The Connoisseur (Sir Gerald Ryan
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Nineteenth(Century!British!Perspectives!!
! ! NINETEENTH(CENTURY!BRITISH!PERSPECTIVES!! ON!EARLY!GERMAN!PAINTINGS:! THE!CASE!OF!THE!KRÜGER!COLLECTION! AT!THE!NATIONAL!GALLERY!AND!BEYOND! ! ! TWO!VOLUMES! ! ! VOLUME!I! ! ! ! ! NICOLA!SINCLAIR! ! ! ! PH.D.! ! ! ! UNIVERSITY!OF!YORK! ! ! HISTORY!OF!ART! ! ! MARCH!2016! ! ! ! 1! ABSTRACT' ! ! This!study!examines!the!British!receptiOn!Of!early!German!painting!in!the! nineteenth!century!thrOugh!the!case!study!Of!the!Krüger!acquisitiOn!fOr!the!NatiOnal! Gallery!in!1854.!It!prOvides!new!infOrmatiOn!about!why!this!cOllectiOn!Of! predOminantly!religiOus!fifteenth(!and!sixteenth(century!paintings!frOm!COlOgne!and! Westphalia!was!acquired!and!hOw!it!was!evaluated,!displayed!and!distributed!in!British! public!and!private!cOllections,!against!a!backdrop!of!midcentury!develOpments!in! British!public!displays!Of!art,!art(historical!literature,!private!collecting!and!the!art! market.!!! ! In!light!Of!lOng(held!perceptions!that!the!acquisition!was!a!mistake!and!that!the! paintings!were!inferiOr!to!early!wOrks!frOm!Italy!and!the!Netherlands,!this!study!Offers! an!alternative!perspective!that!it!was!an!enterprising!attempt!tO!implement!new! models!Of!histOrical!display!in!natiOnal!cOllectiOns,!and!tO!ratiOnalise!hOw!suppOsedly! inferior!paintings!cOuld!have!value!in!public!and!private!cOllectiOns.!By!loOking!at!the! way!these!rediscOvered!German!paintings!were!evaluated,!this!study!advances! understanding!Of!hOw!ROmantic,!schOlarly!and!fOrmal!mOdels!fOr!reexamining!early! paintings!Overlapped,!cOnflicted!and!changed!in!the!nineteenth!century.!The!Krüger! -
Victoria Albert &Art & Love Queen Victoria, Prince Albert and Their Relations with Artists
Victoria Albert &Art & Love Queen Victoria, Prince Albert and their relations with artists Vanessa Remington Essays from two Study Days held at the National Gallery, London, on 5 and 6 June 2010. Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Queen Victoria, Prince Albert and their relations with artists Vanessa Remington Victoria and Albert: Art and Love, a recent exhibition at The Queen’s Gallery, Buckingham Palace, was the first to concentrate on the nature and range of the artistic patronage of Queen Victoria and Prince Albert. This paper is intended to extend this focus to an area which has not been explored in depth, namely the personal relations of Queen Victoria, Prince Albert and the artists who served them at court. Drawing on the wide range of primary material on the subject in the Royal Archive, this paper will explore the nature of that relationship. It will attempt to show how Queen Victoria and Prince Albert operated as patrons, how much discretion they gave to the artists who worked for them, and the extent to which they intervened in the creative process. -
Industry and the Ideal
INDUSTRY AND THE IDEAL Ideal Sculpture and reproduction at the early International Exhibitions TWO VOLUMES VOLUME 1 GABRIEL WILLIAMS PhD University of York History of Art September 2014 ABSTRACT This thesis considers a period when ideal sculptures were increasingly reproduced by new technologies, different materials and by various artists or manufacturers and for new markets. Ideal sculptures increasingly represented links between sculptors’ workshops and the realm of modern industry beyond them. Ideal sculpture criticism was meanwhile greatly expanded by industrial and international exhibitions, exemplified by the Great Exhibition of 1851, where the reproduction of sculpture and its links with industry formed both the subject and form of that discourse. This thesis considers how ideal sculpture and its discourses reflected, incorporated and were mediated by this new environment of reproduction and industrial display. In particular, it concentrates on how and where sculptors and their critics drew the line between the sculptors’ creative authorship and reproductive skill, in a situation in which reproduction of various kinds utterly permeated the production and display of sculpture. To highlight the complex and multifaceted ways in which reproduction was implicated in ideal sculpture and its discourse, the thesis revolves around three central case studies of sculptors whose work acquired especial prominence at the Great Exhibition and other exhibitions that followed it. These sculptors are John Bell (1811-1895), Raffaele Monti (1818-1881) and Hiram Powers (1805-1873). Each case shows how the link between ideal sculpture and industrial display provided sculptors with new opportunities to raise the profile of their art, but also new challenges for describing and thinking about sculpture. -
Eighteenth-Century English and French Landscape Painting
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. -
Our First Two Big-Time Classes
Translate Latest news from Rittenhouse Needlepoint View this email in your browser May 2018 Newsletter In this Issue: 1. Our First Two Big Time Classes 2. News roundup 3. Thread of the Month: Stef Francis 12 Ply Silk 4. Stitch of the Month: Little Wavy 5. Notes on Needlepoint Our First Two Big-Time Classes Why do I say, "Our first two big-time classes?" Well, because this is the first time in the nearly ten years that we have been open that we will be bringing in professional teachers to our store to teach. And boy are we excited! First up is "78 Stitches, 78 Threads" with Ruth Dilts. This wonderful class is a crash-course in all things Rainbow Gallery. You know Rainbow Gallery threads. You've been using them forever. They are those threads that come on cards https://us2.campaign-archive.com/?e=[UNIQID]&u=9b9b7549e5c8f818070e0508c&id=d352853db8[6/26/2018 4:17:38 PM] and are on the ubiquitous spin racks found pretty much wherever needlepoint supplies are sold. True confession here -- I've been in the business for a while now and even I have trouble keeping all the names of their products straight in my mind so I can only imagine what a jumble it must be for people who don't handle them every day. Well, now is your chance to start untangling that confusing web. And best of all with this class you will end up with a permanent reference volume to take home with you so that in the future you need never be confused by the plethora of Rainbow Gallery options ever again. -
Review of 'Sculpture Victorious: Art in an Age of Invention, 1837–1901' At
Review of ‘Sculpture Victorious: Art in an Age of Invention, 1837–1901’ at the Yale Center for British Art, 11 September to 30 November 2014 Jonathan Shirland Stepping out of the elevator onto the second floor, the trio demand attention immediately, and thereby recalibrate our (stereotyped) relation- ship to Victorian sculpture at a stroke. They are impossible to ignore, or walk past. Yet they are a difficult grouping, with the darkly coloured, male, full-length statue of James Sherwood Westmacott’s Saher de Quincy, Earl of Winchester of 1848–53 in uncertain relation to the two very different yet equally captivating busts of Victoria positioned to his left (Fig. 1). Francis Leggatt Chantrey’s rendering from 1840 makes the nineteen-year-old queen sexy: the animated mouth and nostrils, bare neck and shoulders, and subtle folding of the tiara into the plaits of hair reinforcing an exem- plary demonstration of the sensuality of marble. Yet, Alfred Gilbert’s mon- umental three-foot bust made between 1887 and 1889 for the Army & Navy Club in London looms over the shoulder of Chantrey’s young queen; the multiple textures, deep undercutting, and surface detail present an ageing Victoria at her most imposing. So what is Westmacott’s piece doing here as an adjunct to this pairing of sculptural portraits? The curators were perhaps keen to show off the first of their many coups by immediately pre- senting to us a novel sculptural encounter: Westmacott’s Earl is normally removed from close scrutiny, looking down on the chamber of the House of Lords from a niche twenty-five feet above the floor, alongside statues of seventeen other barons and prelates who in 1215 helped to secure the signing of the Magna Carta. -
Tenaga Dalam Volume 2 - August 1999
Tenaga Dalam Volume 2 - August 1999 The Voice of the Indonesian Pencak Silat Governing Board - USA Branch Welcome to the August issue of Tenaga Dalam. A lot has occurred since May issue. Pendekar Sanders had a very successful seminar in Ireland with Guru Liam McDonald on May 15-16, a very large and successful seminar at Guru Besar Jeff Davidson’s school on June 5-6 and he just returned from a seminar in England. The seminar at Guru Besar Jeff Davidson’s was video taped and the 2 volume set can be purchased through Raja Naga. Tape 1 consists of blakok (crane) training and Tape 2 has about 15 minutes more of blakok training followed by a very intense training session in various animal possessions including the very rare Raja Naga possession. Guru Besar Davidson and his students should be commended on their excellent portrayal of the art. Tape 1 is available to the general public, but due to the intense nature of tape 2 you must be a student. It is with great sadness that I must report that Guru William F. Birge passed away. William was a long time personal student of Pendekar Sanders and he will be missed by all of the people that he came into contact with. 1 Tribute to Guru William F. Birge Your Memory Will Live On In Our Hearts. 2 DJAKARTA aeroplane is a lead-coloured line of sand beaten by EX ‘PEARL OF THE EAST’ waves seeping into a land as flat as Holland. The Dutch settlers who came here in 1618 and founded The following is a passage from the wonderful Batavia must have thought it strangely like their book Magic and Mystics of Java by Nina Epton, homeland. -
The Challenges of French Impressionism in Great Britain
Crossing the Channel: The Challenges of French Impressionism in Great Britain By Catherine Cheney Senior Honors Thesis Department of Art History University of North Carolina at Chapel Hill April 8, 2016 Approved: 1 Introduction: French Impressionism in England As Impressionism spread throughout Europe in the late nineteenth century, the movement took hold in the British art community and helped to change the fundamental ways in which people viewed and collected art. Impressionism made its debut in London in 1870 when Claude Monet, Camille Pissarro, and Paul Durand-Ruel sought safe haven in London during the Franco- Prussian war. The two artists created works of London landscapes done in the new Impressionist style. Paul Durand-Ruel, a commercial dealer, marketed the Impressionist works of these two artists and of the other Impressionist artists that he brought over from Paris. The movement was officially organized for the First Impressionist Exhibition in 1874 in Paris, but the initial introduction in London laid the groundwork for promoting this new style throughout the international art world. This thesis will explore, first, the cultural transformations of London that allowed for the introduction of Impressionism as a new style in England; second, the now- famous Thames series that Monet created in the 1890s and notable exhibitions held in London during the time; and finally, the impact Impressionism had on private collectors and adding Impressionist works to the national collections. With the exception of Edouard Manet, who met with success at the Salon in Paris over the years and did not exhibit with the Impressionists, the modern artists were not received well. -
Bulletin of A
Himi m Hijgffjf RLW& tr Archives 27411 Digitized by the Internet Archive in 2013 http://archive.org/details/bulletinofa32agri .••.-• BULLETIN of A. & T. COLLEGE Published by THE AGRICULTURAL AND TECHNICAL COLLEGE of NORTH CAROLINA Obedience to the Law is the Largest Liberty Issued Quarterly GREENSBORO, NORTH CAROLINA CALENDAR 1941-42 Entered as second-class matter, July 2d, 1909, at the Post- office at Greensboro, N. 0., under the act of July 16th, 1894. COLLEGE CALENDAR CALENDAR, 1941-1942 September 16—Entrance examinations. September 16—Freshmen and New students begin Registration Orientation. September 17—Freshman Orientation. September 18—Freshmen complete registration. September 19—Registration of former students. September 22—Classes begin. September 29—Last day for changes in schedule. December 17, 18, 19, 20—Fall term examinations. January 5, 1942—Registration Winter Quarter. January 6—Classes begin. January 12—Last day for changes in schedule. March 17, 18, 19, 20—Winter term examinations. March 23—Registration Spring Quarter. March 24—Classes begin. March 30—Last day for changes in schedule. May 27, 28, 29, 30—Spring term examinations. May 31—Baccalaureate sermon. June 1—Commencement. June 9—Registration for Summer Quarter. HOLIDAYS Thanksgiving Day and Friday following; Christmas holidays, December 21, 1941-January 1, 1942. SPECIAL DATS Dudley Day—November 2, 1941. Education Week. Religious Emphasis Week—December 10-14. Douglas' Birthday and Negro History Week— (Joint Observance) February 9-15. Arbor Day, March 15—Special program by School of Agriculture. National Negro Health Week, April 2-8. Morrill's Birthday, April 14r—Agriculture and Mechanic Arts societies have special programs. -
Attic Sampler Newsletter 09302019
Just 15 minutes fromWhere the Airport Samplers at the Rule SE CORNER OF DOBSON & GUADALUPE 1837 W. Guadalupe Rd, Suite 109 Mesa, AZ 85202 TELEPHONE (480)898-1838 1.888.94-ATTIC THE ATTIC 2019 September 30 Issue No. 19-12 www.atticneedlework.com September Sampler of the Month Continues ~ Until October’s Announcement Next Issue “May Health and Peace Attend your Days” from Milady’s Needle Ever since Gloria first showed us this sampler, I have loved it … such a tender verse, so many wonderful motifs, like the castle, and the key to the castle, the stag, the peacocks, the fireflies … or bees … or whatever you wish them to be! Love the colorful border as well! September is a month of many focuses, one of which is S.A.M.P.L.E.R.S! Of course, if you love samplers as much as I do, they’re always in your focus. For those of you on InstaGram, it’s #SeptemberSamplerSoiree and so our September SOM, this sweet, smallish sampler, is perfect in a month where our focus may be frequently diverted. The stitch count, 251 x 232, gives a finished size as follows: * on 40ct, 12.6 x 11.6 * on 46ct, 11.4 x 10.6 As Sampler of the Month, purchase a minimum of 2 “parts” of the kit and receive a 15% * on 56ct, 9.3 x 8.6 Sampler of the Month discount: I still need to do a Tudor/Soie * Chart $20 Surfine conversion. *AVAS Silks: Soie d’Alger $72.00 ~ Soie 100/3 $52.80 *Linen ~ The chart model is stitched on 40ct Weeks Parchment, beautiful color now available in Zweigart from Weeks in varying counts up through 56ct, and there are lots of other choicesThe as well, Attic, depending Mesa, onAZ your Toll-Free: preferred 1.888.94-ATTICcount. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan)