Publications 2019–20
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Newsletter 04-11
Newsletter No 36 Spring 2011 From the Chair Errata Many thanks to all those members who made it along Unfortunately due to an oversight some errors to our re-scheduled AGM (thanks to the snow) – it appeared in Louise Boreham’s essay in the last was great to see such a good turnout and thanks are Journal. The corrections are as follows: due to Simon Green for a fascinating talk and to the Architectural Heritage Society of Scotland for letting 1. page 49, line 10 of paragraph 2, the name should us use the magnificent Glasite Meeting Room. be Blyth, with no 'e' on the end. I would also like to thank all of you who have so generously answered our plea for support for the 2. page 53, no 6, should have a closing bracket after journal – it’s really heartening to know that so many Fig.5 of you value the journal and were willing to help us meet its rising production costs. We still have a long 3. page 53, no 7a, the dates should read 1898 – 1934 way to go in order to put the journal on a sustainable footing, however, so if there are still any members Apologies for these mistakes. who were thinking about making a contribution, do please get in touch! Last year sadly saw quite a dip in our Notices membership numbers as the recession really started to bite. Our priority therefore has to be to get our Helen Adelaide Lamb, Illuminated numbers back up again, and once again we’d be very Manuscripts – Request for information grateful for anything you can do to help – if you By Helen E Beale know anyone who you think might be interested in joining, start badgering them now! Further information would be warmly welcomed on Finally, we will soon be advertising some the Illuminated Manuscripts of Helen Adelaide Lamb, guided tours and other events for members, so keep 1893-1981, a native of Dunblane, admitted to the an eye out for those, and we hope you’ll be able to Glasgow School of Art at the unusually young age of come along. -
Alan Riach and Alexander Moffat on the Work of Joan Eardley: Part Two
Riach, A. and Moffat, A. (2017) At one with being at odds with nature: Alan Riach and Alexander Moffat on the work of Joan Eardley: Part two. National, 2017, 10 Feb. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/161560/ Deposited on: 01 May 2018 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Joan Eardley: Part 2 Alan Riach and Alexander Moffat Joan Eardley’s Romantic vision comes straight from Turner and William MacTaggart, something both intrinsic to the energy of matter and the dynamics of life, exalted yet destructive, heroic yet costly. It will take your life indifferently. Your response to this is crucial: both accepting, and defying it, is essential. The catalogue to the current exhibition “Joan Eardley: A Sense of Place” at the Scottish National Gallery of Art in Edinburgh (running till May 21 2017) tells us that, when asked, in 1961, she said she didn’t much like Turner and didn’t know much about MacTaggart, and that regarding her immediate interests in the art world, she named Jackson Pollock and the Tachistes. It isn’t surprising. The artist’s job isn’t to create a tradition in which she or he might comfortably settle, but to do the work. Certainly, the energy and painterly abandon of Pollock’s American abstract expressionism and its European counterpart is related to what we see in the Catterline paintings, but how much more comforting, warmly settled, patterned to give pleasure, Pollock and his contemporary abstract expressionists are nowadays, when we return to them, compared to the still troubling, still imposing power of the real sea Eardley is delivering to us. -
Orientalism and the British Picture Postcard Industry: Popularizing the Empire in Victorian and Edwardian Homes Gilles Teulié
Orientalism and the British Picture Postcard Industry: Popularizing the Empire in Victorian and Edwardian Homes Gilles Teulié To cite this version: Gilles Teulié. Orientalism and the British Picture Postcard Industry: Popularizing the Empire in Victorian and Edwardian Homes. Cahiers Victoriens et Edouardiens, Montpellier : Centre d’études et de recherches victoriennes et édouardiennes, 2019, 10.4000/cve.5178. hal-02164051 HAL Id: hal-02164051 https://hal-amu.archives-ouvertes.fr/hal-02164051 Submitted on 24 Jun 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution - NonCommercial - NoDerivatives| 4.0 International License Cahiers victoriens et édouardiens 89 Spring | 2019 The Transformative Power of the Arts in Victorian and Edwardian Culture and Society / 58e Congrès de la SAES, atelier de la SFEVE, Utopia(s) and Revolution(s) Orientalism and the British Picture Postcard Industry: Popularizing the Empire in Victorian and Edwardian Homes L’Orientalisme et l’industrie britannique de la carte postale -
{Dоwnlоаd/Rеаd PDF Bооk} Arthur Melville Kindle
ARTHUR MELVILLE PDF, EPUB, EBOOK Kenneth McConkey,Charlotte Topsfield | 136 pages | 10 Dec 2015 | National Galleries of Scotland | 9781906270872 | English | Edinburgh, United Kingdom Arthur Melville – | Tate Read the latest visit information, including hours. Although he also worked in oils, Arthur Melville is acclaimed primarily for his distinctive and unorthodox watercolours, which combine precise control with looseness and felicitous chance effects. His colour was often dropped on the paper in rich, full spots or blobs rather than applied with any definite brush-marks. The colour floats into little pools, with the white of the ground softening each touch. He was the most exact of craftsmen; his work is not haphazard and accidental, as might be rashly thought. Those blots in his drawings, which seem meaningless, disorderly and chaotic, are actually organised with the utmost care to lead the way to the foreseen result. Often he would put a glass over his picture and try the effect of spots of different colour on the glass before applying them to the surface of his paper. When he was in his early twenties his penchant for travel and adventure led him to embark on a journey to the Middle East, which was to be the defining event of his career. In Melville travelled to Cairo where he remained for nearly a year before following the British imperial route to Aden and Karachi Kurrachee. Melville, though comparatively little known during his lifetime, was one of the most powerful influences in the contemporary art of his day, especially in his broad decorative treatment with water-colour, which influenced the Glasgow Boys. -
Purchase of a Painting by Arthur Melville
Item no Report No Purchase of a painting by Arthur Melville Committee on the Jean F Watson Bequest 12 October 2011 Purpose of report 1 To consider the purchase of a painting by Arthur Melville (1858-1904). Main report 2 The following paintings by Arthur Melville are presented to the Committee for consideration: The Rialto Watercolour on paper, 1894 58.5 x 84cms £120,000 The Procession of Corpus Christi Watercolour on paper, 1890 78 x 55cms £220,000 3 Arthur Melville was born in Angus in 1855 but moved to East Lothian at an early age. He enrolled as a student at the RSA Schools in Edinburgh under John Campbell Noble. In 1858 he visited Paris where he met Robert Weir Allan, who introduced him to the work of the Impressionists. The Impressionistic style was to have a significant influence on Melville’s approach to watercolour. 4 Melville lived at Grez-sur-Loing for a period where other members of the Glasgow Boys were working, and there he was first introduced to the work of Bastien-Lepage. It was in Grez that Melville started experimenting with the transparent qualities of watercolour. After travelling around the Middle East for two years Melville produced some of his most sparkling watercolours of Eastern subjects and quickly began to develop a distinct watercolour style. He returned to Scotland in 1882. 5 Melville is considered one of the greatest watercolourists of his period, lifting the medium, as Turner did, onto new planes. His technique was unique, working onto wet paper, sponging out superfluous detail and carefully allowing certain areas of colour to run together. -
Your Guide to the Art Collection
ART AND ACADEMIA YOUR GUIDE TO THE ART COLLECTION Heriot-Watt University, Edinburgh EH14 4AS 0131 449 5111 www.hw.ac.uk AG1107 CONTEMPORARYFind out more SCOTTISH ART FURTHER READING Heriot-Watt University would like to thank the Patrick N. O’Farrell: Heriot-Watt University: artists, their relatives and estates for permission An Illustrated History to include their artworks. Pearson Education Ltd, 2004 Produced by Press and Public Relations, Heriot-Watt University: A Place To Discover. Heriot-Watt University Your Guide To The Campus Heriot-Watt University, 2006 Printed by Linney Print Duncan Macmillan: Scottish Art 1460-2000 Photography: Simon Hollington, Douglas McBride Mainstream, 2000 and Juliet Wood Duncan Macmillan Copywriter: Duncan Macmillan Scottish Art in the Twentieth Century Mainstream, 1994 © Heriot-Watt University 2007 THE ART COLLECTION 1 CONTENTS INTRODUCTION A highlight of the collection is a group of very fine INTRODUCTION 1 Heriot-Watt University’s art collection reflects paintings by artists associated with the College of SIR ROBIN PHILIPSON 2 its history and the people who have shaped its Art, a good many of them first as student and then development over two centuries. Heriot-Watt as teacher. Many of these pictures were bought JOHN HOUSTON 4 University has a long-standing relationship with by Principal Tom Johnston and gifted by him to the DAVID MICHIE 6 the visual arts. One of the several elements brought University. The collection continues to grow, however. ELIZABETH BLACKADDER 8 together to create Edinburgh College of Art in 1907 Three portraits by Raeburn of members of the was the art teaching of what was then Heriot-Watt Gibson-Craig family and a magnificent portrait DAVID McCLURE 10 College. -
29 July–29 August 2021 Edinburghartfestival.Com #Edartf
Platform: 2021 Art Across the Capital Commissions Programme Art is Back Explore Platform: 2021, our exhibition for early As galleries reopen after many months of closure, Our 2021 programme features new commissions We are so delighted to return this year, to work career artists, with new work from Jessica Higgins, this year, more than any, we are proud to cast a and UK premieres by leading international artists, with partners across the city, to showcase the work Danny Pagarani, Kirsty Russell and Isabella Widger spotlight on the uniquely ambitious, inventive and including new work by Sean Lynch co-commissioned of artists from Scotland, the UK and around the world. presented at our festival home in the Institut français thoughtful programming produced each year by with Edinburgh Sculpture Workshop and by Emeka Some exhibitions are newly made in response to the d’Ecosse. While visiting you can also browse festival Edinburgh’s visual art community. Ogboh with Talbot Rice Gallery; alongside the UK seismic shifts of the past year; others have been many merchandise and find out more about the exhibitions premiere of Isaac Julien’s Lessons of the Hour, presented years in the planning; but all are the unique, authentic, and events taking place across the city at our With over 20 partner galleries across the capital, in partnership with National Galleries of Scotland. and thoughtful products of our city’s extraordinarily Festival Kiosk. we encourage you to explore the programme and We are also proud to collaborate with Associate Artist, rich visual art scene. support the incredible visual art organisations that Tako Taal, on her programme What happens to desire… Festival Kiosk the city has to offer. -
Annual Review 2017–18 National Galleries of Scotland Annual Review
Annual Review 2017–18 national galleries of scotland annual review annual of scotland galleries national 2017–18 www.nationalgalleries.org froNt cover reverse Back cover reverse Facts and Figures visitor nuMBers NatioNal Galleries of s cotlaNd Board of t rustees Total visitors to National Galleries of 2,533,611 Benny Higgins Chairman Scotland sites in Edinburgh Tricia Bey Alistair Dodds 1,601,433 Scottish National Gallery Edward Green Lesley Knox 562,420 Scottish National Gallery of Modern Art Tari Lang Catherine Muirden Professor Nicholas Pearce Scottish National Portrait Gallery 369,758 Willie Watt Nicky Wilson virtual v isitors seNior MaNaGeMeN t t eaM www.nationalgalleries.org website visits 1,989,101 Sir John Leighton Director-General educational v isits Chris Breward 33,210 Total number of participants from schools, Director of Collection and Research higher and further education Nicola Catterall Chief Operating Officer 19,479 Total number of adult participants at talks, Jo Coomber lectures and practical workshops Director of Public Engagement Jacqueline Ridge 4,333 Total number of community and Director of Conservation and Collections Management outreach participants Elaine Anderson 6,919 Total number of families with children at Head of Planning and Performance drop-in events fiNaNce friends Full Annual Accounts for 2017–18 are available on the National Galleries of Scotland website: 13,188 Friends at 31 March 2018 www.nationalgalleries.org volunteers froNt cover The Road Through the Rocks, Total number of volunteers Detail from Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery 166 Port-Vendres, 1926–27 by Charles of Modern Art One Rennie Mackintosh The Scottish National Gallery comprises The Scottish National Portrait Gallery is Back cover three linked buildings at the foot of the about the people of Scotland – past and Home to Scotland’s outstanding national The Road Through the Rocks, Port-Vendres, Mound in Edinburgh. -
City, University of London Institutional Repository
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: TWENTIETII-CENTURY ART COLLECTION SCIIEMES AND THEIR IMPACT ON LOCAL AUTIIORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISII ART IN BRITAIN VOLUME III 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 eT...........................•.•........•........................................... ii ACKNOWLEDGEMENTS ......................................................... xi CHAPTER l:INTRODUCTION................................................. 1 SECTION J THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS.......................................................................... -
University of Edinburgh Museums & Galleries
UNIVERSITY OF EDINBURGH MUSEUMS & GALLERIES COLLECTIONS POLICIES DOCUMENT 2010-2015 _______________________________________________________________________ APPROVED BY UNIVERSITY COURT XX XXXX 2010 INDEX 1 INTRODUCTION 1.1 Introduction 1.2 Museums & Galleries Collections 1.3 Director of University Collections Office and Museums Development 2 EXTERNAL VALIDATION 2.1 Accreditation with the Council for Museums, Libraries & Archives 2.2 Recognised Collections of National Significance to Scotland 3 MANAGEMENT & GOVERNANCE 3.1 Management 3.2 The Governing Body 3.3 University Collections Advisory Committee (UCAC) 3.4 Committee of Curators of University Committees (CCUC) 3.5 The Talbot Rice Advisory Board (TRGAB) 3.6 Financial Management 3.7 Workforce Development 4 POLICIES APPENDICIES A University Collections Strategic Development Plan 2010-2015 A1 Edinburgh University Collection of Historic Musical Instruments A2 Fine Art Collections A3 Natural History Collections A4 Cockburn Museum A5 Talbot Rice Gallery Business Plan 2011/2013 B Museums & Galleries General Acquisitions & Disposal Policy 2010-2015 B1 Policy Statement – Edinburgh University Collection of Historic Musical Instruments B2 Policy Statement – Natural History Collections B3 Guidelines for deciding on requests for the repatriation of items from the University Collections C Access Policy D Collections Management & Preservation Policy E Forward Plans for the University of Edinburgh Collections 09/10 E1 Edinburgh University Collection of Historic Musical Instruments E2 Fine Art Collections F Committee Membership & Remits 1 UNIVERSITY OF EDINBURGH MUSEUMS & GALLERIES COLLECTIONS POLICIES DOCUMENT 2010-2015 _________________________________________________________________ 1. INTRODUCTION 1.1 The University of Edinburgh has a 400 year history of collecting and maintaining culturally and scientifically significant objects, samples and artefacts in a number of fields. This document outlines the context for the policies governing the University’s museums and galleries collections. -
1809 the Glasgow Boys Presentation
RICKMANSWORTH U3A ART APPRECIATION GROUP The Glasgow Boys September 2018 The Glasgow Boys - influences Jules Bastien-Lepage, (1848 – 1884) French painter of rustic outdoor genre scenes widely imitated in France and England. Bastien-Lepage studied under Alexandre Cabanel, first exhibited at the Paris Salon of 1870, and won a medal at the Salon of 1874 for Spring Song. Style owes a little to Édouard Manet and in the tradition of Jean-François Millet and Gustave Courbet. A sentimental element characterizes Bastien-Lepage’s work. He was also a portraitist of note. October, 1878,by Jules Bastien-Lepage (1848-1884), Oil on Canvas, 1,807 mm x 1,960 mm, National Gallery of Victoria, Australia The Glasgow Boys - influences James Abbott McNeill Whistler (1834 – 1903) American artist, based primarily in the United Kingdom. Averse to sentimentality and moral allusion in painting and a leading proponent of "art for art's sake". While his art is characterized by a subtle delicacy, his public persona was combative. He found a parallel between painting and music and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony. Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. Variations in Flesh Colour and Green—The Balcony, 1865 by James McNeill Whistler (11 Jul 1834 - 17 Jul 1903), Oil on Board Freer Gallery of Art, Washington, United States James Guthrie (1859 - 1930) A Hind’s Daughter, 1883 Oil -
The Scottish Contemporary Art Auction Lot
The Scottish Contemporary Art Auction Sun, 28th Feb 2021 Viewing: The catalogue is available to view online 24 hours a day. Lot 543 Estimate: £300 - £500 + Fees BIG SISTERS, AN OIL BY MOIRA BEATY * MOIRA BEATY (SCOTTISH 1922 - 2015), BIG SISTERS oil on board, signed 26.5cm x 36.5cm Framed and under glass Artist's label verso. Note: Moira went to Glasgow School of Art in 1939 where her contemporaries included Joan Eardley and Margot Sandeman. These three young women were regarded by their lecturers as the brightest stars of their generation. After one year as a student she was recruited to Bletchley Park where she worked as a code breaker, one of Churchill's 'corkscrew thinkers'. She returned to GSA in 1947 to complete her studies. Moira's enduring talent was recognised again in 2014 at the age of 92 with a sell-out exhibition in Kirkcudbright. Moira Beaty was a resolute and determined woman who was an integral part of the famous group at Bletchley Park who did much to aid the Allies' victory in the Second World War. She worked in Hut 8 where Alan Turing and Peter Twinn set up the Naval Enigma Code. Beaty was responsible to Twinn - the first mathematician to be recruited to Bletchley. ''I discovered something,'' Beaty modestly remarked years later, ''a code within a code. I was immediately moved to within the codebreakers and became a cryptographer working on the German Secret Service codes.'' The Twinn team was involved in breaking the secretive Abwehr codes which were even more complicated than the ordinary military messages.