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Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard. -
Painting, 1960
92 Fulham Road, London, SW3 6HR, United Kingdom - Tel: +44 (20) 7584 2200 - Web: www.godsonandcoles.co.uk Sandra Blow ( 1925 - 2006) Painting, 1960 P825 Height: 51 ¼ in (130cm) Width: 57 in (145cm) PROVENANCE Gimpel Fils £ 75000 EXHIBITION North Carolina Museum of Art, September 1964 DESCRIPTION Oil and sand on board Signed and dated verso S Blow 1960 ARTIST'S BIOGRAPHY Sandra Blow (1925 - 2006) was born in London and studied at the St Martins School of Art under Ruskin Spear from 1942 – 1946 and at the Academy in Rome from 1947-1948. In 1961 she won second prize for painting at the John Moores Liverpool exhibition and in the same year began teaching at the Royal College of Art. She has worked in a number of abstract styles, including gestural abstraction and Colour Field Painting, and she has experimented with adding various substances and or objects to the canvas. Sandra Blow considered herself an ‘academic abstract painter’, primarily concerned with such problems as balance and proportion – ‘issues that have been important since art began’. She has exhibited extensively all over the world, notably at The Institute of Contemporary Arts, The Tate Gallery, Camden Arts Centre, Gulbenkian Hall - Royal College of Art, The Hayward Gallery (London), The Royal Institute of Fine Arts (Glasgow), The Tate Gallery St Ives, The Newlyn Art Gallery (Cornwall), Galleria Origine, The Art Foundation (Rome), Palazzo Grassi (Venice), The Art Club (Chicago), Saidenburg Gallery, Albright Knox Gallery, Buffalo (New York), North Carolina Museum of Art, Raleigh (N. Carolina), The Carnegie Institute (Pittsburg), British Council Travelling Exhibitions to Canada, Australia & New Zealand and in The Stedelijk Museum (Amsterdam). -
Gwen John: an Artist and Her Teapot in a Man's World
Gwen John: An Artist and Her Teapot in a Man’s World Jocelyne Fletcher A common trend in scholarly discourse about female artists is to orient them as they relate to their male counterparts. This scholarship implies that a female artist is forever trying to meet a standard set by a ‘creative genius’, a dominant male. Feminist thinking has challenged this apparent necessity: Is it not possible to focus on the artistic production of a female artist independently? Might a talented woman stand alone in critical readings of her artwork? Or must we continuously refer to Artemesia Gentileschi only as she pertains to her father Orazio? Must Lee Krasner always be compared to Jackson Pollock? Georgia O’Keefe to Alfred Steiglitz? This essay will examine the case of the British artist Gwen John (1876-1939) who is nearly always considered in relation to the significant male relationships of her life. In this essay, I consider the view that women ought to be regarded as artists independently of their relationship to men. Seeking to go beyond Victorian era gender ideals by which women artists are understood to be derivative of and dependent on their male counterparts, in this essay I show that there are other reasons why certain male relations should be included in a discussion about a woman artist. The presence of Gwen John’s brother Augustus John and her lover Auguste Rodin in the dialogue surrounding her artwork undoubtedly stems from age-old gendered norms. The real significance of these relationships, in terms of influence on her artistic output, cannot be appreciated using these antiquated models. -
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. -
Mapping Gwen John: Lives, Lines and Images
• I N T R O D U C T I O N • Mapping Gwen John: Lives, Lines and Images Picking up beautiful children at Tenby, to draw and adore on the sands, we stood looking at the children, the sea and the shore … On leaving the Slade, I lived in a small room Over a mortuary in the Euston Road And then, alone, in a cellar in Howland Street making water-colours of cats. … Ida Nettleship, Gwen Salmond and I shared a top flat in the Rue Froidveau. I knew Rodin … well. Corresponded with Rilke Never met Proust. Attended Whistler’s School. … Dorelia came with me. Journeying by way of Bordeaux and Toulouse we made our way to Paris. … alone now, often alone alone, now, always. Pearce (1996, 67-7) n his poem To Dieppe: A Lifescape, Brian Louis Peirce (1996) has drawn a literary portrait for Gwen John, who irrupted as an event in my project of I writing a genealogy of women artists. Indeed, my interest in John’s life and work unfolded in unpredicted but passionate ways. In the beginning she was not even included in my genealogical archive. While working with fin-de-siècle women artists’ life documents however, I read Janet Wolff’s essay “Rodin, Rilke and Gwen John in Paris” (1994) and I instantly became interested in finding out more about the grey female figure in Wolff’s essay. A research 2 •NOMADIC NARRATIVES• grant from the Arts and Humanities Research Council and the University of East London allowed me to delve into John’s letters and papers in Wales and Paris and the rest is the book. -
Aspects of Modern British Art
Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces. -
View the Press Release
DAVIS & LANGDALE COMPANY, INC. 231 EAST 60TH STREET NEW YORK, NY 10022 PHONE 212 838 0333 FAX 212 752 7764 PRESS RELEASE / ART LISTING November 16, 2018 Woman in Green Coat and Black Hat Curled Up Sleeping Tortoise-Shell Cat Flowers and Foliage in Blue & Pink Vase Gouache on paper Wash and pencil on paper Gouache on paper 8 13/16 x 6 7/8 inches 8 5/8 x 9 7/8 inches 7 1/8 x 5 3/4 inches Probably executed1920s Executed 1904 - 1908 Probably executed during the late 1920s DAVIS & LANGDALE COMPANY, 231 EAST 60TH STREET, NEW YORK, announces its new exhibition: GWEN JOHN: WATERCOLORS AND DRAWINGS which will open Friday, November 16, and continue through Saturday, December 8, 2018. A reception will be held on Wednesday December 5, 2018 from 5pm – 7pm. This exhibition will be the final show at 231 East 60th Street; after January 1, 2019, Davis & Langdale will be open by appointment only at a new location. The exhibition will consist of twenty-five works on paper, all of which have just been released from the artist’s estate and have never been previously shown. They include gouaches of women and children in church, drawings of the poet and critic Arthur Symons and of the artist’s friend Chloe Boughton-Leigh, images of peasant boys and girls, watercolors of cats, still lifes, and landscapes. GWEN JOHN (1876 – 1939) is one of the foremost British artists of the twentieth century. Born in Wales, she was the sister of the also famous Augustus John. -
Llyfrgell Genedlaethol Cymru = the National Library of Wales
Llyfrgell Genedlaethol Cymru = The National Library of Wales Cymorth chwilio | Finding Aid - Letters of Augustus John, Ida John and Gwen John, (NLW MS 23549C.) Cynhyrchir gan Access to Memory (AtoM) 2.3.0 Generated by Access to Memory (AtoM) 2.3.0 Argraffwyd: Mai 13, 2017 Printed: May 13, 2017 Wrth lunio'r disgrifiad hwn dilynwyd canllawiau ANW a seiliwyd ar ISAD(G) Ail Argraffiad; rheolau AACR2; ac LCSH Description follows NLW guidelines based on ISAD(G) 2nd ed.; AACR2; and LCSH https://archifau.llyfrgell.cymru/index.php/letters-of-augustus-john-ida-john-and- gwen-john archives.library .wales/index.php/letters-of-augustus-john-ida-john-and-gwen-john Llyfrgell Genedlaethol Cymru = The National Library of Wales Allt Penglais Aberystwyth Ceredigion United Kingdom SY23 3BU 01970 632 800 01970 615 709 [email protected] www.llgc.org.uk Letters of Augustus John, Ida John and Gwen John, Tabl cynnwys | Table of contents Gwybodaeth grynodeb | Summary information .............................................................................................. 3 Hanes gweinyddol / Braslun bywgraffyddol | Administrative history | Biographical sketch ......................... 3 Natur a chynnwys | Scope and content .......................................................................................................... 4 Nodiadau | Notes ............................................................................................................................................. 4 Pwyntiau mynediad | Access points .............................................................................................................. -
1 H Downes 2019 Strawberries, Cream & Pimm's, Housman Room, 10Th July 2019 Notes from the Talk by Helen Downes on the Slad
Strawberries, cream & Pimm’s, Housman Room, 10th July 2019 Notes from the talk by Helen Downes on the Slade School of Fine Art and UCL Art Museum – the new rehang of the Housman Room Introduction Hello, it’s nice to be here this evening and to have the opportunity to tell you more about the paintings that surround you as you spend time in the room. All the works are from UCL Art Museum’s Slade Collection and I’ve been fortunate enough to work on various projects for UCL Art Museum, the most recent of which was Spotlight on the Slade Collections, a Paul Mellon Centre funded project which ran for three years between 2015-2018 - to catalogue and research the Slade collections. But this evening, I’m going to tell you a bit about the collection and its background, and about the works in this room. My talk will be in two parts – I’ll start with a brief, 10 minute introduction to the room and the works and then give you an opportunity to have a wander around before telling you a bit more about the prize system at the Slade and the works in this room. Introduction to the room, background to the Slade Collection at UCL Art Museum and orientation with the hang: As many of you will know, the room has recently been decorated and a new painting hang was curated by Dr Nina Pearlman, Manager of the Art Collections and Dr Andrea Fredericksen, Curator of the Art Collections. All the works on display are from UCL Art Museum’s collection. -
The Art Fund in 2014/15
The Art Fund in 2014 /15 The Art Fund in 2014/15 Report of the Board of Trustees Chairman’s welcome p3 Mission and objectives p4 Art Acquisitions p10 Joint acquisitions and tours p18 Curators p23 Gifts, bequests and legacies p24 Public fundraising appeals p26 Sector Art Happens p33 Art Fund Prize for Museum of the Year p34 Digital initiatives and new audiences p37 Community National Art Pass p41 Art Quarterly p43 Supporters p44 Resources Operations p51 Finance review p52 2 The Art Fund in 2014/15 3 Chairman’s welcome Ever since its foundation in 1903, the Art Fund has played a vital role in enhancing the health and quality of the UK’s museums and galleries, meeting the challenges of the hour whenever and wherever they have arisen. Budget cuts, the changing expectations of Since 2010, the Art Fund has supported We are doing all we can to help museums audiences, and the relentless development the curatorial profession by funding various attract, entertain and inform those who visit of new technologies are amongst the training and research opportunities. them. We believe in the power of art in problems – and opportunities – faced by In 2014 we gave £402,000, more than ever contemporary society and we are proud of the museum and arts sector today. We before, to this end – vitally important, in all we have done in its service in 2014, with have tried to help on all fronts: in 2014, our view, for the health and vitality of our the help of all of our supporters. alongside the grants for acquisitions that public art collections. -
Bonhams 1793 : Prints
Bonhams 1793 : Prints http://www.bonhams.com/auctions/19781/?list_grid_result=results&print_... Prints Auction 19781 London, Knightsbridge 16 May 2012, starting at 13:00 BST. Sessions This auction is now finished. If you are interested in consigning in future auctions, please contact the specialist department. If you have queries about lots purchased in this auction, please contact customer services. Auction highlights Sold for £13,750 inc. Sold for £8,750 inc. Sold for £8,125 inc. Sold for £5,000 inc. premium premium premium premium Henry George Rushbury, Christopher Richard David Hockney R.A. Patrick Hughes (British, RA, RWS, RE (British, Wynne Nevinson A.R.A. (British, born 1937) Paper born 1939) St. Ives 2007 1889-1968) An Extensive (British, 1889-1946) Les Pools (MCA Tokyo 234) Hand painted multiple with Collection Comprising Bibliophiles Drypoint, Lithograph in colours, lithography, 2007, signed etchings, drypoints and a 1931, on laid, signed in 1980, on Arches cover and numbered 4/45 in ... single wood engraving, pencil, from the ... paper ... various ... 1 Various Artists A Collection of Old Master, Eighteenth and Nineteenth Century Prints Including a loose sheet album of architectural £ 525 designs, theatrical scenes and some frontispieces such as 'Theatrum Sive Hollandiae' by H.Hondius, plus a collection of miscellaneous prints of portraits, religious, literary and mythological subjects, by various artists including S.Mulinari, W.Walker, J.Collyer, J.Macardell, on various papers, album size 285 x 233mm (11 1/4 x 9 1/8in) Coll -
After Palmer: a Pastoral Miscellany Trained Originally As an Art Historian, Sculptress and Graphic Illustrator at St
After Palmer: A Pastoral Miscellany Trained originally as an art historian, sculptress and graphic illustrator at St. Martin’s and at Cambridge, Julia Korner, L.S.I.A.D., left Christie’s auctioneers in 1997 after nearly 20 years in the field as a paintings specialist, with extensive knowledge of Old Masters, of British and Victorian and of European and American paintings of the 18th, 19th and 20th Century. In 1987 she set up the Maritime Department, the Frame sales, the Aeronautical Department and finally the Polar Sales and Exploration & Travel. At the same time, she was involved in the conservation of paintings, and the production and conservation of classic gilt and gesso frames and sculpture, all in her own studios. She set up her own business in 1997 to assist clients with all aspects of their collections. She also advises museums and private clients on conservation. She lectures for NADFAS, Christie’s Education, The Sotheby’s Institute, The National Maritime Museum and to Art Societies and has acted as a valuer for antiques’ road shows both at home and abroad. Julia Korner is an elected member of the British Antique Dealers’ Association and LAPADA - the Association of Professional Art and Antiques Dealers; the British Association of Paintings Conservator-Restorers, the Company of Arts Scholars, Dealers and Collectors, the Institute of Conservation, the International Institute for Conservation, the Fine Art Trade Guild, the Maritime Information Association, the Museums Association, and the Conservation Consortium Cover illustration: No. 7. Samuel Palmer, R.W.S (1805-1881), ‘The Forester’s Horn’ Fine Art Consultant, Maritime Specialist & Lecturer Conservation of Paintings, Frames and Sculpture After Palmer: A Pastoral Miscellany Julia Korner The River House, 52 Strand on the Green, London W4 3PD, United Kingdom (By appointment only) Tel: +44 (0)20 8747 1652 Mob: 07771 713980 Fax: +44 (0)20 8742 7419 E-mail: [email protected] www.juliakorner.com ARTISTS’ INDEX 1 Joshua Cristall, P.O.W.S.