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Partnerships: an NMDC Briefing
Partnerships: an NMDC briefing Museums of all sizes and types regularly work in partnership to deliver collaborative projects with other museums, educational establishments, and heritage and community organisations across the country. Many of these partnerships are based around the loan of objects, including from national museums, but others focus on developing new public programming, sharing skills and expertise, education and learning, and working with communities. Museums continue to adapt the focus and nature of partnership working as a way of managing the impact of cuts to public funding and developing greater resilience. Museums loan thousands of objects to other museums across the UK every year as part of mutually beneficial collaborative projects. In 2012/13, DCMS-sponsored museums lent objects to 2727 venues in the UK (a marked increase from 1530 in 2008/09).i Examples include: Star object loans: National Gallery Masterpiece tour (sponsored by Christie's) opened with Manet's The Execution of Maximillian at The Beaney in Canterbury. It was seen by nearly 21,000 people before moving on to Barnard Castle and Coventry. Until 2016, one major National Gallery painting will tour each year. Loans of local significance: the loan of the Lindisfarne Gospels from the British Library to Durham Cathedral in 2012 generated £8.3m in economic benefit and was visited by 100,000 peopleii; Long-term loans to provide content for a museum or historic house: apart from one locomotive, the entire collection of locomotives and stock on display at STEAM in Swindon is a long-term loan from the National Railway Museum. Larger museums and specialist collections tour complete exhibitions to venues around the country. -
NEWSLETTER National Trust Issue 107 Winter 2018 £1 (Free to Members) from the Chairman John James a Happy New Year to You All
The Friends of Osterley Park In support of the NEWSLETTER National Trust Issue 107 Winter 2018 £1 (free to members) from the Chairman John James A Happy New Year to you all. We finished our programme for 2017 with a Christmas Lunch in the Brewhouse. It was a lovely occasion, with the café providing an excellent meal. The year also ended well for the House and Park, as they won the Running Awards 2018 for Best 10K Run in Greater London. The property have also concluded the staff and volunteer survey, with 170 completing it, an increase on last year. An innovation has been a trial allowing dogs into the gardens and to the stable café (a limited number at a time). The trial is running from 6th November 2017 to 23rd February 2018. The Halloween Pumpkin Festival was a great success. 2,000 pumpkins were sold, 11,000 individual marshmallows were packed and sold at the fire pits. It was also hugely successful for catering and retail. Another success was achieving the membership targets for the year. I mentioned in the Autumn newsletter the advert that Mike Doran was able to place on the website of Reach. It led to our finding a new Membership Secretary in Keith Rookledge. We welcome him to the Friends’ committee. Margaret Friday again arranged some very interesting London visits, to the Museum of Garden History and to the Jewel House, Westminster. Our coach trips continue to be well attended and the September visit was to the Shuttleworth Collection, Old Warden and in October to Sudeley Castle. -
St. Paul's Church, Scotforth
St. Paul’s Church, Scotforth Contents Summary 2 Our Vision 3 Who Is God Calling? 3 The Parish and Wider Community 4 Church Organization 7 The Church Community 8 Together we are stronger 10 Our Buildings 11 The Church 12 The Hala Centre 13 The Parish Hall 14 The Vicarage 15 The Church Finances 16 Our Schools 17 Our Links into the Wider Community 20 1 Summary St Paul’s Church Scotforth is a vibrant and accepting community in Lancaster. The church building is a landmark on the A6 south of the city centre, and the vicarage is adjacent in its own private grounds. Living here has many attractive features. We have our own outstanding C of E primary school nearby with which we have strong links. And very close to the parish we also find outstanding secondary schools, Ripley C of E academy and two top-rated grammar schools. In addition Lancaster’s two universities bring lively people and facilities to the area. Traveling to and from Scotforth has many possibilities. We rapidly connect to the M6 and to the west coast main train line. Our proximity to beautiful countryside keeps many residents happy to remain. We are close to the Lake District, the Yorkshire Dales, Bowland forest, Morecambe Bay, to mention just a few such attractions. Our Church is a welcoming and friendly place. Our central churchmanship is consistent with the lack of a central aisle in our unusual “pot” church building! Our regular services (BCP or traditional, in church or in the Hala Centre) use the Bible lectionary to encourage understanding and action, but we also are keen to develop innovative forms of worship. -
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, -
The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. -
In William Lethaby's Architecture, Mysticism and Myth (1891)
Deborah van der Plaat The Significance of the "temple idea" in William Lethaby's Architecture, Mysticism and Myth (1891) Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004) Citation: Deborah van der Plaat, “The Significance of the ‘temple idea’ in William Lethaby's Architecture, Mysticism and Myth (1891),” Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004), http://www.19thc-artworldwide.org/spring04/282-the-significance-of-the-qtemple- ideaq-in-william-lethabys-architecture-mysticism-and-myth-1891. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2004 Nineteenth-Century Art Worldwide Plaat: The Significance of the "temple idea" in William Lethaby‘s Architecture, Mysticism and Myth (1891) Nineteenth-Century Art Worldwide 3, no. 1 (Spring 2004) The Significance of the "temple idea" in William Lethaby's Architecture, Mysticism and Myth (1891) by Deborah van der Plaat In Architecture, Mysticism and Myth (1891), the English architect and theorist William Lethaby (1857-1931) developed a syncretic theory of modern architectural invention in which the subjective world of the 'imagined' is reconciled with the objective or 'known'. Lethaby's thesis was motivated by a desire to work the contrasts generated from John Ruskin's (1819-1900) Victorian imagination into a systematic theory of design. The vehicle which enabled this reconciliation was the temple idea, an architectural construct demonstrating the two ways of seeing inherent in mythic man's [sic] engagement with nature and its subsequent translation into the architectural form. -
Ealing Council Sites Included
Appendix 1 Water, Wastewater and Ancillary Services procurement - Ealing Council sites included Site name Site address Postcode Smith's Farm Community Centre 61 Hotspur Road, Northolt UB5 6TN Northolt Park Play Centre Newmarket Avenue, Northolt UB5 4HB Westside Young People's Centre Churchfield Road, Ealing W13 9NF Woodlands Park Pond Woodlands Avenue, London W3 9BU High Lane Allotments High Lane, London W7 3RT Queen Annes Gardens Allotments Queen Annes Gardens, London W5 5QD Blondin Allotments 267-269 Boston Manor Road, Brentford TW8 9LF Carmelita House 21-22 The Mall, London W5 2PJ Ealing Alternative Provision Compton Close, Ealing W13 0LR Sunlight Community Centre London W3 8RF Short Break Services 62 Green Lane, Hanwell W7 2PB South Ealing Cemetery South Ealing Road, Ealing W5 4RH Pitzhanger Manor House & Gallery Walpole Park, Ma:oc -ane, -ondon W5 5EQ North Acton Playing Fields Noel Road, Acton W3 0JD Hanwell Zoo (Brent Lodge Park) Church Road, London W7 3BP Horizons Centre 15 Cherington Road, Hanwell W7 3HL Hanwell Children's Centre 25a -aurel 0ardens, Hanwell W7 3JG Perceval House 14-16 Uxbridge Road, Ealing W5 2HL 2 Cheltenham Place London W3 8JS Framfield Road Allotments Framfield Road, London W7 1NG Ealing Town Hall New Broadway, Ealing, London W5 2BY Popes Lane Allotments Popes Lane, Ealing W5 4NT Southall Recreation Ground Stratford Road, Southall UB2 5PQ Public Convenience, Maytrees Rest Gardens South Ealing Road, Ealing W5 4QT Horn Lane Allotments Horn Lane, London W3 0BP Tennis Courts Lammas Park, London, W5 5JH Michael -
Bianca De Divitiis, 'Plans, Elevations and Perspective Views of Pitzhanger Manor-House', the Georgian Group Journal, Vol. Xi
Bianca de Divitiis, ‘Plans, elevations and perspective views of Pitzhanger Manor-House’, The Georgian Group Journal, Vol. XIV, 2004, pp. 55–74 TEXT © THE AUTHORS 2004 PLANS, ELEVATIONS AND PERSPECTIVE VIEWS OF PITZHANGER MANOR-HOUS E BIANCA DE DIVITIIS t the beginning of John Soane published the mock ruins which Soane had built in the garden APlans, Elevations and Perspective Views of between and . Pitzhanger Manor House, and of the Ruins of an Dance’s wing was the only part of the property edifice of Roman Architecture … in a letter to a friend acquired by Soane in which he decided not to . Formed of eight pages of text and twelve demolish or modify, not only because in his judgement illustrations, this was a work on the suburban villa in it deserved to be kept in comparison with the rest of Ealing which he had designed and built for himself the building which lacked ‘symmetry and character’, and his family between and . Thirty years but also because it was a testimonial to the beginning had therefore passed since Soane had designed of his career, as it was the first project on which he Pitzhanger, and over twenty since he had sold the had worked when, as a boy of fifteen, he had first villa in to a General Cameron. His reasons for assisted his master (Fig. ). publishing a work on Pitzhanger and the way in As early as , only two years after the new which he described it are the subject of this article. house had been completed, and possibly encouraged The title of the work would imply that Soane was by the need to carry out some alterations and publishing materials produced in . -
Arts and Crafts Movement
Arts and Crafts movement "Artichoke" wallpaper, by John Henry Dearle for William Morris & Co., circa 1897 ((Victoria and Albert Museum).). The Arts and Crafts movement was a British and American aesthetic movement occurring in the last years of the 19th century and the early years of the 20th century.. Inspired by the writings of John Ruskin and a romantic idealization of the craftsman taking pride in his personal handiwork, it was at its height between approximately 1880 and 1910.. It was a reformist movement that influenced British and American architecture,, decorative arts,, cabinet making,, crafts, and even the "cottage" garden designs of of William Robinson or or Gertrude Jekyll. Its best-known practitioners were William Morris,, Charles Robert Ashbee,, T. J. Cobden Sanderson,, Walter Crane,, Nelson Dawson,, Phoebe Anna Traquair ,, Herbert Tudor Buckland,, Charles Rennie Mackintosh,, Christopher Dresser ,, Edwin Lutyens,, Ernest Gimson,, William Lethaby,, Edward Schroeder Prior ,, Frank Lloyd Wright,, Gustav Stickley,, Charles Voysey,, Christopher Whall and artists in the Pre-Raphaelite movement.. In the United States, the terms American Craftsman, or Craftsman style are often used to denote the style of architecture, interior design, and decorative arts that prevailed between the dominant eras of Art Nouveau and Art Deco, or roughly the period from 1910 to 1925. Contents [[hide]] •• 1 Origins and key principles •• 2 History of the movement •• 3 Influences on later art oo 3.1 Europe oo 3.2 United States •• 4 References •• 5 External links Origins and key principles The Oregon Public Library in Oregon, Illinois, U.S.A. is an example of Arts and Crafts in a Carnegie Library. -
Walpole Park ESOL Information Leaflet
POD WALK WALPOLE PARK Present day walks on Ealing’s past Designed for adults for whom English is an additional language WALPOLE PARK - WALK FOR ENGLISH LEARNERS - WALK PARK WALPOLE ARCHWAY ENTRANCE 1 POD WALK 3 MATTOCK LANE 4 2 7 This walk takes you around MATTOCK LANE ENTRANCE seven key areas in the park, 5 each location is numbered on the map.Follow the numbers on the map to complete the tour. 6 The leaflet is accompanied by a podwalk available to download as an mp3 from: www.ealing. MAP gov.uk/pmgwalpole/walks. 1 From Top to Bottom CULMINGTON 2 Show home ROAD ENTRANCE Walpole Park Walpole 3 Creating Illusions 4 A Tragic Story 5 Feast and Banquetes 6 Views LAMMAS PARK GARDENS ENTRANCE 7 Sir Johns Character Welcome to Walpole Park, one of Ealing’s best-loved parks and home to Pitzhanger Manor. It has been a public park and free for everyone to use since 1901 but has a long history with many owners before that, including Sir John Soane, architect of the Bank of England. We have developed a tour of the park and house for people learning English to show some of the stories we found most interesting and to give you a taster of Walpole Park and Pitzhanger Manor’s history. This leaflet has been developed by a group of English learners and is accompanied by a podwalk available to download as an mp3 from www.ealing.gov.uk/ pmgwalpole/walks. INTRO Walpole Park Walpole This walk starts under the archway on Mattock Lane, where you can look at Pitzhanger Manor. -
The Recommended Reading Lists of Alfred Lawrence Kocher and the Beauty of Utility in 1920S America
2020 volume 17 | issue 1 In Search of a Cultural Background: The Recommended Reading Lists of Alfred Lawrence Kocher and the Beauty of Utility in 1920s America Mario Canato Abstract The modernist architect and critic, Alfred Lawrence Kocher, proposed and commented on many bibliographical ref- erences in the Architectural Record in the years 1924-25. Recent studies on American architecture of the 1920s and 1930s have recognized the peculiar character of modernism in the United States and have gone in search of its cultural and social roots. However, Kocher’s extensive lists have so far been completely overlooked. They were based for the most part on the correspondence he exchanged with a number of American and British architects and George Bernard Shaw: he had sent to them a circular letter, asking for recommendations on texts on background literature that a young architect should know. The unpublished correspondence that Kocher had with Louis Sullivan and the 19 texts on “Aesthetics and Theory of Architecture” are analyzed in particular by the author. Although from 1927 onwards Kocher became a passionate supporter of European rationalist architecture, his bibli- ographies cannot be considered a conscious foundational literature on modernism and modernity. They rather give an idea of the ‘cultural trunk’ on which the discussion on modern European architecture was going to be grafted; they help to illuminate the scene on which American architects moved in the mid-1920s. In some of the texts, the pragmatic notion of utility shines through, as − sometimes connectedly − does the concept of a creative act as a free, ‘natural’ act, which derived from American transcendentalism. -
The Victorian Period
THE VICTORIAN PERIOD When King William IV died in the winter of 1837 his niece Victoria was to be crowned Queen at the age of 19. Victoria was born in 1819 the daughter of Edward, Duke of Kent, George III ‘s fourth son (Bly1971) , she married Prince Albert in 1840 . Little did she know she was about to embark on one of the longest and most auspicious reigns of English regal history. There are many reasons for this , on a political level ( Collins 1979 ) states “… her sense of vocation did much to restore the prestige of the British monarchy” . On a technological level this was a period in which heavy engineering was to flourish, “ …the harnessing of steam, gas and electricity, of the development of travel, large hotels , postage and newspapers , telegraphs , tramcars and underground railways (Bly1971). Victoria came to the throne just after it was recommended that the Palace of Westminster should be redesigned in the now fashionable Gothic and Elizabethan styles. Augustus Welby Pugin helped to design these new Houses of Parliament along with Sir Charles Barry between 1836 and I843 level (Collins 1979)(Price 1978). Railway stations colleges, and town halls rose up all over the country with gothic style arches and pierced wrought iron work. This new “gothic mania” (Price 1978) found its main outlet in churches. “The Rector of Buckland in Devon went so far as to pull down the genuine medieval church in his parish and replace it with a new, very ornate, very Gothic structure which was consecrated in 1863” (Price 1978). Architects were still the main impetus behind furniture design as they had been since about 1750 (Hayward 1936).