DOCSLIB.ORG

Frank Martin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Frank Martin NATIONAL LIFE STORIES ARTISTS’ LIVES Frank Martin Interviewed by Melanie Roberts C466/58 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: C466/58/01-07 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Martin Title: Interviewee’s forename: Frank Sex: Male Occupation: Dates: 1914 – 2004 Dates of recording: 1997.08.11-13 Location of interview: Interviewee’s home Name of interviewer: Melanie Roberts Type of recorder: Marantz CP430 and two lapel mics Recording format: TDK C60 Cassettes F numbers of playback cassettes: F5904-F5910 Total no. of digitised tracks : 14 Mono or stereo: Stereo Additional material at the British Library : Copyright/Clearance: Full clearance. © The British Library Interviewer’s comments: © The British Library Board http://sounds.bl.uk Frank Martin C466/58/01 F5904A Page 1 F5904 Side A [The interview with Frank Martin on 11th of August 1997 at East Portlemouth in south Devon. Melanie Roberts interviewing.] Now tell me exactly your date of birth and where you were born. Yes. I was born at 2 o’clock in the morning, two days after Christmas, 1914, December the 27th 1914. And... [PAUSE] A rather significant date, with the war. With the war. Now the war of course impinged on my early years very much indeed. War had not long started, and I was at Portsmouth, that’s the naval base in southern Hampshire which was then seething with energy and ready for war. My immediate family, my father, his brothers and sisters, were all involved in the naval thing, and my grandfather was a great commander then, he was one of the first promoted commanders from the lower deck. Gosh. The second in fact. And of course he reigned supreme at Portsmouth and was in fact second in command of the Royal Duke, one of the greatest battleships of now preparing or even at sea at that moment, as I was born, conducting the war. Of course all the family around were involved with it, but the only memory I have of the war was at the age of about three I was picked up by my mother and the Venetian blinds of the bedroom were opened for me to see a Zeppelin passing over Portsmouth with the searchlights on it. Extraordinary sight, and that remained with me I must say all my life, that memory of the Zeppelin, and the bursting shells and things like that around us. And I can tell you more later of the Second World War of course, the last war, similar sort of experiences in a way, but let’s go back to my birth. I was born at, I remember the house number, 66 Cardiff Road, North End of Portsmouth, and I was the first of three born from that family, although my mother and father had both been married before, both their spouses had died, and they each had a child, so there were three already then. And two other sisters born later. But I didn’t see much of them actually, I didn’t know them very well, and by the time I was aware my sister had been farmed out to an uncle at Torquay to be a maid within his hotel, and my brother had been sent to Australia then with the groups of people, the young people they were sending out there at that time. So, © The British Library Board http://sounds.bl.uk Frank Martin C466/58/01 F5904A Page 2 Portsmouth then, I suppose by the time I was four years old, the war had just about finished, but nevertheless the energy and the things that went on around it carried on for many many years. I didn’t see much of my father, he was either away at the war or he had commissions to the Mediterranean mainly for two and two-and-a-half years at a time, and he had seemed to only come back for a few months and then he was off again. So a strange life, early life. We stopped at that address until I moved off, but nevertheless came my schooling. The elementary school I went to was literally at the end of the road. A very interesting elementary school, but with very unusual teaching methods. For instance, my first class I went to I remember very clearly, I was certainly dyslexic, not known as dyslexic then but in fact it was certainly something of that nature, but I was left-handed and made to write with my right hand, to the extent that they even tied my hand behind my back, strangely but nevertheless they did, or I got a rap across the knuckles if I was found with a pen in my left hand. I do remember in that particular class that we did some modelling with sort of Plasticine, so my first modelling lessons were with that class. Then as I moved through the school, the various forms, three to four to five, was then taught by a very good man indeed, a man named, I remember his name and I met him later, Ethelbert Harvey. He was a great teacher, he obviously understood my talents, he obviously felt too that I was unacademic, and art reigned supreme within whatever I got from him. But he was always urging me with the art, and the whole classroom walls were bedecked in my works, and also scripts, I remember I did a great deal of script, and he took with him some of that script, the sonnets of some sort I remember, done on parchment paper, and these were hung around the walls and went in annually for various prizes, what they call the Hobbies Prizes at Portsmouth Town Hall, and I seemed to win the prizes. Later in, much much later in life I did find him again and we started to communicate, and although in his latter eighties he did arrive there one day with his wife at my home at Hayling Island then, and said that he still had the sonnets on the wall, which was very interesting. But anyway, art at elementary school was my only training; I didn’t go to secondary school of any sort, and I joined art school when I was between 13 and 14, evening classes, and then later on to the major classes, which were then, what did they have, a drawing and modelling examination was all they had, the institutions had then. And I passed very well indeed after what was it, two years I think in modelling. They didn’t really have a sculpture department as such, we did a little bit of everything, but I seemed to emphasise, whatever I did was around the three dimensions rather than, although we did painting, painting and drawing, drawing a lot, a great deal of course. And so we went on with that course until I was 17. Modelling was...and then carving, I seemed to be one of the first to have carved in that particular department, and I had a mentor , a man who was working on the Ancient Monuments Department of the Office of Works, who was a friend, a friend of the family, and © The British Library Board http://sounds.bl.uk Frank Martin C466/58/01 F5904A Page 3 he was urging me to get in his service, and that was the restoration of ancient houses, ancient castles, at some time. And following that, he did give me some training in carving, and I carved a great deal in wood and stone, and did lettering, did an enormous amount of lettering. When I was about 17, 17½, he took me into his works, which was in fact to supervise the restoration of the Norman castle at the head of Portsmouth Harbour at Porchester, where we...we grouted the walls and made the whole thing safe, and the keep, a 200-foot high keep there, which previously, way back in the centuries, Neapolitan[sic] Wars, had houses French sailors, French army people, prisoners, and one could find around the walls then all the names cut into the walls of the dungeons. And later we made a sea wall around that, and as we dug the foundations for that wall I remember we were always turning up skeletons, obviously the French prisoners were thrown over the wall and onto the foreshore. I stopped with him for no more than about six months, and they understood that I was appropriate material to train as a supervisor for further monumental restoration work.
Load more

Recommended publications
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • TESS JARAY Present Lives and Works in London, UK 1957-60 Slade
    TESS JARAY Present Lives and works in London, UK 1957-60 Slade School of Fine Art, University College, London, UK 1954-57 Saint Martins School of Art and Design, London, UK 1938 Moved to UK 1937 Born in Vienna, Austria Public Collections Abbot Hall Art Gallery, Kendal, UK Arts Council Collection, London, UK Contemporary Art Society, London, UK Graves Art Gallery, Sheffield, UK Museum of Contemporary Art, Belgrade, Serbia Museum des 20 Jahrhunderts, Vienna, Austria Städtisches Museum, Leverkusen, Germany Sundsvall Museum, Sundsvall, Sweden Szépmüvészeti Múzeum, Budapest, Croatia The British Council, London, UK The British Museum, London, UK The Fogg Art Museum, Harvard University, MA, US The Sainsbury Centre, Norwich, UK The Tate Collection, London, UK The Victoria and Albert Museum, London, UK University College London, London, UK Walker Art Gallery, Liverpool, UK Western Australia Art Gallery, Perth, Australia Whitworth Art Gallery, Manchester, UK Worcester City Art Gallery and Museum, Worcester, UK Select Solo Exhibitions 2018 Tess Jaray: Aleppo, Exile Gallery, Berlin, Germany 2017 Tess Jaray, Early Paintings, Sotheby’s S|2, London, UK Tess Jaray, Djanogly Art Gallery, Nottingham, UK Tess Jaray: Into Light, Marlborough Fine Art, London UK Tess Jaray: The Light Surrounded, Albertz Benda, New York, NY 2016 Tess Jaray: Dark & Light, Megan Piper, London, UK 2015 Extra Terrestrial, East Gallery NUA, Norwich University of the Arts, Norwich, UK 2014 The Landscape of Space, Djanogly Art Gallery, Nottingham, UK 2013 Drawings, Karsten Schubert,
    [Show full text]
  • Frank Bowling Cv
    FRANK BOWLING CV Born 1934, Bartica, Essequibo, British Guiana Lives and works in London, UK EDUCATION 1959-1962 Royal College of Art, London, UK 1960 (Autumn term) Slade School of Fine Art, London, UK 1958-1959 (1 term) City and Guilds, London, UK 1957 (1-2 terms) Regent Street Polytechnic, Chelsea School of Art, London, UK SELECTED SOLO EXHIBITIONS 1962 Image in Revolt, Grabowski Gallery, London, UK 1963 Frank Bowling, Grabowski Gallery, London, UK 1966 Frank Bowling, Terry Dintenfass Gallery, New York, New York, USA 1971 Frank Bowling, Whitney Museum of American Art, New York, New York, USA 1973 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1973-1974 Frank Bowling, Center for Inter-American Relations, New York, New York, USA 1974 Frank Bowling Paintings, Noah Goldowsky Gallery, New York, New York, USA 1975 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, William Darby, London, UK 1976 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA Frank Bowling, Recent Paintings, Watson/de Nagy and Co, Houston, Texas, USA 1977 Frank Bowling: Selected Paintings 1967-77, Acme Gallery, London, UK Frank Bowling, Recent Paintings, William Darby, London, UK 1979 Frank Bowling, Recent Paintings, Tibor de Nagy Gallery, New York, New York, USA 1980 Frank Bowling, New Paintings, Tibor de Nagy Gallery, New York, New York, USA 1981 Frank Bowling Shilderijn, Vecu, Antwerp, Belgium 1982 Frank Bowling: Current Paintings, Tibor de Nagy Gallery,
    [Show full text]
  • The Barts Guild Calendar 2017
    BBaarrttss GGuuiilldd Friends of St Bartholomew’s Hospital since 1911 OOnnee HHuunnddrreedd aanndd FFoouurrtthh AAnnnnuuaall RReeppoorrtt aanndd AAccccoouunnttss 2015-16 The Barts Guild Calendar 2017 The Guild Calendar 2017 will be on sale in the Guild Shop, KGV Building, from early October 2016; or by post at £5 plus £2.50 P&P for up to two copies (UK only), from Barts Guild Shop, King George V Building, St Bartholomew’s Hospital, London EC1A 7BE, or via the Guild website. Please send cheque with order, payable to ‘Barts Guild’ Barts Guild Friends of St Bartholomew’s Hospital since 1911 Annual Report and Accounts 2015-16 Contents The Guild of the Royal Hospital of St Bartholomew …………………………. 2 Report of the Trustees …………………………. 3 Our Corporate Supporters …………………………. 13 The Chairman writes …………………………. 14 Guild Members and Volunteers 2016 …………………………. 15 Annual General Meeting 2015 Minutes …………………………. 17 Accounts for the period 1 April 2015 – 31 March 2016 ………………………….. 21 Report of the Honorary Treasurer … 21 Independent Examiner’s Report … 22 All Funds Year ending 31 March 2016 … 23 Balance Sheet … 24 Notes to the Accounts … 25 www.bartsguild.org The Guild wishes to express grateful thanks to TFW Printers ([email protected]) for their help in producing this Annual Report Annual Report edited by Sue Boswell 1 THE GUILD OF THE ROYAL HOSPITAL OF ST BARTHOLOMEW (also known as The Barts Guild) Registered Charity No 251628 Affiliated to ATTEND – Enhancing Health and Social Care. Locally PATRON OFFICERS OF THE GUILD 2015-16 HRH The Duke
    [Show full text]
  • Michael Kidner Interviewed by Penelope Curtis
    NATIONAL LIFE STORIES ARTISTS’ LIVES Michael Kidner Interviewed by Penelope Curtis & Cathy Courtney C466/40 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: C466/40/01-08 Digitised from cassette originals Collection title: Artists’ Lives Interviewee’s surname: Kidner Title: Interviewee’s forename: Michael Sex: Male Occupation: Dates: 1917 Dates of recording: 16.3.1996, 29.3.1996, 4.8.1996 Location of interview: Interviewee’s home Name of interviewer: Penelope Curtis and Cathy Courtney Type of recorder: Marantz CP430 and two lapel mics Recording format: TDK C60 Cassettes F numbers of playback cassettes: F5079-F5085, F5449 Total no.
    [Show full text]
  • David Hockney
    875 North Michigan Ave, Chicago, IL 60611 Tel. 312/642/8877 Fax 312/642/8488 1018 Madison Avenue, New York, NY 10075 Tel. 212/472/8787 Fax 212/472/2552 DAVID HOCKNEY Born in Bradford, England, 1937. Lives and works in Los Angeles, California. EDUCATION 1953-57 Attended Bradford College of Art 1959-62 Attended Royal College of Art 1964 Teaching Position at University of Iowa 1965 Teaching Position at University of Colorado 1966-67 Teaching Position at University of California, Los Angeles & Berkeley SELECTED SOLO EXHIBITIONS 2016 David Hockney: I Draw, I Do, The MAC, Belfast, Ireland (forthcoming) The Yosemite Suite, L.A. Louver, Venice, California The Yosemite Suite, Annely Juda Fine Art, London David Hockney: 77 Portraits, 2 Still Lifes, Royal Academy of Arts, London, United Kingdom David Hockney: The Yosemite Suite, Pace, 537 West 24th Street, New York, New York. David Hockney: Six Tales from the Brothers Grimm, Gallagher & Turner, Newcastle, United Kingdom David Hockney: From the Beginning, River and Rowing Museum, Henley on Thames, United Kingdom 2015 – 2016 Hockney’s Double Portraits, Tate Britain, London, United Kingdom The Arrival of Spring, Fondation Vincent van Gogh Arles, Arles, France 2015 David Hockney, Works on Paper, Paul Kasmin Gallery, New York, New York David Hockney: Early Drawings, Offer Waterman, London, United Kingdom The Arrival of Spring in Woldgate, Galerie Lelong, Paris, France David Hockney: Painting and Photography, Annely Juda Fine Art, London, United Kingdom; traveled to L.A. Louver, Venice, California [cat.]
    [Show full text]
  • Frank Bowling Obe, Ra Cv
    FRANK BOWLING OBE, RA CV Born February 1934 Bartica, Essequibo, British Guiana Education 1959-1962 Royal College of Arts, London Slade School of Arts, London University 1957-1959 Regent Street Polytechnic, Chelsea School of Art Solo Exhibitions 2019 Retrospective, Tate Britain, London, UK (forthcoming) More Land then Landscape, Hales London, UK (forthcoming) 2018 Towards the Light, Christian Larsen, Stockholm, Sweden Make it New, Alexander Grey Associates, New York, USA Mappa Mundi, Irish Museum of Modern Art, Dublin, Ireland; Sharjah Art Foundation, Sharjah, UAE 2017 Mappa Mundi, Haus der Kunst, Germany Fishes, Wishes in Summertime Blue, Hales Gallery, London, UK Metropolitanblooms, Hales Project Room, New York, USA 2016 New White Paintings, Hampstead School of Art, London, UK 2015 Frank Bowling: The Poured Paintings, Hales Gallery, London Frank Bowling: Map Paintings, Dallas Museum of Art, USA Frank Bowling: Right Here. Right Now. Triangle Space and Cookhouse Galleries, Chelsea College of Art, London, UK Frank Bowling, Marc Selwyn Fine Art, California, USA 2014-2015 Traingone, Paintings by Frank Bowling 1979-96, Spritmuseum, Stockholm, Sweden 2014 Frank Bowling: At 80, Spanierman Modern, New York, USA 2013 The Map Paintings 1967-1971, Hales Gallery, London Paintings 1967-2012, Spanierman Modern, New York, USA 2012 Drop, Roll, Slide, Drip… Frank Bowling’s Poured Paintings 1973–8, Focus Display, Tate Britain, London, UK Frank Bowling New Paintings, Spanierman Modern, New York, NY, USA London, 7 Bethnal Green Road, E1 6LA. + 44 (0)20 7033
    [Show full text]
  • Consuming Fantasies: Labor, Leisure, and the London Shopgirl
    Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page i CONSUMING FANTASIES Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page ii Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page iii Consuming Fantasies: LABOR, LEISURE, AND THE LONDON SHOPGIRL, 1880–1920 Lise Shapiro Sanders The Ohio State University Press Columbus Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page iv Copyright © 2006 by The Ohio State University Press. All rights reserved. Library of Congress Cataloging-in-Publication Data Sanders, Lise, 1970– Consuming fantasies : labor, leisure, and the London shopgirl, 1880–1920 / Lise Shapiro Sanders. p. cm. Includes bibliographical references and index. ISBN 0-8142-1017-1 (alk. paper) — ISBN 0-8142-9093-0 (cd-rom) 1. English literature—19th century—History and criticism. 2. Women sales personnel in literature. 3. English literature—20th centu- ry—History and criticism. 4. Women sales personnel—England— London—History. 5. Working class women—England—London— History. 6. Department stores—England—London—History. 7. Retail trade—England—London—History. 8. Women and literature— England—London. 9. London (England)—In literature. 10. Sex role in literature. I. Title. PR468.W6S26 2006 820.9'3522—dc22 2005029994 Cover design by Jeff Smith. Type set in Adobe Garamond. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Sanders_FM_3rd.qxp 1/19/2006 10:23 AM Page v CONTENTS List of Illustrations vii Acknowledgments ix Introduction 1 1.
    [Show full text]
  • The London Gazette, December 28, 1906. 9165
    THE LONDON GAZETTE, DECEMBER 28, 1906. 9165 gate-street, E.G., George Banbury, Esquire, Vernon William Frank Dickins, 29, Argyll- 23, Old Broad-street, E.G., Sir Henry Seymour street, W., Alfred Gilbey, 173, Oxford-street, W., King, K.C.I.E., M.P., 65, Cornhill, E.G., Edwin Newman Gilbey, 173, Oxford-street, W., William Samuel Montagu, Esquire, M.P., 60, Old Broad- Crosbie Gilbey, 173, Oxford-street, W., Arthur street, E.G., The Right Honourable Viscount Nockolds Gilbey, 173, Oxford-street, W., Henry Milner, 47, Duke-street, St. James's, S.W., Walter Gilbey, 173, Oxford-street, W., Edgar William Hardy King, F.I.C.A., 13, Basinghall- Salter Crowe, 192, Regent-street, W., Frederic street, E.G., Howard Chatfeild Clarke, 63, Bishops- James Walker, 18, Carnaby-street, W., Edward gate-street Within, E.G., Alexander Sutherland Charles Foster, 54, Pall Mall, S.W., John Bodman Harris, 6, St. Helen's-place, E.G., Francis Formby Carrington, 130, Regent-street, W., William Back, 36, New Broad-street, E.G., Daniel Clewin Carrington Smith, 130, Regent Street, W., Griffith, 8, Victoria-avenue, Bishopsgate-street John Churchill, 7, Great Marlborough-street, W., Without, E.G., Sir George Joseph Woodman, Augustus Churchill, 7, Great Marlborough-street, Knight, J.P. (Deputy), Jewry House, 27 and 28, W., Lord Kinnaird, 10, St. JamesVsquare, Old Jewry, E.G., Charles Thomas Harris, J.P. S.W., Guy Francis Lakin, 8, King-street, St. (Deputy), 39, Fenchurch-street, E.G., William James's, S.W., Arthur Charles Driver, 23, Pall Henry Liversidge, Ship Tavern-passage, Leaden- Mall, S.W., Robert Manning Driver, 23, Pall hall Market, E.G.
    [Show full text]
  • JEFFREY STEELE (Born 1931) Is a British Abstract Painter
    JEFFREY STEELE (born 1931) is a British abstract painter. He grew up in Cardiff, Wales. During the 1950s he experimented with re- presentational styles. In Paris in 1959 he encountered the work of geometric abstractionists such as Victor Vasarely and Max Bill, and adopted a lifelong abstract approach. For eight years he worked purely in black and white and was identified with the Op-art movement. He has participated in more than 100 group exhibitions in Europe and the Americas and had 17 one-man shows and been featured in many groundbreaking shows, including the Responsive Eye, at MoMA and Dynamo, at the Grand Palais in Paris. He lectured in fine art in Portsmouth, Hampshire, from 1968 to 1989. His work is kept in many major museums including: Tate Britian, London; Victoria and Albert Museum, London; Museum of Contemporary Art, Buenos Aires; Walker Art Centre; National Museum of Wales, Cardiff; British Museum, London, etc. SELECTED SOLO EXHIBITIONS 1961 -Institute of Contemporary Arts, London 1963-Dillwyn Gallery, Swansea, Wales 1964 -Regional College of Art Gallery, Manchester -Grabowski Gallery, London 1966- McRoberts and Tunnard, London 1967-Sheffield University Art Gallery 1974 -Lucy Milton Gallery, London -Galerie Média, Neuchâtel 1976-Le Disque Rouge, Brussels 1977-Galerie Gilles Gheerbrant, Montreal -Galerie Swart, Amsterdam 1978 - Galerie Swart, Amsterdam 1979 -Galerie Lydia Megert, Bern 1989 -Galleria Seno, Milan 1992 -Clare Hall, Cambridge 1998 -Musée des Beaux-Arts, La Chaux-de-Fonds, Switzerland 2008 -Association Maison Blanche,
    [Show full text]
  • Biography and Career Exhibitions Exhibition Titles Are Given Where
    Biography and career Exhibitions Exhibition titles are given where these are known. Much of the original information is from Peter Bird’s biographical account, which has been added to where more material has come to light. Catalogues, leaflets and pamphlets relating to some of the exhibitions mentioned can be found in the V&A archive: V&A AAD 1997/18. All exhibitions are in the U.K unless otherwise mentioned. One-person exhibitions are mentioned, otherwise references are to group shows, which means that Skiöld, at the most, may have exhibited only 2/3 works each time. In the main catalogue, exhibitions of named works are listed where these are known, based on information in exhibition lists and catalogues.1 Skiöld’s first significant one-person exhibition in the U.K was at the Curwen Gallery in 1968. Education and early career Skiöld was born in Stockholm, 18 March 1923. She came from a wealthy family who were partners in a shipbrokers firm: Skiöld & Lundberg AB. She was the eldest of 4 surviving children and had 2 brothers and one sister. She grew up in Stockholm and Saltsjöbaden, an elegant seaside town, 20km South-East of Stockholm, on the outskirts of which, her family had a country house. She attended the Saltsjöbaden Samskola and went on to study at the Tekniska Skolan, Stockholm (now the Konstfackskolan - University College of Arts, Crafts and Design), enrolling on the 1st September 1942. She attended for 2 years in the Lower School, but did not complete her studies in the Higher School (3 years).
    [Show full text]
  • 'Reforming Academicians', Sculptors of the Royal Academy of Arts, C
    ‘Reforming Academicians’, Sculptors of the Royal Academy of Arts, c.1948-1959 by Melanie Veasey Doctoral Thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy of Loughborough University, September 2018. © Melanie Veasey 2018. For Martin The virtue of the Royal Academy today is that it is a body of men freer than many from the insidious pressures of fashion, who stand somewhat apart from the new and already too powerful ‘establishment’.1 John Rothenstein (1966) 1 Rothenstein, John. Brave Day Hideous Night. London: Hamish Hamilton Ltd., 1966, 216. Abstract Page 7 Abstract Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, ‘The Post-war Expansion of State Patronage’, investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, ‘The Royal Academy Sculpture School’, examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques.
    [Show full text]