included in Sam Hunter’s European Painting Wartime, Middle East, 1942–3 Society. January: One of Three British Painters at and Sculpture Today, Minneapolis Institute of January: Solo exhibition, Fore Street Gallery, Passedoit Gallery, New York. Later, Motherwell throws a party for PL who Art and tour. St Ives. Construction 1941 March: Demobilised from RAF and returns Spring: ‘The Face of Penwith’ article, Cornish meets Mark Rothko and many other New At Little Park Owles late 1950s April: Travels to Provence where he visits Aix March –July: Stationed in Burg el Arab, fifty to St Ives. Review, no 4. January–April: Italian government scholarship York artists. Visiting Lecturer at Falmouth College of Art January: Solo exhibition, Catherine Viviano March–April: Visiting painter, San Antonio and paints Le Mont Ste Victoire. miles west of Alexandria. March: Exhibits in Danish, British and – spends two weeks in Rome and rents and West of England College, Bristol. Gallery, New York. Art Institute, Texas, during which time he April: Marries Sheila Browne. 6 February: Among the ‘moderns’ who March: Exhibits in London–Paris at the ICA, American Abstract Artists at Riverside studio at Anticoli Corrado in the Abruzzi June: Joins Perranporth gliding club. -
Simon Carter 2013 Complete.Pdf
Simon Carter Front cover (detail) Winter Sea, 2011 (catalogue no. 46) Photograph: Noah Carter Noah Photograph: Simon Carter The Shapes of Light 2013 www.messums.com 8 Cork Street, London W1S 3LJ Telephone: +44 (0)20 7437 5545 … how days pass in the studio Today is the 22nd November. It is Thursday and, like most I trace over some of the drawings on the light box, taking a days, I have been down to the beach to make drawings. The degree of expression out of the lines to see how they work as sun was beginning to dissolve amongst a vast Turneresque glow. design. With some paintings I repeatedly copy drawings on the The wind was blowing pale rivers of sand across the beach and light box; I like the way that unexpected outcomes sometimes corrugating the sea, waves coming in small and packed together. arise from the imperfections of this process. I might square up There were a few gulls and a few sanderling at the water’s edge. one of these copies and use it to rework the canvas. This as a On the horizon freight ships were lining up to enter Felixstowe way of forcing change onto the painting and of not allowing a and wind farms flickered in distant sunlight. There was a single sense of satisfaction with it. As the painting develops over the yacht passing. next few weeks and months, I will return to the beach many times. I will also make drawings from the painting and from I made 7 drawings quickly and without much attempt at revision the location drawings; edging forward looking for something or second thought. -
The Generous Ghosts at Benton End, Spiritual Home of Garden
ald Blythe, who described how, as a shy young man, he was bewitched by the place. Once, 10 years ago, I stopped by the roadside to famous peer over the wall but the haven friend I was with called: Benton End in “There’s nothing there. Just Suffolk; Cedric the walls”. It was not until re- Morris’s Flowers cently that I realised how in Feering, right wrong he was. For this spring, the ghost of Morris’s garden stirred back to life, thanks to a gardener hired by the Pinchbecks to cut back the undergrowth: on the last day before lockdown, Corydalis bul- bosa ‘Alba’ was revealed under the medlar tree, also the widow iris that Morris loved to paint, and double- headed Fritillaria pyrenaica. Morris and Lett-Haines acquired the house in 1940 and ran it as the East An- glian School of Painting and Drawing – an art school famous for its links with the young Lucian Freud and Maggi Hambling. It was also a social hub: in the kitchen, Lett-Haines’ cousin, the food writer Elizabeth David, could be found at the stove, childrens’ author Kathleen Hale handed around platters – and, yes, the marmalade cat of her sto- ries looked on – while Lett-Haines mixed martinis and told stories of tiffs with Hemingway in 1920s Paris. To Blythe, then a shy young librar- ian, the atmosphere was “out of this world so far as I had previously tasted it. The generous ghosts at Rough and ready and fine mannered. Also faintly dangerous.” The sloping garden combined Mor- ris’s artist-bred irises with perhaps the most interesting collection of plants in post-war Britain. -
Aspects of Modern British Art
Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces. -
Teacher Resource Notes – KS1 & KS2 Summer Season
Teacher Resource Notes – KS1 & KS2 Summer Season 14 May – 25 September 2011 Martin Creed / Fischli and Weiss / Naum Gabo / Lucio Fontana / Anri Sala / Margaret Mellis / Agnes Martin / Roman Ondák / These notes are designed to support teachers and students as they explore and engage with the art work. As well as factual information they provide starting points for discussion, ideas for simple practical activities and suggestions for extended work that could stem from a gallery visit. To book a gallery visit for your group call 01736 796226 or email [email protected] . Season overview This season Tate St Ives uses the gallery to display eclectic work from eight different artists, featuring art from the Tate Collection as well as loans of contemporary international work. Walking through the galleries provides an opportunity to experience work which responds to the architectural spaces, sometimes playfully, and to connect themes of light, structure and space in a mix of various art practices and media. The Heron Mall and Lower Gallery 2 displays work by Martin Creed (b1968), the 2001 Turner Prize winner. Text, light and latex balloons transform the gallery spaces, inviting surprise and visitor participation. Also in the Heron Mall three monitors display thousands of photographs by the artistic partnership of Peter Fischli (b1952) and David Weiss (b1946), exploring travel and the exotic as well as the everyday reality of human life and its combination of ordinariness, humour and drama. Gallery 1 displays Prototypes for Sculpture , exploring the working processes of Naum Gabo (1890 –1977) in drawings and maquettes, as well as final sculptures. -
“Just What Was It That Made U.S. Art So Different, So Appealing?”
“JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig. -
Wilhelmina Barns-Graham
W Barns-Graham WBG portrait for Art First, 2000, photo Simon Norfolk Education Pack (Secondary) updated 2021 produced by Fife Contemporary for the Barns-Graham Charitable Trust W Barns-Graham Welcome to an education pack on the life and CONTENTS work of the artist Wilhelmina Barns-Graham. It has been produced by Fife Contemporary Art & Craft (now Fife Contemporary) on behalf of the Projects Barns-Graham Charitable Trust (BGCT). 3 1a Observational drawing small scale 4 1b Observational drawing of landscape Barns-Graham had a long and highly productive 5 2a Colour exercise using paint career and is now rightly regarded as an 6 2b Colour exercise using digital media 7 3c Colour exercise using abstraction influential British artist. This pack demonstrates 8 3 Collage exercise the breadth of her artistic ability through a 9 4a Printmaking exercise - offset drawing series of short projects which pupils may expand 10 4b Printmaking exercise - screenprinting 11 4c Printmaking exercise - screenprinting in order to study aspects of her work and career 12 5 Colour/pattern in textile design in more depth. In this way, she is an ideal artist 13 6 Comparative studies to learn about in order to fulfill aspects of secondary art & design, found within experiences and outcomes of levels 3 & 4 as well as within Cross-curricular links the Intermediate 1, 2 and Higher programmes. 14-15 How the above art & design project can be For further information about W Barns-Graham, linked to the wider curriculum please go to: www.barns-grahamtrust.org.uk For further information about the pack, please contact Teaching resources Fife Contemporary: www.fcac.co.uk. -
Cedric Morris at Gainsborough's House
Visitor information What’s on at Gainsborough’s House MAY – NOVEMBER 2018 OPEN Monday to Saturday 10am–5pm GIRLING STREET Sunday 11am–5pm AST STREET E CLOSED Good Friday and between GREGOR Christmas and the New Year Y ST * WEAVERS ADMISSION (with Gift Aid ) HILLGAINSBOROUGH’S STATUE Adults: £7 DESIGN: TREVOR WILSON DESIGN GAINSBOROUGH’S LANE MARKETKING ST Family: £16 HOUSE CORNARD ROAD Children aged up to 5: free ST BUS Children and students: £2 GAINSBOROUGH STATION STOUR ST STATION ROAD Groups of 10 or more: RIARS ST F £6 per head (booking essential) SUDBURY All admissions, courses and lectures are STATION inclusive of VAT (VAT No. 466111268). Gainsborough’s House is an accredited museum. Charity No. 1170048 and Company Limited by Guarantee No. 10413978. It is supported by Suffolk County Council, Sudbury Town Council, Friends & Patrons of Gainsborough’s House. Gainsborough’s House 46 Gainsborough Street, Sudbury, Suffolk CO10 2EU (entrance in Weavers Lane) Telephone 01787 372958 [email protected] www.gainsborough.org Twitter @GH_Sudbury The House and Garden have wheelchair access and there is a lift to the first floor. * The additional income from Gift Aid does make a big difference but if you prefer not to make this contribution the admission prices are: Adult £6.30, Family £14.50. 1 Gainsborough’s House Gainsborough in Sudbury THOMAS GAINSBOROUGH FRONT COVER: Thomas Gainsborough (1727–88) was born THE ROOMS OF CEDRIC MORRIS WITH LETT-HAINES in Sudbury and was baptised there at the GAINSBOROUGH’S HOUSE ‘The name of Gainsborough will be transmitted AND RUBIO THE PARROT, Independent Meeting-House in Friars Street to posterity, in the history of art.’ Each of the rooms of the house take a c. -
Modern British, Irish and East Anglian
MODERN BRITISH, IRISH AND EAST ANGLIAN ART Tuesday 18 November 2014 Knightsbridge, London MODERN BRITISH, I RISH AND E AST A NGLIAN A RT | Knightsbridge, London | Tuesday 18 November 2014 18 November 2014 | Knightsbridge, London Tuesday 21719 MODERN BRITISH, IRISH AND EAST ANGLIAN ART Tuesday 18 November 2014 at 2pm Knightsbridge VIEWINGS BIDS ENQUIRIES Please see page 2 for bidder +44 (0) 20 7447 7448 Emma Corke information including after-sale EAST ANGLIAN PICTURES +44 (0) 20 7447 7401 fax +44 (0) 20 7393 3949 collection and shipment ONLY To bid via the internet please visit [email protected] www.bonhams.com Please see back of catalogue The Guildhall Shayn Speed for important notice to bidders Guildhall Street Please note that bids should be +44 (0) 20 7393 3909 Bury St Edmunds submitted no later than 24 hours [email protected] ILLUSTRATION Suffolk IP33 1PS before the sale. Front cover : Lot 29 East Anglian Art Back cover: Lot 176 Thursday 6 November New bidders must also provide Daniel Wright Inside front: Lot 18 9am to 7pm proof of identity when submitting +44 (0) 1284 716 195 Inside back: Lot 134 Friday 7 November bids. Failure to do this may result [email protected] 9am to 4pm in your bids not being processed. IMPORTANT INFORMATION CUSTOMER SERVICES The United States Government St Michael’s Hall; Bidding by telephone will only be Monday to Friday 8.30am to 6pm has banned the import of ivory Church Street accepted on a lot with a lower +44 (0) 20 7447 7447 into the USA. -
2001 December, American Daffodil Society Journal
AMERICAN DAFFODIL SOCIETY, INC. THE DAFFODIL JOURNAL Volume 38, Number 2 December, 2001 The Daffodil Journal ISSN 0011-5290 Quarterly Publication of the American Daffodil Society, Inc. Volume 38 December, 2001 Number 2 OFFICERS OF THE SOCIETY Peg Newill—President 10245 Virginia Lee Drive, Dayton, OH 45458 937-885-2971 [email protected] Steve Vinisky—President-Elect 21700 SW Chapman Road, Sherwood, OR 97140 503-625-3379 fax: 503-625-3399 [email protected] Mary Lou Gripshover—Second Vice President 1686 Grey Fox Trail, Milford, OH 45150-1521 513-248-9137 [email protected] Phyllis Hess—Secretary 3670 E. Powell Road, Lewis Center, OH 43035 614-882-5720 fax: 614-898-9098 [email protected] Rodney Armstrong, Jr.—Treasurer 7520 England Drive, Piano, TX 75025 Phone: 972-517-2218 fax:972-517-9108 [email protected] Executive Director—Naomi Liggett 4126 Winfield Road, Columbus, OH 43220-4606 614-451-4747 Fax: 614-451-2177 [email protected] All correspondence regarding memberships, change of address, receipt of publications, sup- plies, ADS records, and other business matters should be addressed to the Executive Director. THE DAFFODIL JOURNAL (ISSN 0011-5290) is published quarterly (March, June, Septem- ber, and December) by the American Daffodil Society, Inc., 4126 Winfield Road, Columbus, OH 43220-4606. Periodicals postage paid at Columbus, OH. POSTMASTER: Send address changes to The Daffodil Journal, 4126 Winfield Road, Colum- bus, OH 45150-1521. Membership in the Society includes a subscription to the Journal. ©2001 American Daffodil Society, Inc. Chairman of Publications: Hurst Sloniker Editor, The Daffodil Journal: Bill Lee 4606 Honey Hill Lane, Batavia, OH 45103-1315 513-752-8104 Fax:513-752-6752 [email protected] Articles and photographs (glossy finish for black and white, transparency for color) on daffodil culture and related subjects are invited from members of the Society.