DOCSLIB.ORG

Base Bail Go M P S 1'Resilient

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Base Bail Go M P S 1'Resilient GRAND RAPID! NOT Ho\f WfWiY The LKmiEu is onjoyingji stea Puhlisiied lor [jeupio \vL > know a growth of circulation, strictly upon good thing when they j it an I aie its merits :h a dollnr-pcr year paper willing to pay a fair price for it. that's worth more money. "Is the THE LOWELL LEDGER No oOc-on-lhf 1 11 !• i" 1!:., h. o n*. host toogood tor you? II" not" ONE DOLLAR A YEAR AND WORTH MORE VOL XVIJ;. LOWELL, MICHIGAN, AUGUST 19,1909 NO. 9 r the imm ofCbis Bank tPo/vtr Take an active inter- Out' K«'S(Mirc»'S to hr Drvrloprtl to I In* i'lcasant (iatheriiiK- of old Ili.IKls For All Who Buy Med- In South Host on. est in its affairs and Limil. J icine. Be cautioo. ol the The loiirth Miimial reunion ofj (rive close attention to The Wi'slfi-n Michigjin l)i'Vfl- medicine that's advertiser: to opment Hiireuu hns heen or«rnn- ! 1 lie '"oltl boys mid «iirls" ol" ihc Firoil ji( iho MoUuhIihI ('liurrli Nrxt Sur.«lny ICv (Mliii£—The { the details of its man- izetlforihe jmrpose of dcvt'lop- Will l.c- select school \v;is lit'ltl in the cure everylhinrr T if r.ot Fi«|it will Iip 1*umIio«I ail Alon^ llu* Linr j Soul h 1'oston (ir.'inji'e hall. Tnes- aofement. Here arc ing western Michi.ufin. This it the way with jirojioses to ilo in several wnys. dny. Aau'iist IT. 'I'liirtv-two their names. i'Mrst . liy advert isinii; t he ini'i its The first local option mass meeting for Lo\m-11 t(»\vnship I he school \\!i> 1.'iii<:hi l»y Miss Kvn While, wlio i.~ now of the region in every le.uitMinnie will be held at tlie Metiiodist rlmivli next Sundav evening at fficxatt Remedies ,1. s. Uer«ln T. A Murphy mannner, Mild ^condlv. bv . , . ,. .Mrs. I!. II. limit ol"S:ii-:in:ir. The NV. T. rmiitnn II. A. IVrkham bringing about contlitions ihnt I ':30 0 clock- All the voters ol Lowell townslni are invited biiildiiiji' in which l lit- t-XfH-jscs - 15. ,1. KlaiiittrMii II VanDyko will result in incrensin^ I he i especially to this first mectinu v ;ilh tl bv the township local were helil wms ! he Iioiih- o| the I here a speci e; tk for scln»>1 in tlit* t)lil (In vs. F \V lltnyan A. NV. Wwks wenlth producing power <>1 11"'! option committee. Tlie following prograin has lie en arranged: • A WORD OF nplion commitlw. x ..v,- v ..,,1,1 ,||,vs l>. (5. Look \V. A. WaltR people ulreMtly in t' ' each and everv n ill- Tlie Mdvert isinu' is 1o be tlolit Music by the Methodist choir. ; iiirls." with their families were WARNING They are remedo a ran r . it .i r \ r •• • i i - i. e ii by I'urnishing the newspnper SliiL injr. Campaign Song", to the tune o! •'Marching Thro'| present ami |»ariook ol an I- There are a lot of harmful tooth depend or» • you - " ' !1 ornttiralee chicUeeliickenn 1pi piee 'limii-rdinner. wil Ii all press with inlereslinu remliiiLi" Cieorgia. pns'.ts and powders on the market City State Bank n'garding the lerriiory c«»vt its Mccessories. Ml'tcr whii-h ihf expect of th: si; » a! Lecture, "?\fy Ivxperience Unring Mv Western Triji in f ull of g; ;i and acid and other impuri- by a special piibliculion fonlnin- followin^ pro«:rMni was nivi-n: 1 tit , These preparations are not only ways do. Should you be the Lowell, Michigan ing n mnp of euch county in I In Prohibition Territorv." by Kev. K'ussell 11. liieady. In this Tin p resit lent. Mrs. 11 nut. un ve n splcndiil tnlk. Her subifi-i wns worthless, bat harmful, and Injure the least b; district, and ;il Iruelive illusli-u- lecture Mr. r»ready will deal with the fnllowiny t|uestious: teeth and gums. tions.by n bi^exhibit ol lrnit nl ••("Imnji'e." AmoiiLi' other things 1 To what extent (lops Prohibition prohibit ? promptly . t I nitetl States Lnnti ninl Irriun- slit' smid tlint of t he ft »riy jtupils r Sold on! tion l-Aposition in riiica^o tin 2 Is the saloon a curse to the work in,L man ? of t hirty-t wo yearsMji'o. but ninf 5 coming fall, by mnkin^ ;i series 3 Mow are the banks in piohibition territory; who tleposits lire dfMtl; st'vi'ii niMtrimoni.il Antiseptic Tooth Powder 3 of displays in the Inr^e cnslt iimtflies were niMtle anions ilie tnd I Watches i PARKER PENS is the ono dental preparation that wo the money, the working man or the saloon keeper? forty, nnii of these none IniVf as o go> 3 cities mikI distributing julvertis- can recommend to you. It is abso- C J Does prohibition hurt the prosperity of a town and is the yi't been uninadf. in<i' mntter at tne suint lutely pure—notlang injurious in it—• Iroin SI 3t> n]i SELL bermne'th,, EXCEL! " I bmsekeepnii' a < a i \it."" The home missionnry work is Liquor Trafic ICver a Legitimate Ijiisincss ? and what is just as important, it is Mrs. Snininy Tut-Ufr. and to be accomplished by I'nrnishiiiLi- entirely effective. It destroys all the "Z/n ire 5 How about the jails, and crime in prohibition territorv. Uecitatitm. by Anna Taylor. Come in and let us explain the ^Isystenmtic instruction P-nnlin,-: germs of ducay, keeps the mouth do tlie results show that, the saloons arc mamifactnring our Sonjr. by Irina ( ill.-y. principles of the Lucky Curve 3nhe best methods of aiirnaillnral clean, the breath pure and sweet, and Membei P. Dro: and horticultmal tlevt'lopmeiit. Ilecitntion. ••(iliosts." by Mi» boys into criminals .' insures beautiful while teeth. ? I Clocks and Self Filler Pens. Price SI.50 3 Mud by opening U|) new niMi kets. Uudd of Mt>iTui. who rct-fived Assoc... ica. 3 b What are the results of Prohibition as shown in dry ter- Largt decorated tins, 25c. to Sb.OO. eucoura<iinLi' the estMblishment • , , . ^roa^ applause n iit I M II encore. mm M .00 up 3 .. ritory that I visited, lor the yrorerv. lor tin; dry ^onds mcr-! responding with m recitation "ii- ofcallnin^'• factories, and seem im iu^i" the best possible I ranspt»rta- chant, and all the legitimate lines of trade ? t it leil "Senior P.oys." Instrnmontal solo. V'-ra limit. tion facilities. 7 What is there in the argument that prohibition over- (leorge 1]. Howe, manager of I'ajier. .School Ijeminiseenees. throws a man's liberty, that it is his own business if he de- % | We make a specialty of fit- | the UureMii. goes into the lieltl Mrs. Itla fai^iish. CLOSING 01 $ iMgMin I his week Mini ms nipidly sires to let the saloon ruin him ? Lettei's were read from several ms he cmn, will call upon the city S What do such signs as these indicate as to the fate of the old scholars who were unable !»• i | ting glasses properly. Mini vilhige boMrds of t rmle that be present. saloon in America, as, o,ir present laws compelling certain ! s have not yet been seen ami from Oflicers lor the ensuing year 3 the encoura«renienl that has been teachings in our public schools, the attitude of the great fair Were electetI as follows: Base Bail Go M P S 1'resilient. .Mrs. K. II. limit. icouiing to him through themails at Seattle, the refusal of our ^reat fraternal organizations, i BOSKtKM:< -• -"vraeaBH | Oliver, Jeweler, Optician. | there are si rtm^ rcMStms for be- Vice-president, K. \\. Knulislt. such as the Masons, the Odd I Vilows, ami the Kniohts of | lieving tlmt the organizations Seeretary, Will P.aker. yet to be seen, will colli iune tlie Pythias, toadmit a saloon keeper to nu'inbership, the attitude Treasurer, t'larenoe l-'arnhani. CHEAP "reconl That is already startetl. ol all the protestanl churches, the parade of live thousand Those from a distaiiee wnv; BSC Mrs. Carrie Van Iloug'hion Cur- Roman Catholics in Chicago the nthcr day to protest against tis ami daugliter of liellevne. Everything for players, of llic v the reccut declaration of Mayor Rose of Milwaukee, that the Mrs. I-'annie \'iekery Tucker. F Roman Catholic church was in favor of the saloon. Lake ndessn. Mrs, Mtina \'iekery ( (irahani, flraml Uapids. Mrs. • Lowell State Bank J ) What is the attitude of the saloon toward law and order? .-TV* A llaiipy Cialliorin^' al Ihr Home ol Mary Warner Ciirtiss. Alto. Frank O'llarrow. What kind of advertising is Lowell getting just now in the Mrs. Anna Hotchkiss I'lakcsiee. R. D. Stock :Th e sectmd annual reunion of dry territory around us ? The recent burninof of a church West Lowell. Mr. and Mrs. I', II. the OMlarrow family wns helil and parsonage in Plainview, Nebraska, the night after the Hunt nnd three dau<ihters of FISHING T\CKLE. ETC : WHEN YOU HAVE ANY Saranae, Mr. and Mrs. Oscar at the resitlence of Krank n'I bar- town went Iry, will be described. : •lennin^s, Saranae. and Mrs. ' • •• • J row in Soul h I lost on on Tlinrs- day, August 12. Following the lecture. Rev. W. 1). Ogg will speak on '•orlin,—I Prat t Lake eor. { Shanking business About thirty guests arrived "Lowell's relationship to the county campaign." during the forenoon ami at noon iThe local coinmiuee wil! occapy seats on the platform.
Load more

Recommended publications
  • 'The Neo-Avant-Garde in Modern Scottish Art, And
    ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ CRAIG RICHARDSON DOCTOR OF PHILOSOPHY (BY PUBLISHED WORK) THE SCHOOL OF FINE ART, THE GLASGOW SCHOOL OF ART 2017 1 ‘THE NEO-AVANT-GARDE IN MODERN SCOTTISH ART, AND WHY IT MATTERS.’ Abstract. The submitted publications are concerned with the historicisation of late-modern Scottish visual art. The underpinning research draws upon archives and site visits, the development of Scottish art chronologies in extant publications and exhibitions, and builds on research which bridges academic and professional fields, including Oliver 1979, Hartley 1989, Patrizio 1999, and Lowndes 2003. However, the methodology recognises the limits of available knowledge of this period in this national field. Some of the submitted publications are centred on major works and exhibitions excised from earlier work in Gage 1977, and Macmillan 1994. This new research is discussed in a new iteration, Scottish art since 1960, and in eight other publications. The primary objective is the critical recovery of little-known artworks which were formed in Scotland or by Scottish artists and which formed a significant period in Scottish art’s development, with legacies and implications for contemporary Scottish art and artists. This further serves as an analysis of critical practices and discourses in late-modern Scottish art and culture. The central contention is that a Scottish neo-avant-garde, particularly from the 1970s, is missing from the literature of post-war Scottish art. This was due to a lack of advocacy, which continues, and a dispersal of knowledge. Therefore, while the publications share with extant publications a consideration of important themes such as landscape, it reprioritises these through a problematisation of the art object.
    [Show full text]
  • Argyll & the Isles
    EXPLORE 2020-2021 ARGYLL & THE ISLES Earra-Ghàidheal agus na h-Eileanan visitscotland.com Contents The George Hotel 2 Argyll & The Isles at a glance 4 Scotland’s birthplace 6 Wild forests and exotic gardens 8 Island hopping 10 Outdoor playground 12 Natural larder 14 Year of Coasts and Waters 2020 16 What’s on 18 Travel tips 20 Practical information 24 Places to visit 38 Leisure activities 40 Shopping Welcome to… 42 Food & drink 46 Tours ARGYLL 49 Transport “Classic French Cuisine combined with & THE ISLES 49 Events & festivals Fáilte gu Earra-Gháidheal ’s 50 Accommodation traditional Scottish style” na h-Eileanan 60 Regional map Extensive wine and whisky selection, Are you ready to fall head over heels in love? In Argyll & The Isles, you’ll find gorgeous scenery, irresistible cocktails and ales, quirky bedrooms and history and tranquil islands. This beautiful region is Scotland’s birthplace and you’ll see castles where live music every weekend ancient kings were crowned and monuments that are among the oldest in the UK. You should also be ready to be amazed by our incredibly Cover: Crinan Canal varied natural wonders, from beavers Above image: Loch Fyne and otters to minke whales and sea eagles. Credits: © VisitScotland. Town Hotel of the Year 2018 Once you’ve started exploring our Kenny Lam, Stuart Brunton, fascinating coast and hopping around our dozens of islands you might never Wild About Argyll / Kieran Duncan, want to stop. It’s time to be smitten! Paul Tomkins, John Duncan, Pub of the Year 2019 Richard Whitson, Shane Wasik/ Basking Shark Scotland, Royal Botanic Garden Edinburgh / Bar Dining Hotel of the Year 2019 Peter Clarke 20ARS Produced and published by APS Group Scotland (APS) in conjunction with VisitScotland (VS) and Highland News & Media (HNM).
    [Show full text]
  • Scottish Art: Then and Now
    Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson.
    [Show full text]
  • Dalziel + Scullion – CV
    Curriculum Vitae Dalziel + Scullion Studio Dundee, Scotland + 44 (0) 1382 774630 www.dalzielscullion.com Matthew Dalziel [email protected] 1957 Born in Irvine, Scotland Education 1981-85 BA(HONS) Fine Art Duncan of Jordanstone College of Art and Design, Dundee 1985-87 HND in Documentary Photography, Gwent College of Higher Education, Newport, Wales 1987-88 Postgraduate Diploma in Sculpture and Fine Art Photography, Glasgow School of Art Louise Scullion [email protected] 1966 Born in Helensburgh, Scotland Education 1984-88 BA (1st CLASS HONS) Environmental Art, Glasgow School of Art Solo Exhibitions + Projects 2016 TUMADH is TURAS, for Scot:Lands, part of Edinburgh’s Hogmanay Festival, Venue St Pauls Church Edinburgh. A live performance of Dalziel + Scullion’s multi-media art installation, Tumadh is Turas: Immersion & Journey, in a "hauntingly atmospheric" venue with a live soundtrack from Aidan O’Rourke, Graeme Stephen and John Blease. 2015 Rain, Permanent building / pavilion with sound installation. Kaust, Thuwai Saudia Arabia. Nomadic Boulders, Permanent large scale sculptural work. John O’Groats Scotland, UK. The Voice of Nature,Video / film works. Robert Burns Birthplace Museum. Alloway, Ayr, Scotland, UK. 2014 Immersion, Solo Festival exhibition, Dovecot Studios, Edinburgh as part of Generation, 25 Years of Scottish Art Tumadh, Solo exhibition, An Lanntair Gallery, Stornoway, Outer Hebrides, as part of Generation, 25 Years of Scottish Art Rosnes Bench, permanent artwork for Dumfries & Galloway Forest 2013 Imprint, permanent artwork for Warwick University Allotments, permanent works commissioned by Vale Of Leven Health Centre 2012 Wolf, solo exhibition at Timespan Helmsdale 2011 Gold Leaf, permanent large-scale sculpture. Pooley Country Park, Warwickshire.
    [Show full text]
  • Gaelic Language Plan 2018-23
    Gaelic Language Plan 2018-23 nationalgalleries.org Gaelic Language Plan 2018-23 Contents Foreword 2 1. Introduction 3 2. Background 3 3. Developing the second iteration of NGS’ Gaelic Language Plan 6 4. NGS Gaelic Language Commitments 2018-23 10 5. NGS Gaelic Language Action Plan 2018-23 12 6. Implementation and Monitoring 17 7. Appendix 1: Geographical Distribution of Gaelic Speakers 19 8. Appendix 2: Geographical Spread of Gaelic-Medium Education 20 9. Appendix 3: Gaelic Language Plan Consultation Report 21 Foreword I am pleased to present this second iteration of the National Galleries of Scotland’s Gaelic Language Plan. The plan sets out our commitments for continued support of the Gaelic language, and the contribution we can make to the aims and objectives of the Gaelic Language (Scotland) Act 2005 and the National Gaelic Language Plan. In developing our plan, we have been guided by our own vision of Art for Scotland: Inspiration for the World with the aim of positioning Gaelic securely and sustainably in our activities and within the context of the national collection of art which we care for on behalf of the people of Scotland. Over the next five years, we hope to build on our achievements under the first plan and to continue to seek new opportunities to raise the profile of Gaelic and support its development. Sir John Leighton Director-General Cover image: John Charity, Feeding on the machair, North Uist, 1986 (printed 1992) © John Scott Charity. Collection: National Galleries of Scotland. 2 Gaelic Language Plan 2018-23 1. Introduction The National Galleries of Scotland’s second Gaelic Language Plan has been prepared in accordance with the Gaelic Language (Scotland) Act 2005 and has been informed by a period of public consultation.
    [Show full text]
  • 'Provincialism': Scotland's Visual Culture in the 1960S Tom Normand
    Re-thinking ‘Provincialism’: Scotland’s Visual Culture in the 1960s Tom Normand This essay examines the conditions of Scotland’s visual arts in the 1960s focussing upon events in the capital city of Edinburgh. It contests issues of ‘core and periphery’ through a critique of the idea of ‘provincialism’. In exploring the relationship between the academic art of the period and the febrile ‘counter-culture’ it evidences the potential for radical, internationally relevant discourses on the nature of visual culture to emerge in ‘marginal’ locales. Keywords: Scotland, visual art, 1960s, provincialism, the Academy, avant-gardism, ‘counter-culture’, hybridity. Writing in 1962 the eminent connoisseur, art history and arts admin- istrator Kenneth Clark reflected on the nature of ‘provincialism’ in the arts.1 His subject was delivered as the ‘Presidential Address’ to The English Association and considered the qualities, positive and negative, of English art in respect of its relative dislocation from metropolitan centres in Europe and in the United States. He was chiefly concerned with the historic distinction of Paris as a centre for art, but, towards the end of his essay he notes, ‘it is clearly impossible to avoid the impact of abstract art, and particularly the recent phases of it, which can be classed under the fatiguing, but fairly accurate, title of abstract expressionism’.2 His anxiety, then, concerned the emer- gence of America, and principally New York, as a metropolitan centre dominating the cultural landscape in the post-war period. Against this background his reflections on ‘provincial’ English art were melan- choly. He recommended, as a concluding counsel, that English artists might be ‘accepting (of) the provincial virtues and relating them to the dominant style’.3 Clark’s unease in this address was shaped by his unchallenged metropolitan bias.
    [Show full text]
  • Inventory Acc.3721 Papers of the Scottish Secretariat and of Roland
    Inventory Acc.3721 Papers of the Scottish Secretariat and of Roland Eugene Muirhead National Library of Scotland Manuscripts Division George IV Bridge Edinburgh EH1 1EW Tel: 0131-466 2812 Fax: 0131-466 2811 E-mail: [email protected] © Trustees of the National Library of Scotland Summary of Contents of the Collection: BOXES 1-40 General Correspondence Files [Nos.1-1451] 41-77 R E Muirhead Files [Nos.1-767] 78-85 Scottish Home Rule Association Files [Nos.1-29] 86-105 Scottish National Party Files [1-189; Misc 1-38] 106-121 Scottish National Congress Files 122 Union of Democratic Control, Scottish Federation 123-145 Press Cuttings Series 1 [1-353] 146-* Additional Papers: (i) R E Muirhead: Additional Files Series 1 & 2 (ii) Scottish Home Rule Association [Main Series] (iii) National Party of Scotland & Scottish National Party (iv) Scottish National Congress (v) Press Cuttings, Series 2 * Listed to end of SRHA series [Box 189]. GENERAL CORRESPONDENCE FILES BOX 1 1. Personal and legal business of R E Muirhead, 1929-33. 2. Anderson, J W, Treasurer, Home Rule Association, 1929-30. 3. Auld, R C, 1930. 4. Aberdeen Press and Journal, 1928-37. 5. Addressall Machine Company: advertising circular, n.d. 6. Australian Commissioner, 1929. 7. Union of Democratic Control, 1925-55. 8. Post-card: list of NPS meetings, n.d. 9. Ayrshire Education Authority, 1929-30. 10. Blantyre Miners’ Welfare, 1929-30. 11. Bank of Scotland Ltd, 1928-55. 12. Bannerman, J M, 1929, 1955. 13. Barr, Mrs Adam, 1929. 14. Barton, Mrs Helen, 1928. 15. Brown, D D, 1930.
    [Show full text]
  • The Recent Future of Scottish Art Robin Baillie and Neil Mulholland Scottish Art Since 1960 Institute
    variant 42 | winter 2011 | 3 The recent future of Scottish Art Robin Baillie and Neil Mulholland Scottish Art since 1960 Institute. In terms of institutions, these are the Historical Reflections and Contemporary Overviews narrow limits of the book’s structure. Craig Richardson He starts in 1960 with the Scottish National (2011) London, Ashgate, 230 pages Gallery of Modern Art (SNGMA) and laments ISBN: 978-0-7546-6124-5 (hardback) that it never took the form that it might have. In a discussion recorded over two sessions, Robin He describes its residency in Inverleith House Baillie and Neil Mulholland address issues raised by and its move to the West End, but there’s never Craig Richardson’s recently published book ‘Scottish any conclusion reached regarding why this entire Art since 1960’, which describes its intention as: episode might, ultimately, have any import. This is especially odd given that what sometimes ends up “Providing an analysis and including discussion being, rightly, celebrated in the book is the value (interviewing artists, curators and critics and accessing of independent curatorial activity. I wonder, why non-catalogued personal archives) towards a new bother with the perceived ‘centre’? chronology, Richardson here examines and proposes a sequence of precisely denoted ‘exemplary’ works RB: What he doesn’t say is what a national modern which outlines a self-conscious definition of the art institution should be doing. He criticises interrogative term ‘Scottish art.’ Richardson addresses existing institutions for conservative bias, key areas of cultural politics and identity to illuminate establishment bias, traditionalist bias, and possibly the development of Scottish art, enhancing our anti-Scottishness, but he doesn’t actually map out understanding of the dynamics of art practice today.” a possible alternative programme.
    [Show full text]
  • JD Fergusson: a Dramatic Fusion of Art, Nationality and Modernism
    Riach, A. (2016) JD Fergusson: A dramatic fusion of art, nationality and modernism. National, 2016, 18 March. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/150161/ Deposited on: 19 October 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk J.D. Fergusson – Art and Nationality Alan Riach and Alexander Moffat (Friday 18 March 2016) [Boxed off:] While Scottish poets and writers gathered in Montrose in the 1920s, then in St Andrews and Shetland in the 1930s, an artist of an older generation, born in Leith in 1874, was to travel alongside and sometimes intersect with their work. He was one of the group known familiarly as the Scottish Colourists but his vision and purpose is seen not only in his style and subjects but also, emphatically, in his book, Modern Scottish Painting. This was and remains a manifesto for the distinctiveness of Scottish art, and of Scotland, internationally and independently. He is one of the major artists of the twentieth century, fully in touch with international Modernism in Paris before the First World War, and committed to cultural and political regeneration in Scotland after the Second World War. His name was John Duncan Fergusson. [Article begins:] J.D. Fergusson’s book, Modern Scottish Painting appeared in 1943, the same year as Hugh MacDiarmid’s autobiography Lucky Poet: A Self-Study in Literature and Political Ideas and the major breakthrough volume of modern Gaelic poetry, Sorley Maclean’s Dàin do Eimhir.
    [Show full text]
  • Biography Daniel F
    Newsletter No 40 Autumn 2012 From the Chair SSAH Research Support Grants I hope you’re all enjoying the summer. This is The Scottish Society for Art History promotes always a busy time for us as we prepare the scholarship in the history of Scottish art and art papers for the next Journal, which this year will located in Scotland. To facilitate this, the SSAH focus on Scottish connections to and research on offers research support grants from £50 to £300 the Pre-Raphaelites. It will include, among to assist with research costs and travel expenses. others, Rossetti’s relationship with animals; the Applicants must be working at a post-graduate eco-socialism of William Morris; attitudes to the level or above and should either be resident in PRB by the Edinburgh Smashers Club; and the Scotland or doing research that necessitates Pre-Raphaelite influence on landscape painter travel to Scotland. Application deadlines: 30 George Wilson. We hope to have the journal November and 31 May. ready in time for our AGM, which this year will be in the splendidly re-designed Scottish To apply please send via e-mail: National Portrait Gallery on 8 December – please note the date in your diaries! a cover letter Another date to keep free if you can is 17 current curriculum vitae November, when we will be holding an a brief project description (300-500 words) afternoon conference at George Watson’s specifying how the grant will be used and College in Edinburgh looking at French artists how it relates to a broader research agenda who worked in Scotland in the late 18th and 19th a budget centuries, and the influence this had on their the name and e-mail address of one work – see below for more information.
    [Show full text]
  • Study Day 1 February 2020, Edinburgh Or Glasgow (Venue Tbc)
    Scottish Society for Art History ‘Scotland and the Americas’ Study Day 1 February 2020, Edinburgh or Glasgow (venue tbc) Call for Papers The Scottish Society for Art History’s study day for 2020 will explore connections between the art history and visual culture of Scotland and the Americas (USA, Canada, Central and South America), past and present. It will share and engage with current research and critical debate in the field. We aim to attract a range of multi-disciplinary papers from a variety of different speakers including academics, independent researchers, practising artists, curators, archivists and conservators. Topics include (but are not limited to): • The influence of Scottish art in the Americas, and vice versa • New research on Scottish artists with links to the Americas and artists from the Americas in Scotland • Collectors of Scottish art in the Americas • Collecting the Americas: acquisition, display and research of art from the Americas in Scottish collections We welcome proposals for 20-minute presentations for the study day. Speakers will be expected to provide a PowerPoint presentation, with images, to accompany their presentation. Proposals should be in the form of 300-500 word abstracts. The deadline for proposals is 2 October 2019. Following the symposium, papers will be considered for publication in the 2020-21 volume of the SSAH Journal. If selected by the editorial team, speakers will be requested to adapt their paper into a journal paper of 3000-4500 words, accompanied by up to six copyright-cleared images, to be submitted in April 2019. If you do not wish your paper to be considered for the journal, please let us know at the time of submitting your proposal.
    [Show full text]
  • Annual Review 2017–18 National Galleries of Scotland Annual Review
    Annual Review 2017–18 national galleries of scotland annual review annual of scotland galleries national 2017–18 www.nationalgalleries.org froNt cover reverse Back cover reverse Facts and Figures visitor nuMBers NatioNal Galleries of s cotlaNd Board of t rustees Total visitors to National Galleries of 2,533,611 Benny Higgins Chairman Scotland sites in Edinburgh Tricia Bey Alistair Dodds 1,601,433 Scottish National Gallery Edward Green Lesley Knox 562,420 Scottish National Gallery of Modern Art Tari Lang Catherine Muirden Professor Nicholas Pearce Scottish National Portrait Gallery 369,758 Willie Watt Nicky Wilson virtual v isitors seNior MaNaGeMeN t t eaM www.nationalgalleries.org website visits 1,989,101 Sir John Leighton Director-General educational v isits Chris Breward 33,210 Total number of participants from schools, Director of Collection and Research higher and further education Nicola Catterall Chief Operating Officer 19,479 Total number of adult participants at talks, Jo Coomber lectures and practical workshops Director of Public Engagement Jacqueline Ridge 4,333 Total number of community and Director of Conservation and Collections Management outreach participants Elaine Anderson 6,919 Total number of families with children at Head of Planning and Performance drop-in events fiNaNce friends Full Annual Accounts for 2017–18 are available on the National Galleries of Scotland website: 13,188 Friends at 31 March 2018 www.nationalgalleries.org volunteers froNt cover The Road Through the Rocks, Total number of volunteers Detail from Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery 166 Port-Vendres, 1926–27 by Charles of Modern Art One Rennie Mackintosh The Scottish National Gallery comprises The Scottish National Portrait Gallery is Back cover three linked buildings at the foot of the about the people of Scotland – past and Home to Scotland’s outstanding national The Road Through the Rocks, Port-Vendres, Mound in Edinburgh.
    [Show full text]