DOCSLIB.ORG

Frank Brangwyn and His Work. 1911

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Frank Brangwyn and His Work. 1911 RankBran^wyn AND HIS WORK E^ BY W\LT£R SHAW-SPARROW THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES FRANK BRANGWYN AND HIS WORK = i y. o h FRANK BRANGWYN AND HIS WORK. 1911 BY WALTER SHAW-SPARROW AUTHOR OF "OUR HOMES," "THE ENGLISH HOUSE AND ITS STYLES," &c., PART AUTHOR OF "THE GENIUS OF J. M. W. TURNER" DANA ESTES ^ COMPANY ESTES PRESS, SUMMER STREET, BOSTON Printed in Great Britain The rights of translation and reproduction are reserved College Library TO CHARLES HOLME Esq. KOUNUEk AND EDITOR OF THE STUDIO MAGAZINE 20.U^5iO PREFACE HAVE to express grateful thanks for assistance in many forms rendered to me during the production I of this book. It is through the courtesy of M. a Pacquement, the present owner of " Buccaneers," that I have been able to include a reproduction of that famous picture, the blocks being made specially in Paris. Much help has been received from the Skinners' Company, from Lloyd's Register, from the Royal Exchange, and from the Art Gallery of Leeds, by whose courteous permission seven copyright works are here illustrated. It is a great pleasure also to acknowledge with thanks the assistance given me by Mr. T. L. Devitt, Mr. R. H. Kitson, Mr. S. Wilson, Dr. Tom Robinson, Mr. Haldane Macfall, Mr. Warwick H. Draper, Mr. W. Gibbings, Mr. H. F. W. Ganz, Mr. B. W. Willett, and Mr. Frederic Whyte ; by Mr. Collier of New York ; by M. Pacquement, M. Stany Oppenheim, and M. Bramson of Paris ; and by Herr Ernst Arnold; of Dresden. To Messrs. Gibbings & Co. I am indebted for the use of their blocks of the illustration, " Queen Elizabeth going aboard the Golden Hind!' To Messrs. Swain, the London blockmakers, and Mr. Edmund Evans, the printer of the colour-plates, I owe a special b vii T^reface word of acknowledgment for the care and skill they have brought to their anxious work. The making of compara- tively small illustrations of very large pictures is a matter of the greatest difficulty, more especially when the works in question involve special journeys to public buildings and to private galleries out of London. vm CONTENTS CHAPTER I PAGE PARENTAGE AND EARLY STUDIES , CHAPTER II LATER STUDIES . i6 CHAPTER III CONTESTS OF CRITICISM: "A FUNERAL AT SEA," "THE BUC- CANEERS," "SLAVE TRADERS," AND "A SLAVE MARKET" . 36 CHAPTER IV CONTESTS OF CRITICISM: SUN-COLOUR AND RELIGIOUS ART . 53 CHAPTER V CHARACTERISTICS: LIGHT AND COLOUR 7+ CHAPTER VI LIGHT AND COLOUR l^continued) 88 CHAPTER VII SOME OTHER CHARACTERISTICS 10+ CHAPTER VIII DECORATIVE PAINTING n& CHAPTER IX DECORATIVE PAINTING (continued) 132 ix Contents CHAPTER X PAGE POINTS OF VIEW IN DECORATIVE ART : AND THE SKINNERS- HALL 144 CHAPTER XI SKETCHES AND STUDIES 164 CHAPTER XH WATER-COLOURS 175 CHAPTER Xni ILLUSTRATIONS FOR MAGAZINES AND BOOKS—DESIGNS FOR POSTERS 180 CHAPTER XIV ETCHINGS: AND SUMMARY OF CHARACTERISTICS .... 185 CHAPTER XV DESIGNS FOR HOUSE FURNISHING 206 APPENDIX I PICTURES AND SKETCHES 219 APPENDIX II ETCHINGS—CLASSIFIED 236 APPENDIX III BIBLIOGRAPHY 249 INDEX 253 X — LIST OF ILLUSTRATIONS COLOUR PLATES A River Procession to Westminster in 1453 City AND Trade Barges Frontispiece lUproduced by permiision of the akinners Camfany, l^ndnn. Copy- right. Montreuil: Cottage Landscape Facing p. 8 Keprodtuedfram a small Oil- Painting. Cepyrighl. The Bridge of Alcantara „ 12 Rtprodtuedfrom the Water-Colour, Copyright. The Buccaneers „ 36 Reproduced by permission of M. J'acquement, Paris. Copyright, Harvesters „ 48 Reproducedfr»m the large Oil-Painting. Copyright. The Rajah's Birthday „ 84 Reproduced by permission of R. H. Kitson, E>ij., Leeds. Copyright. The Brass Shop „ 88 Reproducedfrom the large Oil- Painting. Copyright. Mars and Venus „ 92 Reproduced from the large Oil- Painting in the Municipal Art Gallery, Dublin. Copyright. The Card Players „ 96 Reproducedfrom the large Oil- Painting. Copyright. xi List of Illustrations The Retui^n from the Promised Land . Facing p. loo Rtprodtued by permission of the Art Gallery at Johannesburg. Copyright. The Venetian Funeral ,,112 Keprodueed by permission of the I^eds Art Gallery. Copyright. A Still-Life Study of Leeks ,,128 Keprodtued by permission of R. H. Kitson, Esq., Leeds. Copyright. Queen Elizabeth Going Aboard the "Golden Hind" „ 132 Reproduced by permission of LloyiCs Register. Copyright. Blake's Return after the Capture of the Plate Ships ,,136 Reproduced by permission of Lloyd's Register. Copyright. The Fruits of Industry ,,144 Rep^roducedfrom the large Panel in Tempera. Copyright. Reception of General Monk at the Skinners' Hall, 4th April 1660 ,,152 Reproduced by permission of the Hiinners' Company. Copyright. Life among the Ruins, Messina, 1910 .... ,,176 Reproducedfrom a IVater- Colour. Copyright. The Duomo, Messina, 1910 „ 180 Reproducedfrom a Water- Colour. Copyright. The Weavers: a Decorative Panel in the Leeds Art Gallery ,, 212 Reproduced by permission. Copyrigh'. Design for a Fan „ 216 From " History of the Fan," by G. Woolliscroft Rhead. Copyright. xii List of Illustrations COLLOTYPE PLATES Blacksmiths Facing p. 6 From a IVall-l'anel in the Leeds Art Gallery. Copyright. Platelayers „ 20 From an Original Lithograph. Copyright. The Baptism of Christ „ 68 From the Oil-Painting now in the Art Gallery at Stuttgart. Copyright, The Windmill, Dixmude „ 80 From an Original Etching. Copyright. The Departure of Columbus ,,104 From a Decorative Panel belonging to the Profj-ietor of " Collier'! Weekly" i\ew Yori, U.S.A. Copyright. Santa Maria della Salute ,,120 From the Oil-Painiing in the Wellington Art Gallery, New Zealand. Copyright. Old Houses, Ghent ,,124 From an Original Etching, Copyright. Modern Commerce ,,140 From the Fresco in the Royal Exchange, London. Copyright. Music ,,164 From an Original Lithograph. Copyright. Unloading Oranges at London Bridge ... „ 168 From an Original Lithograph. Copyright. The Loom 172 From an Original Lithogiaph. Copyright. xm List of Illustrations The Black Mill, Winchelsea Facing p. i88 From an Original Etching. Cofyrighl. The Tow-Rope ,,192 From an Orif^tnal Etching. Copyright. The Sawyers ,,196 From an Original Etching. Copyright. Old Hammersmith „ 200 From an Original Etching. Copyright. Santa Maria della Salute „ 204 From an Original Etching, Gold AUdal, Venice International Exhibition, 1907 ; Grand I'ri.x, Jnternational Exhibition, Milan, 1906. Copyright. XIV FRANK BRANGWYN AND HIS WORK CHAPTER I PARENTAGE AND EARLY STUDIES 4 S many painters have been affected throughout life by /\ inherited gifts and inclinations, it is proper to note / \ at once that Frank Brangwyn is partly Welsh and partly English ; his father belonged to an Anglo- Welsh family living in Buckinghamshire, and his mother, nde Griffiths, is a Welsh lady from Brecon. One cannot mention this blend of races without thinking of an earlier painter of note, Peter De Wint, whose parentage gave him two nationalities, Dutch and Scotch, and who developed traits from both in his personal character, and also in his landscape work. De Wint was a Scotsman in his deep and rich harmonies of colour, as well as in simple breadth of technique, while his favourite themes were as Dutch in their low horizons as fiat country scenes in England would allow them to be. Again, De Wint is not a student of clouds, like Constable. His thoughts keep near to the earth, just as Dutch minds for centuries have concerned themselves with the dykes of Holland ; and these things A Frank 'Brangwyn and his M^ork denoting the influence of a pedigree, perhaps Brangwyn, like De Wint, inherits much from his parents. It is a question of very great interest, particularly when we con- nect it with the views held by Matthew Arnold on the Anglo-Celts. Matthew Arnold's theory was that England has owed her finest poetry and art to a fusion of Celtic imagina- tion with her own native qualities. Arnold never failed to use the word " Celtic," but, strictly speaking, this term applied to only one type of the inhabitants of Wales. The pure Celts were energetic men of great stature, with light hair and blue eyes ; they were nomads by instinct, they travelled far, peopled France, and found their way across the Channel into Britain. Some ethnologists think that they then lost their own distinction, but their breed is found to this day in Wales, tall and fair, making con- trasts with the primitive type of Welshman, who is short and sturdy, and whose lineage is probably as old as the Neolithic inhabitants of England. He is akin to the dark, short, oval-headed people with small features, whom we encounter also in Cornwall, the Isle of Man, Ireland, and the West of Scotland as far north as the Orkneys. Brangwyn—on the distaff side of his family—belongs to this dark breed of virile little men, whose life-struggle from prehistoric times has served to prove that imagina- tion and quick emotion and tenacity may go hand in hand with indomitable pluck. England owes innumerable debts of gratitude to Welsh while from other races and Celtic imagination and emotion ; she gets a fitful energy and the joy she takes in wandering adventure. ; T^arentage and Early Studies These qualities you will find united in Frank Brangwyn. Whether the Welsh alone would ever develop great art is open to doubt, because their national love for music does not, as a rule, show a preference for stringed instruments and their gifts for eloquent talk break through the self- discipline that art finds helpful. On the other hand, Anglo- Welshmen of talent are emotional in a steadier way, though routine worries them. Work between fixed hours does not " set their genius." When the impulse comes they toil as a racehorse runs, stopping when their emotion and energy are spent. I have never noticed in Anglo-Welsh artists a patience similar to that which Thackeray admired in his little painter-hero, "J.
Load more

Recommended publications
  • Drawings by Frank Brangwyn, with Some Other Phases of His
    PRINTS & DRAWINGS BY FRANK BRANGWYN BY WALTER SHAW SPARROW E 4'Ii QlnrttBll Ittiocraitg ffiibtarjj Stliaca, Hetu ^Dtk BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 Cornell University Library NE642.B82 S83 by..,Frank Brangwjfnj^ Prints & drawinas 670 693 3 1924 030 Overs olin Cornell University Library %1 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030670693 'THK MONUi\rKNr, LONDON.' SILMiN' KOK 'I UK KICHING IN 'IHK COLLECTION OV MRS. L\ON PRINTS <^ DRAWINGS BY FRANK BRANGWYN WITH SOME OTHER PHASES OF HIS ART: BY WALTER SHAW SPARROW LONDON : JOHN LANE, THE BODLEY HEAD NEW YORkI JOHN LANE COMPANY. MCMXIX ENGLAND TRINTED BY WM. BRENDON AND SON, LTD., PLYMOUTH, CONTENTS CHAfTER PAGE Introductory : Criticism, Controversy, and Writing on Art I L Emotion, Art, and Frank Brangwyn 22 II. Some Current Fallacies versus the Brangwyn Etchings 43 III. The Parallelism BETVi^EEN Brangwyn and Legros as Etchers 59 IV. His Earliest Etchings ..... 78 V. Etchings : Simple Landscapes and Wayfaring Sketches 85 VI. Etchings : Windmills and Watermills 96 VII. Etchings : A Few Bridges . 104 VIII. Etchings : Barges, Boats, and Hulks 117 IX. Etchings : Industry and Labour 127 X. Architecture in the Brangwyn Etchings . 140 XI. Brangwyn, Art, and National Welfare 161 XII. Brangwyn, London, and National Welfare 166 XIII. Peace and War in Brangyttn's Posters 181 XIV. After the War : Reformation and Re-formation : Brangwyn in Relation to Labour Clubs and Halls 199 XV.
    [Show full text]
  • ANNUAL REPORT | 2019 | 2 Welcome
    2A019 nnual Report Details Trustees, staff and volunteers The William Morris Society PRESIDENT STAFF Registered address: Lord Sawyer of Darlington Curator: Helen Elletson Kelmscott House Curator (parental leave cover, 26 Upper Mall TRUSTEES from August 2019): Theresa Kneppers Hammersmith Stephen Bradley, Chair Society Manager: Cathy De’Freitas London W6 9TA Rebecca Estrada-Pintel, Vice Chair Finance Manager: Penny McMahon Andrew Gray, Treasurer Volunteer Development and Outreach Officer Tel: 020 8741 3735 Natalia Martynenko-Hunt, Secretary (from September 2019): Miranda Poliakoff Email: [email protected] Philip Boot www.williammorrissociety.org Jane Cohen (to May 2019) VOLUNTEER ROLES Richard de Peyer (co-opted Oct 2019) Magazine Editor: Sarah Wilson TheWilliamMorrisSociety Michael Hall Journal Editor: Owen Holland @WmMorrisSocUK Jane Ibbunson (to Oct 2019) Journal Proofreader: Lauren McElroy williammorrissocietyuk Fiona Rose Librarian: Penny Lyndon John Stirling Registered Charity number 1159382 The William Morris Society is extremely The Trustee Board operates through five fortunate to be able to draw on a wide range of committees. These are: expertise and experience from our volunteers, Finance and General Purposes, who contribute many hundreds of hours of Collections, Library and Display, their time to help with welcoming visitors to the Education and Publications, museum, leading guided tours, delivering Marketing, Communications and Membership education sessions to schools and families, and Business Development. giving printing demonstrations, answering enquiries, cataloguing and caring for our collections, office administration, serving refreshments and maintaining our garden as well as giving invaluable time to our committee work and special projects. We are grateful to all who give up their time to help with the work of the Society.
    [Show full text]
  • Jane Peterson Bio.Pages
    Jane Peterson Biography Jennie Christine Peterson - Class of 1901 (1876 - 8/14/1965) - born in Elgin, Illinois, officially changed her name to Jane in 1909 following her first major American exhibition at the St. Botolph Club in Boston. As a child, she attended public school, but with her family’s support and encouragement, Peterson eventually applied and was accepted at the prestigious Pratt Institute in New York. While there, she studied under Arthur Wesley Dow. Peterson’s mother, proud of her daughter’s talent, and keen for her to succeed as an artist, provided her with $300 toward enrollment at the institute—a significant investment at the time for the family. After graduation in 1901, Peterson went on to study oil and watercolor painting at the Art Students League in New York City with Frank DuMond. By 1912, Peterson was teaching watercolor at the Art Students League and eventually became the Drawing Supervisor of the Brooklyn Public Schools. Like many young people, especially artists, Peterson extended her artistic education by taking the traditional grand tour of Europe. For the rest of her life she would frequently return to travel on the continent. The grand European tour was one of the best ways for young artists to view specific works of art and to learn from the masters. Peterson studied with Frank Brangwyn in Venice and London, Joaquin Sorolla in Madrid, and Jacques Blanche and Andre L’Hote in Paris. Under their direction she gained a diverse and expert knowledge of painting techniques and composition. Studying in Paris, Peterson also became friends with Gertrude and Leo Stein, becoming a regular at the sibling’s various gatherings where the guests included Pablo Picasso and Henri Matisse.
    [Show full text]
  • Frank Brangwyn 7 Focus on FLANDERS • 8 July- 14 July 2006 • Number 28 2 ECONOMY and POLITICS
    flandersfocus on THE DUTCH SPEAKING PART OF BELGIUM press review weekly, does not appear in July • number 28 • 8 July – 14 July 2006 Six groups still in running INTRODUCTION This year too, many commenta- tors are seizing on the Flemish for Indaver Community's feast day to gauge the strength of the belief in Flemish independence. Sepa- The sale of a majority interest in the PASCAL DENDOOVEN • DE STANDAARD • ratism, De Morgen concludes (8 Flemish waste company Indaver has 12 JULY July), has long since ceased to entered a new phase, report De Stan- be a term of abuse in Flanders. According to a survey, admittedly carried out by the daard and De Tijd (12 July). At the With Veolia Environnement there is a radical Flemish-minded paper ‘Doorbraak’, 22% of beginning of this year the Flemish Gov- second French group in the running. Flemings questioned were sympathetic towards the idea of a total split of Belgium, but 55.5% were ernment put its majority interest (via This group is one of the largest in the flatly against it. That 22% is less than the two par- the Flemish Environmental Holding environmental sector. On the Belgian ties that include Flemish independence in their man- VMH) of 54.2% up for sale, but still side there is a financial consortium ifesto have (N-VA and Vlaams Belang), as together they account for around 30%. The paper has to ac- wants to retain a blocking minority of based around Ackermans & van knowledge that separatists are no longer a marginal 25%. Indaver has a turnover of 210 mil- Haaren, KBC Private Equity and the group.
    [Show full text]
  • 19Th Century European, Victorian and British Impressionist Art New Bond Street, London I 26 September 2018
    19th Century European, Victorian and British Impressionist Art New Bond Street, London I 26 September 2018 19th Century European, Victorian and British Impressionist Art Wednesday 26 September 2018 at 2pm New Bond Street, London VIEWING ENQUIRIES REGISTRATION PHYSICAL CONDITION OF Thursday 20 September Peter Rees (Head of Sale) IMPORTANT NOTICE LOTS IN THIS AUCTION 9am to 4.30pm +44 (0) 20 7468 8201 Please note that all customers, PLEASE NOTE THAT THERE IS Friday 21 September [email protected] irrespective of any previous NO REFERENCE IN THIS 9am to 4.30pm activity with Bonhams, are Sunday 23 September Charles O’Brien CATALOGUE TO THE PHYSICAL 11am to 3pm (Head of Department) required to complete the Bidder CONDITION OF ANY LOT. Monday 24 September +44 (0) 20 7468 8360 Registration Form in advance of INTENDING BIDDERS MUST 9am to 4.30pm [email protected] the sale. The form can be found SATISFY THEMSELVES AS TO Tuesday 25 September at the back of every catalogue THE CONDITION OF ANY LOT 9am to 4.30pm Emma Gordon and on our website at www. AS SPECIFIED IN CLAUSE 14 Wednesday 26 September +44 (0) 20 7468 8232 bonhams.com and should be OF THE NOTICE TO BIDDERS 9am to 12pm [email protected] returned by email or post to the CONTAINED AT THE END OF THIS CATALOGUE. specialist department or to the SALE NUMBER Alistair Laird bids department at 24742 +44 (0) 20 7468 8211 As a courtesy to intending [email protected] [email protected] bidders, Bonhams will provide a written Indication of the physical CATALOGUE To bid live online and / or leave condition of lots in this sale if a £25.00 Deborah Cliffe internet bids please go to +44 (0) 20 7468 8337 request is received up to 24 www.bonhams.com/ ILLUSTRATIONS [email protected] hours before the auction starts.
    [Show full text]
  • An Unusual Gift of Russian Prints to the British Museum in 1926
    An unusual gift of Russian prints to the British Museum in 1926 by GALINA MARDILOVICH IN MARCH 1926, at a time of cautious diplomacy between the Soviet Union and Britain, the British Museum, London, re- ceived a gift of 218 Russian prints presented by a group of twenty Russian artists. The impetus for the donation was a gift of prints by the British artist Frank Brangwyn to the Moscow Museum of Fine Arts in the late summer of 1925.1 In his note in The Studio on this ‘unusual artistic exchange’, Pavel Ettinger wrote that it was an example of ‘a rare proof of international brotherhood in the domain of art’.2 Upon accepting the Russian gift, Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, petitioned Brit- ish printmakers to contribute prints to be presented to the Russian institution as a reciprocal gesture of thanks. The ensuing British donation of more than two hundred works was received and exhibited in Moscow in September 1926. These prints, along with Brangwyn’s, are still kept in the Museum, which was renamed the Pushkin State Museum of Fine Arts in 1937. Were these donations intended simply to augment insti- tutional holdings, either those of the British Museum or of the Moscow Museum of Fine Arts, or was the exchange ar- ranged to bridge political and cultural divides? What made it so ‘unusual’, to use Ettinger’s term? In the collection of the British Museum, this group comprises more than one-tenth of the institution’s total number of Russian prints.
    [Show full text]
  • International Art
    International Art Collectors’ List No. 175, 2014 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW Phone: (02) 9663 4848 Email: [email protected] Web: joseflebovicgallery.com 1. Anon. Mode Schmetterlinge (Fash ion JOSEF LEBOVIC GALLERY Butterflies), c1830s. Hand-coloured litho- Established 1977 graph, 21 x 17.5cm. Minor surface stains and 103a Anzac Parade, Kensington (Sydney) NSW soiling. $550 Post: PO Box 93, Kensington NSW 2033, Australia Tel: (02) 9663 4848 • Mob: 0411 755 887 • Intl: (+61-2) Email: [email protected] • Web: joseflebovicgallery.com Open: Mon. to Sat. by appointment or by chance • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 175, 2014 International Art 2. Anon. [Hydrotherapy], c1840s. Group On exhibition from Sat., 13 December 2014 to Sat., 28 February of four watercolours with gouache and high- 2015. All items will be illustrated on our website from 20 December. light, each titled in pencil verso, 26 x 35.5cm Prices are in Australian dollars and include GST. Exch. rates as at (approx. each). The group $3,300 time of printing: AUD $1.00 = USD $0.86¢; UK £0.55p Four types of water cures are illustrated. Titles in- clude “Lamp Treatment; Sitz Bath; Wata [sic] Cure, © Licence by VISCOPY AUSTRALIA 2014 LRN 5523 Packing.” In the mid-19th century there was a pop ular revival of the water cure (hydro therapy) in Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky Europe, UK and USA.
    [Show full text]
  • Jane Peterson Bio.Pages
    Jane Peterson Biography Jennie Christine Peterson - Class of 1894 - b. 1876 - d.August 14, 1965 - born in Elgin, Illinois, officially changed her name to Jane in 1909 following her first major American exhibition at the St. Botolph Club in Boston. As a child, she attended public school, but with her family’s support and encouragement, Peterson eventually applied and was accepted at the prestigious Pratt Institute in New York. While there, she studied under Arthur Wesley Dow. Peterson’s mother, proud of her daughter’s talent, and keen for her to succeed as an artist, provided her with $300 toward enrollment at the institute—a significant investment at the time for the family. After graduation in 1901, Peterson went on to study oil and watercolor painting at the Art Students League in New York City with Frank DuMond. By 1912, Peterson was teaching watercolor at the Art Students League and eventually became the Drawing Supervisor of the Brooklyn Public Schools. Like many young people, especially artists, Peterson extended her artistic education by taking the traditional grand tour of Europe. For the rest of her life she would frequently return to travel on the continent. The grand European tour was one of the best ways for young artists to view specific works of art and to learn from the masters. Peterson studied with Frank Brangwyn in Venice and London, Joaquin Sorolla in Madrid, and Jacques Blanche and Andre L’Hote in Paris. Under their direction she gained a diverse and expert knowledge of painting techniques and composition. Studying in Paris, Peterson also became friends with Gertrude and Leo Stein, becoming a regular at the sibling’s various gatherings where the guests included Pablo Picasso and Henri Matisse.
    [Show full text]
  • The Great War As Recorded Through the Fine and Popular Arts
    The Great War As Recorded through the Fine and Popular Arts Edited by Sacha Llewellyn & Paul Liss L I S S F I N E A R T This catalogue is published on the occasion of the exhibition: The Great War As Recorded through the Fine and Popular Arts Morley Gallery Morley College, 61 Westminster Bridge Road, London, SE1 7HT September 5 - October 2, 2014 Organised by: L I S S F I N E A R T With the participation of David Cohen Fine Art The Great War As Recorded through the Fine and Popular Arts Edited by Sacha Llewellyn & Paul Liss L I S S F I N E A R T René Georges Hermann-Paul (1864-1940) 148 – Août 1914 from Calendrier de la Guerre (1ère année – août 1914-juillet 1915), 1916, Coloured woodcuts, 17 3/4 x 13 3/4 in. (45 x 35cm) each, published by Librarie Lutetia [A. Ciavarri, Directeur] Two soldiers from different units who are preparing to embark for the Front, embrace during a chance encounter on a railway platform. The soldier in blue is decorated with flowers, momentoes from women who have bid him adieu. The first months of the war were by far the most bloody, and these friends may never meet again. (see pages 170-173) A C K N O W L E D G E M E N T S We are especially grateful to Ela Piotrowska (Principal), Nick Rampley (Vice-Principal) and Jane Hartwell (Gallery Manager) of Morley College for giving us the opportunity to stage this exhibition, and also the Imperial War Museum for allowing this project to be part of a wider series of IWM-led FirstWorld War Centenary Initiatives.
    [Show full text]
  • Background History
    Fellowship is life, and lack of fellowship is death. These words of William Morris, the motto of the London Borough of Waltham Forest, greet you as you look up at Walthamstow Assembly Hall. They reflect the importance, which has long been attached to the great 19th century artist, craftsman, writer and socialist in the borough which was his birthplace. The William Morris Gallery in Lloyd Park, Forest Road, Walthamstow, was home to Morris during his teenage years. It is a therefore one the Borough’s most important buildings and its large collection draws interest from people in every corner of the globe. THE Here we consider the life of the man, his achievements and his influence on HISTORY subsequent generations. OF THE The man himself William Morris, the third of nine children and the eldest son, WILLIAM was born in 1834 into a wealthy family at what was then Elm MORRIS House, opposite where Walthamstow fire station is today. As a child he learned to read very early and developed a wide GALLERY range of knowledge and interests that was reflected in his adult life. He developed a fascination with the medieval world and this had a great influence on his adult work and ideas. In 1848 the family moved to Water House. It was the family home until 1856 and now houses the William Morris Gallery. After Morris graduated from Oxford he went to work in the offices of the architect George Street, who specialised in the Gothic Revival style, but he soon left to study painting under Dante Gabriel Rossetti.
    [Show full text]
  • Frank Brangwyn (1867–1956): the Japanese Connection
    PART VII: ART Fine Art 31 Frank Brangwyn (1867–1956): The Japanese Connection LIBBY HORNER Frank Brangwyn WORLD RENOWN Frank Brangwyn was one of the fi rst British artists to gain a world- wide reputation, his works being collected not only in Europe but also in Australia, Canada, Japan, New Zealand, South Africa and the USA, and he was the recipient of numerous honours and awards, mainly from foreign countries. The following examples indicate the esteem in which he was held throughout his artistic career. Siegfried Bing chose Brangwyn, rather than a leading French artist, to decorate the exterior of his Galeries l’Art Nouveau in Paris in 1895. Together with such luminaries as Alphonse Mucha, Auguste Rodin and J.A. McNeill Whistler, Brangwyn was invited to take part in the fi rst exhibition organized by the avant-garde Vienna Secession in 1898. Brangwyn designed six stained glass panels for Louis Comfort Tiffany in 1899, one of which, Child Picking Gourds, was installed in the sitting room of Tiffany’s home, Laurelton House – a tremendous accolade. A huge exhibition of Brangwyn’s work was organized by Barbizon House at 184 Queen’s Gate, London, in 1924, which had the distinction of being 420 FRANK BRANGWYN (1867–1956) the fi rst ever art exhibition to be opened by a British Prime Minister, in this case Ramsey MacDonald. Brangwyn was one of three artists chosen by Nelson Rockefeller to decorate the concourse of the RCA Building, Rockefeller Plaza, New York (1930–34) the other two artists being Diego Rivera and José Maria Sert.
    [Show full text]
  • The Sultan's Garden Catalogue
    the sultan’s garden the sultan’s garden the blossoming of ottoman art Walter B. Denny and Sumru Belger Krody The Textile Museum Washington, D.C. Contents The Sultan’s Garden: The Blossoming of Ottoman Art 6 The Textile Museum By Walter B. Denny and Sumru Belger Krody First published on the occasion of the exhibition ‘The Sultan’s Garden: The Blossoming of Ottoman Art’ at 8 Supporters The Textile Museum, Washington, D.C., September 21, 2012 – March 10, 2013 Copyright © 2012 The Textile Museum 9 Foreword All rights reserved under International and Pan-American Copyright Conventions. Except for legitimate excerpts customary in review or scholarly publications, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including 10 Introduction photocopying, recording, or information storage or retrieval systems, without permission in writing from the publisher. 13 The Authors Collection photographs © 2011 The Textile Museum, Washington D.C. Plates 07, 25, 33, 34, 43 and 45 photographed by Don Tuttle. All other photographs by Renée Comet unless otherwise noted. 14 Map The Textile Museum 2320 S Street, NW 16 The Discovery of the Ottoman Floral Style Washington D.C. 20008-4088 www.textilemuseum.org 21 The Emergence and Development of the Floral Style in Textiles Produced and packaged in the United Kingdom for The Textile Museum by HALI Publications Limited Studio 30, Liddell Road 29 The Difusion of the Floral Style in Anatolia and the Empire London NW6 2EW www.hali.com 35 The Floral Style Beyond the Empire Editor/Project Director: Daniel Shafer Designer: Anikst Design, London Color Production/Print Management: Michael Anikst and Sebastian Ghandchi 38 Conclusion – The Sultan’s Garden Indexer: Christopher Phipps Library of Congress Cataloging-in-Publication Data 39 Assessing the Legacy Denny, Walter B., author.
    [Show full text]