FRANCIS BACON Dublin, Ireland, 1909- Madrid, Spain, 1992
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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. -
A Local's Guide to Falmouth, Cornwall: 10 Top Tips This Working Harbour
A local’s guide to Falmouth, Cornwall: 10 top tips This working harbour town also has a creative buzz thanks to its thriving art school. The result is a winning blend of beach life, bohemian bars and great seafood Maritime museum To understand Falmouth (and arguably the rest of our island nation) you need to understand its relationship with the sea. The cavernous National Maritime Museum Cornwall, a beautiful building in itself, contains several floors of exhibitions that explore the changing influence of the sea on our lives – stories of discovery, survival and tragedy – and an active traditional boat workshop. Highlights include the undersea gallery in which visitors can watch fish swimming in the harbour from the sea bed, and the 30-metre lookout tower from which they can track the comings and goings of naval ships, superyachts, dinghies and cruise liners. The museum is popular with families who come for the performances, storytelling and treasure trails during the holidays, and warrants multiple visits, which is handy, especially when the weather turns. Celebrating its 15th birthday in 2018, the museum was central to the regeneration of Discovery Quay, now the focus for the town’s many festivals. The museum’s major exhibition, Titanic Stories explores the controversies, myths and stories that surround the best-known sinking of the 20th century. • Adult £13.50, child £6 (pay once, get in all year), open daily, nmmc.co.uk Gastro pub with rooms Once a spit-and-sawdust pub that served the crews of the Falmouth Working Boats, the Star and Garter, which opened in 1892, is now a smart gastro pub that prides itself on its nose-to- tail menu. -
Forward Plan 2015-2020
FORWARD PLAN 2015-2020 Owner: Henrietta Boex Next Review Date: April 2016 This policy was passed by Falmouth Town Council on 20th June 2015 This document can be made available in standard and large size print and on tape Forward Plan 2015-2020 Contents 1. Summary ......................................................................................................................................... 3 2. Introduction .................................................................................................................................... 4 3. Falmouth Art Gallery History .......................................................................................................... 4 4. Review of the Previous Forward Plan ............................................................................................. 5 5. Why We Exist .................................................................................................................................. 7 5.1. Vision (where we want to be) ................................................................................................. 7 5.2. Mission .................................................................................................................................... 7 5.3. Aims......................................................................................................................................... 7 5.4. Objectives................................................................................................................................ 7 6. -
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. -
Download Our Exhibition Catalogue
FOREWORD Published to accompany the exhibition at We are delighted to welcome you to the second exhibition at Two Temple Place, London 26th January 2013 – 14th April 2013 Two Temple Place, Amongst Heroes: the artist in working Cornwall. Published in 2013 by Two Temple Place 2 Temple Place, London, wc2r 3bd The Bulldog Trust launched its Exhibition Programme at our Copyright © Two Temple Place headquarters on the Embankment in 2011. In welcoming the public to Two Temple Place we have three objectives: to raise Raising the Worker: awareness of museums and galleries around the UK by displaying Cornwall’s Artists and the Representation of Industry Copyright © Roo Gunzi part of their collections; to promote curatorial excellence by offering up-and-coming curators the opportunity to design a What are the Cornish boys to do? How Changing Industry Affected Cornwall’s Population high profile solo show with guidance from our experienced Copyright © Dr Bernard Deacon curatorial advisor; and to give the public the opportunity to Trustee of the Royal Institution of Cornwall and Honorary Research Fellow, University of Exeter visit and enjoy Two Temple Place itself. A catalogue record for this publication is available from the British Library Two Temple Place was originally built as an office for William Waldorf Astor in the late 19th century and the Bulldog Trust isbn 978-0-9570628-1-8 have been fortunate to own the house since 1999. For our curators, Designed and produced by NA Creative devising a show for the ornate and intricately decorated space is a huge challenge that calls for imagination and ingenuity. -
Art Gallery Committee Report January 2012
Art Gallery Committee Report January 2012 1. The economic value of Falmouth Art Gallery 1.1 A report by the Association of Independent Museums provided a toolkit by which small and medium galleries can calculate the gross impact of visits to the gallery in terms of economic value. 1.2 Using data specific to Falmouth Art Gallery, we were able to calculate that the Art Gallery has a value of £1.45 million per year to the local economy. This data is based on the percentage of local visitors, day trippers and overnight visitors who used the Art Gallery in 2010. 2. Brian Stewart Memorial 2.1 On 12 December Falmouth Town Council and Art Gallery Staff gathered at Gyllyngdune Gardens to mark the anniversary of the death of the gallery’s previous Director Brian Stewart (1953 – 2010). 2.2 Mayor of Falmouth, Councillor Geoffrey Evans led the planting of a Wollemi Pine, a rare species of tree that was thought to be extinct until its rediscovery in Australia in 1994. 2.3 A slate plaque bearing Brian’s name and dates and a picture of a tortoise was also laid by the tree. The plaque was made by Long Rock Memorials in Penzance to a design by Brian’s friend the artist John Dyer. 3. VAQAS 3.1 Falmouth Art Gallery has been awarded Visitor Attraction Quality Assured Status for the fourth year running after receiving a glowing report from the Visit Britain inspector. She wrote, ‘’Falmouth Art Gallery is a great asset to the town of Falmouth. It has a wonderful attitude to customer service. -
A Century of British Painting a Century of British Painting
A Century of British Painting A Century of British Painting Foreword There’s a passage in Tess of the D’Urbervilles, This year’s exhibition is no exception; where Hardy describes the complete sensory in between Greaves and Spear are works by experience of walking across a field, the thrum Farquharson, Tuke, La Thangue, Hemy, and of insects, motes and sunbeams, the ammoniac Heath, artists whose quiet social realism tang of cows, snail shells crunching underfoot. developed out of the sincere connection It’s a very sensual account, and given that it they held to their part of Britain. Masters at comes from what is still held to be one of the manipulating tone and perspective, these most sentimental novels of the Victorian era, artists never tried to modify the realties of their surprisingly unromantic. Farquharson’s Grey world, only the ‘light’ in which they are seen. Morning immediately struck me as a perfect Following on, are pictures by Bond, Knight, cover illustration for one of Hardy’s novels, Wyllie and other artists who explored realism, which led me to get out my copy of Tess. alongside the possibilities of Impressionism to While I skimmed some favourite passages, his depict rural subjects and the more communal characters began to take on faces painted by narratives of maritime trade: the backbone of La Thangue; as I later learned, when the book the British Empire. Well into the post-WWI was serialised in The Graphic, it was illustrated era, Impressionism would prove the perfect by Hubert von Herkomer. vehicle for depicting city life and genteel The pictures in this catalogue cover privilege; sport and leisure, the development of approximately 100 years. -
Distributed Art Publishers Art Distributed Artbook Spring
artbook Spring SPRING 2014 NEW BOOKS ON ART & CULTURE & distributed art publishers artbook distributed art publishers 155 Sixth Avenue, nd Floor, New York, NY 10013 www.artbook.com Ray Johnson, from Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Featured releases 2 Journals 82 sprIng HIgHlIgHts 90 CATALOGUE EDITOR Thomas Evans photography 92 ART DIRECTION art 108 Stacy Wakefield group exhibitions 136 IMAGE PRODUCTION Ranya Asmar Writings 142 DATA PRODUCTION design 150 Alexa Forosty COPY WRITING Film 158 Jarrod Annis, Thomas Evans, Tyler Fields, Annabelle Maroney, Seamus Mullarkey architecture 159 PRINTING limited editions 168 Sonic Media Solutions, Inc. Front Cover Image speCIalty Books 170 5 7 Robert Heinecken, Recto/Verso #2, 1988. Silver dye bleach print, 8 ⁄8 x 7 ⁄8''. The Museum of Modern Art, New York. Mr. and Mrs. Clark Winter Fund. art 172 © 2013 The Robert Heinecken Trust. From Robert Heinecken: Object Matter, photography 196 published by The Museum of Modern Art, New York. See page 36. BaCk Cover Image Backlist Highlights 201 Ray Johnson © Ray Johnson Estate, courtesy Richard L. Feigen & Co. From Not Nothing: Selected Writings by Ray Johnson 1954–1994, published by Siglio. See page 35. Index 207 © Ray Johnson Estate, courtesy Richard L. Feigen & Co & Feigen L. Richard courtesy Estate, Johnson Ray © ShowTime:The50Most “a fascinating survey of InfluentialExhibitions ofContemporaryArt groundbreaking exhibitions from Edited and with text by Jens Hoffman. Conversation with Hans Ulrich Obrist, Massimiliano Gioni, Maria the 1980s through to now . the Lind, Jessica Morgan, Carolyn Christov-Bakargiev, Adriano Pedrosa, Mary Jane Jacob. -
Art Plural: Voices of Contemporary Art Online
lxMsn [Free pdf] Art Plural: Voices of Contemporary Art Online [lxMsn.ebook] Art Plural: Voices of Contemporary Art Pdf Free Michael Peppiatt, Jane A. Peterson ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #3541200 in Books 2014-04-01Original language:EnglishPDF # 1 11.75 x 1.00 x 9.25l, 3.80 #File Name: 9810784082240 pages | File size: 57.Mb Michael Peppiatt, Jane A. Peterson : Art Plural: Voices of Contemporary Art before purchasing it in order to gage whether or not it would be worth my time, and all praised Art Plural: Voices of Contemporary Art: 0 of 0 people found the following review helpful. Excellent artistic selection and insights - I strongly recommend itBy MichaelIt was a great pleasure to read interviews and texts about the artists. I learnt a lot of insights from the artists themselves which is always an interesting and different perspective than a critic. I also discovered new artists thanks to wonderful images and a wide view on their work! I highly recommend this book to art lovers and collectors who are both looking for quality images and texts from the artists they like and discoveries of new talents. Art is now a globalized phenomenon, with artists communicating and interacting on an international scale as never before. So what does it mean to be a contemporary artist in a globalized world? In Art Plural: Voices of Contemporary Art, hear from world-renowned art historian and writer Michael Peppiatt as well as over 25 of the top contemporary artists, from East to West, working around the world in all corners of the earth. -
Hanley, Bo Else (2016) Commissioning for Purpose: Investigating Commissioning As a Collecting Strategy for Municipal Museums and Galleries 2000-Present
Hanley, Bo Else (2016) Commissioning for purpose: investigating commissioning as a collecting strategy for municipal museums and galleries 2000-present. PhD thesis. https://theses.gla.ac.uk/7449/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Commissioning for purpose: investigating commissioning as a collecting strategy for municipal museums and galleries 2000–present Bo Els´eHanley BA (Hons), MLitt Submitted in fulfilment of the requirements for the degree of PhD Department of History of Art School of Culture and Creative Arts University Of Glasgow March 2016 c Bo Hanley, 2016 Abstract The use of the ‘commission-accession’ principle as a mechanism for sustainable collecting in public museums and galleries has been significantly under-researched, only recently soliciting attention from national funding bodies in the United Kingdom (UK). This research has assessed an unfolding situation and provided a body of current evaluative evidence for commission-based acquisitions and a model for curators to use in future contemporary art purchases. ‘Commission-accession’ is a practice increasingly used by European and American museums yet has seen little uptake in the UK. -
Spring / Summer 2007 Special Double
VOLUME 8 NUMBER 12-13 PUBLISHED by J. RUSSELL JINISHIAN © SPRING/SUMMER 2007 / $12.00 19th, 20th and 21st Century Marine Art VOLUME 6 NUMBER 8 - 9 PUBLISHED by J. RUSSELL JINISHIAN © FALL/WINTER 2006 / $12.00 Special Double Issue ™ An Insider’s Guide to Marine Art for Collectors and Historians What’s Inside: • Latest News from Today’s Premier Marine Artists, Learn What they’re Working on in their Studios right now • Latest Marine Art Sales & Prices • Marine Art Exhibitions Across the Country Bill Muller The French Liner ILE DE FRANCE Arriving in New York Following Her Trans-Atlantic Crossing Oil 22” x 30” $25,000 • Upcoming Auctions from La Havre, 1955 with the Lackawanna Railroad Ferry Boat ELMIRA Departing from Her Hoboken Slip • Book Reviews Wick Ahrens Keith Cardnell James Flood Michael Keane Stanley Meltzoff Marek Sarba Dimetrious Athas Marc Castelli Flick Ford Loretta Krupinski Leonard Mizerek Arthur Shilstone Christopher Atkins Scott Chambers Paul Garnett Richard Dana Kuchta William G. Muller Kathy Spalding John Atwater Terry Culpan William Gilkerson Robert LaGasse Rob Napier Robert Sticker Anthony Blake Steve Cryan James Griffiths Gerald Levey William Oakley Jr. John Stobart Robert Blazek R.B. Dance Robert Grimson Patrick Livingstone Russ Kramer David Thimgan Christopher Blossom William R. Davis Glen Hacker Ian Marshall Roberto Osti Tim Thompson Lou Bonamarte Don Demers James Harrington Nick Mayers Yves Parent Kent Ullberg Willard Bond Louis Dodd Cooper Hart Victor Mays Ed Parker Peter Vincent Peter Bowe William P. Duffy André Harvey Lloyd McCaffery Charles Peterson William Walsh Bernd Braatz Willem Eerland Geoff Hunt Joseph McGurl James Prosek Patricia Warfield Al Bross Carl Evers James Iams John Mecray Randy Puckett Robert Weiss James Buttersworth William Ewen Antonio Jacobsen Jerry Melton Keith Reynolds Bert Wright J. -
ASSOCIATION of ART HISTORIANS Registered Charity No
August 1993 BULLETIN ASSOCIATION OF ART HISTORIANS Registered Charity No. 282579 Editor: Jannet King, 48 Stafford Road, Brighton BN1 5PF For information on advertising & membership: Kate Woodhead, Dog and Partridge House, By ley, Cheshire CW10 9NJ Tel: 0606 835517 Fax: 0606 834799 NEWS REPORTS CHAIR'S BRIEFING There has been a good response to the • Some feel that the annual conference is • Positive steps to provide better resources Chair's Report tabled at the April 1993 an important event but not so important for Art History teaching in higher AGM and printed in the last Bulletin. that it should exhaust a disproportionate education are being taken; we are trying Several members of the Association have percentage of the Association's human to get the law changed to enable written expressing their views about some and financial resources. institutions to have slides made for of the suggestions we put forward and teaching purposes without infringing more responses either to 'Open Forum' or The Way Forward copyright, and a conference is planned privately directly to me would be very On the Executive we are trying to establish in association with the British Library's welcome. Here are some extracts and our priorities from the numerous Standing Conference on Art and Design. synopses from the post-bag: suggestions thrown up by 'The Way • Some assumed that the 'proposals' in Forward' discussions. At present we have Eastern Europe the Annual Report would automatically identified several areas for immediate The Executive Committee still needs become policy. I would like to reassure action: contact addresses in Eastern Europe of the membership that neither the Chair • We are considering proposals from the worthy educational institutions to benefit nor the Executive intends to ignore the Schools Subcommittee and elsewhere from the scheme to offer free subscriptions strong democratic base upon which the to make the Association more useful to to Art History.