Catalogue of the Papers of Bernard Leach
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Naturalistic Observations of Peer Interventions in Bullying D
Naturalistic Observations of Peer Interventions in Bullying D. Lynn Hawkins, Debra J. Pepler, York University and Wendy M. Craig, Queen’s University Abstract This study examined peer intervention in bullying using naturalistic observations on school playgrounds. The sample comprised 58 children (37 boys and 21 girls) in Grades 1 to 6 who were observed to intervene in bullying. Peers were present during 88% of bullying episodes and intervened in 19%. In 47% of the episodes, peers inter- vened aggressively. Interventions directed toward the bully were more likely to be aggressive, whereas interventions directed toward the victim or the bully-victim dyad were more likely to be nonaggressive. The majority (57%) of interventions were effec- tive in stopping bullying. Boys were more likely to intervene when the bully and victim were male and girls when the bully and victim were female. The implications for anti- bullying interventions are discussed. Keywords: Bullying; Peer Intervention; Gender Differences In the present study, we examined peer interventions in bullying using naturalistic observations on the school playground. Bullying is a form of aggressive behaviour in which the child who is bullying has more power than the victim and repeatedly uses this power aggressively to cause distress to the victim through physical and/or verbal behaviours (Besag, 1989; Olweus, 1991, Pepler, Craig, & O’Connell, 1999). Research from various parts of the world suggests that between 10% to 23% of school children are involved in bullying as either victims and/or bullies (Besag, 1989; Charach, Pepler, & Ziegler, 1995; Olweus, 1991, 1993; Pepler et al., 1993; Roland, 1989; Yates & Smith, 1989). -
Hamada Shōji (1894-1978)
HAMADA SHŌJI (1894-1978) Hamada Shōji attained unsurpassed recognition at home and abroad for his folk art style ceramics. Inspired by Okinawan and Korean ceramics in particular, Hamada became an important figure in the Japanese folk arts movement in the 1960s. He was a founding member of the Japan Folk Art Association with Bernard Leach, Kawai Kanjirō, and Yanagi Soetsu. After 1923, he moved to Mashiko where he rebuilt farmhouses and established his large workshop. Throughout his life, Hamada demonstrated an excellent glazing technique, using such trademark glazes as temmoku iron glaze, nuka rice-husk ash glaze, and kaki persimmon glaze. Through his frequent visits and demonstrations abroad, Hamada influenced many European and American potters in later generations as well as those of his own. 1894 Born in Tokyo 1912 Saw etchings and pottery by Bernard Leach in Ginza, Tokyo 1913 Studied at the Tokyo Technical College with Itaya Hazan (1872-1963) Became friends with Kawai Kanjiro (1890-1966) and visits in Kyoto (1915) 1914 Became interested in Mashiko pottery after seeing a teapot at Hazan's home 1916 Graduated from Tokyo Technical College and enrolled at Kyoto Ceramics Laboratory, visits with Tomimoto Kenkichi (1886-1963) Began 10,000 glaze experiments with Kawai 1917 Visited Okinawa to study kiln construction 1919 Met Bernard Leach (1887-1979) at his Tokyo exhibition, invited to him his studio in Abiko where meets Yanagi Sōetsu (1889-1961) Traveled to Korea and Manchuria, China with Kawai 1920 Visited Mashiko for the first time Traveled to England with Leach, built a climbing kiln at St. Ives 1923 Traveled to France, Italy, Crete, and Egypt after his solo exhibition in London 1924 Moved to Mashiko. -
Related Voices Hamada: Three Generations
Related Voices HAMADA: Three Generations PUCKER GALLERY BOSTON Tomoo Hamada Shoji Hamada Bottle Obachi (Large Bowl), 1960-69 Black and kaki glaze with akae decoration Ame glaze with poured decoration 12 x 8 ¼ x 5” 4 ½ x 20 x 20” HT132 H38** Shinsaku Hamada Vase Ji glaze with tetsue and akae decoration Shoji Hamada 9 ¾ x 5 ¼ x 5 ¼” Obachi (Large Bowl), ca. 1950s HS36 Black glaze with trailing decoration 5 ½ x 23 x 23” H40** *Box signed by Shoji Hamada **Box signed by Shinsaku Hamada All works are stoneware. Three Voices “To work with clay is to be in touch with the taproot of life.’’ —Shoji Hamada hen one considers ceramic history in its broadest sense a three-generation family of potters isn’t particularly remarkable. Throughout the world potters have traditionally handed down their skills and knowledge to their offspring thus Wmaintaining a living history that not only provided a family’s continuity and income but also kept the traditions of vernacular pottery-making alive. The long traditions of the peasant or artisan potter are well documented and can be found in almost all civilizations where the generations are to be numbered in the tens or twenties or even higher. In Africa, South America and in Asia, styles and techniques remained almost unaltered for many centuries. In Europe, for example, the earthenware tradition existed from the early Middle Ages to the very beginning of the 20th century. Often carried on by families primarily involved in farming, it blossomed into what we would now call the ‘slipware’ tradition. The Toft family was probably the best known makers of slipware in Staffordshire. -
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. -
The Leach Pottery: 100 Years on from St Ives
The Leach Pottery: 100 years on from St Ives Exhibition handlist Above: Bernard Leach, pilgrim bottle, stoneware, 1950–60s Crafts Study Centre, 2004.77, gift of Stella and Nick Redgrave Introduction The Leach Pottery was established in St Ives, Cornwall in the year 1920. Its founders were Bernard Leach and his fellow potter Shoji Hamada. They had travelled together from Japan (where Leach had been living and working with his wife Muriel and their young family). Leach was sponsored by Frances Horne who had set up the St Ives Handicraft Guild, and she loaned Leach £2,500 as capital to buy land and build a small pottery, as well as a sum of £250 for three years to help with running costs. Leach identified a small strip of land (a cow pasture) at the edge of St Ives by the side of the Stennack stream, and the pottery was constructed using local granite. A tiny room was reserved for Hamada to sleep in, and Hamada himself built a climbing kiln in the oriental style (the first in the west, it was claimed). It was a humble start to one of the great sites of studio pottery. The Leach Pottery celebrates its centenary year in 2020, although the extensive programme of events and exhibitions planned in Britain and Japan has been curtailed by the impact of Covid-19. This exhibition is the tribute of the Crafts Study Centre to the history, legacy and continuing significance of The Leach Pottery, based on the outstanding collections and archives relating firstly to Bernard Leach. -
Bernard Leach and His Circle
Bernard Leach and his Circle Spring 2008 26 January – 11 May 2008 Notes for Teachers Information and practical ideas for groups Written by Angie MacDonald Ceramics by Bernard Leach and key studio potters who worked alongside him can be seen in the Showcase (Upper Gallery 2). These works form part of the Wingfield-Digby Collection, recently gifted to Tate St Ives. For discussion • There has been much discussion in recent years as to whether ceramics is an art or a craft. Leach insisted that he was an ‘artist-potter’ and he always regarded his individual pots as objects of art rather than craft. • Why do you think he considered these pots more important than the standard ware (tableware)? • What do you think the display at Tate St Ives says about the status of these objects? Are they sculptures or domestic objects? • The Japanese critic Soetsu Yanagi complimented Leach by describing his earthenware as ‘born not made’. What do you think he meant by this? • Leach said he wanted his pots to have ‘vitality’ – to capture a sense of energy and life. Can you find examples that you feel have this quality? • The simplified motif of a bird was a favourite for Leach. He considered it a symbol of freedom and peace. Can you find other motifs in his work and what do you think they symbolise? Things to think about This stoneware tile has the design of a bird feeding its young, painted in iron. It has sgraffito detailing where Leach scratched through the wet clay slip before firing. It is an excellent example of Leach’s commitment to quiet, contemplative forms with soft, muted colours derived from the earth. -
Creative Industries Consortium
Post of Gallery Manager – Penwith Gallery, St Ives The Penwith Society of Arts was founded in 1949 by a group of artists in St. Ives, under the distinguished leadership of Ben Nicholson, Barbara Hepworth and Bernard Leach; it now has a unique complex of buildings in Back Road West, including public galleries, artists’ studios and workshops. A charitable company – Penwith Galleries Ltd – was created to arrange the programme of exhibitions, execute all gallery business and manage the entire complex. The galleries present year-round exhibitions by Members and Associates of the society, as well as exhibitions by other artists from Cornwall and artists from further afield. The New Gallery and the Studio Gallery are available for hire when our programme permits. The Penwith is an unrivalled resource for the arts in Cornwall and is part of a unique cluster of visual arts activity in the town, working with other partners such as Tate St Ives, Porthmeor Studios, the St Ives School of Painting, the St Ives Archive and a range of other galleries. Gallery Manager Penwith Galleries Ltd (PGL) is now recruiting for the new post of full-time Gallery Manager. We expect that she or he will be an experienced administrator with a real interest in and enthusiasm for art as well as experience in finance, marketing and sales. The new Manager should demonstrate the ability to oversee effectively our gallery operations and our employees. Applicants must have the management skills to control the gallery’s budget, manage and schedule the gallery staff, plan gallery schedules, set deadlines and so on. -
Front Matter Template
Copyright by Kurt Alan Gore 2007 The Dissertation Committee for Kurt Alan Gore certifies that this is the approved version of the following dissertation: Social Integration and Gender Differences in Adolescent Depression: School Context, Friendship Groups, and Romantic Relations Committee: Robert Crosnoe, Supervisor R. Kelly Raley Debra Umberson Shannon Cavanagh Elizabeth Vandewater Social Integration and Gender Differences in Adolescent Depression: School Context, Friendship Groups, and Romantic Relations by Kurt Alan Gore, B.S.; M.Ed.; M.S. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2007 Dedication This dissertation is dedicated to my grandparents, Cleo and Dee Gore, with all my love. Acknowledgements A Latin proverb reminds us that if the wind will not serve, take to the oars. This dissertation is definitely the product of much rowing. But thankfully, I was not the only one on the ship. I am indebted to so many at The University of Texas and The Population Research Center for their support and guidance. I would like to give special thanks to all of my wonderful committee members, Robert Crosnoe, Kelly Raley, Debra Umberson, Shannon Cavanagh, and Elizabeth Vandewater, who were always available to offer assistance. I would also especially like to thank Kelly Raley for the outstanding methodological instruction I received as her NICHD trainee. Furthermore, I cannot thank Robert Crosnoe enough for his tireless mentorship. Without his direction and motivation, the completion of this dissertation would have been impossible. -
Art Belg E & Co N Temporain B Elgische & Hedendaagse Kunst
18.06.2020 Art belge & contemporain 18h00 Belgische & hedendaagse kunst Art belge & contemporain Belgische & hedendaagse kunst Vente jeudi 18 juin 2020 Veiling donderdag 18 juni 2020 à 18h00 om 18u00 Cornette de Saint Cyr Cornette de Saint Cyr Chaussée de Charleroi 89 Charleroisesteenweg 89 1060 Bruxelles 1060 Brussel ;rovbঞomvr0Ѵbt;v retrait des lots && && $"&!! ,҃(&" $"&!! ,҃(&" -A-Ѵbm]-m7;Ѵo|;m Samedi 13 juin 11h - 18h Tous les mercredis et jeudis Dimanche 14 juin 11h - 18h de 9h30 à 13h00 et de 14h00 à 17h30. Lundi 15 juin 10h - 18h Mardi 16 juin 10h - 18h Alle woensdagen en donderdagen Mercredi 17 juin 10h - 18h van 9u30 tot 13u00 en van 14u00 tot 17u30. Jeudi 18 juin 10h - 13h Cornette de Saint Cyr, publieke tentoonstelling Charleroisesteenweg, 89 "! "! Chaussée de Charleroi, 89 1060 Bruxelles Zaterdag 13 juni 11u - 18u +32 (0)2 880 73 80 Zondag 14 juni 11u - 18u Maandag 15 juni 10u - 18u Dinsdag 16 juni 10u - 18u bm=oul-ঞom bm=oul-ঞ; Woensdag 17 juni 10u - 18u Donderdag 18 juni 10u - 13u Tous les catalogues en ligne sur Alle catalogen staan online op commissaire-priseur www.cornettedesaintcyr.be veilingmeester Chaussée de Charleroi, 89 Arnaud Cornette de Saint Cyr 1060 Bruxelles / Brussel Belgique / België contact t. +32 (0) 2 880 73 80 Art Belge / Belgische kunst : f. +32 (0)2 534 86 14 Sabine Mund [email protected] Toutes les mesures de ce catalogue sont données t. +32 2 880 73 85 à vue. Alle afmetingen onder voorbehoud. Art contemporain / Hedendaagse kunst : Wilfrid Vacher [email protected] t. -
CERAMICS MONTHLY William C
2 CERAMICS MONTHLY William C. Hunt......................................Editor Barbara Tipton.................... Associate Editor Robert L. Creager...................... Art Director Ruth C. Butler............................ Copy Editor Valentina Rojo.................... Editorial Assistant Mary Rushley............. Circulation Manager Connie Belcher .... Advertising Manager Spencer L. Davis ............................ Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard, Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North west Blvd., Columbus, Ohio 43212. Second class postage paid at Columbus, Ohio. Subscription Rates:One year $18, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors:Manuscripts, photographs, color separations, color transparencies (in cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art are welcome and will be considered for publication. A booklet describing procedures for the preparation and submission of a man uscript is available upon request. Send man uscripts and correspondence about them to The Editor, Ceramics Monthly, Box 12448, Columbus, Ohio 43212. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. A 20-year subject index (1953-1972) covering Ceramics Monthly feature articles, Sugges tions and Questions columns is available for $1.50, postpaid from the Ceramics Monthly Book Department, Box 12448, Columbus, Ohio 43212. Additionally, each year’s arti cles are indexed in the December issue. -
CAMDEN STREET NAMES and Their Origins
CAMDEN STREET NAMES and their origins © David A. Hayes and Camden History Society, 2020 Introduction Listed alphabetically are In 1853, in London as a whole, there were o all present-day street names in, or partly 25 Albert Streets, 25 Victoria, 37 King, 27 Queen, within, the London Borough of Camden 22 Princes, 17 Duke, 34 York and 23 Gloucester (created in 1965); Streets; not to mention the countless similarly named Places, Roads, Squares, Terraces, Lanes, o abolished names of streets, terraces, Walks, Courts, Alleys, Mews, Yards, Rents, Rows, alleyways, courts, yards and mews, which Gardens and Buildings. have existed since c.1800 in the former boroughs of Hampstead, Holborn and St Encouraged by the General Post Office, a street Pancras (formed in 1900) or the civil renaming scheme was started in 1857 by the parishes they replaced; newly-formed Metropolitan Board of Works o some named footpaths. (MBW), and administered by its ‘Street Nomenclature Office’. The project was continued Under each heading, extant street names are after 1889 under its successor body, the London itemised first, in bold face. These are followed, in County Council (LCC), with a final spate of name normal type, by names superseded through changes in 1936-39. renaming, and those of wholly vanished streets. Key to symbols used: The naming of streets → renamed as …, with the new name ← renamed from …, with the old Early street names would be chosen by the name and year of renaming if known developer or builder, or the owner of the land. Since the mid-19th century, names have required Many roads were initially lined by individually local-authority approval, initially from parish named Terraces, Rows or Places, with houses Vestries, and then from the Metropolitan Board of numbered within them. -
September 2019 ______
English Ceramic Circle Newsletter No 7 September 2019 _________________________________________________ President’s Preamble Welcome to ECC Newsletter No. 7. The dates for our meetings in 2019 and 2020 are listed below. Some of the information is necessarily provisional or has had to be changed since the last Newsletter so please do check this list before setting out to attend a meeting. The ECC visit to Sherborne Castle and Gardens on 22 May 2019 was a great success. Members enjoyed seeing the castle (built by Sir Walter Raleigh in 1594) and reflects a variety of decorative styles in its rich interiors and important collections of porcelain, art, and furniture. Sherborne’s porcelain collection is celebrated for its Kakiemon with Chinese, Meissen, Chantilly and English ceramics plus rare Chelsea vases, Chelsea/Derby pieces, an armorial Chamberlains’ Worcester service, a Minton desert service and Bow and Isleworth items. Following a talk by an Archivist, we were given a tour through the castle when the ropes preventing close-up viewing of the ceramic cabinets were removed. We also had a special viewing of the pieces in store. You should by now have received the latest Transactions plus two additional volumes containing the papers given at two ECC seminars: Influences and inspiration – 400 years of Japanese porcelain and Neoclassical ceramics. If you have not received these three volumes, please email Patricia Macleod, ECC membership secretary or contact her via the ECC postal address on page 9. The publication of these extra volumes is possible due to some generous donations for which we are always very grateful.