Homa Dictionary V1.Pdf
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period. -
Contemporary Art Society Annual Report 1982
Contemporary Art Society Annual Report and Statement of Accounts 1982 ate Gallery 0 John Islip Street Dndon SW1 P 4LL 1-821 5323 The Annual General Meeting of the Contemporary Art Society will be held at Warwick Arts Trust, 33, Warwick Square, S.W.1 on Tuesday, August 9th, 1 983 at 6.1 5 p.m. 1 . To receive and adopt the report of the committee and the accounts for the year ended December 31,1 982, together with the auditor's report. 2. To appoint auditors, special notice having been given, pursuant to section 1 42 of the Companies Act 1 948 and section 1 4 (1} (a) of the Companies ' Act 1 976, of the intention to propose the following resolution as an ordinary resolution:-- that Messrs. Neville Russell be, and are hereby, appointed auditors of the Society in place of the retiring auditors, Messrs. Sayers Butterworth, to hold office until the conclusion of the next general meeting at which accounts are laid before the Society. 3. To authorise the committee to determine Messrs. Neville Russell's remuneration for the coming year. 4. To elect to the committee the following who has been duly nominated; Philip Poilock, The retiring members are Joanna Drew and the Marquess of Dufferin and Ava. 5. Any other business. By order of the committee Petronilla Spencer-Silver Company Secretary May 28 1 983 Company Limited by Guarantee Registered in London No. 255486 Charities Registration No. 208178 Untitled Drawing from a series of paintings made in Australia, 1 981 Chalk, charcoal and wash on paper 44£ x 62 inches/1 13x157 cm. -
Ivon Hitchens & His Lasting Influence
Ivon Hitchens & his lasting influence Ivon Hitchens & his lasting influence 29 June - 27 July 2019 An exhibition of works by Ivon Hitchens (1893-1979) and some of those he influenced 12 Northgate, Chichester West Susssex PO19 1BA +44 (0)1243 528401 / 07794 416569 [email protected] www.candidastevens.com Open Wed - Sat 10-5pm & By appointment “But see Hitchens at full pitch and his vision is like the weather, like all the damp vegetable colours of the English countryside and its sedgy places brushed mysteriously together and then realised. It is abstract painting of unmistakable accuracy.” – Unquiet Landscape (p.145 Christopher Neve) The work of British painter Ivon Hitchens (1893 – 1979) is much-loved for his highly distinctive style in which great swathes of colour sweep across the long panoramic canvases that were to define his career. He sought to express the inner harmony and rhythm of landscape, the experience, not of how things look but rather how they feel. A true pioneer of the abstracted vision of landscape, his portrayal of the English countryside surrounding his home in West Sussex would go on to form one of the key ideas of British Mod- ernism in the 20thCentury. A founding member of the Seven & Five Society, the influential group of painters and sculptors that was responsible for bringing the ideas of the European avant-garde to London in the 30s, Hitchens was progres- sive long before the evolution of his more abstracted style post-war. Early on he felt a compulsion to move away from the traditional pictorial language of art school and towards the development of a personal language. -
Strategic Anomalies: Art & Language in the Art School 1969-1979
Strategic Anomalies: Art & Language in the Art School 1969-1979 Dennis, M. Submitted version deposited in Coventry University’s Institutional Repository Original citation: Dennis, M. () Strategic Anomalies: Art & Language in the Art School 1969-1979. Unpublished MSC by Research Thesis. Coventry: Coventry University Copyright © and Moral Rights are retained by the author. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This item cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. Some materials have been removed from this thesis due to Third Party Copyright. Pages where material has been removed are clearly marked in the electronic version. The unabridged version of the thesis can be viewed at the Lanchester Library, Coventry University. Strategic Anomalies: Art & Language in the Art School 1969-1979 Mark Dennis A thesis submitted in partial fulfilment of the University’s requirements for the Degree of Master of Philosophy/Master of Research September 2016 Library Declaration and Deposit Agreement Title: Forename: Family Name: Mark Dennis Student ID: Faculty: Award: 4744519 Arts & Humanities PhD Thesis Title: Strategic Anomalies: Art & Language in the Art School 1969-1979 Freedom of Information: Freedom of Information Act 2000 (FOIA) ensures access to any information held by Coventry University, including theses, unless an exception or exceptional circumstances apply. In the interest of scholarship, theses of the University are normally made freely available online in the Institutions Repository, immediately on deposit. -
Biographical Sketches of Key Pupils
Appendix E Biographical Sketches of Key Pupils John Godolphin Bennett (1897–1974) was a scientist and philosopher who first met Gurdjieff in Istanbul in 1921 when he was working as an interpreter and personal intel- ligence officer in the British Army. In London that year Bennett began attending meet- ings held by Ouspensky on Gurdjieff’s teaching, and in 1922 he met Gurdjieff again. Bennett made brief visits to Gurdjieff’s Institute at Fontainebleau in February and August of 1923. In the 1930s Bennett formed his own group of followers, and rejoined Ouspensky’s group. In 1946 Bennett established an Institute at Coombe Springs, Kingston-on-Thames in Surrey. After a twenty-five year break Bennett renewed his ties with Gurdjieff in Paris in 1948 and 1949, at which time Gurdjieff taught him his new Movements. In 1949 Gurdjieff named Bennett his ‘official representative’ in England, with reference to the publication of Tales. After Gurdjieff’s death Bennett became an independent teacher, drawing from Sufi, Indian, Turkish, and Subud traditions. In 1953 he travelled through the Middle East hoping to locate the sources of Gurdjieff’s teach- ing among Sufi masters. By the end of his life he had written around thirty-five books related to Gurdjieff’s teaching.1 Maurice Nicoll (1884–1953) studied science at the University of Cambridge before travelling through Vienna, Berlin, and Zurich, eventually to become an eminent psy- chiatrist and colleague of Carl Gustav Jung. Nicoll was a member of the Psychosynthesis group, which met regularly under A.R. Orage, and this connection led Nicoll to Ouspensky in London in 1921. -
The Scratch Orchestra and Visual Arts Michael Parsons
The Scratch Orchestra and Visual Arts Michael Parsons Leonardo Music Journal, Vol. 11, Not Necessarily "English Music": Britain's Second Golden Age. (2001), pp. 5-11. Stable URL: http://links.jstor.org/sici?sici=0961-1215%282001%2911%3C5%3ATSOAVA%3E2.0.CO%3B2-V Leonardo Music Journal is currently published by The MIT Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/mitpress.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat Sep 29 14:25:36 2007 The Scratch Orchestra and Visual Arts ' The Scratch Orchestra, formed In London in 1969 by Cornelius Cardew, Michael Parsons and Howard Skempton, included VI- sual and performance artists as Michael Parsons well as musicians and other partici- pants from diverse backgrounds, many of them without formal train- ing. -
The New Age Under Orage
THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G. -
Patrick Heron
PRESS RELEASE 20 March 2018 PATRICK HERON Tate St Ives 19 May – 30 September 2018 Turner Contemporary, Margate 19 October 2018 – 6 January 2019 The acclaimed British artist Patrick Heron (1920–99) will be celebrated in this retrospective exhibition, the first major show of his work for twenty years. One of the most significant and innovative figures in twentieth century British art, Heron played a major role in the development of post-war abstract art. This exhibition – spanning over fifty years of work from 1943 to 1996 – provides a rare opportunity to experience the scope and ambitious scale of Heron’s painting as well as his consistent attachment to the subject of colour. In 1962 he explicitly claimed that ‘colour is both the subject and the means; the form and the content; the image and the meaning, in my painting today.’ Heron’s abstraction is a direct response to the light, colour and shape that he encountered every day. An art of pure visual sensation, his paintings are the result of his experience of looking acutely at the world and though they do not represent the garden and landscape surrounding his home and studio in Cornwall, those forms resonate in his painting in fundamental ways. The exhibition in the new top-lit gallery at Tate St Ives is the first opportunity to bring together a group of these large-scale expansive works to Cornwall, reveal the full evolution of his vibrant abstract language, unlock new insights into his art and encourage the viewer – immersed in the rich aesthetic sensibility of his colour-saturated paintings – to enjoy the simple and joyous act of looking. -
Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1Pm Knightsbridge, London
Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge, London Modern British, Irish and East Anglian Art Tuesday 19 November 2013 at 1pm Knightsbridge Bonhams Bids Enquiries Please see page 2 for bidder Montpelier Street +44 (0) 20 7447 7448 Modern British & Irish Art information including after-sale Knightsbridge +44 (0) 20 7447 7401 fax Emma Corke collection and shipment London SW7 1HH To bid via the internet please visit +44 (0) 20 7393 3949 www.bonhams.com www.bonhams.com [email protected] Please see back of catalogue for important notice to bidders Viewings Please note that bids should be Shayn Speed submitted no later than 24 hours +44 (0) 20 7393 3909 Illustration [email protected] East Anglian Pictures only before the sale. Front cover: Lot 91 The Guildhall Back cover: Lot 216 East Anglian Pictures Guildhall Street New bidders must also provide Inside front: Lot 46 Daniel Wright Bury St Edmunds proof of identity when submitting Inside back: Lot 215 +44 (0) 1284 716195 Suffolk, IP33 1PS bids. Failure to do this may result [email protected] in your bids not being processed. Tuesday 5 November 9am to 7pm Bidding by telephone will only be Customer Services Monday to Friday 8.30am to 6pm Wednesday 6 November accepted on a lot with a lower +44 (0) 20 7447 7447 9am to 4pm estimate in excess of £400. ----------- St Michael’s Hall Sale Number: 20779 Church Street Live online bidding is Reepham available for this sale Catalogue: £12 Norfolk, NR10 4JW Please email [email protected] with “Live bidding” in the subject Tuesday 12 November line 48 hours before the auction 9am to 7pm to register for this service. -
NATIONAL LIFE STORIES ARTISTS' LIVES Terry Frost Interviewed By
NATIONAL LIFE STORIES ARTISTS’ LIVES Terry Frost Interviewed by Tamsyn Woollcombe C466/22 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/22 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Frost Title: Sir Interviewee’s forename: Terry Sex: Male Occupation: Artist Dates: 1915 - 2003 Dates of recording: 1994.11.19, 1994.11.20, 1994.11.21, 1994.11.22, 1994.12.18 Location of interview: Interviewee’s studio and home Name of interviewer: Tamsyn Woollcombe Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F4312- F4622 Total no. -
Michael Kidner Interviewed by Penelope Curtis
NATIONAL LIFE STORIES ARTISTS’ LIVES Michael Kidner Interviewed by Penelope Curtis & Cathy Courtney C466/40 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/40/01-08 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Kidner Title: Interviewee’s forename: Michael Sex: Male Occupation: Dates: 1917 Dates of recording: 16.3.1996, 29.3.1996, 4.8.1996 Location of interview: Interviewee’s home Name of interviewer: Penelope Curtis and Cathy Courtney Type of recorder: Marantz CP430 and two lapel mics Recording format: TDK C60 Cassettes F numbers of playback cassettes: F5079-F5085, F5449 Total no. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh.