DOCSLIB.ORG

2004/1 (3) 1 Art on the Line

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2004/1 (3) 1 Art on the Line Art on the line EXHIBITION REVIEW – Pre-Raphaelites and Other Masters Marianne Camus Université de Bourgogne, Dijon, France [email protected] This is going to be a very personal review. Wyatt Family, by today’s standards almost Pre-Raphaelites and Other Masters, the naive in their early Pre-Raphaelite meticu- exhibition at the Royal Academy of the lous and slightly stiff rendering of reality, to Andrew Lloyd Webber collection, attracted James Jacques Tissot’s sophisticated bril- me, along with many others on the afternoon liance, as in L’Orpheline or The Return from I went, as an opportunity to see for real so the Boating Trip. They go from the mystical, many Victorian paintings normally seen only of at least dream-like quality typical of in reproductions of varying quality. For if one Edward Burne-Jones to the overtly titillating cannot deny, on reaching the final rooms, the subtext in Lawrence Alma Tadema’s or John beauty of Alfred Munnings’ horses or the William Godward’s representations of pseu- charm of Stanley Spencer’s vision of life, do-harem creatures. The pictures also go there is no doubt that it is the Pre- from the glamour of Albert Moore’s Red Raphaelites who are the real stars of this Berries or John Atkinson Grimshaw’s Dolce show. Domum to the ordinary domesticity of Kate Actually, the first impression, as one Hayllar’s A Thing of Beauty and Edith enters the exhibition, is almost one of disbe- Hayllar’s A Summer Shower. These two, by lief at the sheer number of works gathered the way, being, in their quiet understated here. I must say straight away, though, that I manner, amongst the most charming and do not agree with Lindsay Duguid’s com- effective paintings on show. ment, in Times Literary Supplement, 21 But beneath the diversity, one can soon November 2003, that it is a ‘crowded jumble’. see some unifying lines of force running Or if it is, it is very much in the spirit of the through the exhibition, the first one, of course, Victorians and their fondness for clutter. I am being the narrative aspect of many of these not sure that a presentation along the lines of paintings. Some stray remarks overheard as our more sober visual taste would be as rep- I went through the rooms would indeed tend resentative of the cultural and artistic to indicate that the Victorian taste for story exuberance of the times. It is true, however, telling is still very much alive. To my mind, that the enormous variety makes the viewer, though, the anecdotal dimension of much and the reviewer, a little dizzy at first. For the Victorian painting is one of its limitations. pictures range from John Everett Millais’ Pictures are almost systematically anchored James Wyatt and his Grand Daughter Mary in myth (John William Waterhouse’s Pandora Wyatt (figure 1) and Four Children of the or The Awakening of Adonis), old legends ART ON THE LINE 2004/1 (3) 1 ART ON THE LINE Figure 1 Sir John Everett Millais, James Wyatt and his Grand Daughter Mary Wyatt, 1849, oil on canvas, 35.5 x 45 cm, © Collection Lord Lloyd-Webber (Arthur Hughes’ The Knight of the Sun or for example, with its almost monochrome fig- Gale’s The Wounded Knight, to cite only two ures and their strictly stylised draperies of many), or the narratives of contemporary falling in variations of the triangle which life (Michael Frederick Halliday’s The Blind answer the three golden circles of the trum- Basket-Maker with his First Child or The pets. There is a glimpse there of what will Measure for the Wedding Ring). This tends to later become cubist painting, but I cannot obscure the painting as such. What, all too help feeling that this move away from narra- often, is brought to light are the less pleasant tion was frozen by the perceived and characteristics of the period, its sentimental- overpowering necessity to tell a story. ism and self-righteousness. The absolutely The same can be said about one of the ludicrous is, in my opinion, reached with strong points of many of the paintings on William Holman Hunt’s The Shadow of show, the beauty of the colours. The depth Death, which represents an apparently and luminosity of Burne-Jones’ blues and ecstatic Christ, doing what? dancing? pray- reds are a sheer pleasure to the eye. I am ing? or – as his shadow on the wall behind thinking of the blues in Night and Vesper, seems to show – rehearsing his crucifixion? and the accumulated and saturated reds of More serious perhaps is the way in which The Annunciation, or their contrast with dark this narrative bias probably prevented gen- tones in The Adoration of the Kings. But uine artists from progressing. I am thinking Burne-Jones is only one among many. There here in particular of some of Burne-Jones’ are few oils by Dante Gabriel Rossetti in this late works, The Challenge in the Wilderness, collection, but A Vision of Fiammetta (figure 2 ART ON THE LINE 2004/1 (3) PRE-RAPHAELITES AND OTHER MASTERS: CAMUS 2) gives a fair example of the painter’s jewel- a hallmark of the items of decorative art col- like colours. The royal purple of the skirt in lected by Andrew Lloyd Webber, the carpets, April Love by Hughes, the sensuous apricot, and above all William de Morgan’s stunning pale yellows and greens of Alma Tadema, ceramics in the reds and blues that appear in the subtle juxtaposition, by Waterhouse, of retrospect as one of the characteristics of the soft reddish purple, olive green, dark dull period. But with one difference, namely, that blue, leaf brown and burnished gold in The unlike the paintings which, despite the Danaides, without forgetting the sumptuous wealth of talent, remain determinedly russet/gold/orange of the woman’s skirt in Victorian and insular, the objects of decora- Millais’ The Proscribed Royalist, all con- tive art often give the feeling, through their tribute to the enchantment one feels on design, that they belong to a European moving from one picture to the next. But movement, to what will later be called Art somehow, the colour never breaks free, Nouveau. Some pieces are actually very enclosed as it is in the narrative. close to the École de Nancy in inspiration. This richness and depth of colour is also Another common feature that I would like to mention may be felt as politically incorrect. But I must admit that to my woman’s eyes, used to the constant deconstruction, not to say disintegration, of the female body in twentieth-century art, the obvious love of women in these paint- ings was quite striking, however stereotyped or lewd the expression of it might be in some of them. I will not dwell on those, but rather give place of honour to Rossetti’s coloured chalk portraits. The softly and elegantly curving lines of neck, wrists and hands, drapery and hair all reveal, in these busts or heads, the artist’s love of the female Figure 2 Dante Gabriel Rossetti, A Vision of Fiametta, 1878, oil on canvas, 146 x 88.9 cm. © Collection Lord Lloyd- Webber ART ON THE LINE 2004/1 (3) 3 ART ON THE LINE body. It is as if the caress of chalk on paper landscape and townscape paintings. The translated the sensuousness of Rossetti’s narrative aspect is here cut to the minimum, eye. A sensuousness which is, however, not so that, in the Lane pictures for example, one as fancy driven as has often been said. The feels that the golden or silvery light is simply clearly different feelings produced by these washing over you. But Grimshaw’s mastery portraits, despite similarity of treatment, indi- of light in all its forms is best seen in paint- cate a basic respect for the sitter’s ings like Liverpool, On Hampstead Hill or personality. The best proof of this being the Cornhill, in which the dimness of a wet superb portrait of Christina Rossetti, whose moonlight, the warm points of artificial light spiritualised sensuality he renders perfectly and the reflections of both on damp pave- in an unusually austere-looking work. On ments and streets make this self-taught pale blue paper the poet’s table and book are painter a northern cousin of the early roughly outlined, as is the bulky, rather Impressionists. shapeless gown that she is wearing. But The great number and diversity of works from this uncompromising bluish greyish on display mean that this review is neces- mass rise the quiet but rounded curves of sarily incomplete and probably unfair in what eyebrows and mouth, all in, again, quiet but it has chosen to distinguish, but I hope it has at the same time warm tints, curves and tints helped, even if a little, to dispel some of the somehow contrasting with and completing prejudices about nineteenth-century British the lines and colour of the heavy dark hair painting and to look at it for what it is, art, and demurely gathered at the nape of the neck. not simply Victorian artefacts. But I will leave this somewhat dangerous ground to conclude with something totally The Andrew Lloyd Webber Collection was on different, with what was to me the real reve- show at the Royal Academy, London from 20 lation of the exhibition, Grimshaw’s September – 12 December 2003. 4 ART ON THE LINE 2004/1 (3).
Load more

Recommended publications
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • 291 Index © in This Web Service Cambridge
    Cambridge University Press 978-0-521-89515-6 - The Cambridge Companion to the Pre-Raphaelites Edited by Elizabeth Prettejohn Index More information INDEX Adam Bede (Eliot), 19 ‘Art and Industry in the Fourteenth Century’ ‘Adieu’ (‘Wavering whispering trees’) (Morris), 207 (D.G. Rossetti), 95 Art and Poetry: Being Thoughts towards Adoration of the Kings and Shepherds Nature, Conducted principally by (Burne-Jones), 237–8 Artists, 3, 83. See also The Germ Adoration tapestry (Morris & Co.), 219–20 ‘The Art Catholic’, 166 Aesthetic Movement Art Journal, 38, 39 Brown, 148, 160 ‘Art News from London’ (W.M. Rossetti), Hunt, 42, 74 257 Morris, 216 ‘The Art of the People’ (Morris), 207 The Age of Rossetti, Burne-Jones and Watts: ‘Art Under Plutocracy’ (Morris), 207 Symbolism in Britain 1860–1910 269 Arts and Crafts movement, 40, 213, 218 Aids to Reflection (Coleridge), 71 Arundel Society, 35, 39 Albrecht Dürer on the Balcony of his House Aspecta Medusa (D.G. Rossetti), 28 (Scott), 40 Astrophel and Other Poems (Swinburne), Allingham, William, 16, 19–20, 57, 191–2 240–1 The Altar, or Meditations in Verse on Atalanta in Calydon (Swinburne), 27, 238, the Great Christian Sacrifice 244 (Williams), 167 The Athenaeum, 80, 161 American exhibition of Pre-Raphaelite Atlantic Monthly, 258 art, 258 ‘August’ (Swinburne), 243–4 ‘Anactoria’ (Swinburne), 242 Aurora Leigh (E.B. Browning), 17 Angel in the House (Patmore), 17 Autobiographical Notes (Scott), 238 Angiolieri, Cecco, 90 Autumn Leaves (Millais), 142–3, 256 The Annunciation (Tintoretto), 22, 35 ‘Ave’ (D.G. Rossetti), 93–4 antiquarianism, 33 The Awakening Conscience (Hunt), 39, 121, Brown, 151–2 124–5, 128, 251 Morris, 196 Aylott and Jones, 83 ‘Antwerp and Bruges’ (D.G.
    [Show full text]
  • 3. Pre-Raphaelite Brotherhood
    • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 1 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
    [Show full text]
  • ENL 3251 VICTORIAN LITERATURE © Chris Snodgrass, 2014 Turlington 4336; 376-8362;[email protected] ;
    ENL 3251 VICTORIAN LITERATURE © Chris Snodgrass, 2014 Turlington 4336; 376-8362;[email protected] ; http://web.clas.ufl.edu/users/snod/ The Victorian Period (roughly 1832-1901) was one of the most influential periods in Western history. This course will define the world-views, beliefs, doubts, anxieties, assumptions, and paradoxes of that age through a survey of poetry,the fiction, drama, pictures, and critical theory of a few representative artists.Be aware that this is not the Victorian Novel course — that course is ENL 3122. This course (ENL 3251) is designed to introduce you to many of the other artistic forms —and broad intellectual history—of the Victorian Age, other than novels. GOALS AND EXPECTATIONS By the end of this course, you should be able to demonstrate that you can %/ read accurately what the work says and how it goes about saying what it says effectively; %/ establish what the premises of the work seem to be, that is, what world-view is implied or assumed; and %/ trace how the common thematic issues/problems Victorians raised are dealt with differently from writer to writer. BASIS FOR FINAL GRADE Your final grade will be computed based on the following: О 25% — Your average score on five concise(5) and succinct14/2-page “Insights” papers(1-1/2-page single spaced; or 3-page double spaced; maximum 1000 words).Each of these should offer at least three [3] key “insights, ” “ideas, ” or “themes” you have found in the works assigned that week, one paragraph per “insight.” At least one (1) of the insights must address how the themes relate to the themes and patterns found previousin works/authors/ assignments.Each “Insights”paper must be both posted on the class’s SAKAI site and turned in as a printed hard copy: Exactly What to do & When: 1.
    [Show full text]
  • Paul Barlow Imagining Intimacy
    J434 – 01-Barlow 24/3/05 1:06 pm Page 15 View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northumbria Research Link Paul Barlow Imagining Intimacy: Rhetoric, Love and the Loss of Raphael This essay is concerned with intimacy in nineteenth-century art, in particular about an imagined kind of intimacy with the most admired of all artists – Raphael. I will try to demonstrate that this preoccupation with intimacy was a distinctive phenomenon of the period, but will concentrate in particular on three pictures about the process of painting emotional intimacy, all of which are connected to the figure of Raphael. Raphael was certainly the artist who was most closely associated with this capacity to ‘infuse’ intimacy into his art. As his biographers Crowe and Cavalcaselle wrote in 1882, Raphael! At the mere whisper of the magic name, our whole being seems spell-bound. Wonder, delight and awe, take possession of our souls, and throw us into a whirl of contending emotions … [He] infused into his creations not only his own but that universal spirit which touches each spectator as if it were stirring a part of his own being. He becomes familiar and an object of fondness to us because he moves by turns every fibre of our hearts … His versatility of means, and his power of rendering are all so varied and so true, they speak so straightforwardly to us, that we are always in commune with him.1 It is this particular ‘Raphaelite’ intimacy that I shall be exploring here, within the wider context of the transformations of History Painting in the period.
    [Show full text]
  • NGA | Pre-Raphaelites: Victorian Art and Design, 1848-1900
    National Gallery of Art Pre-Raphaelites Victorian Art and Design, 1848 – 1900 February 17 – May 19, 2013 4 Introduction 6 Origins 11 Literature and History 17 Nature 22 Salvation 29 Beauty 35 Paradise 42 Mythologies 49 Biographies Pre-Raphaelites Introduction Queen Victoria had been on the throne for little more than a decade when seven fervent young men formed a secret society in London in 1848 with the aim of rejuvenating the arts in industrial-age Britain. Bonding over their mutual passion for medieval art and disdain for contemporary painting practices, they called their group the Pre- Raphaelite Brotherhood (PRB) in acknowledgment of their admiration of art prior to Raphael (1483 – 1520). The three most talented members were John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt — ages nineteen, twenty, and twenty-one, respectively. Along with other artists in their circle, most significantly their men- tor Ford Madox Brown, they sowed the seeds of a self-consciously avant-garde movement, one whose ideals they published in a short-lived journal, The Germ. Pre-Raphaelite paintings often addressed subjects of moral seriousness, whether pertaining to history, literature, religion, or modern society. While the artists emulated the pure colors, spatial flatness, and linear draftsmanship of late Gothic and early Renaissance art, their unconventional style — with its hyperrealism and brilliant palette — looked shocking to the public when their first paintings were exhibited in 1849. As an official group, the Pre-Raphaelites stayed together for only five years. But a second generation of artists, centered on Rossetti and led by Edward Burne-Jones and William Morris, arose in the 1860s with the aim of cultivating beauty in everyday life.
    [Show full text]
  • Filozofická Fakulta Univerzity Palackého V Olomouci
    Filozofická fakulta Univerzity Palackého v Olomouci Katedra anglistiky a amerikanistiky Representations of Ophelia's Death in British Art Bakalářská práce Autor: Štěpánka Bublíková (Anglická - Francouzská filologie) Vedoucí práce: Mgr. David Livingstone Olomouc 2010 Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně a uvedla úplný seznam citované a použité literatury. V Olomouci dne: 7.5.2010 .......................................................................... 2 I would like to express my thanks to my supervisor Mgr. David Livingstone for his professional help, patience, encouragement and resourceful comments that contributed to the successful completion of my work. I also would like to thank Norma Galley for her kindness, helpfulness and willingness to provide personal information. My thanks also belong to Zuzana Kašpárková, Filip Mravec and Jana Sochorová for their help and encouragement. Last but not the least, my thanks belong to Nathalie Vanfasse, my teacher at the Université de Provence in Aix-en Provence, France, whose stimulating courses of British painting were a great source of inspiration for me. 3 Contents Introduction ......................................................................................... 6 1. Text and its visual representation ............................................ 8 1.1 Images and texts .................................................................................... 8 "Image" definitions ......................................................................................
    [Show full text]
  • Pre-Raphaelites:Victorian Art and Design, 1848–1900
    Laurinda S. Dixon exhibition review of Pre-Raphaelites:Victorian Art and Design, 1848–1900 Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Citation: Laurinda S. Dixon, exhibition review of “Pre-Raphaelites:Victorian Art and Design, 1848–1900,” Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013), http://www.19thc- artworldwide.org/autumn13/dixon-reviews-pre-raphaelites-victorian-art-and- design-1848-1900. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Dixon: Pre-Raphaelites:Victorian Art and Design, 1848–1900 Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Pre-Raphaelites: Victorian Art and Design National Gallery of Art, Washington, DC February 17–May 19, 2013 Pre-Raphaelites: Victorian Art and Design, 1848–1900, a joint effort by the National Gallery of Art (Washington, DC) and Tate Britain (London), is the first major exhibition of English Pre- Raphaelite art ever to grace American shores (fig. 1). Until now, we former colonists have not had an opportunity to view these stunning works en masse. What took so long? Judging by the flurry of reviews that followed in the wake of this remarkable show, it is clear that the Pre- Raphaelite Brotherhood (PRB) are as controversial and divisive today as they were a century- and-a-half ago. Were they reactionary or retrograde? Medieval or modern? Patrician or plebian? Prophets or perverts? Critiques span both
    [Show full text]
  • LOOKING BACK in HISTORY Happenings in the Cookeville Area As Recorded in the Pages of the Herald Citizen Newspaper, Cookeville, TN
    WAY BACK WHEN: LOOKING BACK IN HISTORY Happenings in the Cookeville area as recorded in the pages of the Herald Citizen Newspaper, Cookeville, TN. By Bob McMillian 1950’s (Compiled by Audrey J. Lambert) http://www.ajlambert.com 1950 (January 5, 1950) “Music lovers of this Upper Cumberland area” have got something exciting to look forward to next week when a young piano team — Vera Apple and Michael Field — plays at Tennessee Tech. They are “two wizards of the keyboards who play and think as one,” according to a recent review in the New York World Telegram. They studied together at Julliard, went their own ways, and then met by chance and formed a piano duo. Their concert is the subject of a major page•one story this week here. In other entertainment news, the Central High School Cavaliers will meet Crossville in a basketball game set to be played in the school’s new gymnasium (now Cookeville Junior High). The new gym was part of a $217,000 renovation and expansion of the school. It is larger than the old one and boasts fold•up bleachers. (January 12, 1950) An advertisement for Citizens Bank reads: “There’s a tribe in South Africa that requires a prospective bridegroom to milk a lioness as proof of his bravery. You needn’t be brave to open an account with us. Our friendly staff makes even widows and orphans feel at ease.” (January 19, 1950) Cookeville’s Postmaster F. P. Moore says he’s seen a lot of changes in postal service here since he became postmaster in 1939.
    [Show full text]
  • Neo-Pre-Raphaelitism: the Final Generations
    Neo-Pre-Raphaelitism: The Final Generations Amanda B. Waterman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Susan Casteras, Chair Stuart Lingo Joseph Butwin Program Authorized to Offer Degree: Art History ©Copyright 2016 Amanda B. Waterman University of Washington Abstract Neo Pre-Raphaelitism: The Final Generations Amanda B. Waterman Chair of the Supervisory Committee: Professor Susan P. Casteras Art History The Pre-Raphaelite Brotherhood was a group of seven young men who wanted to rebel against the teachings and orthodoxies of the Royal Academy. It was a short-lived movement, beginning in 1848 and ending in the early 1850s, but this dissertation will argue that their influence lived on and inspired a group of artists who were working at the turn of the century and well into the twentieth-century. This dissertation is unprecedented; it is the first publication which aims to specifically categorize certain artists whose oeuvres are indebted to various generations of Pre-Raphaelitism. In short, I am characterizing these artists and thereby dubbing them “Neo-Pre-Raphaelite,” channeling an early twentieth-century description of some of these artists. The most obvious reason to refer to them by this term is that they are stylistically and/or thematically linked to members of the original PRB or later generations / manifestations of Pre-Raphaelitism. The individuals on whom I am focusing are all British and produced Pre-Raphaelite inspired work from roughly 1895-1950. Consequently, the parameters within which I am working are threefold; firstly, the artists were exhibiting in the late 1880s/1890 – 1920 (a Neo-Pre-Raphaelite period that overlapped for most of them); secondly, those whose work echoed that of the Pre-Raphaelite Brotherhood; and thirdly, persons having a working relationship with Edwin Austin Abbey—an American artist who was in a unique position to be a hybrid between the earlier PRB and these younger artists.
    [Show full text]
  • I'm Going to Miss Me
    Larry G. Womack 900 19th Ave S #404 6155163218 [email protected] www.larrywomack.com I’m Going To Miss Me When I’m Gone Inspired by a true story By larrywomack.com October 17, 2012 TABLE OF CONTENTS Introduction 2 Chapter One: Standing Ovations 6 Chapter Two: Jesus is Lord 15 Chapter Three: Coming of Age 32 Chapter Four: My Expanding World 44 Chapter Five: Between God and Honky Tonks 61 Chapter Six: On My Own 71 Chapter Seven: A Summer of Choices 94 Chapter Eight: Not a Care in the World 107 Chapter Nine: Go West Young Man. Then East 122 Chapter Ten: Turning Point 149 Chapter Eleven: Setting the Stage 164 Chapter Twelve: Upwardly Mobile 174 Chapter Thirteen: Hanging with the Haves 195 Chapter Fourteen: Hitting My Stride 219 Chapter Fifteen: Top of the Heap 245 Chapter Sixteen: Going it Alone 269 Chapter Seventeen: More Than Life Itself 289 Chapter Eighteen: Loose Ends 309 Chapter Nineteen: Don’t Save Me a Place in Heaven 314 1 INTRODUCTION: The End And Beginning Of An Extraordinary, Ordinary Life You don’t know me, but by the end of this book you will understand why I will miss me more than anyone else. Mine was an extraordinary, ordinary life. At its end, my grandson Larry Arace will gift my carcass to Vanderbilt University Medical School and place my self-written obituary in the Nashville Tennessean, Sunday Edition. Obituary: Larry Gordon Womack died. The last people to see my complete remains will be a medical student with a scalpel and his professor.
    [Show full text]
  • The Preraphaelites, 1840-1860
    A STROLL THROUGH TATE BRITAIN The Pre-Raphaelites, 1840-1860 This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN 1. The History of the Tate 2. From Absolute Monarch to Civil War, 1540-1650 3. From Commonwealth to the Georgians, 1650-1730 4. The Georgians, 1730-1780 5. Revolutionary Times, 1780-1810 6. Regency to Victorian, 1810-1840 7. William Blake 8. J. M. W. Turner 9. John Constable 10. The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1.
    [Show full text]