Ben Nicholson: from the Studio
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Sculpting Lives S1E1, Barbara Hepworth
Sculpting Lives podcast transcript Series 1, Episode 1: Barbara Hepworth This document is an accessible transcript of the podcast audio. Subscribe and listen: https://audioboom.com/posts/7525504-sculpting-lives-barbara-hepworth [music] Sara Matson: She managed her brand, fair play. Eleanor Clayton: A normal person from Wakefield; A remarkable artist but a remarkable woman. Stephen Feeke: Hepworth was odd because she didn't see herself as a feminist at all and didn't see herself as “I'm a pioneering woman”. She just felt she was a pioneering sculptor. Barbara Hepworth: I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one's been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society. [music] Jo Baring: Hello, and welcome to Sculpting Lives the podcast by me, Jo Baring. Sarah Victoria Turner: And me, Sarah Turner. Jo, this is our first podcast and episode. Why are we doing this? Jo Baring: We met in our professional lives. You are Deputy Director of the Paul Mellon Centre, and I am Director of the Ingram Collection. We have a shared interest in art, but we realised when we met that we are really fascinated by sculpture in particular. Also, during the course of our discussions, we realised that women artists and women sculptors, in general, are less commercially successful than men, less represented in national institutions, museums, possibly have less gallery shows and we really wanted to unpick why that happens. -
Download Our Exhibition Catalogue
CONTENTS Published to accompany the exhibition at Foreword 04 Two Temple Place, London Dodo, by Gillian Clarke 06 31st january – 27th april 2014 Exhibition curated by Nicholas Thomas Discoveries: Art, Science & Exploration, by Nicholas Thomas 08 and Martin Caiger-Smith, with Lydia Hamlett Published in 2014 by Two Temple Place Kettle’s Yard: 2 Temple Place, Art and Life 18 London wc2r 3bd Museum of Archaeology and Anthropology: Copyright © Two Temple Place Encountering Objects, Encountering People 24 A catalogue record for this publication Museum of Classical Archaeology: is available from the British Library Physical Copies, Metaphysical Discoveries 30 isbn 978-0-9570628-3-2 Museum of Zoology: Designed and produced by NA Creative Discovering Diversity 36 www.na-creative.co.uk The Sedgwick Museum of Earth Sciences: Cover Image: Detail of System According to the Holy Scriptures, Muggletonian print, Discovering the Earth 52 plate 7. Drawn by Isaac Frost. Printed in oil colours by George Baxter Engraved by Clubb & Son. Whipple Museum of the History of Science, The Fitzwilliam Museum: University of Cambridge. A Remarkable Repository 58 Inside Front/Back Cover: Detail of Kitagawa Utamaro (1753-1806), Komei bijin mitate The Polar Museum: Choshingura junimai tsuzuki (The Choshingura drama Exploration into Science 64 parodied by famous beauties: A set of twelve prints). The Fitzwilliam Museum, University of Cambridge. Whipple Museum of the History of Science: Thinking about Discoveries 70 Object List 78 Two Temple Place 84 Acknowledgements 86 Cambridge Museums Map 87 FOREWORD Over eight centuries, the University of Cambridge has been a which were vital to the formation of modern understandings powerhouse of learning, invention, exploration and discovery of nature and natural history. -
The M.O.M.A. and Great Britain
THE MUSEUM OF MODERN ART November 18, 1959 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 THE MUSEUM OF MODERN ART AND GREAT BRITAIN The Museum of Modern Art, which has just announced a campaign to raise 25 million ( dollars for additional building and program funds, has played an important role in worldwide f cultural exchange since its founding in 1929. This activity has been increased in recent years I with the establishment of the International Program, a special department in the Museum de- I voted to cultural exchange* The importance of this activity to men and women all over I America is attested by the fact that the Museum's Program is now under the auspices of an I international Council composed of community leaders and art patrons from many parts of the I country. The Museum from its early years has carried on an active exchange program with I Great Britain which began with the acquisition of works by British artists. Among the sculp- I tors represented in the Museum Collections are: Kenneth Armitage, Reg Butler, Lynn I Chadwick, Jacob Epstein, Barbara Hepworth, Henry Moore and Eduardo Paolossi. Painters I include, among others: Francis Bacon, John Bratby, Alan Davie, Luclan Freud, Gwen John, I Wyndham Lewis, Ben Nicholson, John Piper, Patrick Scott, Walter Sickert, Graham I Sutherland and John Tunnard. The number of exhibitions devoted to British art have included the comprehensive ' I one-man show of Henry Moore held in 1947. It contained both sculpture and drawings, many I lent from public and private collections in Great Britain. -
The Roundhouse of International Spirits’
‘the roundhouse of international spirits’ Hans Arp, Raffael Benazzi Julius Bissier Ben Nicholson Hans Richter Mark Tobey Italo Valenti in the Ticino 17 January - 15 March 2009 Teachers’ Pack Contents • Introduction to the exhibition and maps • History of the arts in the Ticino region • Friendships between the artists • Image, key questions and biography for each artist • Themes and shared techniques to consider 'the roundhouse of international spirits' Arp, Benazzi, Bissier, Nicholson, Richter, Tobey, Valenti in the Ticino 17 January - 15 March 2009 'The landscape ... is entirely magical and with the kind of visual poetry which I would like to find in my painting.' Ben Nicholson The natural beauty of the Ticino, around the famous tourist spots of lakes Maggiore and Lugano had long attracted artists and intellectuals. Writing to a friend in 1962, German painter Julius Bissier described the area of Ascona and Locarno, where he was then living, as 'the roundhouse of international spirits'. By the early 1960s a remarkable group of artists had settled in the area. Hans Arp and Hans Richter returned, having first visited in the 1910s. Julius Bissier, Italo Valenti, Ben Nicholson and Felicitas Vogler arrived in search of better living conditions and new inspiration. The American painter Mark Tobey, based in Basel and a friend of many of these artists, regularly visited. The Locarnese, as it is known locally, became a thriving intellectual hotspot, with a strong sense of community - so much so that Arp liked to refer to it as 'el kibbutz'. These artists shared ideas and swapped works and the period produced rich results. -
Art and Life
Resource Notes – for teachers and group leaders Art and Life is an exhibition of paintings and pottery produced between 1920 and 1931 by artists Ben Nicholson, Winifred Nicholson, Christopher Wood, Alfred Wallis and William Staite Murray. All the artists knew each other personally, exhibited or worked together and shared similar values in terms of making art. Jim Ede, creator of Kettle's Yard, was a friend and a supporter of these artists, who played a central role in shaping his taste and approach to life. Their artwork makes up a key part of the Kettle’s Yard permanent collection. Art and Life shows British painting during a period of change, when representational painting was replaced by a more gestural, ‘felt’ abstraction. Painting was no longer about producing a technically accomplished representation of the real world, but about expressing 'lived' experience, through colour, form and movement. The process of making art came to be about the spiritual as well as the visual; about vitality, Winifred Nicholson, Autumn Flowers on a experience and intuition and re-connecting the Mantlepiece,1932. Oil on wood panel, 76 x person with life through art. 60cm. Private Collection © Trustees of Winifred Nicholson The Artists Winifred and Ben Nicholson grew up in an environment that gave them access to artists, artworks and intellectual society. Although working closely together, Winifred and Ben's paintings were quite different. Winifred's emphasis was strongly on colour and light whereas Ben focused more on line, muted colours and abstract, simple forms. Christopher Wood met the Nicholsons in 1926 and became a close friend, living with them for periods of time in Cumbria and St Ives, Cornwall. -
Welcome to the Laing Art Gallery and Articulation
WELCOME TO THE LAING ART GALLERY AND ARTICULATION The Laing Art Gallery sits in the heart of Newcastle City Centre and opened its doors in 1904 thanks to the local merchant Alexander Laing who gifted the gallery to the people of Newcastle. Unusually, when the Laing Art Gallery first opened, it didn’t have a collection! Laing was confident that local people would support the Gallery and donate art. In the early days the Gallery benefitted from a number of important gifts and bequests from prominent industrialists, public figures, art collectors, and artists. National galleries and museums continued to lend works, and, three years after opening its doors, the Laing began to acquire art. In 1907, the Gallery’s first give paintings were purchased. Over the last 100 years, the Laing’s curators have continued to build the collection, and it is now a Designated Collection, recognised as nationally important by Arts Council England. The Laing Art Gallery’s exceptional collection focuses on but is not limited to British oil paintings, watercolours, ceramics, and silver and glassware, as well as modern and contemporary pieces of art. We also run temporary exhibition programmes which change every three months. WELCOME TO THE LAING ART GALLERY! Here is your chosen artwork: 1933 (design) by Ben Nicholson Key Information: By Ben Nicholson Produced in 1933 Medium: Oil and pencil on panel Dimensions: (unknown) Location: Laing Art Gallery Currently on display in Gallery D PAINTING SUMMARY 1933 (design) is part of a series of works produced by Nicholson in the year of its title. The principle motif of these paintings is the female profile. -
Sort. Stack. Overlap. Overview
SORT. STACK. OVERLAP. PURPOSEFUL PLAY + ARTFUL LEARNING AGES 4-5 YEARS OLD OVERVIEW: This lesson plan will teach young learners about abstract art, shapes, and color. Instructing from Ben Nicholson’s painting 16 December 1939, students will have the opportunity to look at the relationship of shapes and colors as they overlap in a composition. Students will also create their own painting applying simple arrangements onto wooden panels with paint and tape. OBJECTIVES: The Learner Will (Bloom’s Taxonomy Verbs): ● Identify colors, shapes, and patterns in works of art ● Experiment with one shape to create different shapes ● Create a minimalist painting using shape, color, and overlapping GRAM COLLECTION CONNECTIONS: Ben Nicholson was born in Denham, Buckinghamshire. He was the son of two famous artists, William Nicholson and Mabel Pryde. In his early years, he attended the Slade School of Art. He lived in many different places throughout his lifetime, some of which were: Switzerland, France, Italy, England, Cumberland, and Cornwall. Nicholson was known as the first abstract painter in England. He was an English artist whose austere geometric paintings and reliefs were among the most influential abstract works in British art. His artwork was abstract and used figuration with cool, harmonious colors, subtle textures and precise interlocking shapes. Nicholson’s earliest paintings were still lifes that were influenced by the works of his father. During the 1920s he began painting in figurative and abstract works inspired by Post Impressionism and Cubism. He produced his first geometric and abstract reliefs in 1933. He first exhibited in 1919, at the Grosvenor Gallery and Grafton Galleries. -
Joys of the East TEFAF Online Running from November 1-4 with Preview Days on October 30 and 31
To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp ISSUE 2463 | antiquestradegazette.com | 17 October 2020 | UK £4.99 | USA $7.95 | Europe €5.50 koopman rare art antiques trade KOOPMAN (see Client Templates for issue versions) THE ART M ARKET WEEKLY [email protected] +44 (0)20 7242 7624 www.koopman.art Main picture: Jagat Singh II (1734-51) enjoying TEFAF moves a dance performance (detail) painted in Udaipur, c.1740. From Francesca Galloway. to summer Below: a 19th century Qajar gold and silver slot for 2021 inlaid steel vase. From Oliver Forge and Brendan Lynch. The TEFAF Maastricht fair has been delayed to May 31-June 6, 2021. It is usually held in March but because of the ongoing coronavirus pandemic the scheduled dates have been moved, with the preview now to be held on May 29-30. The decision to delay was taken by the executive committee of The European Fine Art Foundation (TEFAF). Chairman Hidde van Seggelen said: “It is our hope that by pushing the dates of TEFAF Maastricht to later in the spring, we make physical attendance possible, safe, and comfortable for our exhibitors and guests.” Meanwhile, TEFAF has launched a digital marketplace for dealers with the first Joys of the East TEFAF Online running from November 1-4 with preview days on October 30 and 31. Two-part Asian Art in London begins with Indian and Islamic art auctions and dealer exhibitions Aston’s premises go This year’s ‘Islamic Week’, running from 29-November 7. -
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. -
Artist in Surgery: Barbara Hepworth's Hospital Drawings
Artist in surgery: Skiagram (1949). Barbara Hepworth © Bowness Barbara Hepworth’s Hospital Drawings 26 The Pharos/Summer 2019 Don K. Nakayama, MD, MBA Dr. Nakayama (AΩA, University of California, San her artistic sensibilities. She spent much of that time in a Francisco, 1977) is Professor in the Department of children’s hospital in Southwest England observing sur- Surgery at University of North Carolina School of Medicine gery and interpreting the activity in the operating theatre at Chapel Hill, NC. through her art. An alternative title for the interval be- tween “artist in landscape” and “artist in society” might be arbara Hepworth (1903–1975), a modernist sculp- “artist in surgery.” tor of the mid-20th century known for her smooth, ovoid, fenestrated figures, created a series of life- Early years Blike drawings of surgeons and operating room (OR) scenes Born in Wakefield, Yorkshire, Hepworth remembered that capture, in her words, “the extraordinary beauty of riding with her father in his motorcar as he made his purpose and coordination between human beings all dedi- rounds as a county surveyor. Once they escaped the in- cated to the saving of life.” 1 dustrial boroughs where the earth seemed, in her words, Hepworth reimagined the surgeons and sisters (the “distant hills wreathed with indigo smoke that the very outdated term used in England for surgical scrub nurses earth seemed to be exhaling,” 1 their drive through the and technicians, then almost all women) as sculptural hilly landscape became a physical experience of “contours forms within surgical caps and gowns, engaged in com- of fulnesses and concavities, through hollows and over positions of coordinated effort. -
Paper Barassi
UNIVERSITY MUSEUMS IN SCOTLAND CONFERENCE 2004 The collection as a work of art: Jim Ede and Kettle's Yard Sebastiano Barassi Curator of Collections Kettle’s Yard, University of Cambridge [email protected] The significance of a collection depends upon a wide range of value judgements. And indeed ‘significance’ itself is a multifaceted term, which can refer to the mere quality of having a meaning as well as imply a hierarchical determination. In this paper I would like to propose a definition of the significance of a collection based upon ideas developed for art criticism and exemplified by the history of the creation of Kettle’s Yard. *** In his 1914 book Art , Bloomsbury writer and critic Clive Bell thus outlined the notion of ‘significant form’: “What quality is shared by all objects that provoke our aesthetic emotions? In each, lines and colours combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions. These relations and combinations I call ‘Significant Form’; and ‘Significant Form’ is the one quality common to all works of visual art.” Bell’s definition became the founding principle of Formalism, a doctrine that has since grown out of fashion among art historians and museum professionals. However, I would like to suggest that the notion of ‘significance’ as the ability to stir emotions, can usefully be applied to collections (not only art collections) to help define their role in today’s society. I hope that the story of the creation of Kettle’s Yard will provide a helpful example. Kettle’s Yard was created in 1956 by Harold Stanley Ede, who was known to his friends as Jim. -
Outsidein Catalogue Lores 03
1 Published on the occasion of the exhibition Outside In at Pallant House Gallery, Chichester 4 August–8 November 2009 First published in 2009 by Pallant House Gallery Pallant House Gallery 9 North Pallant Chichester West Sussex PO19 1TJ United Kingdom www.pallant.org.uk www.outsidein.org.uk Copyright © The Authors 2009 All images © The Artists © National Portrait Gallery, London: 6 Designed by David Wynn Set in Foundry Sterling All rights reserved. No part of this catalogue may be reproduced, stored in a retrieval system or transmitted in any form without the prior permission of the publisher and copyright owners. The catalogue contributors assert their moral rights to be identified as the authors of their texts. Cover Image Ashley Reaks, Colin Slames's 50th Birthday Party (detail), Collage, pen and ink Monitors kindly supplied by Headline Sponsor of the Year 2009 Surrey and East and West Sussex Museum Service 2 Outside In: A National Event by Stefan van Raay 3 'You don't need to be taught to create.' by Marc Steene 4 Scottie Wilson by Simon Martin 6 Step Up by Gillian Birtchnell 7 Catalogue of Works 29 Thank You 1 Outside In: A National Event Since the early twentieth century, the terms Art Brut or Outsider Art have been used to describe art produced at the edges of society. These artists have little or no contact with the institutions of the mainstream art world; they rarely receive any formal recognition and training despite producing art of a high quality that is both highly personal and idiosyncratic. Outside In is a groundbreaking project which was set up by Pallant House Gallery in 2006 and which invites debate on this overlooked subject.