Philippa Bishop
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Auckland City Art Gallery
Frances Hodgkins 14 auckland city art gallery modern european paintings in new Zealand This exhibition brings some of the modern European paintings in New Zealand together for the first time. The exhibition is small largely because many galleries could not spare more paintings from their walls and also the conditions of certain bequests do not permit loans. Nevertheless, the standard is reasonably high. Chronologically the first modern movement represented is Impressionism and the latest is Abstract Expressionism, while the principal countries concerned are Britain and France. Two artists born in New Zealand are represented — Frances Hodgkins and Raymond Mclntyre — the former well known, the latter not so well as he should be — for both arrived in Europe before 1914 when the foundations of twentieth century painting were being laid and the earlier paintings here provide some indication of the milieu in which they moved. It is hoped that this exhibition may help to persuade the public that New Zealand is not devoid of paintings representing the serious art of this century produced in Europe. Finally we must express our sincere thanks to private owners and public galleries for their generous response to requests for loans. P.A.T. June - July nineteen sixty the catalogue NOTE: In this catalogue the dimensions of the paintings are given in inches, height before width JANKEL ADLER (1895-1949) 1 SEATED FIGURE Gouache 24} x 201 Signed ADLER '47 Bishop Suter Art Gallery, Nelson Purchased by the Trustees, 1956 KAREL APPEL (born 1921) Dutch 2 TWO HEADS (1958) Gouache 243 x 19i Signed K APPEL '58 Auckland City Art Gallery Presented by the Contemporary Art Society, 1959 JOHN BRATBY (born 1928) British 3 WINDOWS (1957) Oil on canvas 48x144 Signed BRATBY JULY 1957 Auckland City Art Gallery Presented by Auckland Gallery Associates, 1958 ANDRE DERAIN (1880-1954) French 4 LANDSCAPE Oil on canvas 21x41 J Signed A. -
Walter Sickert and the Sickert Family Collection in Islington
From Munich to Highbury: Walter Sickert and the Sickert family collection in Islington Islington Council’s Walter Sickert family collection contains the paintings, drawings and etchings found in Sickert’s studio at the time of his death, along with an archive of his photographs and personal papers. Most of this material was deposited with Islington Libraries by the Sickert Trust (1947-1950) in recognition of the significance of Islington in the artist’s life. The collection reflects Sickert’s enduring reputation as an artist, writer, teacher and eccentric. Sickert’s Islington works are featured in this exhibition, which also shows other trademark Walter Sickert in 1923. subjects, including figure studies, music halls and the streets and buildings of Dieppe and London. For the most part, these artworks are not finished works but they show how Sickert recorded his visual impressions in preparatory sketches that were the very source and foundation of his art. The collection also includes paintings by members of Sickert’s family and by his wife, Thérèse Lessore, and these too are displayed here. Walter Sickert. Cicely Hey. Etching. 1922-1924 (circa). 20 x 17.5 cm. Walter Sickert’s palette. Walter Richard Sickert (1860–1942) The Sickert family Walter Sickert was born in Munich on 31 May 1860. His father was Oswald Sickert, a Danish artist. His mother, Eleanor Henry, was the illegitimate daughter of an Irish dancer and an Englishman, Richard Sheepshanks, the Astronomer Royal. Oswald and Eleanor Sickert married in 1859 and Walter Sickert was the first of their six children. The family moved to England in 1868. -
Elements of Innovators' Fame
Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee Submitted in partial fulfilment of the requirement for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences Columbia University 2017 © 2017 Mitali Banerjee All rights reserved Abstract Elements of Innovators’ Fame: Social Structure, Identity and Creativity Mitali Banerjee What makes an innovator famous? This is the principal question of this dissertation. I examine three potential drivers of the innovators’ fame – their social structure, creativity and identity. My empirical context is the early 20th century abstract artists in 1910-25. The period represents a paradigmatic shift in the history of modern art, the emergence of the abstract art movement. In chapter 2, I operationalize social structure by an innovator’s local peer network. I find that an innovator with structurally and compositionally diverse local network is likely to be more famous than the one with a homogenous local network. I find no statistical evidence for creativity as a link between social structure and fame. Instead, the evidence suggests that an innovator’s creative identity and access to promotional opportunities are the key drivers of her fame. In Chapter 3, I find that the creativity identity resulting from an innovator’s creative trajectory can lead to obscurity despite early fame and acclaim. The drastic change in the nature of a producer’s output can dilute her identity and cost her her niche. In combination with her peer network characteristics, these dynamics can mean obscurity even for talented and prolific innovators. In chapter 4, I undertake a large-scale analysis of the relationship between creativity and fame. -
Charles Ginner, A.R.A
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Charles Ginner, A.R.A. (Cannes 1878 – 1952 London) St. Just in Cornwall – A landscape with cottages Signed ‘C. GINNER’ (lower left) Pen and ink and watercolour on paper 9 ¾ x 11 ¾ in. (25 x 30 cm.) Provenance Gifted by the Artist to Mrs. Frank Rutter. The Fine Art Society, 1985. Henry Wyndham Fine Art Ltd, London. Private Collection. Exhibited London, St George's Gallery, Charles Ginner and Randolph Schwabe, March 1926 (details untraced). London, The Fine Art Society, Charles Ginner, 7th - 25th October 1985, cat. no.13, illustrated. Literature Charles Ginner, List of Paintings, Drawings, etc. of Charles Ginner, Book II, 1919-1924, p. 135. Primarily a townscape and landscape painter, Charles Ginner grew up in France where his father, a doctor, practised, but settled in London in 1910. He was heavily influenced by Vincent van Gogh, Paul Gauguin and Paul Cézanne. In 1909, Ginner visited Buenos Aires, Argentina, where he held his first one-person show, which helped to introduce post-Impressionism to South America. Thos Agnew & Sons Ltd, registered in England No 00267436 at 21 Bunhill Row, London EC1Y 8LP VAT Registration No 911 4479 34 THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com He was a friend of Harold Gilman and Spencer Gore and through them was drawn into Walter Sickert’s circle, becoming a founder member of the Camden Town Group in 1911 and the London Group in 1913. -
100 Years of the London Group the English Are an Essentially
Moving with the times: 100 years of the London Group The English are an essentially conservative people, their suspicion of anything new or innovative, unless it can be seen to have an immediate usefulness or purpose, innate. The arts, whose lifeblood depends on precisely those qualities, have not been immune to its effects, as the current plight of the arts in the school curriculum makes only too plain while the history of the visual arts in England, certainly over the last two hundred years or more and probably since the Reformation, has been dogged by its influence. The response has nearly always been the determination of a small group of artists to set up new societies or artistic groupings; first and foremost, of course, there was the Royal Academy of Arts in 1768 and, in the 19thC., when that institution had slipped back into full-blown academic conservatism, there were first the Pre-Raphaelites and then, in 1886, the New English Art Club on hand to stir things up once again. Indeed the history of English Modernism could, from this point on, almost be written in terms of constant reaction and renewal through such associations of artists, culminating in that heady period, just before the First World War when the flurry of new artistic associations stirred up by the response of younger artists to the Modernist revelations of Roger Fry’s two great French Post-Impressionist exhibitions of 1910 and 1912 – the Camden Town Group, the Fitzroy Street Group and the Allied Artists’ Association in particular - in their turn reacted against the by now largely establishment New English. -
The EY Exhibition. Van Gogh and Britain
Life & Times Exhibition The EY Exhibition and his monumental Van Gogh and Britain London: a Pilgrimage. Tate Britain, London, Whistler’s Nocturnes 27 March 2019 to 11 August 2019 and Constable’s country landscapes also made a VINCENT IN LONDON considerable impression London seems to have been the springboard on him. Yet he did not for Vincent van Gogh’s creative genius. He start painting until he trained as an art dealer at Goupil & Cie in had unsuccessfully tried The Hague, coming to the company’s Covent his hand at teaching and Garden office in 1873, aged 20. He lodged in preaching. South London, initially in Brixton, and for a He returned to the short time stayed at 395 Kennington Road, Netherlands at the age of just a few minutes from my old practice 23, where, in 1880, after in Lambeth Walk. He soaked up London further unsatisfactory life and loved to read Zola, Balzac, Harriet forays into theology and Beecher Stowe, and, above all, Charles missionary work, his Dickens. This intriguing exhibition opens art dealer brother Theo movingly with a version of L’Arlésienne encouraged him to start (image right), in which Dickens’s Christmas drawing and painting. Stories and Uncle Tom’s Cabin lie on the Van Gogh’s earliest table. paintings were almost He became familiar with the work of pastiches of Dutch British illustrators and printmakers, and landscape masters, but, as he absorbed Vincent van Gogh (1853–1890), L’Arlésienne, 1890. Oil paint on canvas, 650 × also that of Gustav Doré (below is van 540 mm. -
ART HISTORY REVEALED Dr
ART HISTORY REVEALED Dr. Laurence Shafe This course is an eclectic wander through art history. It consists of twenty two-hour talks starting in September 2018 and the topics are largely taken from exhibitions held in London during 2018. The aim is not to provide a guide to the exhibition but to use it as a starting point to discuss the topics raised and to show the major art works. An exhibition often contains 100 to 200 art works but in each two-hour talk I will focus on the 20 to 30 major works and I will often add works not shown in the exhibition to illustrate a point. References and Copyright • The talks are given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • The notes are based on information found on the public websites of Wikipedia, Tate, National Gallery, Oxford Dictionary of National Biography, Khan Academy and the Art Story. • If a talk uses information from specific books, websites or articles these are referenced at the beginning of each talk and in the ‘References’ section of the relevant page. The talks that are based on an exhibition use the booklets and book associated with the exhibition. • Where possible images and information are taken from Wikipedia under 1 an Attribution-Share Alike Creative Commons License. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 ART HISTORY REVEALED 1. Impressionism in London 1. -
“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’ -
British Figurative Painters of the 20Th Century Whose Development Can Be Adequately Discussed Without Reference to Sickert's Subject-Matter Or Innovative Techniques
• Question from last week • Where is the Fry Art Gallery that has Eric Ravilious Tea at Furlongs (1939)? The Fry Art Gallery is an art gallery in Saffron Walden, Essex that is best known for its displays of work by the Great Bardfield Artists, including Edward Bawden and Eric Ravilious. The Great Bardfield Artists were a community of artists living in Great Bardfield, north west Essex. They were diverse in style but shared a love for figurative art, making the group distinct from the better known St Ives School of artists in St Ives, Cornwall, who, after the war, were chiefly dominated by abstractionists. • Figurative art runs as a theme through all British art. The extremes of modernism—Fauvism, Dada, Surrealism and even abstraction—never took hold in Britain but there was a continued interest in the human body, psychological insights and representing the full range of emotions. This means that most of the artists we have dealt with have been figurative, that is not abstract, artists. • This means it has been difficult to choose a small number of artists to represent the tradition and I have selected painters who stayed with the figurative tradition throughout their lives with the exception of Victor Pasmore as I use his work to create a link with British art of the 1950s and 60s. 1 Notes • Figurative art is a term used to describe paintings and sculptures that are derived from real objects. Figurative art is therefore representational. Note that human figures are often shown in figurative art but the term does not mean figures painting. -
Interior Scene, Attributed to an Unknown
The Courtauld Institute of Art Painting Pairs: Art History and Technical Study Interior Scene, by an unknown artist (after Harold Gilman) Chloé D’Hondt, MA History of Art Luz Vanasco, Postgraduate Diploma in the Conservation of Easel Paintings 2018 – 2019 Table of contents LIST OF FIGURES ................................................................................................................. 3 INTRODUCTION TO THE PROJECT ................................................................................ 4 INTERIOR SCENE: INTRODUCTORY REMARKS ......................................................... 5 HAROLD GILMAN ................................................................................................................ 7 COMPARATIVE VISUAL ANALYSIS .............................................................................. 10 MATERIALS AND TECHNIQUE ....................................................................................... 13 HAROLD GILMAN ............................................................................................................................................. 13 INTERIOR SCENE VS. HAROLD GILMAN ........................................................................................................... 16 Support ......................................................................................................................................................... 16 Ground ........................................................................................................................................................ -
The Interwar Years,1930S
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. -
The Camden Town Group Teachers' Pack
13 FEBRUARY – 5 MAY 2008 THE CAMDEN TOWN GROUP TEACHER & STUDENT NOTES BY SARA PAPPWORTH MODERN PAINTERS: THE CAMDEN TOWN GROUP Introduction The Camden Town Group was formed in 1911. Its artists employed a wide variety of styles but shared a common desire to explore everyday subjects using consciously modern painting techniques. This exhibition at Tate Britain provides the first major survey of the Camden Town Group for more than twenty years. It focuses on the key themes of their work and examines their lasting impact. The impetus for the Camden Town Group’s formation was Roger Fry’s highly influential exhibition Manet and the Post- Impressionists (1910–1911), where avant-garde continental artists, such as Gauguin, Van Gogh and Cézanne, were seen in Britain for the first time. This heralded a new spirit in British painting in which The Camden Town Group, briefly, led the way. Camden artists pursued greater modernism of style and subject matter. Many, such as Spencer Gore and Harold Gilman, adopted the Post-Impressionists’ use of vivid, bright, pulsating colours, which were applied in dabs of thick, matt paint. They also displayed a strong awareness of the decorative potential of simplified forms and the startling impact of unpredictable compositions. Their subject matter challenged Edwardian propriety with its vision of gritty urban interiors, music halls, prostitutes, cityscapes and suburbia. They embraced the lives of ordinary, humdrum humanity, without the moral comment or specific narratives of Victorian convention. London in 1911 was a city of change in which the foundations of modern urban living were being established.