Programme. Lucian Freud Networks
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Biographical Appendix
Biographical Appendix The following women are mentioned in the text and notes. Abney- Hastings, Flora. 1854–1887. Daughter of 1st Baron Donington and Edith Rawdon- Hastings, Countess of Loudon. Married Henry FitzAlan Howard, 15th Duke of Norfolk, 1877. Acheson, Theodosia. 1882–1977. Daughter of 4th Earl of Gosford and Louisa Montagu (daughter of 7th Duke of Manchester and Luise von Alten). Married Hon. Alexander Cadogan, son of 5th Earl of Cadogan, 1912. Her scrapbook of country house visits is in the British Library, Add. 75295. Alten, Luise von. 1832–1911. Daughter of Karl von Alten. Married William Montagu, 7th Duke of Manchester, 1852. Secondly, married Spencer Cavendish, 8th Duke of Devonshire, 1892. Grandmother of Alexandra, Mary, and Theodosia Acheson. Annesley, Katherine. c. 1700–1736. Daughter of 3rd Earl of Anglesey and Catherine Darnley (illegitimate daughter of James II and Catherine Sedley, Countess of Dorchester). Married William Phipps, 1718. Apsley, Isabella. Daughter of Sir Allen Apsley. Married Sir William Wentworth in the late seventeenth century. Arbuthnot, Caroline. b. c. 1802. Daughter of Rt. Hon. Charles Arbuthnot. Stepdaughter of Harriet Fane. She did not marry. Arbuthnot, Marcia. 1804–1878. Daughter of Rt. Hon. Charles Arbuthnot. Stepdaughter of Harriet Fane. Married William Cholmondeley, 3rd Marquess of Cholmondeley, 1825. Aston, Barbara. 1744–1786. Daughter and co- heir of 5th Lord Faston of Forfar. Married Hon. Henry Clifford, son of 3rd Baron Clifford of Chudleigh, 1762. Bannister, Henrietta. d. 1796. Daughter of John Bannister. She married Rev. Hon. Brownlow North, son of 1st Earl of Guilford, 1771. Bassett, Anne. Daughter of Sir John Bassett and Honor Grenville. -
2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening. -
Descendants of Nathan Spanier 17 Feb 2014 Page 1 1
Descendants of Nathan Spanier 17 Feb 2014 Page 1 1. Nathan Spanier (b.1575-Stadthagen,Schaumburg,Niedersachsen,Germany;d.12 Nov 1646-Altona,SH,H,Germany) sp: Zippora (m.1598;d.5 Apr 1532) 2. Isaac Spanier (d.1661-Altona) 2. Freude Spanier (b.Abt 1597;d.25 Sep 1681-Hannover) sp: Jobst Joseph Goldschmidt (b.1597-witzenhausen,,,Germany;d.30 Jan 1677-Hannover) 3. Moses Goldschmidt 3. Abraham Goldschmidt sp: Sulke Chaim Boas 4. Sara Hameln 4. Samuel Abraham Hameln sp: Hanna Goldschmidt (b.1672) 3. Jente Hameln Goldschmidt (b.Abt 1623;d.25 Jul 1695-Hannover) sp: Solomon Gans (b.Abt 1620;d.6 Apr 1654-Hannover) 4. Elieser Suessmann Gans (b.Abt 1642;d.16 Oct 1724-Hannover) sp: Schoenle Schmalkalden 5. Salomon Gans (b.Abt 1674-Hameln;d.1733-Celle) sp: Gella Warburg (d.1711) 6. Jakob Salomon Gans (b.1702;d.1770-Celle) sp: Freude Katz (d.1734) 7. Isaac Jacob Gans (b.1723/1726;d.12 Mar 1798) sp: Pesse Pauline Warendorf (d.1 Dec 1821) 8. Fradchen Gans sp: Joachim Marcus Ephraim (b.1748-Berlin;d.1812-Berlin) 9. Susgen Ephraim (b.24 Sep 1778-Berlin) 9. Ephraim Heymann Ephraim (b.27 Aug 1784;d.Bef 1854) sp: Esther Manasse 10. Debora Ephraim sp: Heimann Mendel Stern (b.1832;d.1913) 11. Eugen Stern (b.1860;d.1928) sp: Gertrude Lachmann (b.1862;d.1940) 12. Franz Stern (b.1894;d.1960) sp: Ellen Hirsch (b.1909;d.2001) 13. Peter Stern Bucky (b.1933-Berlin;d.2001) sp: Cindy 10. Friederike Ephraim (b.1833;d.1919) sp: Leiser (Lesser) Lowitz (b.Abt 1827;m.11 Jan 1854) 9. -
70 PATRICK SWIFT (1927-1983) Girl in a Garden (C.1951/2) Oil on Canvas, 134.5 X 106.5Cm (53 X 42”) Signed; Title Inscribed on Label Verso
90 70 PATRICK SWIFT (1927-1983) Girl in a Garden (c.1951/2) Oil on canvas, 134.5 x 106.5cm (53 X 42”) Signed; title inscribed on label verso Exhibited: “Patrick Swift: An Irish Painter in Portugal” exhibition, Palácio Foz, Lisbon, Oct/Nov 2001; The Crawford Gallery, Cork, Dec 2001/February 2002 . Literature: “Patrick Swift (1927-1983) An Irish Painter in Portugal”, Crawford Gallery, Cork, 2001, p.31 (full page illustration). ‘Girl in a Garden’ dates to the early 1950s and forms part of an interesting body of early work created in Swift’s studio on Hatch Street, Dublin . The painting depicts the artist’s girlfriend American poet Claire McAllister seated in the garden of the studio. Together they formed part of an influential Dublin cultural set that included Anthony Cronin, Patrick Kavanagh, Nano Reid and Brendan Behan among others. Claire McAllister was then a student at Trinity College and she lived in the same house as Deirdre McDonagh whose flat with its grand piano became a favourite post-pub haunt. They met and soon moved to a large flat in a Georgian house on Hatch Street with Swift subletting the front half to the painter Patrick Pye as a studio. Their relationship came to an end several years later after Swift was introduced to the beautiful Oonagh Ryan by her brother John Ryan (Envoy Magazine, The Bailey Pub etc) in May 1952 and later that year Swift left Claire and followed Oonagh to London. Swift had met Lucian Freud in 1949 and by 1950 Lucian was coming regularly to Ireland due to his courtship with his future wife Lady Caroline Blackwood of Clandeboye Estate in Northern Ireland and he used to come around in the mornings to the Hatch Street Studio to paint. -
Robert Lowell's Day by Day: "Until the Wristwatch Is Taken from the Wrist"
RichardTUlinghast Robert Lowell'sDay byDay: "Untilthe wristwatchis takenfrom the wrist" T JLo read Robert Lowell's last book, Day byDay, published shortly before his death in 1977, is to accompany the poet on a valedictory retrospective of his life and work. This is the most elegiac book of one of our great elegists. In poem after poem he says - goodbye not only to old friends but to old ideas the ruling ideas of the time in which he lived. He continues to feel ambivalent about the third of his troublesome marriages, wondering whether he had made a mistake in leaving his second wife, Elizabeth Hardwick, to marry the Anglo-Irish novelist Lady Caroline Blackwood. - Ambivalence was Lowell's characteristicstance a stance that positioned him ideally to exemplify many of the conflicts of his period. When he died in a taxicab on the way to Hardwick's apartment in Manhattan after a flight from London, he was car- rying, wrapped in brown paper, the famous portrait of Caroline Blackwood, Girl in Bed, which had been painted by her first husband, Lucian Freud. In an interview in the September, 1993, issue of Town and Country, Blackwood reveals that attendants at the hospital had to break Lowell's arms to remove the picture from his grasp. Day by Day has the overall effect of an almost posthumous work: On the last page of Ian Hamilton's biography of Lowell, William Empson's words on King Lear are invoked: The scapegoatwho has collectedall this wisdom for us is viewed at the end with a sort of hushedenvy, not I think reallybecause he has become wise but becausethe generalhuman desirefor experiencehas been so glutted in him; he has been througheverything. -
Cultural Gifts Scheme & Acceptance in Lieu
Cultural Gifts Scheme & Acceptance in Lieu Report 2016 Contents Preface Acceptance in Lieu Cases 2015/16 Sir Peter Bazalgette, Chair, Arts Council England 4 14. William Turnbull sculptures 32 15. Joseph Mallord William Turner: Introduction The High Street, Oxford 34 16. Lucian Freud self-portrait and archive 36 Edward Harley, Chairman, Acceptance in Lieu Panel 5 17. Benozzo Gozzoli drawings 38 Allocations 5 18. Allan Ramsay: Prince Charles Edward Stuart 40 Hybrid offers 6 19. Sir Joshua Reynolds: 5th Earl of Carlisle 42 In situ cases 6 20. Plas Newydd chattels 44 Tax changes 7 21. Cartier tiara 46 Conditional Exemption 7 22. Sir Anthony van Dyck: Mrs Endymion Porter 48 Immunity from Seizure 7 23. Master of the Countess of Warwick: Portrait of Susan Bertie, later Countess of Kent 50 The Culture White Paper 7 24. George Romney: Portrait of John Fane 52 Thanks and acknowledgements 8 25. Glynn Parian ware collection 54 26. Hobson bookbinding archive 55 Cultural Gifts Scheme Cases 2015/16 27. Late 15th-century view of Florence 56 1. Great Seal of Queen Victoria 10 28. Rumbold desk 58 2 & 3. Two collections of paper peep-shows 12 29. Kennet archive 59 4. Isack Van Ostade landscape 14 30. Two antique busts from Houghton Hall 60 5. Sun Foundry showroom ceiling 16 31. Raffaellino del Garbo: Study of Drapery 62 6. Arundel table 17 32. Francisco José de Goya y Lucientes: 7. Bindman collection of political caricature prints 18 Three albums of prints 64 8. John Hamilton Mortimer: Witts Family Group 20 33. James Abbott McNeill Whistler: Three pastel portraits 66 9. -
British Figurative Art Since 1950
BRITISH FIGURATIVE ART SINCE 1950 Next week we will look at one of the most famous figurative artists, David Hockney, and this week we will cover eight figurative artists more briefly. Figurative art has long been a feature of British art and the artists most often associated with figurative art since WWII are those of the ‘School of London’. This is a term invented by artist R.B. Kitaj to describe a group of London-based artists who were pursuing forms of figurative painting in the face of avant-garde abstraction in the 1970s. Last term we looked at a few figurative artists who painted between 1900 and 1950 including: • John Singer Sargent (1856-1925), an American artist who worked in Britain and became the leading portrait painter of his generation. • Walter Sickert (1860-1942), a painter’s painter and one of the most influential British artists of the twentieth century. • Gwen John (1876-1939). Gwen John, was an intense and solitary artist who was described by her brother Augustus John as the better artist. • Augustus John (1878-1961) Augustus John was one of the most popular society portrait artists at the beginning of the twentieth century. • Laura Knight (1877-1970) Knight was a painter in the figurative, realist tradition who was among the most successful and popular painters in 1 Britain. In 1929 she was created a Dame, and in 1936 became the first woman elected to the Royal Academy since its foundation in 1768. • William Orpen (1878-1931) an Irish artist who worked mainly in London. William Orpen was a fine draughtsman and a popular, commercially successful, painter of portraits for the well-to-do in Edwardian society. -
Unseen Masterpieces by Lucian Freud Unveiled for the First Time - Telegraph Page 1 of 4
Unseen masterpieces by Lucian Freud unveiled for the first time - Telegraph Page 1 of 4 Unseen masterpieces by Lucian Freud unveiled for the first time A major new exhibition of Lucian Freud's works will feature previously unseen sketches from his childhood alongside portraits of his parents and his children. The Painter's Mother by Lucian Freud Photo: LUCIAN FREUD By Roya Nikkhah (http://www.telegraph.co.uk/journalists/roya-nikkhah/) , Arts Correspondent 9:00AM GMT 29 Jan 2012 4 Comments (http://www.telegraph.co.uk/culture/art/art-news/9046274/Unseen-masterpieces-by-Lucian- Type your comment here. Freud-unveiled-for-the-first-time.html#disqus_thread) As the leading artist of his day, Lucian Freud’s works are among the most recognised paintings in the world. But a major new exhibition of his drawings and watercolours will feature rare, previously unseen works, including intimate portraits of his parents, children, self-portraits and childhood etchings. http://www.telegraph.co.uk/culture/art/art-news/9046274/Unseen-masterpieces-by-Lucian-F... 2/6/2012 Unseen masterpieces by Lucian Freud unveiled for the first time - Telegraph Page 2 of 4 Among the works that will be shown for the first time is Birds in Tree, a crayon sketch believed to date from 1930 when Freud was seven. Thought to be one of his earliest surviving works, the colourful drawing was kept by his devoted mother, Lucie, who recognised her son’s talent from an early age. Another rare work included in the exhibition is a tender portrait of Freud’s first wife, Kitty Garman, the daughter of the sculptor Jacob Epstein, cradling their first-born child, Annie. -
A M D G Beaumont Union Review Winter 2020
A M D G BEAUMONT UNION REVIEW WINTER 2020 As you well know a great deal of what I write in the REVIEW is past history and when I say past, it tends to be prior to the end of WW2. Beaumont certainly produced some remarkable people in that first 90 years which in itself was extraordinary for so small a school. Indeed, it is easy to be ―cocorrico‖ as there were so many. But what of ourselves now that the vast majority of OBs have now retired: have we continued their tradition? For a start society has changed, there has been considerable levelling of opportunity whatever certain politicians might say: competition to make one‘s mark has become much harder. In the 19th Century your family could greatly influence your advancement although in this country being a Catholic was a considerable disadvantage and blocked many a career. Much changed between the Wars and there is no greater example of this than Noel Browne from the workhouse to Irish Government Minister. But of the last 70 years if you think back to your own contemporaries, it is remarkable how many have earned recognition in one field or another and made a significant contribution to society. It was brought home to me by the deaths of Olly Oliver, Michael O‘Sullivan, John Okell and Ludo de Vleeshauwer. When Olly died, the flag flew at half-mast on the Council buildings and for Judge Michael people lined the streets as his cortege passed to show their respect, John‘s contribution to Anglo-Burmese relations has been unique and there have been many tributes to Ludo in the Belgian Press. -
4F9fd2f0e834c181d21ad281545
CONTENTS 6 Introduction 10 The Roaring Twenties 48 Hollywood 98 High Society, Haute Couture 142 The War Years 164 Artists 190 Writers 226 The Stage 254 The Peacock Revolution 284 Index 287 Acknowledgements PREVIOUS PAGE Cecil Beaton self-portrait, 1923 LEFT Contact sheet, Marilyn Monroe, 1956 INTRODUCTION BY HUGO VICKERS Cecil Beaton died more than thirty-four years ago, but remains as popular and relevant as in his lifetime. Many famous people suffer a dip in their reputations over time, but that has never happened with Cecil Beaton. He has gone from strength to strength with a series of exhibitions in Britain, the United States, Australia and several other countries. In 2012 there were exhibitions at the Victoria and Albert and Imperial War Museums in London and at the Museum of the City of New York. Publications such as The Glass of Fashion and Ashcombe are being reissued, and now comes this book, Cecil Beaton: Portraits and Profiles, which fills a rare gap in the considerable output of books by and about Cecil. Cecil Beaton was primarily known for having photographed virtually every prominent person in public life in the course of his long career. Everyone from the Queen to the Rolling Stones sat to his lens, the greatest figures from the worlds of society, the arts – authors, dancers, choreographers, playwrights, poets, actors, actresses, magazine editors, directors and musicians – those from the realm of politics, generals, world leaders and statesmen, as well as iconic figures in the world of fashion and high life spanning from the 1920s to the 1970s. -
Autumn 2003 JSSE Twentieth Anniversary
Journal of the Short Story in English Les Cahiers de la nouvelle 41 | Autumn 2003 JSSE twentieth anniversary John McGahern - b. 1934 Linda Collinge and Emmanuel Vernadakis Electronic version URL: http://journals.openedition.org/jsse/314 ISSN: 1969-6108 Publisher Presses universitaires de Rennes Printed version Date of publication: 1 September 2003 Number of pages: 123-141 ISSN: 0294-04442 Electronic reference Linda Collinge and Emmanuel Vernadakis, « John McGahern - b. 1934 », Journal of the Short Story in English [Online], 41 | Autumn 2003, Online since 30 July 2008, connection on 03 December 2020. URL : http://journals.openedition.org/jsse/314 This text was automatically generated on 3 December 2020. © All rights reserved John McGahern - b. 1934 1 John McGahern - b. 1934 Linda Collinge and Emmanuel Vernadakis EDITOR'S NOTE Interview organized by Linda Collinge and Emmanuel Vernadakis for the JSSE 20th, anniversary celebration, May 24, 2003 John McGahern’s work has dominated the Irish literary landscape for almost forty years. First rendered famous by his first novel The Barracks, the writer then underwent the painful process of censorship and self-imposed exile after the banning of The Dark. If the following novels, The Leavetaking, The Pornographer and Amongst Women have aroused increasing interest in his work and attracted praise and controversy, the three collections of short stories, Nightlines (1970), Getting Through (1978) and HighGround (1985), together with the stories published separately, have definitely ensured McGahern’s place as a master of the genre, a stylist and a poet. The shape of the short story has enabled the writer to build up patiently a microcosm through a microcosmic form and to refine his manner “increasingly experimental and conscious of its own patterns as poetic fiction” to quote Denis Sampson.Liliane Louvel, JSSE n°34 The early years as a reader/writer. -
4 De Junio De 2015 Nota De Prensa
4 DE JUNIO DE 2015 NOTA DE PRENSA 25 Savile Row London W1S 2ER T. +44 (0) 7287 5013 Horario de la Galeria: Mar-Vier: 10:00-18:00 Sab: 11:00-15:00 Girl – Lucian Freud está dedicada a los conmovedores retratos que Lucian Freud hizo de Caroline Blackwood, la hija mayor del cuarto marqués de Dufferin y Ava, y de su esposa, la heredera del imperio cervecero Maureen Guinness. Con tan solo veintidós años, Caroline se fugó con Freud a París y un año después, en 1953, contrajo matrimonio con él. La exposición, abierta al público del 5 de Junio al 1 de Agosto, refleja la relación de Caroline con Freud a través de una serie de retratos pintados entre 1950 y 1956, e incluye Girl in Bed y Girl Reading, ambos de 1952, así como Girl by the Sea, de 1956, el último retrato que Freud hizo de Caroline y que, según revelaciones recientes, se pintó en Pedregalejo, cerca de Málaga. The Sisters, un delicado lienzo que representa el ojo de Caroline, se mostrará también por primera vez en el Reino Unido. Entre el material fotográfico y de archivo, se incluye el cuaderno con tapas de piel que Caroline llevó a su cita inicial con Freud para posar en Delamere Terrace, un objeto que no se había expuesto antes. Los retratos de Caroline Blackwood pintados por Freud resultaron agresivos para la época, casi brutales por la forma en que hacían parecer tan mayor a una joven, pero desde entonces han pasado a considerarse entre las obras más tiernas y hermosas del artista.