Wilhelmina Barns-Graham Trust
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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. -
Work Placement Handbook
Work Placement Handbook 2012 CONTENTS • Background to Falmouth Art Gallery • Falmouth Art Gallery’s Work placement Policy • Work placement Benefits • Getting the most from the placement • Guidelines General Safety Health Object Handling Supervision • Staff Lists • Forms Falmouth Art Gallery Falmouth Art gallery is a service funded by Falmouth Town Council. It is an accredited museum and complies with standards laid down for the Registration of Museums in the United Kingdom and works in partnership with: Age Concern, The Art Fund, Arts Council England, Brightwater Holidays, Combined Universities of Cornwall, Cornwall and Devon Media, Cornwall College, Cornwall Council Conservation Department, Cornwall Heritage Trust, CSV RSVP, Earls Retreat, Falmouth Arts Society, Falmouth BIDS, Falcare (formerly Mencap), Falmouth Marine School, Falmouth Stroke Club, Heritage Lottery Fund, Hine Downing Solicitors, Jason Thomas Dance Company, Kerrier Pupil Referral Unit, Kids in Museums, Langholme, Little Parc Owles Trust, Local schools, MLA (Museums, Libraries and Archives Council), MLA/V&A Purchase Grant Fund, Museums Association, National Maritime Museum Cornwall, Newquay Zoo, Penlee House Gallery & Museum, Royal Cornwall Museum, Royal Cornwall Polytechnic Society, Sully’s Picture Framing Penryn, Susie Group (victims of domestic abuse), Swamp Circus, Tate St Ives, The Tanner Trust, Truro and Penwith College, U3A, University College Falmouth, University of Exeter, Wayfarers,The West End Group – Murdoch and Trevithick Centre, The WILD Young Parents Group Falmouth Art Gallery The Origins of the Collection The first Falmouth Art Gallery was opened in Grove Place in 1894 under the Directorship of William Ayerst Ingram and Henry Scott Tuke. It featured their own work along with that of Sophie Anderson, Richard Harry Carter, Charles Davidson, Topham Davidson, Winifred Freeman and Charles Napier Hemy. -
SAMUEL BASSETT by Matt Retallick Sam Sent Me a Video
SAMUEL BASSETT By Matt Retallick Sam sent me a video link a couple of weeks ago. Alfred Wallis: Artist and Mariner, a mini documentary made in 1973, a glimpse into tHe life and work of Wallis througH the reminiscences of those wHo knew and loved him. Unique Penwith voices, honest and warm, spoke of Wallis and His paintings, but also of a St Ives lost to tHe mists of time. They told of an artist wHo wasn’t tHe outsider art History has made him, but a valued member of a close-knit community. His paintings were known even before Ben NicHolson was apparently to discover him. The truth is, Wallis was never discovered, and all NicHolson did was give His painting a wider audience amongst the modernist glitterati of Hampstead. Sam’s family Have lived and worked in St Ives for Hundreds of years, forefathers would Have no doubt known Wallis, after all, in a place the size of St Ives you know everybody. When I first met Sam, it was at PortHmeor Studios, a few doors up from tHe cottage Wallis once filled with paintings on scraps of wood, card, and marmalade jars. Sam’s studio was overflowing, a real artist’s studio witH paintings huddled, brushes and paints jumbled, and paper strewn across all available surfaces. It was refresHing; artists tend to spruce tHings up before a studio visit, make tHings sHipsHape, not here. There was sucH an abundance, and I was reminded instantly of Wallis, for wHom painting, and drawing was a compulsion, it’s tHe same for Sam. -
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. -
Bryan Wynter a Selected Retrospective
Bryan Wynter A Selected Retrospective Tate St Ives 15 September – 2 December 2001 Notes for Teachers - 1 - Contents Introduction Bryan Wynter: A brief biography Inspiration and Influences The Artist’s Studio St Ives in the 1940s, Gallery 1 Early Gouaches, Apse Painting and Natural Process, Gallery 4 IMOOS, Gallery 3 Late Paintings, Lower Gallery 2 Drawings, Education Studio Thomas Joshua Cooper, Gallery 5 Themes and curriculum links Further Reading Glossary Texts by Bryan Wynter Poems by W S Graham - 2 - Introduction The autumn season at Tate St Ives is devoted to landscape with a special focus on the work of Bryan Wynter (1915-75). Bryan Wynter: A Selected Retrospective has been curated by Chris Stephens and presents four key moments in Wynter’s artistic career. Early small gouaches from the 1940s, abstract paintings from the 1950s, the IMOOS constructions (Images Moving Out Onto Space) made in the 1960s, and a series of rarely seen large-scale paintings inspired by light and water made in the 1970s. At the same time, the Gallery is also exhibiting the work of American artist Thomas Joshua Cooper who presents large-scale atmospheric photographs of the Atlantic Ocean made at the edges of the land in Scotland and Cornwall. In Upper Gallery 2 visitors will be able to see a new display of ceramics focusing on the work of Bernard Leach and Shoji Hamada. The writer and ceramist Emmanuel Cooper has been invited to curate a new ‘craft showcase’ offering a reinterpretation of the Wingfield Digby Collection. Why bring your students to Bryan Wynter: A Selected Retrospective? Bryan Wynter: A Selected Retrospective is an exciting and challenging exhibition that will appeal to all ages. -
The Borlase Smart John Wells Trust
THE BORLASE SMART JOHN WELLS TRUST Three artists and three buildings lie behind the formation of the Borlase Smart John Wells Trust, and their remarkable stories also link together the celebrated Artists’ colonies in St Ives and Newlyn. Moonlit Shore 1911. Julius Olsson St Mawes at the Pilchard Season 1812. JMW Turner Awaiting his return 1884. Boys on the shore by St Ives 1887. Helen Schjerfbeck A Fish Sale on a Cornish Beach 1885. Stanhope Forbes Edward Simmons The Trust’s Porthmeor Studios in St Ives and Anchor Art colonies at St Ives and Newlyn: decline in the pilchard fishery, and artists found that Studios in Newlyn are at the heart of their respective the early years the now-redundant net lofts, which were spacious artists’ colonies. They have been occupied by artists and north facing, made excellent studios. The since the 1880s, making them probably the oldest JMW Turner was an early visitor to St Ives in 1811, American Howard Butler created the first studio on working artists’ studios in the country. However followed much later by James Whistler and Walter Porthmeor Beach, possibly Porthmeor Studio 8, and much more significantly they have hosted numerous Sickert in 1884. However it was the French painter other early artists at Porthmeor include Julius internationally influential painters over the past 135 Emile-Louis Vernier who is credited for really Olsson, Sigisbert Bosch Reitz, Edward Simmons and years, an unparalleled artistic inheritance that has led discovering St Ives, and he attracted the attention of Louis Grier. This span of unbroken occupation by to their listing by English Heritage. -
“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. -
Download Alfred Wallis: Artist and Mariner, Robert Jones, Halsgrove
Alfred Wallis: Artist and Mariner, Robert Jones, Halsgrove Press, 2001, 1841140724, 9781841140728, . DOWNLOAD HERE Alfred Wallis Primitive, Sven Berlin, Aug 1, 2007, , 144 pages. On a visit to St. Ives in the 1920s, the artists Ben Nicholson and Christopher Wood chanced upon a reclusive, semi-literate fisherman living in poverty and spending his time .... Colour and Light in Oils , Nicholas Verrall, Jun 15, 2008, Art, 128 pages. Through an array of demonstrations and inspirational images, a respected and successful painter reveals all his secrets for depicting light and mood, and bringing out the rich .... Shipshape , James Dodds, Nov 1, 2001, Art, 130 pages. Alan Cotton On a Knife Edge, Jenny Pery, Sep 1, 2003, , 144 pages. Alfred Wallis , Matthew Gale, 1998, Biography & Autobiography, 80 pages. Alfred Wallis (1855-1942) spent most of his life as a dealer in marine supplies and it was only at the age of 70 that he took up painting "for company" after the death of his .... Postmodernism , Eleanor Heartney, 2001, Philosophy, 80 pages. This work examines the ways in which the term "Postmodernism" has been used and abused within the contemporary art world. It explores the paradox at the heart of Postmodernism .... Barbara Hepworth works in the Tate Gallery Collection and the Barbara Hepworth Museum, St Ives, Matthew Gale, Chris Stephens, 1999, Art, 296 pages. Barbara Hepworth (1903-1975) is internationally acclaimed as one of the major sculptors of the mid-20th century. Initially a carver of hard woods and stones, she diversified .... Two painters works by Alfred Wallis and James Dixon, Matthew Gale, Richard Ingleby, 1999, Art, 128 pages. -
Theartofwilhelmina Barns-Graham
ALL H INITY R mina CAMBRIDGE T l Graham - ilhe W of Barns Art ElementalEnergies he T ElementalEnergies:TheArtofWilhelminaBarns-Graham TrinityHall,Cambridge ALL H INITY R CAMBRIDGE T ElementalEnergies TheArtof Wilhelmina Barns-Graham ElementalEnergies TheArtof Wilhelmina Barns-Graham Elemental Energies, The Art of Wilhelmina Barns-Graham Curated by Mel Gooding Trinity Hall, Trinity Lane, Cambridge CB2 1TJ The exhibition is coordinated by Strand Gallery, Aldeburgh and Art First, London in cooperation with The Barns-Graham Charitable Trust The exhibition will be hung from Monday 17th September to Sunday 16th December, 2007 Open on Mondays from 9am–12pm & 2pm–3.30pm Open on Sundays: 2pm–5pm (closed on 18th November) TRINITY HALL For further information please call 01223 332555 during office hours, 9amº–5pm CAMBRIDGE WILHELMINA BARNS-GRAHAM CBE, RSA, RSW Wilhelmina Barns-Graham, known as Willie, was born in St Andrews, Fife, on 8th June 1912. As a child she showed very early signs of creative ability. Determining while at school that she wanted to be an artist she set her sights on Edinburgh College of Art where, after some dispute with her father, she enrolled in 1932, and, after periods of illness, from which she graduated with her diploma in 1937. At the suggestion of the College’s principal Hubert Wellington, she moved to St Ives in 1940. This was a pivotal moment in her life. Early on she met Borlase Smart, Alfred Wallis and Bernard Leach, as well as Ben Nicholson, Barbara Hepworth, and Naum Gabo who were living locally at Carbis Bay. She became a member of the Newlyn Society of Artists and St Ives Society of Artists but was to leave the latter in 1949 when she became one of the founding members of the breakaway Penwith Society of Artists. -
MODERN BRITISH and IRISH ART Wednesday 13 June 2018
MODERN BRITISH AND IRISH ART Wednesday 13 June 2018 Lot 16 Lot 17 Lot 68 MODERN BRITISH AND IRISH ART Wednesday 13 June 2018 at 3pm 101 New Bond Street, London VIEWING BIDS ENQUIRIES CUSTOMER SERVICES Friday 8 June 12pm to 5pm +44 (0) 20 7447 7447 London Monday to Friday 8.30am to 6pm Saturday 9 June 11am to 5pm +44 (0) 20 7447 7401 fax Matthew Bradbury +44 (0) 20 7447 7447 Sunday 10 June 11am to 5pm To bid via the internet please +44 (0) 20 7468 8295 Monday 11 June 9am to 5pm visit bonhams.com [email protected] As a courtesy to intending Tuesday 12 June 9am to 5pm bidders, Bonhams will provide a Wednesday 13 June, 9am to 1pm Please note that bids should be Penny Day written indication of the physical submitted no later than 4pm +44 (0) 20 7468 8366 condition of lots in this sale if SALE NUMBER on the day prior to the sale. [email protected] a request is received up to 24 24593 New bidders must also provide hours before the auction starts. proof of identity when submitting Christopher Dawson This written indication is issued CATALOGUE bids. Failure to do this may result +44 (0) 20 7468 8296 subject to Clause 3 of the Notice £20.00 in your bid not being processed. [email protected] to Bidders. ILLUSTRATIONS Bidding by telephone will only Ingram Reid Front cover: Lot 29 be accepted on a lot with +44 (0) 20 7468 8297 Back cover: Lot 67 a lower estimate or of or in [email protected] Inside front: Lot 56 excess of £1,000 Inside back: Lot 57 James Flower Live online bidding is +44 20 7468 5862 available for this sale [email protected] Please email bids@bonhams. -
Yasmin David, Into the Light, Exhibition Guide
Yasmin David Into the Light 3 July 2021 — Spring 2022 The New Art Gallery Walsall Exhibition guide Collections Galleries, Floors 1&2 The New Art Gallery is proud to present the first public solo exhibition by 20th century British landscape painter Yasmin David (1939-2009). INTRODUCTION Julie Brown, Collections Curator Yasmin David (1939-2009) produced a prolific body of work over 50 years. Well-connected, coming from the prodigious Garman clan, her mother Lorna was the youngest of nine remarkable siblings, whose influence spanned the artistic, social and political life of the early 20th century. Yasmin’s aunt Kathleen Garman, donor to The New Art Gallery, was the life partner of sculptor Jacob Epstein, and first mother-in-law of painter Lucian Freud. Yasmin’s brother was the celebrated 20th century painter, Michael Wishart (1928-1996), who studied under Cedric Morris at his East Anglian School of Painting, and moved in the same circles as Francis Bacon. Yasmin could have had the contacts to have exhibited widely, should she have chosen to. Lorna Wishart, Portrait of Yasmin with Rose, 1959 However the complexities of family dynamics may have led to Yasmin being reluctant to step into the limelight. She believed her brother, Michael, had been tormented by his genius (his dependency on drugs and alcohol were well documented). Lorna Wishart (1911-2000) was a vivacious character who captivated those around her with her Hollywood starlet demeanour. A young Lucian Freud was besotted with her, and she inspired early works such as Girl in an Ocelot Coat, 1944. Cover Image ~ Yasmin David, Untitled (Grey Dawn), c.2007, oil on board Aged 16, Lorna had married a University friend of her brother Douglas, publisher Ernest Wishart, and they had two sons by the time Lorna was 22.