2004/1 (8) 1 Art on the Line
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National Collecting Scheme Scotland National
National Collecting Scheme Scotland National Collecting Scheme Scotland is an initiative that supports public collections across Scotland to acquire and present challenging contemporary visual art. The initiative also seeks to enable curators within those organisations to extend their knowledge and understanding of contemporary visual arts, and to develop their engagement with the visual arts sector in Scotland. Scotland is home to some very fine public collections, which are of local, national and international significance. It is the aim of the NCSS that those public collections are able to reflect the range and vibrancy of contemporary art created here and abroad, that they can help build new audiences for the contemporary visual arts, as well as engage and work with artists and visual arts organisations. Some facts : • NCSS is an initiative of the Scottish Arts Council. • Currently NCSS has seven museum partners. These are Aberdeen Art Gallery, McManus Galleries, Dundee, Edinburgh City Art Centre, Gallery of Modern Art, Glasgow, Hunterian Art Gallery, Paisley Museum and Art Gallery, and the Pier Arts Centre, Orkney. • In its first phase - 2003-2006 - NCSS enabled a total of 122 acquisitions by six public collections (including craft in its first phase). In 2007-2008 a further 18 works of visual art have been acquired. The Scottish Arts Council will support further acquisitions in 2008-2009. • NCSS member were also involved in an innovative joint commissioning project – the first of its kind in the UK. They collaborated to commission Joanne Tatham & Tom O’Sullivan to create a substantial and ambitious new work of art for Scotland • Aberdeen Art Gallery hosted the Scotland & Venice exhibition December 2007- January 2008. -
Caterina Corner in Venetian History and Iconography Holly Hurlburt
Early Modern Women: An Interdisciplinary Journal 2009, vol. 4 Body of Empire: Caterina Corner in Venetian History and Iconography Holly Hurlburt n 1578, a committee of government officials and monk and historian IGirolamo Bardi planned a program of redecoration for the Sala del Maggior Consiglio (Great Council Hall) and the adjoining Scrutinio, among the largest and most important rooms in the Venetian Doge’s Palace. Completed, the schema would recount Venetian history in terms of its international stature, its victories, and particularly its conquests; by the sixteenth century Venice had created a sizable maritime empire that stretched across the eastern Mediterranean, to which it added considerable holdings on the Italian mainland.1 Yet what many Venetians regarded as the jewel of its empire, the island of Cyprus, was calamitously lost to the Ottoman Turks in 1571, three years before the first of two fires that would necessitate the redecoration of these civic spaces.2 Anxiety about such a loss, fear of future threats, concern for Venice’s place in evolving geopolitics, and nostalgia for the past prompted the creation of this triumphant pro- gram, which featured thirty-five historical scenes on the walls surmounted by a chronological series of ducal portraits. Complementing these were twenty-one large narratives on the ceiling, flanked by smaller depictions of the city’s feats spanning the previous seven hundred years. The program culminated in the Maggior Consiglio, with Tintoretto’s massive Paradise on one wall and, on the ceiling, three depictions of allegorical Venice in triumph by Tintoretto, Veronese, and Palma il Giovane. These rooms, a center of republican authority, became a showcase for the skills of these and other artists, whose history paintings in particular underscore the deeds of men: clothed, in armor, partially nude, frontal and foreshortened, 61 62 EMWJ 2009, vol. -
NHS Tayside CONSULTANT PSYCHIATRIST
NHS Tayside CONSULTANT PSYCHIATRIST General Adult Psychiatry VACANCY Consultant in General Adult Psychiatry (x2 posts) Wedderburn House / Carseview Centre: Dundee Community Mental Health Team 40 hours per week £80,653 (GBP) to £107,170 (GBP) per annum Tenure: Permanent NHS Tayside is looking for committed, innovative and enthusiastic Consultant Psychiatrists (full or part time) to join our Community Mental Health Team based in Dundee the ‘City of Discovery’. These posts include opportunities to see and treat a wide variety of psychiatric disorders in patients aged from eighteen to sixty-five years old, with the support of our enthusiastic and well staffed multi-disciplinary and multi- agency social work and health Community Mental Health Team with access to our 20 bed inpatient unit. We have local drug and alcohol, forensic, eating disorder, liaison and advanced intervention services as well as psychotherapy and psychology services available for our patients, and enjoy excellent relations with our local General Practitioners and voluntary service colleagues. There are many learning and training opportunities, including the teaching and supervision of 4th year medical students and Specialty Trainees attached to our team. There is a monthly continuing professional development programme and other continuing professional development will also be encouraged. Active involvement in service improvement is available through membership of our Service Improvement Group. We have close links with the University of Dundee division of Neuroscience where academic and research opportunities are available: http://medicine.dundee.ac.uk/medical-research-institute/divisions/division- neuroscience. Dundee is a coastal city on the Firth of Tay estuary in eastern Scotland. Its regenerated waterfront has the new Victoria and Albert Museum which stands on the banks of the Tay and two nautical museums: RRS Discovery, Captain Scott’s Antarctic expedition ship, and 19th-century warship, HM Frigate Unicorn. -
A Second Miracle at Cana: Recent Musical Discoveries in Veronese's Wedding Feast
BASSANO 11 A SECOND MIRACLE AT CANA: RECENT MUSICAL DISCOVERIES IN VERONESE'S WEDDING FEAST Peter Bossano 1.And the third day there was a marriage in Cana of Galilee; and the mother of Jesus was there: 2. And both Jesus was called, and his disciples, to the marriage. 3. And when they wanted wine, the mother of Jesus saith unto him, They have no wine. 4. Jesus saith unto her, Woman what have I to do with thee? mine hour is not yet come. 5. His mother saith unto the servants, Whatsoever he saith unto you, do it. 6. And there were set there six waterpots of stone, after the manner of the purifying of the Jews, containing two or three firkins apiece. 7. Jesus saith unto them, Fill the waterpots with water. And they filled them up to the brim. 8. And he saith unto them, Draw out now, and bear unto the governor of the feast. And they bare it. 9. When the ruler of the feast had tasted the water that was made wine, and knew not whence it was: (but the servants which drew the water knew;) the governor of the feast called the bridegroom, 10.And saith unto him, Every man at the beginning doth set forth good wine; and when men have well drunk, then that which is worst; but thou hast kept the good wine until now. —John 2: 1-10 (KingJames Version) In Paolo Veronese's painting of the Wedding Feast at Cana, as in St. John's version of this story, not everything is as at seems. -
Vincenzo Cappello C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Titian and Workshop Titian Venetian, 1488/1490 - 1576 Italian 16th Century Vincenzo Cappello c. 1550/1560 oil on canvas overall: 141 x 118.1 cm (55 1/2 x 46 1/2 in.) framed: 169.2 x 135.3 x 10.2 cm (66 5/8 x 53 1/4 x 4 in.) Samuel H. Kress Collection 1957.14.3 ENTRY This portrait is known in at least four other contemporary versions or copies: in the Chrysler Museum, Norfolk, Virginia[fig. 1]; [1] in the State Hermitage Museum, Saint Petersburg [fig. 2]; [2] in the Seminario Vescovile, Padua; [3] and in the Koelikker collection, Milan. [4] According to John Shearman, x-radiographs have revealed that yet another version was originally painted under the Titian workshop picture Titian and His Friends at Hampton Court (illustrated under Andrea de’ Franceschi). [5] Of these versions, the Gallery’s picture is now generally accepted as the earliest and the finest, and before it entered the Kress collection in 1954, the identity of the sitter, established by Victor Lasareff in 1923 with reference to the Hermitage version, has never subsequently been doubted. [6] Lasareff retained a traditional attribution to Tintoretto, and Rodolfo Pallucchini and W. R. Rearick upheld a similarly traditional attribution to Tintoretto of the present version. [7] But as argued by Wilhelm Suida in 1933 with reference to the Chrysler version (then in Munich), and by Fern Rusk Shapley and Harold Wethey with reference to the present version, an attribution to Titian is more likely. -
Histoire Des Collections Numismatiques Et Des Institutions Vouées À La Numismatique
HISTOIRE DES COLLECTIONS NUMISMATIQUES ET DES INSTITUTIONS VOUÉES À LA NUMISMATIQUE Numismatic Collections in Scotland Scotland is fortunate in possessing two major cabinets of international signifi- cance. In addition over 120 other institutions, from large civic museums to smaller provincial ones, hold collections of coins and medals of varying size and impor- tance. 1 The two main collections, the Hunterian held at the University of Glasgow, and the national collection, housed at the National Museums of Scotland in Edinburgh, nicely complement each other. The former, based on the renowned late 18th centu- ry cabinet of Dr. William Hunter, contains an outstanding collection of Greek and Roman coins as well as important groups of Anglo-Saxon, medieval and later English, and Scottish issues along with a superb holding of medals. The National Museums of Scotland house the largest and most comprehensive group of Scottish coins and medals extant. Each collection now numbers approximately 70,000 speci- mens. The public numismatic collections from the rest of Scotland, though perhaps not so well known, are now recorded to some extent due to a National Audit of the coun- try’s cultural heritage held by museums and galleries carried out by the Scottish Museums Council in 2001 on behalf of the Scottish Government. 2 Coins and Medals was one of 20 collections types included in the questionnaire, asking for location, size and breakdown into badges, banknotes, coins, medals, tokens, and other. Over 12 million objects made up what was termed the Distributed National Collection, of which 3.3% consisted of approximately 68,000 coins and medals in the National Museums concentrated in Edinburgh and 345,000 in the non-nationals throughout the rest of the country. -
Lost Man Blues: Jon Schueler – Art and War
Exhibition Proposal Lost Man Blues: Jon Schueler – Art and War Wing Shadow Over Grey Sea, 1982, 72” x 65” (o/c 1248) Curated by Marissa Roth Lost Man Blues: Jon Schueler – Art and War Lost Man Blues Romasaig, Scotland, September 1988 Oil on canvas 18 x 16 in / 45.72 x 40.64 cm (o/c 1549) The title of this painting refers to the loss of a plane in Schueler’s squadron on the return to England after a bombing mission over Germany. Lost Man Blues JON SCHUELER – Art and War Curated by Marissa Roth When reflecting on the arc of an artist’s life and career, we find that his or her own words and thoughts provide the most telling details and authentic backdrop to the work and convey its full breadth. Because of the physical nature of art, it can only tell part of the story at any one time. But the binding together of years of personal writings reveals the artistic journey in its totality and offers the most meaningful context. Jon Schueler (1916-1992), the esteemed prolific American Abstract Expressionist painter from Milwaukee, Wisconsin, was also a masterful writer. Over the course of three decades, he wrote thousands of pages and deliberately conserved them by date as a testimony of his life. This self-portrait in words - reflections, ruminations, personal letters and business correspondence - is an acutely self-aware record of his creative process and mirrors his breathtaking output as a painter. Through these writings lovingly edited by his widow Magda Salvesen, and editor Diane Cousineau, we hear his voice and understand his innermost creative struggles. -
4 Day Itinerary — Scotland’S Year of Stories 2022
Scotland’s Tay Country - 4 day itinerary — Scotland’s year of stories 2022 01. Fife Dunfermline Carnegie Library & Galleries Lindores Abbey Distillery At Dunfermline Carnegie Library & Galleries, your clients Lindores Abbey is the spiritual home of Scotch whisky, can explore the remarkable royal history and industrial where records indicate that the first whisky was produced by heritage of Dunfermline, one of Scotland’s ancient Tironensian Monks in 1494. After over 500 years, your clients capitals, as it is brought to life in this spectacular museum will be able to see single malt distillation once again flowing and gallery. The museum showcases the rich past of the from the copper stills. Private group tours can be arranged locality through six themes: Industry, Leisure & Recreation, and can be tailored to the group’s specific interests. The Transport, Conflict, Homes and Royal Dunfermline. The Apothecary experiences offer your clients a fantastic chance galleries include three impressive exhibition spaces to get ‘hands on’ in making their own delicious version of providing an opportunity for Dunfermline to display some Aqua Vitae. of Fife Council’s impressive art and museum collections. Abbey Road 1-7 Abbot Street Newburgh, KY14 6HH Dunfermline, KY12 7NL www.lindoresabbeydistillery.com www.onfife.com/dclg Link to Trade Site Link to Trade Site Distance between Lindores Abbey Distillery and British Golf Distance between Dunfermline Carnegie Library & Museum is 19.9 miles /32km. Galleries and Falkland Palace is 23.2 miles /37.3km. British Golf Museum Falkland Palace The British Golf Museum is a 5-star museum and contains the Falkland Palace was the largest collection of golf memorabilia in Europe. -
Where Do I Start? Museums and Galleries
Where do I start? Museums and Galleries Introduction There are many museums and galleries across the UK, ranging from large iconic national bodies to small local organisations staffed mainly by volunteers. Many museums and galleries are run by local authorities. The role of these institutions is not only to acquire and preserve objects but to interpret them by advising on their historical and cultural significance, and to widen public understanding and access. This has been summarised (by The McManus: Dundee’s Art Gallery and Museum) as “collecting, recording, caring and sharing”. Employment opportunities range from curator or conservator to roles in marketing, fundraising, exhibition design, retail and education. In the smallest organisations, these responsibilities may all rest with the same person. There is a lot of competition for jobs in this sector and salaries are generally modest, although job satisfaction can be very high. Most applicants have a degree and many will also have a postgraduate qualification. Volunteering in any sort of position in this sector will give you a useful insight into how it works and will strengthen your applications for jobs or postgraduate courses. Finding out about… Web The Careers Service website links to many useful websites about museums and galleries, including some that contain job vacancies. Use the Information, patents and heritage management section at www.ed.ac.uk/careers/occupations. • The Museums Association (www.museumsassociation.org ) is the leading professional body for this sector in the UK. Its website has very helpful information on starting a career in museums and galleries, and includes case-studies on a wide range of roles. -
National Strategy for Scotland's Museums and Galleries
GOING TheNationalStrategyfor Scotland’sMuseumsandGalleries fURTHER To SUccEEd aNd floURiSH we wILL aLL Need tO pLay Our part ScoTTiSH NaTioNal PoRTRaiT GallERy National Galleries of Scotland TheScottishNationalPortraitGalleryre-opened on1December2011,followingatwoandahalfyear closureandanambitious£17.6mrestorationproject. Asaresult,amuchgreaterproportionofthe collectionwillbeonshow,bringingtolightawealth Theproject–thefirstmajorrefurbishmentinthe ofartworksthathasbeen,untilnow,largelyhidden Gallery’s120-yearhistory–hasrestoredmuchof fromview. thearchitect’soriginalvision,openinguppreviously inaccessiblepartsofthebuildingandincreasing Reviewsandfeedbackhavebeenoverwhelmingly thepublicspacebymorethan60%.Accesstothe positivewithmorethan52,000visitorsgoing exhibitionspacesonallthreelevelshasbeenopened totheGalleryduringthefirstmonthofopening. up,whiletherestorationofthemagnificentsuiteof top-litgalleriesontheupperfloorhascreatedoneof themostimpressivedisplayspacesinScotland. www.nationalgalleries.org TheNationalStrategyfor Scotland’sMuseumsandGalleries Images courtesy of the National Galleries of Scotland © Chris Watt The National Strategy for Scotland’s Museums and Galleries gOINg The National Strategy for Scotland’s Museums and Galleries further Acknowledgements contents The development of this National Strategy for Scotland’s Museums and Galleries would not have 5 FOREWORD 34 AIm fIve -
V. MOSCHINI Spetto Del Quadro, Quando La Pulitura, Iniziata Con Piccole Prove Che Trovarono Ampia Conferma Nelle Radiografie, I) V
©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte FIG. I - VENEZIA, GALLERIE DELL' ACCADEMIA - LA PRIMA SALA NUOVI ALLESTIMENTI E RESTAURI di Venezia poter contare su di un artista come Carlo Scarpa, dotato di una sensibilità più che rara, anche se ALLE GALLERIE DI VENEZIA egli talvolta trovò delle limitazioni, specialmente dovute all'edificio già esistente. Le rettifiche durante i lavori A QUANDO NEL 1948 davo notizia in questo Bollettino furono appena quelle inevitabili in simili operazioni, nè vi D della nuova sistemazione in corso delle Gallerie del furono esperimenti magari audaci ma con il rischio di l'Accademia, I) non poco si è fatto per presentare in modo dover rifare tutto daccapo. Vi potranno essere dei ritocchi, organico e omogeneo il nucleo essenziale di quella ecce ma l'insieme sembra destinato a restare almeno per la zionale raccolta, anche se siamo stati costretti a lasciar durata normale di tali allestimenti, e questo è già qualcosa. da parte i progetti di ampliamento. Nel frattempo alcuni Dopo i primi lavori, tra i quali fu specialmente dimostra lavori vennero fatti conoscere,2) ma sia pure a costo di tiva la sistemazione della sala di S. Orsola, si passò a uti ripetizioni non sarà forse inutile qualche cenno ulteriore. lizzare il vasto e disorganico ambiente costituito dalla parte I criteri indicati in quel mio articolo ormai stagionato superiore della Chiesa della Carità, reso anzitutto assai più vennero seguiti successivamente con quella fedeltà che era luminoso per l'apertura di nuovi lucernai. S'introdusse solo possibile restando le persone che continuavano ad at qui in pieno l'uso di pannelli anche di grandI dimensioni, tuarli. -
FRANCESCO BASSANO Ii
FRANCESCO BASSANO ii (Bassano del Grappa 1549 - Venice 1592) Autumn, with Moses Receiving the Ten Commandments oil on canvas 78 x 103 cm (30¾ x 40½ in) Provenance: Sale, Pescheteau-Badin, Gadeau et Leroy, Paris 29 April 1998, lot 77. Exhibited: To be included in the forthcoming exhibition Arte e Vino, Palazzo della Gran Guardia, Verona. HE RICH ABUNDANCE OF THE HARVEST IS charmingly illustrated in Autumn, with Moses Receiving the Ten Commandments. Set within a lush, mountainous landscape the present work shows rural land workers processing the fruits of their labours, as the sky darkens into the evening. In the Tforeground, along a river bank, the early stages of the wine picking and pressing process are depicted. On the right, a couple pick grapes from a vine that are then placed in woven baskets. Alongside the pair an older woman, accompanied by a loyal spaniel, leans down to lift a pair of baskets. Standing inside a barrel, a young barefoot boy squelches the freshly picked grapes with his feet, his tunic held up above his ankles. On the left, two oxen are tethered and tended by a young boy wearing a feather plumed hat, a wooden stick slung over his shoulder. The oxen are evidently hauling the large wooden barrel that sits atop a wooden cart - presumably for transporting the freshly pressed grape juice for winemaking. Alongside the animals, a young girl kneels and drinks some of the russet coloured liquid from the grapes with a beaker. Beside her, more freshly picked grapes are decanted into a barrel by a bearded man.