The Timeline of the New Sculpture Movement
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The London List
The London List YEARBOOK 2010 FOREWORD 4 GAZETTEER 5 Commemorative Structures 6 Commercial Buildings 12 Cultural and Entertainment 18 Domestic 22 Education 32 Garden and Park 36 Health and Welfare 38 Industrial 44 Law and Government 46 Maritime and Naval 48 Military 50 Places of Worship 54 Street Furniture 62 Transport Buildings 65 Utilities and Communications 66 INDEX 68 TheListed London in London: List: yearbookyearbook 20102010 22 Contents Foreword ....................................................................................4 Gazetteer ...................................................................................5 Commemorative Structures .......................................................6 Commercial Buildings ..................................................................12 Cultural and Entertainment .....................................................18 Domestic ............................................................................................22 Education ............................................................................................32 Garden and Park ............................................................................36 Health and Welfare ......................................................................38 Industrial ..............................................................................................44 Law and Government .................................................................46 Maritime and Naval ......................................................................48 -
It Is Now a Number of Years Since the Bowman Sculpture Gallery Has Held
It is now a number of years since the Bowman Sculpture Gallery has held an exhibition solely focused on The New School of British Sculpture and it is a pleasure to see the Gallery again showing extensive examples of the leading artists involved. The New British School, also referred to as the New Sculpture, followed a period when the Neo Classicism of such sculptors as Canova, Thorvaldsen and Gibson was regarded as the acme of their art and they featured in many of the great Houses of the time. Towards the end of the 19th Century the expanding middle class, who had a growing interest in the Arts, created a demand for smaller and more domestic sculpture began. At the same time painters such as Lord Leighton, who sculpted Athlete Wrestling with a Python and The Sluggard, and George Frederick Watts, who produced the great monument Physical Energy, were bringing ‘colour’ into the subject by varied patination and their treatment of shape. This movement was undoubtedly fuelled by a reaction against what was seen to be the severity of the Neo Classicists but the principal initiators of this ‘New’, most attractive and impressive period of British Sculpture, were Jules Dalou who taught at The South Kensington School of Art, for eight years from 1871, his friend Édouard Lantéri, who taught at The National Art Training College (later renamed The Royal College of Art) and Alfred Stevens. The result was, as one critic has said, ‘a perfect synthesis of the spiritual and the sensual’. This approach to the subject was adopted by the ‘New’ sculptors. -
Nathaniel Hitch and the Making of Church Sculpture Jones, Claire
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal Nathaniel Hitch and the making of church sculpture Jones, Claire DOI: 10.16995/ntn.733 License: Creative Commons: Attribution (CC BY) Document Version Peer reviewed version Citation for published version (Harvard): Jones, C 2016, 'Nathaniel Hitch and the making of church sculpture', 19: interdisciplinary studies in the long nineteenth century. https://doi.org/10.16995/ntn.733 Link to publication on Research at Birmingham portal Publisher Rights Statement: All Open Library of Humanities content is released under open licenses from Creative Commons. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. -
1934 Exhibition Catalogue Pdf, 1.23 MB
~ i Royal Cambrian Academy of Art, t PL:\S MAWR, CON\\'AY. t Telephone, No. 113 Conway. i CATALOGUE i OF THE I FIFTY-SECOND ANNUAL i EXHIB ITION, 1934. ~ i The Exhibition will be open from 21st May to I ~ 26th September. A dmission (including Enter- .( ,r tainment Tax), Adults, 7d. Children under 14, ~ ltd. Season Tickets, 2 /(i. 1' ,q·~~"-"15'~ <:..i!w~~~~~~~~\:I R. E. Jones & Bros., Pri11te1·s, Conway. 1 HONORARY MEMBERS. ', The Presidents of the following Academies and Societies :- - Royal Academy of Arts, London (Sir W. Llewelyn, G.C.V.O ., R.I., R.W.A.). ii Royal Scottish Academy, Edinburgh (George Pirie, Esq). Royal Hibernian Academy, Dublin (Dermod O'Brien, Esq.,H.R.A., H.R.S.A.). tbe Royal Cambrian Rccldemy or Jlrf, F. Brangwyn, Esq., R.A., H.R.S.A., R.E., R.W.A., A.R.W.S. INSTITUTED 1881. Sir W. Goscombe John, R.A. Terrick Williams, Esq., R .A., F'.R.I., R.O.I., R.W.A., V.P.R.13.C. Sir Herbert Baker, R.A., F.R.I.B.A. PATRONS. FOUNDERS. HIS MAJESTY THE KING W. Laurence Banks, J .P. HER MAJESTY THE QUEEN Sir Cuthbert Grundy, R.C.A., R.I., R.W.A., V.P.R.13.C. , . HIS ROYAL HIGHNESS THE PRINCE J. R. G. Grundy, R.C.A. OF WALES Anderson Hague, V .P .R.C.A., R.I., R.O.I. E. A. Norbury, R.C.A. Charles Potter, R.C.A. I, I, H. Clarence Whaite, P.R.C.A., R.W.S. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Casting Rodin’s Thinker Sand mould casting, the case of the Laren Thinker and conservation treatment innovation Beentjes, T.P.C. Publication date 2019 Document Version Other version License Other Link to publication Citation for published version (APA): Beentjes, T. P. C. (2019). Casting Rodin’s Thinker: Sand mould casting, the case of the Laren Thinker and conservation treatment innovation. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:07 Oct 2021 Chapter 2 The casting of sculpture in the nineteenth century 2.1 Introduction The previous chapter has covered the major technical developments in sand mould casting up till the end of the eighteenth century. These innovations made it possible to mould and cast increasingly complex models in sand moulds with undercut parts, thus paving the way for the founding of intricately shaped sculpture in metal. -
Fine Arts Paris Wednesday 7 November - Sunday 11 November 2018 Carrousel Du Louvre / Paris
Fine Arts Paris WednesdAy 7 november - sundAy 11 november 2018 CArrousel du louvre / PAris press kit n o s s e t n o m e d y u g n a t www.finearts-paris.com t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris Hours Tuesday, 6 November 2018 / Preview 3 pm - 10 pm Wednesday, 7 November 2018 / 2 pm - 8 pm Thursday 8 November 2018 / noon - 10 pm Friday 9 November 2018 / noon - 8 pm Saturday 10 November 2018 / noon - 8 pm Sunday 11 November 2018 / noon - 7 pm admission: €15 (catalogue included, as long as stocks last) Half price: students under the age of 26 FINE ARTS PARIS Press oPening Main office tuesdAy 6 november 68, Bd malesherbes, 75008 paris 2 Pm Hélène mouradian: + 33 (0)1 45 22 08 77 Social media claire Dubois and manon Girard: Art Content + 33 (0)1 45 22 61 06 Denise Hermanns contact@finearts-paris.com & Jeanette Gerritsma +31 30 2819 654 Press contacts [email protected] Agence Art & Communication 29, rue de ponthieu, 75008 paris sylvie robaglia: + 33 (0)6 72 59 57 34 [email protected] samantha Bergognon: + 33 (0)6 25 04 62 29 [email protected] charlotte corre: + 33 (0)6 36 66 06 77 [email protected] n o s s e t n o m e d y u g n a t t i d e r c Fine Arts Paris From 7 to 11 november 2018 CArrousel du louvre / PAris "We have chosen the Carrousel du Louvre as the venue for FINE ARTS PARIS because we want the fair to be a major event for both the fine arts and for Paris, and an important date on every collector’s calendar. -
Conference New Sculptors, Old Masters: the Victorian Renaissance of Italian Sculpture Friday 9 March 2019, 10.00–17.30 Henry Moore Lecture Theatre, Leeds Art Gallery
Conference New Sculptors, Old Masters: The Victorian Renaissance of Italian Sculpture Friday 9 March 2019, 10.00–17.30 Henry Moore Lecture Theatre, Leeds Art Gallery Programme 10.00–10.15 Welcome and Opening Remarks Dr Charlotte Drew (University of Bristol) 10.15–12.15 Site and Seeing: Encountering Italian Sculpture in the Nineteenth Century Chair: Dr Charlotte Drew (University of Bristol) 10.15–10.35 Prof. Martha Dunkelmann (Canisius College, Buffalo) ‘Augustus Saint-Gaudens and Donatello’ 10.35–10.55 Thomas Couldridge (Durham University) ‘South Kensington’s Cupid and Modern Receptions: A New Chapter’ 10.55–11.15 Discussion Chair: Dr Melissa Gustin (Henry Moore Institute) 11.15–11.35 Dr Deborah Stein (Boston College) ‘Charles Callahan Perkins’ Outline Illustrations of his Art Historical Scholarship on Early Italian Renaissance Sculpture’ 11.35–11.55 Dr Lynn Catterson (Columbia University, New York) ‘New Sculptors, New Old Masters: The Manufacture of Italian Renaissance Art in the Late Nineteenth-century Art Market’ 11.55–12.15 Discussion 12.15–13.30 Lunch 13.30–15.00 Italian Sculpture and the Decorative Chair: TBC 13.30–13.50 Dr Juliet Carroll (Liverpool John Moores University) ‘Encountering the Unique: The Della Robbia Pottery of Birkenhead and the Architectural Bas-reliefs of Luca della Robbia’ 13.50–14.10 Samantha Scott (University of York) ‘Lithophanes and the Italian Renaissance: Translation between Two and Three Dimensions’ 14.10–14.30 Dr Ciarán Rua O’Neill (University of York) ‘More Versatile than Most: Alfred Gilbert and Benvenuto Cellini’ 14.30–15.00 Discussion 15.00–15.30 Tea Break 15.30–17.00 Old Masters, New Mistresses Chair: Prof. -
Secondary and FE Teacher Resource for Teaching Key Stages 3–5 Sculpture in the RA Collection a Sculpture Student at Work in the RA Schools in 1953
Secondary and FE Teacher Resource For teaching key stages 3–5 Sculpture in the RA Collection A sculpture student at work in the RA Schools in 1953. © Estate of Russell Westwood Contents Introduction Illustrated key works with information, quotes, key words, questions, useful links and art activities for the classroom Glossary Further reading To book your visit Email studentgroups@ royalacademy.org.uk or call 020 7300 5995 roy.ac/teachers ‘...we live in a world where images are in abundance and they’re moving, [...] they’re doing all kinds of things, very speedily. Whereas sculpture needs to be given time, you need to just wait with it and become the moving object that it isn’t, so this action between the still and the moving is incredibly demanding for all. ’ Phyllida Barlow RA The Council of the Royal Academy selecting Pictures for the Exhibition, 1875, Russel Cope RA (1876). Photo: John Hammond Introduction What is the Royal Academy of Arts? The Royal Academy (RA) was Every newly elected Royal set up in 1768 and 2018 was Academician donates a work of art, its 250th anniversary. A group of known as a ‘Diploma Work’, to the artists and architects called Royal RA Collection and in return receives Academicians (or RAs) are in charge a Diploma signed by the Queen. The of governing the Academy. artist is now an Academician, an important new voice for the future of There are a maximum of 80 RAs the Academy. at any one time, and spaces for new Members only come up when In 1769, the RA Schools was an existing RA becomes a Senior founded as a school of fine art. -
Architects of the Hall of Memory.Indd
Architects of the Hall of Memory [v1 03.05.2011] Birmingham’s Hall of Memory, 1923-4, First World War memorial by S.N.Cooke and W.N.Twist, with sculptures by Albert Toft (b. 1862 Handsworth - d. 1949 Worthing) and sculptural reliefs by William Bloye (b. Birmingham 1890 - d. Arezzo, Italy, 1975), and built by John Barnsley and Sons of Birming- ham (contractors for H.R Yeoville Thomason’s Birmingham Council House 1874-1879 and Birmingham Museum & Art Gallery 1879-1887). Both Samuel Nathaniel Cooke and Walter Norman Twist served in the 1914-1918 War that the Hall of Memory commemorates: Cooke as a Second Lieutenant in the Royal Flying Corp, and Twist as a Sec- ond Lieutenant in the Worcestershire Regiment. Their earliest collaboration seems to have been on a competition (Building News No. 3054 18 July 1913) for a Student Hostel in Exeter (listed as “S. N. Cooke and W. N. Twist, Birmingham.” Samuel Nathaniel Cooke Samuel Nathaniel Cooke junior, born Birmingham 1883, was the son of Samuel Nathaniel Cooke the elder (b. Birmingham 1854 - d. Birmingham 1927) and the grandson of Samuel Nathaniel Cooke (b. Hammersmith 1823 - d. King’s Norton 1892) who had established the family haberdashery business (S. E. Cooke Ltd) at 19 New Street, Birmingham, before 1862. Under the later management of Samuel Nathaniel Cooke the elder, the business expanded to include premises at 20 New Street, 38 Great Western Arcade, and 66 City Arcade Union Street (all Birmingham) by 1915, as well as a shop at 12 Pier Street, Aberystwyth, by 1895. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
Graves of Artists and Architects Buried There
Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage. -
Laboratories of Creativity : the Alma-Tademas' Studio-Houses and Beyond
This is a repository copy of Laboratories of Creativity : The Alma-Tademas' Studio-Houses and Beyond. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/134913/ Version: Published Version Article: (2018) Laboratories of Creativity : The Alma-Tademas' Studio-Houses and Beyond. British Art Studies. 10.17658/issn.2058-5462/issue-09/conversation Reuse This article is distributed under the terms of the Creative Commons Attribution-NonCommercial (CC BY-NC) licence. This licence allows you to remix, tweak, and build upon this work non-commercially, and any new works must also acknowledge the authors and be non-commercial. You don’t have to license any derivative works on the same terms. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ British Art Studies Summer 2018 British Art Studies Issue 9, published 7 August 2018 Cover image: Jonathan Law, Pattern, excerpt from ilm, 2018.. Digital image courtesy of Paul Mellon Centre for Studies in British Art with support from the staf of Leighton House Museum, The Royal Borough of Kensington and Chelsea. PDF generated on 7 August 2018 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading oline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identiiers) provided within the online article.