Proposed Exhibitions Cornwall Consortia 2018-22
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Get Book # Benton End Remembered: Cedric Morris, Arthur Lett
TQOTPZQN4L5T » Doc Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... Benton End Remembered: Cedric Morris, A rth ur Lett-Haines and th e East A nglian Sch ool of Painting and Drawing (Paperback) Filesize: 3.92 MB Reviews It in a of the best publication. It is among the most remarkable publication i have read through. Your lifestyle period will be change once you complete reading this article publication. (Crystal Rolfson) DISCLAIMER | DMCA 5Q6DUZU54SXK > Kindle < Benton End Remembered: Cedric Morris, Arthur Lett-Haines and the East Anglian School... BENTON END REMEMBERED: CEDRIC MORRIS, ARTHUR LETT-HAINES AND THE EAST ANGLIAN SCHOOL OF PAINTING AND DRAWING (PAPERBACK) Unicorn Publishing Group, United Kingdom, 2018. Paperback. Condition: New. Language: English . Brand New Book. In 1940, Cedric Morris and Arthur Lett-Haines, both established artists with international reputations who had become disillusioned with the commercial aspects of the art world, moved to Benton End, overlooking the River Brett on the outskirts of Hadleigh, Suolk. What they found there was a somewhat ramshackle but capacious sixteenth-century farmhouse, standing in over three acres of walled gardens lost beneath brambles and elder trees; the house had not been lived in for fieen years. But Benton End became both their home and the new premises of the East Anglian School of Painting and Drawing which, in 1937, they had founded together in Dedham, Essex. From 1940 until Lett Haines died in 1978 and Cedric Morris in 1982, Benton End was an exotic world apart where art, literature, good food, gardening and lively conversation combined to produce an extraordinarily stimulating environment for amateurs and professionals alike. -
Simon Carter 2013 Complete.Pdf
Simon Carter Front cover (detail) Winter Sea, 2011 (catalogue no. 46) Photograph: Noah Carter Noah Photograph: Simon Carter The Shapes of Light 2013 www.messums.com 8 Cork Street, London W1S 3LJ Telephone: +44 (0)20 7437 5545 … how days pass in the studio Today is the 22nd November. It is Thursday and, like most I trace over some of the drawings on the light box, taking a days, I have been down to the beach to make drawings. The degree of expression out of the lines to see how they work as sun was beginning to dissolve amongst a vast Turneresque glow. design. With some paintings I repeatedly copy drawings on the The wind was blowing pale rivers of sand across the beach and light box; I like the way that unexpected outcomes sometimes corrugating the sea, waves coming in small and packed together. arise from the imperfections of this process. I might square up There were a few gulls and a few sanderling at the water’s edge. one of these copies and use it to rework the canvas. This as a On the horizon freight ships were lining up to enter Felixstowe way of forcing change onto the painting and of not allowing a and wind farms flickered in distant sunlight. There was a single sense of satisfaction with it. As the painting develops over the yacht passing. next few weeks and months, I will return to the beach many times. I will also make drawings from the painting and from I made 7 drawings quickly and without much attempt at revision the location drawings; edging forward looking for something or second thought. -
NATIONAL LIFE STORIES ARTISTS' LIVES Terry Frost Interviewed By
NATIONAL LIFE STORIES ARTISTS’ LIVES Terry Frost Interviewed by Tamsyn Woollcombe C466/22 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] This transcript is accessible via the British Library’s Archival Sound Recordings website. Visit http://sounds.bl.uk for further information about the interview. © The British Library Board http://sounds.bl.uk IMPORTANT Access to this interview and transcript is for private research only. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road London NW1 2DB 020 7412 7404 [email protected] Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ( [email protected] ) © The British Library Board http://sounds.bl.uk The British Library National Life Stories Interview Summary Sheet Title Page Ref no: C466/22 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Frost Title: Sir Interviewee’s forename: Terry Sex: Male Occupation: Artist Dates: 1915 - 2003 Dates of recording: 1994.11.19, 1994.11.20, 1994.11.21, 1994.11.22, 1994.12.18 Location of interview: Interviewee’s studio and home Name of interviewer: Tamsyn Woollcombe Type of recorder: Marantz CP430 Recording format: D60 Cassette F numbers of playback cassettes: F4312- F4622 Total no. -
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. -
The Generous Ghosts at Benton End, Spiritual Home of Garden
ald Blythe, who described how, as a shy young man, he was bewitched by the place. Once, 10 years ago, I stopped by the roadside to famous peer over the wall but the haven friend I was with called: Benton End in “There’s nothing there. Just Suffolk; Cedric the walls”. It was not until re- Morris’s Flowers cently that I realised how in Feering, right wrong he was. For this spring, the ghost of Morris’s garden stirred back to life, thanks to a gardener hired by the Pinchbecks to cut back the undergrowth: on the last day before lockdown, Corydalis bul- bosa ‘Alba’ was revealed under the medlar tree, also the widow iris that Morris loved to paint, and double- headed Fritillaria pyrenaica. Morris and Lett-Haines acquired the house in 1940 and ran it as the East An- glian School of Painting and Drawing – an art school famous for its links with the young Lucian Freud and Maggi Hambling. It was also a social hub: in the kitchen, Lett-Haines’ cousin, the food writer Elizabeth David, could be found at the stove, childrens’ author Kathleen Hale handed around platters – and, yes, the marmalade cat of her sto- ries looked on – while Lett-Haines mixed martinis and told stories of tiffs with Hemingway in 1920s Paris. To Blythe, then a shy young librar- ian, the atmosphere was “out of this world so far as I had previously tasted it. The generous ghosts at Rough and ready and fine mannered. Also faintly dangerous.” The sloping garden combined Mor- ris’s artist-bred irises with perhaps the most interesting collection of plants in post-war Britain. -
Cornwall Artists Index
6/29/2014 Arthur HAYWARD | cornwall artists index cornwall artists index Arthur HAYWARD 1889—1971 Born at Southport, Lancashire, Hayward studied architecture at South Kensington but gave it up for painting, and subsequently studied at the Warrington School of Art and under Stanhope FORBES (/cornw all-artists/stanhope-forbes) at Newlyn. During WWI he served with Royal Field Artillery, and returned to Newlyn, being addressed as Captain Hayward. He joined the Committee of the NSA (/cornw all-artists/nsa) , serving specifically on the Entertainments sub-committee, as his organisation skills were well known. After working at Newlyn and Paul, he moved to St Ives, and established a St Ives School of Painting (c1924) of which he was the named Principal - not the same School of Painting now in existence, begun in the 1930s with Leonard John FULLER (/cornw all-artists/leonard-john-fuller) in charge. He worked from Treveneth and Shore Studio (Illus, Tovey, p110), and played an important role in STISA (/cornw all- artists/stisa) . After 1932 he refused to have anything more to do with that organisation, but continued to play a part in St Ives and Newlyn's artistic life through the formation of an exhibiting set calling themselves the CORNWALL GROUP. The HARVEYS (Harold HARVEY (/cornw all-artists/harold-harvey) & Gertrude HARVEY (/cornw all-artists/gertrude-harvey) ), the PROCTERS (Ernest PROCTER (/cornw all-artists/ernest-procter) & Dod PROCTER (/cornw all-artists/dod-procter) ), Hugh GRESTY (/cornw all-artists/hugh-gresty) , Alison ROSE and Midge BRUFORD (/cornw all-artists/midge-bruford) were those who banded together for some years. -
A Short History of the Cornwall Council Schools Works of Art Collection
A Short History of the Cornwall Council Schools Works of Art Collection Beginnings On 6th May, 1961 Cornwall County Council received an anonymous donation of £100, made up of twenty £5 notes, with a short note saying simply ‘To help Primary School Funds’. Attempts were made to trace the source of the donation through Plympton post office, from which it was sent, however these efforts failed. Various meetings of the Education Sub-Committee were held to try and decide what best to do with the money, it was felt that it should be used for something specific rather than just subsumed into general funds, and finally art was agreed upon. In September 1961 the Council’s Secretary for Education, Jim Harries, wrote to the artists John Piper, Peter Lanyon and Barbara Hepworth and Jacob Epstein’s recent widow, Lady Epstein explaining what had happened and asking if they might be able to sell something at a reasonable price, or had any other suggestions. They all replied; Piper thought that due to costs of original works buying a group of prints would be more effective, Lanyon was supportive but wanted £100 to supply two small paintings, Hepworth was also very enthusiastic and suggested a scheme of approaching a range of artists to asking them to each supply a piece at a minimal cost and finally Lady Epstein offered to sell a small bronze sculpture by her late husband for a reduced cost of £130. Finally, it was agreed that the opportunity to acquire an Epstein sculpture was too good an offer to refuse and the expenditure of the additional £30 to secure the piece was agreed in January 1962. -
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. -
Modern British and Irish Art Wednesday 28 May 2014
Modern British and irish art Wednesday 28 May 2014 MODERN BRITISH AND IRISH ART Wednesday 28 May 2014 at 14.00 101 New Bond Street, London duBlin Viewing Bids enquiries CustoMer serViCes (highlights) +44 (0) 20 7447 7448 London Monday to Friday 08.30 to 18.00 Sunday 11 May 12.00 - 17.00 +44 (0) 20 7447 4401 fax Matthew Bradbury +44 (0) 20 7447 7448 Monday 12 May 9.00 - 17.30 To bid via the internet please +44 (0) 20 7468 8295 Tuesday 13 May 9.00 - 17.30 visit bonhams.com [email protected] As a courtesy to intending bidders, Bonhams will provide a london Viewing Please note that bids should be Penny Day written Indication of the physical New Bond Street, London submitted no later than 4pm on +44 (0) 20 7468 8366 condition of lots in this sale if a Thursday 22 May 14.00 - 19.30 the day prior to the sale. New [email protected] request is received up to 24 Friday 23 May 9.30 - 16.30 bidders must also provide proof hours before the auction starts. Saturday 24 May 11.00 - 15.00 of identity when submitting bids. Christopher Dawson This written Indication is issued Tuesday 27 May 9.30 - 16.30 Failure to do this may result in +44 (0) 20 7468 8296 subject to Clause 3 of the Notice Wednesday 28 May 9.30 - 12.00 your bid not being processed. [email protected] to Bidders. Live online bidding is available Ingram Reid illustrations sale number for this sale +44 (0) 20 7468 8297 Front cover: lot 108 21769 Please email [email protected] [email protected] Back cover: lot 57 with ‘live bidding’ in the subject Inside front cover: lot 13 Catalogue line 48 hours before the auction Jonathan Horwich Inside back cover: lot 105 £20.00 to register for this service Global Director, Picture Sales Opposite: lot 84 +44 (0) 20 7468 8280 [email protected] Please note that we are closed Monday 26 May 2014 for the Irish Representative Spring Bank Holiday Jane Beattie +353 (0) 87 7765114 iMportant inforMation [email protected] The United States Government has banned the import of ivory into the USA. -
Terry Frost, Madrigal (1949)
1 Searching for Pure Form: Terry Frost, Madrigal (1949) Matthew Rampley Collection: Leamington Spa Art Gallery and Museum This article explores the place of Terry Frost’s painting Madrigal (Leamington Spa Art Gallery and Museum) in his career, and its relation to abstract painting elsewhere in post- war Britain and beyond. Keywords: Terry Frost, abstract, modernism, post-war, British Madrigal (fig.1) is one of three paintings by Terry Frost in the collections of Leamington Spa Art Gallery and Museum, the other two being Orange Umber (1960) (fig.2) and Orange and Blue (1963) (fig.3). Frost (1915–2003) was one of the most prominent painters and printmakers working in post-war Britain, and his work was typified by his use of large juxtaposed blocks of colour, sometimes in harmonious arrangements but sometimes, too, in awkward contrasts that created various effects of tension. Frost was a leading representative of the generation of British abstract painters who came to artistic maturity in the 1960s and were associated with the artists’ colony in St. Ives, including Patrick Heron (1920–99), Peter Lanyon (1918–1964) and Roger Hilton (1911–75). Frost was a latecomer to art. Born in Leamington Spa, he attended occasional art classes as a teenager, but it was not until he was in his late 20s and a prisoner-of-war in Germany that he took to it more seriously, influenced by his fellow prisoner, the painter Adrian Heath (1920–1992). After the Second World War he studied in St. Ives and then in London at Camberwell School of Art, under William Coldstream (1907–87) and Victor Pasmore (1908– 1998). -
FS260111 Sale
PICTURES FIRST DAY’S SALE WEDNESDAY 26TH JANUARY 2011 PICTURES Not before 2.00pm Pictures will be on view on: Saturday 22nd January 9.00am to 1.00pm Sunday 23rd January 2.00pm to 4.00pm Monday 24th January 9.00am to 5.15pm Tuesday 25th January 9.00am to 5.15pm and on sale day. Enquiries: Martin Scadgell Tel: 01392 413100 Email: [email protected] Enquiries: Daniel Goddard Tel: 01392 413100 Email: [email protected] 61 351. Circle of James Nixon (1741-1812) Miniature portrait of a gentleman, head and shoulders with powdered hair, wearing a pale green jacket with brass buttons, oval, 3.2cm., in a plain beaded ormolu frame £300-500 351 352. Circle of Richard Cosway (1742-1821) Miniature portrait of a gentleman, head and shoulders with powdered hair tied in a ribbon, wearing a red coat and yellow waistcoat, oval, 4.1cm., in a plain gold frame £400-600 352 353. Attributed to Edward Miles (1752-1828) Miniature portrait of a gentleman, head and shoulders with fair hair, wearing a dark green coat and white stock, sky background, oval, 3.8cm., in a gold brooch frame £400-600 353 62 354. Attributed to Joseph Burrell (b.1770) Miniature portrait of a gentleman, head and shoulders wearing in dark blue coat, white waistcoat, shirt and cravat, oval, 8cm. £300-500 354 355. Patrick John McMorland (1741-c.1809) Miniature portrait of a gentleman, head and shoulders with powdered hair, wearing brown coat, white waistcoat and cravat, sky background signed with initials and dated 1796, oval, 7.5cm., in a plain gold case with hair plait and seed pearl reverse. -
Teacher Resource Notes – KS1-KS2 the Far and the Near International Art in St Ives 6 October 2012 – 13 January 2013
Teacher Resource Notes – KS1-KS2 The Far and the Near International Art in St Ives 6 October 2012 – 13 January 2013 These notes are designed to support KS1-2 teachers in engaging students as they explore the art work. As well as factual information they provide starting points for discussion, ideas for simple practical activities and suggestions for extended work that could stem from a gallery visit. To book a gallery visit for your group call 01736 796226 or email [email protected]. Season Overview This season Tate St Ives provides an opportunity to view St Ives art alongside British and International modernists such as Henri Matisse, Henry Moore and Jackson Pollock, as well as contemporary artists such as Yto Barrada and Nicholas Hlobo. Over fifty artists from 1900 to today, selected from Tate's global collection, are shown in a series of themed rooms. These open dialogues between the practice of St Ives artists, such as Patrick Heron, Barbara Hepworth, Trevor Bell, Sandra Blow and Alan Davie, and the historic modernist context, as well as contemporary relationships between Modernism and international art. The Heron Mall shows a sculpture by Yto Barrada, raising themes connected with a sense of place, including the aesthetic and political effects of tourism on a location. Gallery 5 considers the artist’s studio, both as a site for abstraction and as a means of framing views of the outside world. It includes paintings Patrick Heron made in his Porthmeor studio, as well as work by Pierre Bonnard and Georges Braque. Gallery 4 explores the connections between painting, Constructivism and architecture.