Hertfordshire County Council Art Collection: Report
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The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period. -
1901 Diary of Sir Horace Curzon Plunkett (1854–1932) Transcribed, Annotated and Indexed by Kate Targett
1901 Diary of Sir Horace Curzon Plunkett (1854–1932) Transcribed, annotated and indexed by Kate Targett. December 2012 NOTES ‘There was nothing wrong with my head, but only with my handwriting, which has often caused difficulties.’ Horace Plunkett, Irish Homestead, 30 July 1910 Conventions In order to reflect the manuscript as completely and accurately as possible and to retain its original ‘flavour’, Plunkett’s spelling, punctuation, capitalisation and amendments have been reproduced unless otherwise indicated. The conventions adopted for transcription are outlined below. 1) Common titles (usually with an underscored superscript in the original) have been standardised with full stops: Archbp. (Archbishop), Bp. (Bishop), Capt./Capt’n., Col., Fr. (Father), Gen./Gen’l , Gov./Gov’r (Governor), Hon. (Honourable), Jr., Ld., Mr., Mrs., Mgr. (Monsignor), Dr., Prof./Prof’r., Rev’d. 2) Unclear words for which there is a ‘best guess’ are preceded by a query (e.g. ?battle) in transcription; alternative transcriptions are expressed as ?bond/band. 3) Illegible letters are represented, as nearly as possible, by hyphens (e.g. b----t) 4) Any query (?) that does not immediately precede a word appears in the original manuscript unless otherwise indicated. 5) Punctuation (or lack of) Commas have been inserted only to reduce ambiguity. ‘Best guess’ additions appear as [,]. Apostrophes have been inserted in: – surnames beginning with O (e.g. O’Hara) – negative contractions (e.g. can’t, don’t, won’t, didn’t) – possessives, to clarify context (e.g. Adams’ house; Adam’s house). However, Plunkett commonly indicates the plural of surnames ending in ‘s’ by an apostrophe (e.g. -
International Art
International Art Collectors’ List No. 168, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Cecil Aldin (Brit., 1870-1935). Miss Camp JOSEF LEBOVIC GALLERY bell’s “April Lady” & “Dame Marigold” Babies, Established 1977 Mr Frank Harrison’s “Champion Angelo” & 103a Anzac Parade, Kensington (Sydney) NSW Mr Duerdin Dutton’s “Starboard” [St Bernard Dogs], 1893. Ink and wash with white highlight, Post: PO Box 93, Kensington NSW 2033, Australia captioned left and right, signed and dated lower Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) left, publishing annotations in pencil in various hands with two stamps verso, 44.1 x 29.7cm. Email: [email protected] • Web: joseflebovicgallery.com Foxing, slight stains, soiling over all. $2,900 Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Stamps read “Horace Cox, Brear’s Buildings, E. C. The Member of • Association of International Photography Art Dealers Inc. Queen” and “C. Robertson & Co. Artist’s Colourmen. 99 Long Acre and 154 Piccadilly, London.” International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 168, 2013 International Art On exhibition from Sat., 9 November 2013 to Sat., 1 February 2014. All items will be illustrated on our website from 16 November. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $0.96¢; UK £0.59p © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka 2. -
Intangible Heritage(S): an Interplay of Design, Social and Cultural Critiques of the Built Environment
TANGIBLE - INTANGIBLE HERITAGE(S): AN INTERPLAY OF DESIGN, SOCIAL AND CULTURAL CRITIQUES OF THE BUILT ENVIRONMENT • Paper / Proposal Title: ‘ARCHITECTS – WHERE IS YOUR VORTEX? VORTICISM, THE CITY AND URBAN EXPERIENCE • Author(s) Name: Dr. JONATHAN BLACK FRSA • University or Company Affiliation: KINGSTON SCHOOL OF ART, KINGSTON UNIVERSITY • Presentation Method. I would like to: i. present in person (with/without a written paper)* • Abstract (300 words): From its conception in the spring of 1914 the British avant garde art movement known as Vorticism was obsessed with the city and urban existence as central to the forward march of technologically innovative modernity. Indeed, the movement largely owed its very name to the American poet Ezra Pound having already identified London as the ‘great modern vortex’, the end point for all the energies of modern life and of British/Imperial power. My paper is rooted in many years of research into Vorticism and British Art before, during and after the First World War. It will focus on some of the many images that evoked the strikingly positive Vorticist vision of the city – one that as much looked to the example of vertically vertiginous New York as that by experimental thinkers on the European continent – by leading adherents of the movement such as: Wyndham Lewis, Edward Wadsworth, Frederick Etchells, Jessica Dismorr and Helen Saunders. Living in London much of their imagery was indebted to that city. However, examples will be discussed alongside a group of woodcut prints produced c. 1914-18 by Wadsworth inspired by the cities and industrial towns of his native Yorkshire such as Leeds, Bradford, Halifax and Huddersfield. -
Caroline Kipling
The Rees and Carrington Extracts From the diaries of ` Caroline Kipling 1910 1910 Jan. Engelberg. No entries till John leaves for school with Ellen, 26 Jan. Their first week at Engelberg (they left Bateman’s on 30 December 1909) was not much fun: Carrie had been ill at home – it had been a very wet autumn – and remained ill for at least the first week of their stay at Engelberg. Kipling wrote to his mother-in-law describing their tribulations (PINNEY, Letters, Vol. 3, p. 404-5). Ellen was evidently one of the maids at Bateman’s. LYCETT, (p. 404) lists a maid named Ellen among the Bateman’s staff who attended a parish memorial service for King Edward VII later that summer. It must have been quite an adventure for her to travel out to Switzerland at her employer’s expense, and something of a responsibility to take charge of his 12-year-old son to take back to England, though John was quite a seasoned traveller. Jan. The only entry between December 19h 1909 and February 20th 1910 is on Jan. 26 stating that John left for school with Ellen. Letters, however show that the Ks left home for Engelberg on 30 Dec. `09. 16 Feb. (An allusion to the Baldwins – with them.) There’s a further confirmation of the presence of the Baldwins at Engelberg in the letter to John cited immediately below. 26 Feb. To Geneva. Saw Mr . Feb. 26 Leave Engelberg 10 a.m. Arrive Geneva 7.30 p.m. They were on the first leg of a long cross-country journey from Engelberg to Vernet-les-Bains (see below). -
Die Folgenden Überlegungen Zielen Nicht Etwa Auf Kleine Dinge, Sondern Auf Kleine Unterschiede. Sie Thematisieren Minimale Diff
Peter Bexte Haarrisse im Gefüge. Bemerkungen zu kleinen Unterschieden Die folgenden Überlegungen zielen nicht etwa auf kleine Dinge, sondern auf kleine Unterschiede. Sie thematisieren minimale Differenzen, wie sie an beliebig großen Gegenständen auftreten können. Näher betrachtet geht es um relationale Gefüge von Kolorit, Schattierung, Musterbildung. Die Minimalisierung von Unterschieden auf diesem Terrain eröffnet seltsame Überlagerungen von Kunst, Militär und Biolo- gie, will sagen: Ton-in-Ton-Malerei, Camouflage und Mimese. 1. Ton in Ton 1991 malte Martin Kippenberger eine Serie von elf weißen Bildern ohne Titel. Sie wirken bis heute überraschend. Man wird bei dem Namen Kippenberger wohl kaum als erstes an monochrome Malerei denken. Im Gegenteil ist dieses Enfant terrible der postmodernen Kunstszene niemals vor greller Farbigkeit zurückgeschreckt, oft verbunden mit launigen Bildtiteln. Darin traf er sich mit dem Boom an neo-ex- pressiver/postmoderner Malerei der 1980er Jahre. Dagegen nun elf scheinbar rein weiße Leinwände. Sie sind nicht oft gezeigt worden, zuerst 1992 im Musée d’art moderne de la Ville de Paris. 2006 waren sie in der Tate Gallery London zu sehen, 2013 auch im Hamburger Bahnhof Berlin. Wer den großen Parcours der Berliner Ausstellung mit vielen bunten Bildern durchlaufen hatte, betrat schließlich einen hellen und seltsam leer wirkenden Raum. Manche Besucher haben sich irritiert umgeschaut, nach Kunst gesucht, sie nicht gefunden und sind wieder gegangen. Tatsächlich war die Malerei in diesem Raum nicht auf den ersten Blick zu entdecken; vielmehr war sie in aller Offenheit verborgen, und genau dies war der Kunstgriff. Es war nämlich die Idee des Künst- lers, dass diese elf weißen Leinwände nicht etwa in einen Rahmen gefasst und auf der Wand ausgestellt werden sollten, sondern in der Wand. -
How Did an Artist Use Cubism to Fight the War at Sea?
How did an artist use Cubism to fight the war at sea? Video transcript – The legacy of dazzle By the end of the First World War, dazzle camouflage had been applied to more than 2000 ships. And the number of vessels sunk by U-boats had begun to fall. However, there is no definitive proof that this was all thanks to Wilkinson's scheme. Dazzle camouflage was used alongside other U-Boat countermeasures and merchant ships sailed in convoys protected by naval escorts. The Admiralty had clearly been impressed by Norman Wilkinson's plan, and had rolled it out as quickly as possible. But they did not have conclusive evidence of effective it was. What they did agree upon, however, was the value of the scheme as a morale- booster. It made the crew on these spectacular ships feel safer from attack. The US Navy continued to use dazzle into World War Two, until development of radar technology made it redundant. Wilkinson also went back to work in World War Two. He helped to disguise Britain's airfields - this time using more traditional colours. The military value of dazzle remains unclear, but it certainly had an impact in the art world. The artist Edward Wadsworth worked for Wilkinson supervising the painting of dazzle ships. He was one of the founders of the Vorticist art movement. The dazzle elements in his work are clear to see. The most famous cubist artist of them all, Picasso, is said to have “stopped spell- bound” on the streets of Paris when he saw a tank painted in a dazzle pattern. -
(1934) Oil on Panel on Long-Term Loan from a Private
Vanessa Bell (1879 –1961) John Cooper (1894 –1943) Raymond Coxon (1896 –1997) Vera Cunningham (1897 –1955) Frank Dobson (1886 –1963) Portrait (Portrait of Angelica) (1934) Three Prima Donnas (1934) Cumberland (1934) Susannah and the Elders (1934) The Toilet (Leaning Figure) (1934) Oil on hardboard Oil on panel Oil on board Oil on canvas board Cast terracotta On long-term loan from On long-term loan from On long-term loan from On long-term loan from On long-term loan from a Private Collection (1997) a Private Collection (1997) a Private Collection (1997) a Private Collection (1997) a Private Collection (1997) Stanley William Hayter Stanley William Hayter Florence Englebach (1872 –1951) Duncan Grant (1885 –1978) (1901–1988) (1901–1988) Barbara Hepworth (1903 –1975) Crocus and Stocks (1934) Still Life (1934) Composition (Main Serrisant une …) Composition (Leda) (1934) White Hills (Mother and Child) (1934) Oil on canvas Oil on board (Hand squeezing a.....) (1934) Oil on sculpted board with collage Alabaster On long-term loan from On long-term loan from Oil on sculpted board On long-term loan from On loan from a Private Collection (2021) a Private Collection (1997) a Private Collection (1997) On long-term loan from a Private Collection (1997) a Private Collection (1997) Tristram Hillier (1905 –1983) Tristram Hillier (1905 –1983) Ivon Hitchens (1893 –1979) Frances Hodgkins (1869 –1947) Augustus John (1878 –1961) La Truite aux Pommes Vapeurs Marine (1934) Spring Mood (1934) Spanish Peasants (1934) Arabella (1934) (Steamed Apple Trout) (1934) -
Adventures and Letters by Richard Harding Davis
Adventures and Letters by Richard Harding Davis Adventures and Letters by Richard Harding Davis This etext was prepared with the use of Calera WordScan Plus 2.0 ADVENTURES AND LETTERS OF RICHARD HARDING DAVIS EDITED BY CHARLES BELMONT DAVIS CONTENTS CHAPTER I. THE EARLY DAYS II. COLLEGE DAYS III. FIRST NEWSPAPER EXPERIENCES IV. NEW YORK V. FIRST TRAVEL ARTICLES VI. THE MEDITERRANEAN AND PARIS page 1 / 485 VII. FIRST PLAYS VIII. CENTRAL AND SOUTH AMERICA IX. MOSCOW, BUDAPEST, LONDON X. CAMPAIGNING IN CUBA, AND GREECE XI. THE SPANISH-AMERICAN WAR XII. THE BOER WAR XIII. THE SPANISH AND ENGLISH CORONATIONS XIV. THE JAPANESE-RUSSIAN WAR XV. MOUNT KISCO XVI. THE CONGO XVII. A LONDON WINTER XVIII. MILITARY MANOEUVRES XIX. VERA CRUZ AND THE GREAT WAR XX. THE LAST DAYS CHAPTER I THE EARLY DAYS Richard Harding Davis was born in Philadelphia on April 18, 1864, but, so far as memory serves me, his life and mine began together several years later in the three-story brick house on South Twenty-first Street, to which we had just moved. For more than forty years this was our home in all that the word implies, and I do not believe that there was ever a moment when it was not the predominating influence in page 2 / 485 Richard's life and in his work. As I learned in later years, the house had come into the possession of my father and mother after a period on their part of hard endeavor and unusual sacrifice. It was their ambition to add to this home not only the comforts and the beautiful inanimate things of life, but to create an atmosphere which would prove a constant help to those who lived under its roof--an inspiration to their children that should endure so long as they lived. -
University of Warwick Art Collection Annual Report 2015-16
University of Warwick Art Collection Annual Report 2015-16 Mission Art is intrinsic to the University of Warwick - to its physical, social and academic environment. The original purpose of the Art Collection was the display of works of art in the public spaces of the University. The Art Collection is not displayed in a museum or gallery; the majority of items are on display across the University campus and its other sites. They function as open texts, offering a variety of readings to successive generations of students, staff and visitors. It demonstrates the University’s support of contemporary culture and, in particular, of young professionals working at the leading edge of their field. The education and interpretation programmes that support the collection are open to everyone and contribute to lifelong learning as well as to the work of departments on campus and schools and colleges across the region. Aim To manage and develop the University of Warwick Art Collection to create a significant resource of contemporary art for the campus and for the region. Objectives 1. To contribute to the creation of a distinctive and stimulating campus environment through the development of displays, interpretation and opportunities for meaningful engagement with works of art. 2. To sustain an exceptional teaching, learning and research experience for campus departments, schools and colleges, visitors and audiences through the development of opportunities to interrogate, experience and work with art objects and with artists. 3. In collaboration with academic departments, to develop commissions for new buildings and for the campus that embrace learning and research. 4. -
MARCH 2012 O.XI No
PQ-COVER 2012B_PQ-COVER MASTER-2007 24/01/2012 17:30 Page 1 P Q PRINT QUARTERLY MARCH 2012 Vol. XXIX No. 1 March 2012 VOLUME XXIX NUMBER 1 mar12PQHill-Stone_Layout 1 26/01/2012 16:23 Page 1 :DVVLO\.DQGLQVN\ .OHLQH:HOWHQFRPSOHWHVHWRIWZHOYHRULJLQDO SULQWV RQHIURPWKHVHWLOOXVWUDWHGDERYH ([KLELWLQJDW7()$)0DDVWULFKW 0DUFK 6WDQG PQ.MAR2012C_Layout 1 25/01/2012 17:12 Page 1 PrInT quarTerly volume XXIX number 1 march 2012 contents a Frontispiece for galileo’s Opere: Pietro anichini and Stefano della bella 3 Jaco ruTgerS engravings by Jacques Fornazeris with the arms of rené gros 13 henrIeTTe PommIer Représentant d’une grande nation: The Politics of an anglo-French aquatint 22 amanda lahIkaInen Shorter notices Some early States by martino rota 33 STePhen a. bergquIST Prints by gabriel huquier after oppenord’s decorated Ripa 37 Jean-FrançoIS bédard notes 44 catalogue and book reviews The Imagery of Proverbs 85 war Posters, Sustainable Posters 100 PeTer van der coelen and Street art Polish collectors of the nineteenth 88 Paul gough and Twentieth centuries Joan Snyder 103 waldemar deluga bIll norTh Samuel Palmer revisited 92 elizabeth Peyton 106 elIzabeTh e. barker wendy weITman Jules chéret 95 william kentridge 110 howard couTTS Paul coldwell modern british Posters 97 contemporary Printed art in Switzerland 112 marTIn hoPkInSon anTonIa neSSI PQ.MAR2012C_Layout 1 26/01/2012 13:49 Page 2 Editor Rhoda Eitel-Porter Administrator Sub-Editor Jocelyne Bancel Virginia Myers Editorial Board Clifford Ackley Pat Gilmour Giorgio Marini David Alexander Antony Griffiths Jean Michel Massing Judith Brodie Craig Hartley Nadine Orenstein Michael Bury Martin Hopkinson Peter Parshall Paul Coldwell Ralph Hyde Maxime Préaud Marzia Faietti David Kiehl Christian Rümelin Richard Field Fritz Koreny Michael Snodin Celina Fox David Landau Ellis Tinios David Freedberg Ger Luijten Henri Zerner Members of Print Quarterly Publications Registered Charity No. -
'Reforming Academicians', Sculptors of the Royal Academy of Arts, C
‘Reforming Academicians’, Sculptors of the Royal Academy of Arts, c.1948-1959 by Melanie Veasey Doctoral Thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy of Loughborough University, September 2018. © Melanie Veasey 2018. For Martin The virtue of the Royal Academy today is that it is a body of men freer than many from the insidious pressures of fashion, who stand somewhat apart from the new and already too powerful ‘establishment’.1 John Rothenstein (1966) 1 Rothenstein, John. Brave Day Hideous Night. London: Hamish Hamilton Ltd., 1966, 216. Abstract Page 7 Abstract Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, ‘The Post-war Expansion of State Patronage’, investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, ‘The Royal Academy Sculpture School’, examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques.