Frank James, Edward W

Frank James, Edward W. Poetas Fecha de nacimiento: Lugar de nacimiento: 1907 Escocia, Reino Unido Fecha de fallecimiento: Lugar de fallecimiento: 1984 San Remo, Italia Nacionalidad (originaria): Fecha de naturalización: Escocés Lugar de residencia: Período de residencia: Xilitla, SLP, México PROFESIÓN: Poeta y promotor del surrealismo TRAYECTORIA: Sus estudios los realizó primero en Eton y posteriormente en Le Rosey, Suiza; después en la Igle- sia de Cristo, en Oxford. Su primer trabajo serio fue la publicación de un libro de poemas de John Betjeman. Tras dejar Oxford, tuvo una corta carrera como entrenador diplomático en la embajada en Roma. Aparece en tres pinturas surrealistas: Cisnes reflejan elefantes, de Salvador Dalí, y en La Repro- ducción prohibida y El Principio del placer. Retrato de Edward James de René Magritte. La construcción del jardín escultórico “Las Pozas” costó alrededor de 5 millones de dólares. Para pagarlos, Edward James vendió su colección de arte surrealista con obras de Hieronymus Bosch (El Bosco), Salvador Dalí, Paul Klee, Leonora Ca- • The glass omnibus (El ómnibus de cristal), rrington, Pablo Picasso y Max Ernst, entre otros. poemas Se dice que Edward James decidió construir Las • The gardener who saw God (El jardinero que Pozas en Xilitla por una señal: su cuerpo fue cu- vio a Dios), poemas bierto en su totalidad por mariposas. • Las Pozas, proyecto de arquitectura • Swans reflecting elephants, my early years OBRA: (Cisnes reflejan elefantes, mi juventud), autobiografía • The bones of my hands (Los huesos de mis manos), poemas APORTACIONES RELEVANTES: Concepción, financiamiento y construcción del jardín escultórico “Las Pozas”, en el municipio de Xilitla, San Luis Potosí, México. Creación de la Fundación Edward James, cuya finalidad es descubrir y desarrollar nuevos talen- tos creativos a través del West Dean College. OTROS DATOS PERSONALES IMPORTANTES (Matrimonio, descendencia, etc.): Hijo de William James, magnate de la industria, fabricante de vías de tren. Hijo de Evelyn Forbes, miembro de la aristocracia escocesa. Fue mecenas de los pintores surrealistas Salvador Dalí y René Magritte. OBRAS Y SITIOS WEB CONSULTADOS: • Edward James. Wikipedia • Xilitla. Edward James.

Copy Link

Recommended publications

The Art Collection of Peter Watson (1908–1956)
099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement.
[Show full text]
Surrealism by Michael G
Surrealism by Michael G. Cornelius Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Like some other leaders Reprinted from http://www.glbtq.com of the surrealist movement, Salvador Dalí (above) was Surrealism is an artistic movement that grew out of Dadaism and flourished in Europe uncomfortably anti- shortly after the end of World War I. Influenced by the psychological writings of homosexual. Sigmund Freud (1856-1939) and Carl Jung (1875-1961), and their belief that the Photograph by Carl van workings of the mind can be discerned through the interpretation of dreams, Vechten, November 29, 1939. surrealists believed in freeing themselves of any conscious control that might impede Library of Congress their artistic expression. For them, art was an expression of the subconscious. Prints and Photographs Division. Surrealism quickly attained an avant garde status. Although enormously popular in Europe, surrealism, in an attempt to distance itself from normative expression, nonetheless allied itself with outsiders. As a result, homosexual communities and artists quickly accepted the new form of expression. The period after World War I in Europe was marked by great disruption and upheaval. The old political order had been shattered, and a tinge of hopefulness pervaded the continental artistic community. Dadaism, the forerunner to surrealism in which artistic works deliberately defied convention or comprehension, was heavily influenced by the ongoing war and was, consequently, a dark and negative type of expression. Surrealism grew out of Dadaism but also essentially grew away from it. Far from being negative, surrealism focused on positive expression. This combination of the realities of the aftermath of World War I and the dreamy hopefulness of the continent between the world wars helps account for the seemingly contradictory elements of surrealism as it attempted to reconnect seemingly disjointed ideals: light and dark, the conscious and the unconscious, hope and despair, rationalism and irrationalism, dream and fantasy.
[Show full text]
Copyright Statement
COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
[Show full text]
Comparative Literature, Spring 2008 Colt 480 Dada Surrealism T
1 COMPARATIVE LITERATURE, SPRING 2008 COLT 480 DADA SURREALISM T. AND THURS. 12:30—1:50 T.H.H 121 PROF. GLORA ORENSTEIN OFFICE: T.H.H 174 VOICE MAIL: 740—0100 E-MAIL: [email protected] In this course we will explore the Dada and Surrealist Movements in the arts. We will focus on each movement’s aesthetic philosophy and stylistic and conceptual innovations as they manifested in a variety of artistic media: poetry, film, fiction, theatre, painting, manifestos, happenings, and contemporary Neo-Dada and Neo surrealist literary and visual creations. Concepts and forms such as The Marvelous, Automatic Writing, Objective Chance (synchronicity), Black Humor, the Found Object, The Dream Object, The Exquisite Corpse, The Surrealist Object, The Surrealist Image, The Surrealist Game, The Happpening, The Dream Narrative, Communicating Vessels, Paranoic Critical Creations, Frottage, Surrealist Collage, The One in The Other, Panic Theatre/Ephemeras, and many other artistic techniques will be elucidated as they articulate the “convulsive beauty” of Dada and Surrealist art and writing internationally. The women of Surrealism, their work in art and literature, will be a major focus of the course. There is one important aspect of the course that I would like to stress. Throughout the semester I would like you to search the web and establish an extensive file on either Dadists or Surrealists in a country of your choice. Print out a collection of information on contemporary dada or surrealist artists in your selected country or region, and be prepared to hand in this collection on the last day of class. It will take the form of a Class Presentation and it may be the Field Work component of your final research paper/project.
[Show full text]
And Summer Schools
OCTOBERAPRIL – SEPTEMBER 2016 – Ma 2017RCH 2017 SHORT COURSES AND SUMMER SCHOOLS ART • CRAFT • GARDENING • MUSIC • TEXTILES • PhotographY • WOOD • MetalworK • CERAMICS A CENTRE OF EXCELLENCE, CONTENTS CREATIVITY AND Stay With Us 3 SUMMER SCHOOLS 41-43 TRANQUILITY Bursaries 4 TASTER COURSES 44-47 BASKETMAKING, CHAIR SEATING AND TEXTILES 48-54 WILLOW WORK 5-6 Embroidery, Stitch and Accessories 48-49 Leatherwork 50 BOOKS, PAPER AND LETTERING 7-8 Art Textiles 50-53 Bookbinding and Paper 7-8 Constructed and Woven Textiles 53-54 Calligraphy and Lettercutting 8 WOODWORKING AND FURNITURE MAKING 55-58 CREATIVE AND PROFESSIONAL DEVELOPMENT 9 Furniture 55-56 CREATIVE WRITING AND PUBLISHING 10 Wood, Carving and Turning 56-57 DRAWING 11-13 Picture Framing, Gilding and Upholstery 58 Musical Instrument Making 58 GARDENING 14-15 Garden Lectures 14 Visit Us – Talks, Concerts and Events 59-60 Garden Courses 14-15 DEVELOP YOUR SKILLS WITH FURTHER STUDY 61-62 THE EDWARD JAMES LEGACY Foundation Diploma in Art and Design 61 Your passion or interest will be transformed into a GLASS AND MOSAICS 16-18 The vision of founder and Surrealist Glass 16-18 Diploma in Art and Contemporary Crafts 61 deep and creative learning experience. Be guided patron Edward James, connects Mosaics 18 Continuing Professional Development in Conservation 62 today’s students with a rich heritage of Foundation, Diploma, MA and MFA 62 and inspired by our expert tutors, practicing arts, crafts and creative possibility. JEWELLERY AND ENAMELLING 19-21 Enamelling 19 Chronological List of Courses and Events 63-65 professionals with impressive reputations. Edward James, lifelong art collector and poet, inherited the West Dean Jewellery 20-21 Useful Information 66-67 Make Your Own Wedding Rings 21 House and Estate in 1912.
[Show full text]
From Nothingness to Dreams Dada and Surrealism from the Collection of the Museum Boijmans Van Beuningen Curated by Marco Vallora
Alba, Fondazione Ferrero from 27 October 2018 to 25 February 2019 From Nothingness to Dreams Dada and Surrealism from the Collection of the Museum Boijmans Van Beuningen Curated by Marco Vallora The exhibition “From Nothingness to Dreams. Dada and Surrealism from the Collection of the Museum Boijmans Van Beuningen” will take place at Ferrero Foundation in Alba from 27th October 2018 to 25th February 2019. It was conceived by Marco Vallora following an exhibition logic reflective of Surrealist suggestions, both in the way works are showcased and how art is no longer presented as a slumbering museum piece. In around ten sections with captivating titles, such as The Dada zero degree of art; Dreams, Eros, amour fou, erotic transgression; The unconscious, the double, the unsettling; Art and nature, man reinventing himself; Sade, Freud, Marx, disquieting muses of surreal living; Was there a Surrealist architecture?, and so forth… works of high quality and impact follow one another, in a sort of ghost-gallery of avant-garde fantastic imagination. Some can also be quite easily recognised, because they have been featured on the covers of our most cherished books (by Man Ray, Magritte, Dalí, Max Ernst, etc.). These works communicate with one another, in harmony or counterpoint, and follow a progression that is mostly thematic, paying attention to the chronology of events. Reflecting some problems and themes that help distinguish Dada’s nihilistic poetics from the more propositional one of Surrealism: chance, the aesthetic ugliness, dreams, the unconscious, the relation with ancient art, the connection between art and ideology. For those who really love art and enjoy unexpected beautiful things, the promising and well-renowned Dutch Museum Boijmans Van Beuningen in Rotterdam is a real gem of a collection.
[Show full text]
2020 Olympics of the Visual Arts 38Th Anniversary
2020 Olympics of the Visual Arts 38th Anniversary PROBLEM CATEGORIES DRAWING–Mark Making draw·ing: n. The art of representing objects or forms on a surface chiefly by means of lines. The focus of this year’s drawing problem is to challenge your team to display the many ways and techniques of making marks in your drawing entry. The subject matter is of your choosing, as well as the drawing medium/media. While originality and creativity are always important, so will be the diversity and creativity of your mark making in your final drawing entry. Research the many ways artists have used various marks and mark making to create interesting compositions. Discover how marks are used to imitate form and texture as well as convey emotion. Based upon your research create an original drawing using the various techniques you have discovered for mark making. The drawing may be of any size, shape, and drawing medium. Evidence of your research and brainstorming should be documented in a portfolio. Your portfolio is to be exhibited with the completed drawing. Research may include the elements and principles of design, perspective, sketches, reflections, written notes, and explorations in different drawing media. References for Drawing: Observation of works of art from throughout history. Visit museums within your community. Artists such as Rembrandt van Rijn, Johannes Vermeer, Albrecht Dűrer, Joan Miro, Henri Matisse, M.C. Escher, Michelangelo, Leonardo da Vinci, Gustave Doré, Aubrey Beardsley, Mary Cassatt, Paul Cezanne, Roy Lichtenstein, Frida Kahlo, Paul Klee, Claes Oldenburg, Robert Rauschenberg, Jasper Johns, James Rosenquist, Kathe Kollwitz, Jim Dine, Alexander Calder, Pablo Picasso, Georges Braque, Salvador Dali, Renee Magritte, Henri de Toulouse-Lautrec, Francisco Goya, André Masson, Vincent van Gogh, Andy Warhol, Norman Rockwell, Jamie Wyeth, Alice Neel, and Larry Rivers.
[Show full text]
The International Surrealist Exhibition 1936 by David Stent in Late 2016
© David Stent, 2018 Dalí / Duchamp in light of Edward James – The International Surrealist Exhibition 1936 By David Stent In late 2016, the discovery of a few sheets of paper in the Edward James Archive at West Dean College suggested a rare and important find. The previously uncatalogued pages combined sections of neatly transcribed text consistent, it would later transpire, with having been taken by dictation, with urgent brightly-coloured pencil scribbles in another hand. It soon became clear that the two texts constituted an English translation of the lecture given by Salvador Dalí at the International Surrealist Exhibition in London in July 1936, together with notes for his introduction to the audience by his friend and patron Edward James. Even incomplete, the importance of the document reflects the fact that few details of Dalí’s lecture have been known since the event, with inconsistent press reports giving only partial clues as to what its subject, ‘Authentic Paranoiac Phantoms’, might have involved. It also showed the degree to which James was involved in Dalí’s introduction to the public at the first major exhibition of Surrealism in Britain. Of course, James’ association with Dalí is well known, yet it was clear that the details and significance of his role at the International Surrealist Exhibition were still coming to light. James not only introduced Dalí but translated his infamous ‘diving suit’ lecture (indicative of his close relationship with the artist at the time) – the newly-discovered transcript allowing us to hear the artist’s words, albeit at one remove. It is likely that James purchased many of the works on display at the Burlington Galleries, helping to establish what would become one of the most significant collections of Surrealist art in the world.
[Show full text]
LEONORA CARRINGTON CURRICULUM VITAE Born 1917 Clayton-Le-Woods, Lancashire, United Kingdom Died 2011 Mexico City, Mexico SOLO EX
LEONORA CARRINGTON CURRICULUM VITAE Born 1917 Clayton-le-Woods, Lancashire, United Kingdom Died 2011 Mexico City, Mexico SOLO EXHIBITIONS 2020 Leonora Carrington: tu país, Fundación Mapfre, Madrid Spain; Museo Picasso Malaga, Málaga, Spain 2019 Leonora Carrington: The Story of the Last Egg, Gallery Wendi Norris Offsite, New York, NY 2018 Leonora Carrington: Magical Tales, Museo de Arte Moderno, Mexico City, Mexico; Palacio de Bellas Artes, Mexico City, Mexico; Museo de Arte Contemporáneo de Monterrey, Monterrey, Mexico 2015 Leonora Carrington: Transgressing Discipline, Tate Liverpool, Liverpool, United Kingdom 2014 Leonora Carrington: The Celtic Surrealist, Gallery Wendi Norris, San Francisco, CA 2013 Leonora Carrington: The Celtic Surrealist, Irish Museum of Modern Art, Dublin, Ireland 2008 The Talismanic Lens, Frey Norris Contemporary and Modern, San Francisco, CA Leonora Carrington. La mariée du vent., Maison de L'Amérique Latine, Paris, France 2007 Leonora Carrington, What She Might Be, The Dallas Museum of Art, Dallas, TX 1997 Leonora Carrington, Tokyo Station Gallery, Tokyo, Japan; Daimaru Museum, Umeda-Osaka, Japan; Hida Takayama Museum of Art, Takayama, Japan; Mie Prefectual Art Museum, Tsu, Japan 1995 Leonora Carrington: una retrospectiva, Museo de Arte Moderno de México, Mexico City, Mexico; Instituto Nacional de Bellas Artes, Mexico City, Mexico 1994 Leonora Carrington: una retrospective, Museo de Arte Contemporáneo de Monterrey, Monterrey, Mexico 1991 Aspectos del Surrealismo en México, Centro Cultural/Arte Contemporáneo,
[Show full text]
Edward James : War As (Surrealistic) Farce Didier Girard
Edward James : War as (surrealistic) Farce Didier Girard To cite this version: Didier Girard. Edward James : War as (surrealistic) Farce. Forum for Modern Language Studies, Oxford University Press (OUP), 2009, 10.1093/fmls/cqp125. halshs-02568933 HAL Id: halshs-02568933 https://halshs.archives-ouvertes.fr/halshs-02568933 Submitted on 10 May 2020 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. Journal: FORUM FOR MODERN LANGUAGE STUDIES Article Id: cqp125 Article Title: WAR AS (SURREALISTIC) FARCE First. Author: Didier Girard Corr. Author: Didier Girard AUTHOR QUERIES - TO BE ANSWERED BY THE CORRESPONDING AUTHOR The following queries have arisen during the typesetting of your manuscript. Please answer these queries by marking the required corrections at the appropriate point in the text. Q1 Please check that the author surnames have been correctly identified by a pink background. If this is incorrect, please identify the full surname of the relevant authors. Forum for Modern Language Studies Vol. 00,No.00, doi: 10.1093/fmls/cqp125 WAR AS (SURREALISTIC) FARCE 5 DIDIERGIRARD Q1 ABSTRACT The purpose of this paper is to show that using war (here, the Second World 10 War in Europe as fictionalised by Edward James in his 1939 surrealistic novel Richman, Poorman, Beggarman, Wop) as subject matter for fiction does not always aim to reveal heroic values and virtues, or even to sublimate collective human tragedies, but can also show nothing but a heterogeneous mindset that tackles festering ideologies which are on the decline and displaces them into a non- cathartic situation.
[Show full text]
Redalyc.Sir Edward James, Sociedad Y Naturaleza
RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas E-ISSN: 2395-7972 [email protected] Centro de Estudios e Investigaciones para el Desarrollo Docente A.C. México De la Fuente Rocha, Eduardo Sir Edward James, sociedad y naturaleza RICSH Revista Iberoamericana de las Ciencias Sociales y Humanísticas, vol. 5, núm. 10, julio-diciembre, 2016 Centro de Estudios e Investigaciones para el Desarrollo Docente A.C. Available in: http://www.redalyc.org/articulo.oa?id=503954317006 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Revista Iberoamericana de las Ciencias Sociales y Humanísticas ISSN: 2395-7972 Sir Edward James, sociedad y naturaleza Sir Edward James, society and nature Sir Edward James, sociedade e natureza Eduardo De la Fuente Rocha Universidad Autónoma Metropolitana, México [email protected] Resumen El presente trabajo estudia elementos de la vida del artista Sir Edward James, tales como conductas provenientes de su familia paterna y materna —esta última una mezcla de aceptación y rechazo—, con la finalidad de comprender mejor su imagen. James solía actuar a partir de rituales y apoyar a determinados artistas en el desarrollo de sus obras. Su tendencia a saltarse las normas era una manera de reconciliarse consigo mismo y de ordenar su psique, fragmentada desde que era un niño, para reencontrar su esencia humana. Palabras clave: arte, psicología, surrealismo, Xilitla. Abstract The present work studies elements of the life of the artist Sir Edward James, such as behaviors coming from his paternal and maternal family —this last a mixture of acceptance and rejection—, with the aim of understanding better its image.
[Show full text]
LEONORA CARRINGTON CURRICULUM VITAE Born 1917
LEONORA CARRINGTON CURRICULUM VITAE Born 1917 Clayton-le-Woods, Lancashire, United Kingdom Died 2011 Mexico City, Mexico SOLO EXHIBITIONS 2018 Leonora Carrington. Magical Tales, Museo de Arte Moderno, Mexico City, Mexico; Palacio de Bellas Artes, Mexico City, Mexico; Museo de Arte Contemporáneo de Monterrey, Monterrey, Mexico 2015 Leonora Carrington: Transgressing Discipline, Tate Liverpool, Liverpool, United Kingdom 2014 Leonora Carrington: The Celtic Surrealist, Gallery Wendi Norris, San Francisco, CA 2013 Leonora Carrington: The Celtic Surrealist, Irish Museum of Modern Art, Dublin, Ireland 2008 The Talismanic Lens, Frey Norris Contemporary and Modern, San Francisco, CA Leonora Carrington. La mariée du vent., Maison de L'Amérique Latine, Paris, France 2007 Leonora Carrington, What She Might Be, The Dallas Museum of Art, Dallas, TX 1997 Leonora Carrington, Tokyo Station Gallery, Tokyo, Japan; Daimaru Museum, Umeda-Osaka, Japan; Hida Takayama Museum of Art, Takayama, Japan; Mie Prefectual Art Museum, Tsu, Japan 1995 Leonora Carrington: una retrospectiva, Museo de Arte Moderno de México, Mexico City, Mexico; Instituto Nacional de Bellas Artes, Mexico City, Mexico 1994 Leonora Carrington: una retrospective, Museo de Arte Contemporáneo de Monterrey, Monterrey, Mexico 1991 Aspectos del Surrealismo en México, Centro Cultural/Arte Contemporáneo, Mexico City, Mexico Leonora Carrington, Galería de Arte del Auropuerto Internacional de la Ciudad de Mexico, Mexico City, Mexico Leonora Carrington: Paintings, Drawings and Sculpture 1940–1990, Serpentine
[Show full text]