DOCSLIB.ORG

The Madonna of the Pinks Evaluation of the Education and Community Strategy for the Madonna of the Pinks 2004 - 2007

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Madonna of the Pinks Evaluation of the Education and Community Strategy for the Madonna of the Pinks 2004 - 2007 The Madonna of the Pinks Evaluation of the Education and Community Strategy for the Madonna of the Pinks 2004 - 2007 The National Gallery The Madonna of the Pinks Evaluation of the Education and Community Strategy for the Madonna of the Pinks 2004 - 2007 The National Gallery August 2007 Eilean Hooper-Greenhill Jocelyn Dodd Lisanne Gibson Ceri Jones Research Centre for Museums and Galleries (RCMG) Department of Museum Studies University of Leicester 105 Princess Road East Leicester LE1 7LG T: 0116 252 3995 W: http://www.le.ac.uk/museumstudies/ Contents Part 1: Discussion of research findings 1.1 Introduction 4 1.1.1 Background 4 1.1.2 The three year study 5 1.2 The research findings: the case-studies 6 1.2.1 The amount of time spent looking at and discussing the 7 painting itself and the quality of that engagement 1.2.2 The knowledge and experience of those looking at the 8 painting 1.2.3 The artists‘ and their use of the Madonna of the Pinks and 9 the participants‘ experience of the project as a whole 1.2.4 The attitude to the use of the painting by the tutors and 10 teachers and the quality of the partnerships 1.3 The research questions – some answers from the case-studies 13 1.3.1 Is a historic painting such as the Madonna of the Pinks 13 relevant to audiences today, especially young audiences? 1.3.2 How can the learning outcomes of engagement with the 14 Madonna of the Pinks be characterised? How far is the learning collection or museum-related, and how far on other, more personal aspects? 1.3.3 Which are the most significant learning outcomes to the 15 participants – inspiration, new knowledge or skills, change in values, intentions to do new things? How do these outcomes for participants relate to the institutional desires to develop new audiences? 1.3.4 Is the Madonna of the Pinks meaningful and relevant across 16 cultures and ethnicities? 1.3.5 When young people are unfamiliar with art galleries, does 16 engagement with one painting (Madonna of the Pinks) open up the possibility of engagement with other paintings and art galleries in the short-term and the long-term? How does this work with vulnerable young people? 1.4 The research findings: the response cards 17 1.4.1 Response cards at the Bowes Museum 17 1.4.1.1 Characteristics of the visitors who completed 17 response cards at the Bowes Museum 1.4.1.2 The responses to the Madonna of the Pinks at the 18 Bowes Museum 1.4.2 Response cards at the National Gallery 18 1.4.2.1 Characteristics of those who completed response 18 cards at the National Gallery 1.4.2.2 The responses of all who completed the cards to 19 the Madonna of the Pinks at the National Gallery 1.4.3 Conclusions from the analysis of the response cards 20 1.5 The research findings – the workshops at the National Gallery, London 22 1.5.1 The Family workshops 22 1.5.1.1 Participants in the family workshops 23 1.5.1.2 The analysis of the written comments from the adult 23 CONTENTS i response cards 1.5.1.3 The analysis of the children‘s response cards 23 1.5.1.4 Conclusions from the Family workshops at the 23 National Gallery 1.5.2 The Teenage workshops 24 1.5.2.1 Analysis of the teenage workshops 24 1.5.2.2 Conclusions to Teenage workshops 26 1.6 The research findings - memories of the Madonna of the Pinks 27 1.6.1 A young mother and her peers 27 1.6.2 The looked after young people‘s group interviews 28 1.6.3 Conclusions from these interviews 28 1.7 Conclusions 30 1.7.1 Learning and teaching 30 1.7.2 Research processes 31 Part 2: The research context and approach 2.1 The context for the research 34 2.1.1 The purchase, the national tour and display of the Madonna 34 of the Pinks at the National Gallery 2.1.2 The objectives of the Education, Community and 35 Interpretation Strategy 2.2 The approach to the research 36 2.2.1 The aims of the evaluation 36 2.3 Research framework and methodologies 37 2.3.1 The Generic Learning Outcomes (GLOs) 37 2.3.2 Qualitative methodologies: case studies, observations, 37 interviews 2.3.3 Quantitative methodologies: response cards and their analysis 38 2.3.4 Research ethics 40 Part 3: The first case study: ‘Books and Babies’ and the National Museums and Galleries of Wales 3.1 Introduction 44 3.2 The Madonna of the Pinks at Cardiff 44 3.2.1 The painting exhibited 44 3.2.2 Choosing the Welsh case study 45 3.3 Research methods 46 3.4 The research context 47 3.4.1 The South Wales valleys 47 3.4.2 Teenage pregnancy in Wales 48 3.4.3 The impact of teenage pregnancy on the young mothers 48 3.5 The ‗Books and Babies‘ project 49 3.5.1 Funding and purpose 49 3.5.2 The participants 50 3.5.3 Location and building 50 3.5.4 Staff 52 3.5.5 Organisation of learning 53 3.5.6 ‗Teenage Mams‘ Magazine Project 53 3.6 The research participants: the ‗Teenage Mams‘ 53 CONTENTS ii 3.6.1 The characteristics of the teenage mothers and the 53 difficulties they face 3.6.2 Defining a group of participants 55 3.7 The museum project: an account of events 56 3.7.1 Establishing and preparing for the project 56 3.7.2 The first museum visit 57 3.7.3 The workshop at the Community Centre 60 3.7.4 The second museum visit 63 3.7.5 The revisit to the ‗Books and Babies‘ Project 70 3.8 Two studies of the young mothers – Sarah* and Cerys* 72 3.8.1 First study – Sarah* 72 3.8.2 Second study – Cerys* 77 3.9 The museum project: reflections and analysis 81 3.9.1 Factors influencing the impact of the painting 81 3.9.2 The amount of time spent looking at and discussing the 81 painting itself and the quality of that engagement 3.9.3 The knowledge and experience of those looking at the 82 painting (the young mothers) 3.9.4 The artists and their use of the Madonna of the Pinks and 84 the participants‘ experience of the project as a whole 3.9.5 The attitude to the use of the painting by the Books and 85 Babies‘ tutor 3.10 The impact of the Madonna of the Pinks 90 3.10.1 Tangible outcomes from the project 90 3.10.2 Participants‘ experiences as outcomes 90 3.10.3 Skills development 90 3.10.4 The research questions – some answers from this in-depth 90 study 3.10.4.1 Is a historic painting such as the Madonna of the 90 Pinks relevant to audiences today, especially young audiences? 3.10.4.2 How can the learning outcomes of engagement 91 with the Madonna of the Pinks be characterised? How far is the learning collection or museum- related, and how far on other, more personal aspects? 3.10.4.3 Which are the most significant learning outcomes 91 to the participants – inspiration, new knowledge or skills, change in values, intentions to do new things? How do these outcomes for participants relate to the institutional desires to develop new audiences? 3.10.4.4 Is the Madonna of the Pinks meaningful and 92 relevant across cultures and ethnicities? 3.10.4.5 When young people are unfamiliar with art 92 galleries, does engagement with one painting (the Madonna of the Pinks) open up the possibility of engagement with other paintings and art galleries in the short-term and the long-term? How does this work with vulnerable young people? 3.10.5 Postscript 92 3.10.6 One outcome of the evaluation 93 3.10.7 References 93 CONTENTS iii Part 4: The second case study, a Teesdale primary school and the Bowes Museum 4.1 Introduction 97 4.2 The Madonna of the Pinks at The Bowes Museum, County Durham 97 4.2.1 The exhibition of the painting 97 4.2.2 The case study 98 4.3 Research Design 98 4.3.1 Research team 98 4.3.2 Research questions 98 4.3.3 Choice of case study 98 4.3.4 Research methods and objectives 100 4.3.5 Research material 102 4.3.6 Field research 103 4.4 The research context 105 4.4.1 Teesdale 105 4.4.2 A village in Teesdale 108 4.4.3 The Primary School 119 4.4.4 The Bowes Museum 111 4.5 The museum project: an account of events 113 4.5.1 Establishing and preparing for the project 113 4.5.2 Project events 115 4.5.2.1 The first museum visit and working with the National 115 Gallery 4.5.2.2 The first observation of The Bowes Museum artist‘s 119 classroom sessions at the school 4.5.2.3 The second observation of The Bowes Museum 126 artist‘s classroom sessions at the school and the final project presentation at The Bowes Museum 4.5.2.4 Final visit to the school and The Bowes Museum 131 4.6 Outcomes of the project 132 4.6.1 Partnership 132 4.6.2 The project team‘s impression of the children‘s learning 134 outcomes 4.6.3 The children‘s learning outcomes according to the children 137 during the project 4.6.4 The children‘s learning outcomes according to the children 140 after the project was finished (Year one) 4.6.5 The context of the painting and the pupils‘ learning 144 outcomes 4.6.5.1 The importance of mediation and the ‗specialness‘ 144 of the painting 4.6.5.2 The age of the painting and its relevance to the 145 children 4.6.5.3 Cultural entitlement 146 4.7 Conclusions 147 4.7.1 Summary of key areas for analysis and discussion in final 148 report 4.7.2 Bibliography 148 CONTENTS iv Part 4: Longer term impact on the Teesdale primary school: Visit to the National Gallery and follow up visit to the school a year later 4.8 Introduction 151 4.8.1 The research context 152 4.8.2 The organisation of the London trip 153 4.9 Description of the two visits 154 4.9.1 The visit to the National Gallery 154 4.9.2 Exploring the National Gallery 154 4.9.3 Two familiar paintings 156 4.9.4 Two new paintings 159 4.9.5 Reflections on the behaviour and responses of the children 162 4.9.6 The organisation and facilitation of the session 163 4.10 The return visit to the school 164 4.10.1 Meeting the class 164 4.10.2 Interview with Lucy* and Harry* 165 4.10.3 Interview with
Load more

Recommended publications
  • Review of Shearman's Collection of Raphael Documents
    BOOK REVIE'WS was inserted to make it more imrnediate, in 1936, in which most documents are not of the role previously played by Golzio) for all suggest that it was the fint scene to be published in full. monographic study, and can thereby assumea painted, and technical evidence prompts us to In the period since Shearman's book has canonical position which inhibits ftesh con- reconsider the sequence of the frescos inde- appeared the re-daring ofthe Monteluce doc- sideration of the evidence. pendendy oftheir preparation on paper. uments to r5o5, not r5o3 bp.sr-96),, and of In a moment of characteristic wit. Shear- If Raphael's contemporaries averred that Raphael's appointrnent as Sctiptor Breuium in man describes what a biography of Raphael his art was not innate but born from studying I5II, not r5og (pp.r5o-52),3have made pos- based entirely upon f).lsedocuments would 'Would be other artists, they were not totally wrong, par- sible new interpretations ofthe artist's career. like (p. r 5). he have been asamused by ticularly in regard to his early career. Raphael Sadly, however, Shearman's Corpus doesn't what a student's chronology of Raphael's life seemed to need models to emulate and sur- acfually tell us very much more about based on this publication might be like? There pass. His syncretic method, by which he Raphael than we knew already. There are would be much that was good and uncon- selected from al1 available models, painting new documents in this book (for instance, tentious, but Raphael would be said to have techniques, lighting, figure moti6, poses, those connected with Alberrinelli, supplied by been in Rome in rso2/o3; in r5o4 the only 'Signed landscape motifi, backdrops, accoutrements Louis Waldman), and it is extremely useful to entry would read and dated The Spos- and cosfumes may make him particularly have them gathered together in one place (if alizio in Citti di Castello (now Milan, Brera)',6 'gilded interesting in an age of multivalent informa- not in one volume), but we do not have the wh.ile in r5o8 Raphael would have a tron.
    [Show full text]
  • Heim Gallery Records, 1965-1991
    http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States.
    [Show full text]
  • 2011: Durham University
    THE CLASSICAL ASSOCIATION ANNUAL CONFERENCE DURHAM UNIVERSITY FRIDAY 15TH APRIL - MONDAY 18TH APRIL 2011 CONFERENCE INFORMATION We are delighted to invite you to attend the 2011 Classical Association Annual Conference, which this year will be hosted by Durham University. Founded by Royal Charter in 1832, Durham University is among the contenders to the title of third oldest University of England; yet despite its ancient roots, Durham prides itself on combining tradition with innovation. The same is true of its Classics Department, one of the largest, youngest, and most international Classics Departments around. Two-thirds of staff in the department are non- British nationals: Germany, Italy, the Netherlands, Serbia, and the USA are all represented; current research postgraduates add Egypt, Greece, Hungary, Korea, and Japan to the list. All of this is testimony to our view that Classics not only continues to be relevant, but has become increasingly important as a shared cultural resource through which diverse contemporary cultures can communicate. In various ways, then, Durham Classics operates across boundaries of time and of space and stands for intellectual exchange across languages and cultures, and it is this spirit of open exchange and dialogue that we hope to enact and celebrate during the Classical Association Annual Conference as well. The Durham colleges allow us to return to the traditional format of the on-campus event, with both accommodation and academic sessions in the main conference venue, Collingwood College. It will however also be possible to book a room at the Business school, or at the Marriott; and Durham city offers a range of other possibilities.
    [Show full text]
  • Never-Before-Seen Documents Reveal IWM's Plan for Evacuating Its Art
    Never-before-seen documents reveal IWM’s plan for evacuating its art collection during the Second World War Never-before-seen documents from Imperial War Museums’ (IWM) collections will be displayed as part of a new exhibition at IWM London, uncovering how cultural treasures in British museums and galleries were evacuated and protected during the Second World War. The documents, which include a typed notice issued to IWM staff in 1939, titled ‘Procedure in the event of war,’ and part of a collection priority list dated 1938, are among 15 documents, paintings, objects, films and sculptures that will be displayed as part of Art in Exile (5 July 2019 – 5 January 2020). At the outbreak of the Second World War, a very small proportion of IWM’s collection was chosen for special evacuation, including just 281works of art and 305 albums of photographs. This accounted for less than 1% of IWM’s entire collection and 7% of IWM’s art collection at the time, which held works by prominent twentieth- century artists including William Orpen, John Singer Sargent, Paul Nash and John Lavery. Exploring which works of art were saved and which were not, Art in Exile will examine the challenges faced by cultural organisations during wartime. With the exodus of Britain’s cultural treasures from London to safety came added pressures on museums to strike a balance between protecting, conserving and displaying their collections. The works on IWM’s 1938 priority list, 60 of which will be reproduced on one wall in the exhibition, were destined for storage in the country homes of IWM’s Trustees, where it was believed German bombers were unlikely to venture.
    [Show full text]
  • This Raphael Is for Real
    This Raphael is for real In the pinks: The National's Madonna. Photo: National Gallery, London For the next three months, Raphael's Madonna of the Pinks, acquired in March by the National Gallery for £22m, can be seen in our new exhibition Raphael: From Urbino to Rome, alongside 37 other paintings by the young artist. This provides an unequalled opportunity to examine the claims by Professor James Beck, reported in yesterday's Times, that this painting is not by Raphael. When a painting is as expensive as Madonna of the Pinks, it is to be expected that the gallery's decision to acquire it should be properly scrutinised. But the questions asked of the picture need to be the right ones. One person's opinion, however vociferously expressed, isn't sufficient reason to doubt a picture's authenticity. The story of the rediscovery of the painting is well known. Dr Nicholas Penny, then working at the National Gallery and the author of a major monograph on Raphael, noticed the picture on a visit to Alnwick in 1991. It had long been regarded as the best surviving copy of a lost composition by Raphael; no art historian believed it was by Raphael himself. But Penny thought it worth borrowing for examination in the gallery's scientific department. By the early 1990s, the National Gallery had recognised that a connoisseur's judgment needs to be backed up by science. Only by examining the way Raphael's painting was made could we abandon the idea that the picture was a copy. Penny found that a remarkable free drawing, very like many of Raphael's works on paper, lay under the paint.
    [Show full text]
  • The Social and Material Worlds of Alphonsine Bowes De Saint-Amand
    Beyond the Bowes Museum: The Social and Material Worlds of Al phonsine Bowes de Saint-Amand Lindsay Macnaughton The Bowes Museum in Barnard Castle is a public art museum built from 1869 and inaugurated in 1892 to display in technical and didactic ways the collection formed by a couple who lived most of their adult lives in Paris. The so-called founders’ collection combines items purchased with the museum in mind with an important collection of artworks and fur- nishings used in the couple’s own homes on both sides of the Channel. Today the museum presents to visitors a selective biography of its found- ers, John and Joséphine Bowes. John Bowes (1811–1885), the illegitimate son of the 10th Earl of Strathmore, inherited his father’s English estates, but not his title.1 Educated at Eton and Cambridge, he displayed a keen interest in theatre, history, and France. By 1847 Bowes had taken up resi- dence in Paris, marking an end to his career as a Whig MP for County Durham. An essential figure in exporting the British horseracing tradition into France and a wealthy bachelor from a landed family, Bowes joined the exclusive Cercle de l’Union in 1846 and was invited to join the Jockey Club.2 By contrast, Benoîte Joséphine Coffin dite Chevalier was born in Paris on 26 April 1825, the daughter of a clockmaker, originally from Lyons, and Madeleine Antoinette Sergent (1787–1866).3 Joséphine followed Laurent-Joseph Morin’s classes at the Conservatoire, and performed on the stage of the Théâtre Français.4 In September 1846 La Tribune dramatique reported that the young actress Mademoiselle Delorme (Joséphine’s stage name) would commence a three-year contract at the Théâtre des Variétés, which was bought outright in cash by John Bowes in 1847.5 They signed a 1 Charles Hardy, John Bowes and the Bowes Museum (Barnard Castle: Friends of the Bowes Museum, 1970), pp.
    [Show full text]
  • Two Artworks by Jock Mcfadyen to Go on Permanent Display at IWM North As Imperial War Museums Marks 30 Years Since the Fall of the Berlin Wall
    Two artworks by Jock McFadyen to go on permanent display at IWM North as Imperial War Museums marks 30 years since the fall of the Berlin Wall To coincide with the 30th anniversary of the fall of the Berlin Wall, Christmas in Berlin (1991) and Die Mauer (1991), painted by renowned artist Jock McFadyen, will be going on permanent display at IWM North. This is the first time in over a decade that the paintings have been on public display. The fall of the Berlin Wall on 9 November 1989 signalled the end of the Cold War, triggering the reunification of Germany and the subsequent dissolution of the USSR. Europe was reshaped, both in its physical borders and its political and social identity, which continue to evolve today. In 1990, the year following the fall of the Berlin Wall, Scottish artist Jock McFadyen was commissioned by Imperial War Museums to respond to this momentous event in history and to record its impact on the city and its residents. In Christmas in Berlin (left), McFadyen blurs the distinction between the Wall and the cityscape of Berlin. The Wall can be seen covered in vividly coloured markings and large-scale symbols representing graffiti, set against a wintry grey background. In the distance, festival lights, one in the shape of a Christmas tree, shine dimly against the buildings. Beyond the Wall, the iconic sphere of the Berliner Fernsehturm (Television Tower) in Alexanderplatz dominates the skyline. During the Cold War, residents of East Berlin would visit the top of the Tower, which was the highest point in the city, to view the West.
    [Show full text]
  • Annual Review Are Intended Director on His fi Rst Visit to the Gallery
    THE April – March NATIONAL GALLEY TH E NATIONAL GALLEY April – March – Contents Introduction 5 In June , Dr Nicholas Penny announced During Nicholas Penny’s directorship, overall Director’s Foreword 8 his intention to retire as Director of the National visitor numbers have grown steadily, year on year; Gallery. The handover to his successor, Dr Gabriele in , they stood at some . million while in Acquisitions 10 Finaldi, will take place in August . The Board they reached over . million. Furthermore, Loans 17 looks forward to welcoming Dr Finaldi back to this remarkable increase has taken place during a Conservation 24 the Gallery, where he worked as a curator from period when our resource Grant in Aid has been Framing 28 to . falling. One of the key objectives of the Gallery Exhibitions 32 This, however, is the moment at which to over the last few years has been to improve the Displays 44 refl ect on the directorship of Nicholas Penny, experience for this growing group of visitors, Education 48 the eminent scholar who has led the Gallery so and to engage them more closely with the Scientifi c Research 52 successfully since February . As Director, Gallery and its collection. This year saw both Research and Publications 55 his fi rst priority has been the security, preservation the introduction of Wi-Fi and the relaxation Public and Private Support of the Gallery 60 and enhanced display of the Gallery’s pre-eminent of restrictions on photography, changes which Trustees and Committees of the National Gallery Board 66 collection of Old Master paintings for the benefi t of have been widely welcomed by our visitors.
    [Show full text]
  • Aldwych-House-Brochure.Pdf
    Executive summary • An iconic flagship in the heart of Midtown • This imposing building invested with period grandeur, has been brought to life in an exciting and modern manner • A powerful and dramatic entrance hall with 9 storey atrium creates a backdrop to this efficient and modern office • A total of 142,696 sq ft of new lettings have taken place leaving just 31,164 sq ft available • A space to dwell… 4,209 – 31,164 SQ FT 4 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 5 Aldwych House • MoreySmith designed reception • Full height (9 storey) central atrium fusing a modern which provides a light, modern, interior with imposing spacious circulation area 1920s architecture • Floors are served by a newly refurbished lightwell on the west side and a dramatically lit internal Aldwych House totals 174,000 atrium to the east from lower sq ft over lower ground to 8th ground to 3rd floor floors with a 65m frontage • An extensive timber roof terrace onto historic Aldwych around a glazed roof area • Showers, cycle storage and a drying room are located in the basement with easy access from the rear of the building • The ROKA restaurant is on the ground floor 6 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 7 8 | ALDWYCHHOUSE.COM Floorplate Typical upper floor c. 18,000 sq ft Typical upper floor CGI with sample fit-out 10 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 11 Floorplate Typical upper floor with suite fit-out 12 | ALDWYCHHOUSE.COM ALDWYCHHOUSE.COM | 13 SOHO TOTTENHAM COURT ROAD MIDTOWN | LONDON Aldwych House, now transformed as part of the dynamic re-generation of this vibrant eclectic midtown destination, stands tall and COVENT GARDEN commanding on the north of the double crescent of Aldwych.
    [Show full text]
  • National Gallery Exhibitions, 2010
    EXHIBITIONS AT THE NATIONAL GALLERY 2010 PRESS NOTICE MAJOR EXHIBITION PAINTING HISTORY: DELAROCHE AND LADY JANE GREY 24 February – 23 May 2010 Sainsbury Wing Admission charge Paul Delaroche was one of the most famous French painters of the early 19th century, with his work receiving wide international acclaim during his lifetime. Today Delaroche is little known in the UK – the aim of this exhibition is to return attention to a major painter who fell from favour soon after his death. Delaroche specialised in large historical tableaux, frequently of scenes from English history, characterised by close attention to fine detail and often of a tragic nature. Themes of imprisonment, execution and martyrdom Paul Delaroche, The Execution of Lady Jane Grey, 1833 © The National Gallery, London were of special interest to the French after the Revolution. The Execution of Lady Jane Grey (National Gallery, London), Delaroche’s depiction of the 1554 death of the 17-year-old who had been Queen of England for just nine days, created a sensation when first exhibited at the Paris Salon in 1834. Monumental in scale, poignant in subject matter and uncanny in its intense realism, it drew amazed crowds, as it still does today in London. This exhibition will, for the first time in the UK, trace Delaroche’s career and allow this iconic painting to be seen in the context of the works which made his reputation, such as Marie Antoinette before the Tribunal (1851, The Forbes Collection, New York). Together with preparatory and comparative prints and drawings for Lady Jane Grey on loan from collections across Europe, it will explore the artist’s notion of theatricality and his ability to capture the psychological moment of greatest intensity which culminated in Lady Jane Grey.
    [Show full text]
  • Peripheral Packwater Or Innovative Upland? Patterns of Franciscan Patronage in Renaissance Perugia, C.1390 - 1527
    RADAR Research Archive and Digital Asset Repository Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 Beverley N. Lyle (2008) https://radar.brookes.ac.uk/radar/items/e2e5200e-c292-437d-a5d9-86d8ca901ae7/1/ Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Lyle, B N (2008) Peripheral backwater or innovative upland?: patterns of Franciscan patronage in renaissance Perugia, c. 1390 - 1527 PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR Peripheral packwater or innovative upland? Patterns of Franciscan Patronage in Renaissance Perugia, c.1390 - 1527 Beverley Nicola Lyle Oxford Brookes University This work is submitted in partial fulfilment of the requirelnents of Oxford Brookes University for the degree of Doctor of Philosophy. September 2008 1 CONTENTS Abstract 3 Acknowledgements 5 Preface 6 Chapter I: Introduction 8 Chapter 2: The Dominance of Foreign Artists (1390-c.1460) 40 Chapter 3: The Emergence of the Local School (c.1450-c.1480) 88 Chapter 4: The Supremacy of Local Painters (c.1475-c.1500) 144 Chapter 5: The Perugino Effect (1500-c.1527) 197 Chapter 6: Conclusion 245 Bibliography 256 Appendix I: i) List of Illustrations 275 ii) Illustrations 278 Appendix 2: Transcribed Documents 353 2 Abstract In 1400, Perugia had little home-grown artistic talent and relied upon foreign painters to provide its major altarpieces.
    [Show full text]
  • Student Handout
    Open Arts Objects Open Arts Archive http://www.openartsarchive.org/open-arts-objects Presenter: Veronica Davies Object: Catalogue - War Pictures at the National Gallery (1942) Dr Veronica Davies examines a catalogue produced for an exhibition of war artists' work at the National Gallery in 1942 This video will help you think about art in wartime, how works of art are exhibited, and what a catalogue might tell us about a historical exhibition, the circumstances in which it was produced and the kind of art that was on show. Before watching the film Before you watch the video, think about and discuss the following questions: 1. What do you know about the period of World War Two (1939-45) in Britain? 2. What do you think would be the difficulties faced by artists employed as war artists? 3. What do you think would be the difficulties in putting on an exhibition during war time? After watching the film 1. Questions for discussion and debate The War Artists’ Advisory Committee (WAAC) was part of the wartime Ministry of Information, which, among other things, was tasked with raising public morale and providing propaganda. a. Are these appropriate roles for art? b. Should art ever be censored? 2. Looking closer a. The two works highlighted in the video are both now in the Imperial War Museum, which was given a large proportion of the output of the WAAC when the war was over. Kenneth Rowntree CEMA Concert, Isle of Dogs http://www.iwm.org.uk/collections/item/object/23463 Michael Ford War weapons week in Country Town http://www.iwm.org.uk/collections/item/object/9684 Choose one of them, and find out what you can about it from the linked web page.
    [Show full text]