Art Appreciation Lecture Template
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
An Australian Woman's Impression and Its Influences
NOTE: Green underlined artist names indicate that a detail biography is provided in Dictionary of Australian Artists. Page 1 Copyright © 2019 David James Angeloro “ An Australian Woman’s Impression and Its Influences ” David James Angeloro “( A More Complete Picture )” by David James Angeloro was born and raised in Syracuse, New York and graduated from Columbia University ( New York City ) and (Excerpt of Draft January 2019) Hobart University ( Geneva ). In 1971, he immigrated to Australia where he has worked as a management- technology consultant for commonwealth-state-local government organisations and large corporations throughout Australasia. David’s interest (obsession) with fine arts started while attending university in New York City. In Australia, he earned a Masters of Art from Sydney University for his thesis Sydney’s Women Sculptors: Women’s Work in Three Dimensions [ 1788-1940 ]. His passion for art extends to art history with particular interests in women artists (his two daughters are well-known artists of mashed-up video works), sculptors and painter-etchers. The Angeloro family collections have been nearly fifty years in the making. David’s collecting philosophy focused on affordable second tier artists, who were generally well- known in their day, but have been ‘forgotten’ by art historians and curators. David has followed the world-wide trend of reassessing the position and value of pre-1940 painters, illustrators, printmakers and sculptors, especially marginalized women artists. Why I’m Selling The Collection ? I’m selling my collection because after nearly fifty years, I’m returning to New York and I don’t want these Australian treasures to be lost and unappreciated. -
Land of the Golden Fleece—
Land of the Golden Fleece— Arthur Streeton in the Western District A Geelong Gallery exhibition, 27 February to 13 June 2016 Opening: Friday 26 February (by invitation only) Geelong Gallery is delighted to present Land of the Golden Fleece—Arthur Streeton in the Western District, a major exhibition of exquisite landscape paintings of Victoria’s Western District by one of Australia’s foremost and much-loved artists, Arthur Streeton. On display from February to June, this exhibition focuses on the Geelong-born artist’s work from the years 1920-32, following his return from an extended period in Europe. Bringing together some 30 paintings from public and private collections including the Art Gallery of New South Wales, National Gallery of Victoria, National Gallery of Australia and Geelong Gallery, and curated by the Gallery in consultation with acknowledged Streeton expert Geoffrey Smith, Land of the Golden Fleece depicts locations in Victoria’s Western District frequented by the artist—Dunkeld, Halls Gap and the Grampians, as well as western coastal locations such as Lorne and Port Campbell—this vividly coloured and virtuoso series will, collectively, be a revelation for audiences. Two of the three paintings titled Land of the Golden Fleece will be seen together for the first time since their initial exhibition in Melbourne in 1927. Undoubtedly one of Australia’s most significant painters, Streeton came to prominence alongside fellow Australian Impressionist painters including Frederick McCubbin, Tom Roberts and Charles Conder in the 9×5 Impressions exhibition of 1889. In 1891, the painting Golden summer, Eaglemont (1889) was exhibited at the Royal Academy of Arts in London, and hung ‘on the line’ to widespread acclaim. -
Review of the Year 2015–2016 the National Gallery Review of the Year 2015–2016 7 Director’S Foreword
REVIEW OF THE YEAR THE NATIONAL GALLERY REVIEW OF THE YEAR April 2015 – March 2016 Published by Order of the Trustees of the National Gallery London 2016 PURPOSE AND OBJECTIVES The National Gallery was established by Parliament in 1824 for the benefi t of the public. It houses a uniquely important collection of some 2,400 pictures which tell a coherent story of European art spanning seven centuries, from Cimabue to Degas. The Board of Trustees of the National Gallery holds the pictures in trust on behalf of the nation. The Gallery’s objectives are to preserve the collection by maintaining the highest standards of care and conservation, to enhance the collection by acquiring great pictures and to display it in a sensitive manner for the enjoyment and understanding of the public. The Gallery undertakes high-level research that it publishes through a variety of media and as a national and international leader in its fi eld it works in partnership with museums and academic institutions in the UK and overseas. The Gallery aims to engage the widest possible audience in the experience of its collection by opening free of charge every day to everyone, by lending some of its works to temporary exhibitions, through special public programmes and by digital means. It aims to be a resource on art for the whole world to inspire present and future generations. TRUSTEES’ INTRODUCTION When the National Gallery was founded nearly two protected (including payment of the London Living hundred years ago in 1824, its mission was simple: to Wage). We are grateful to all staff, to Securitas and acquire, on behalf of the nation, great paintings for the others who worked hard to achieve the smooth and people of the United Kingdom. -
Australia's Impressionists
Alexis Clark exhibition review of Australia’s Impressionists Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Citation: Alexis Clark, exhibition review of “Australia’s Impressionists,” Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017), https://doi.org/10.29411/ncaw.2017.16.2.12. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Clark: Australia’s Impressionists Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Australia’s Impressionists National Gallery, London December 7, 2016 – March 26, 2017 Catalogue: Australia’s Impressionists. Christopher Riopelle, ed., with an introduction by Tim Bonyhady, and with contributions by Allison Goudie, Alex J. Taylor, Sarah Thomas, and Wayne Tunnicliffe. New Haven: Yale University Press, 2017. 128 pp.; 70 color illus.; bibliography. $30.00 ISBN: 9781857096125 Australia’s Impressionists: by using this title the National Gallery’s curators Christopher Riopelle and Allison Goudie, and collaborators at the Art Gallery of New South Wales, have conscientiously separated this exhibition, its aims, and its outcomes from those of the Australian Impressionism exhibition held in 2007 at the National Gallery of Victoria. The difference between Australia’s Impressionists and Australian Impressionism or Australian Impressionists as an exhibition title may seem slight, but in making Australia take possession of Impressionism, the nomenclature matters.[1] The National Gallery’s curators at once announce their intention to appeal to the public with that key word “Impressionism,” while simultaneously disrupting persistent tendencies to conflate Impressionism with mid- and late-nineteenth-century France. -
An Historical Novel (An Archive of Found Histories) Hadyn Wilson 5 July - 13 October 2019 NO
An Historical Novel (An Archive of Found Histories) Hadyn Wilson 5 July - 13 October 2019 NO. IMAGE TITLE YEAR MEDIUM DIMS PRICE Howard Ashton's 'Dusk' 1938 with Blue 1 2019 Oil on board 16h x 13w cm $1,200 Moon cicada Howard Ashton's 'The Eye of the Storm' 2 2018 Oil on board 12h x 19w cm $1,200 1939 with leaper Richard Ashton's 'Flight' 1936 with non- 3 2019 Oil on board 13h x 15w cm $1,200 biodegradable items Will Ashton's 'An Old Street, Concarneau, 4 2019 Oil on board 13h x 16w cm $1,200 France' 1932 with Yellow Vest protesters Herbert Badham's 'Interior' (also known 5 as 'Girl at the Piano') 1937 with defiant 2019 Oil on board 18h x 12w cm $1,200 Chebby Clarice Beckett's 'Ranunculi with Beads' 11.5h x 16w 6 2018 Oil on board $1,200 1929 with Evian bottle cm Clarice Beckett's 'Still life with fish, plate, 14h x 11.5w 7 2018 Oil on board $1,200 bottle and bag' c. 1919 cm George Bell's 'The Green Turban' 1926 Oil on board with 8 2018 13h x 7w cm $1,200 with recovered ring ring Jean Beraud's 'La Danseuse' 1873 with 9 2019 Oil on board 15h x 9w cm $1,200 silver Glock Stella Bowen's 'Interior, Paris' c. 1931 with 10 2019 Oil on board 14h x 11w cm $1,200 missing writer Ernest Buckmaster's 'Rhododendrons' Oil on board with 11 2019 16h x 13w cm $1,200 1930 with cracked glass glass Charles Conder's 'Balmoral Beach' 1888 with Henri de Toulouse-Lautrec's 'Jane 12 2019 Oil on board 12h x 19w cm $1,200 Avril leaving the Moulin Rouge' (displaced) Charles Conder's 'Bronte, Queen's 13 2018 Oil on board 15h x 12w cm $1,200 Birthday' 1888 with lost child Charles Conder's 'Smoke and Chyrsanthemum' 1890 with Barcroft Oil on paper (box 14 2018 23h x 32w cm $1,200 Boake's poem, 'A Wayside Queen' from framed) his book 'Where the Dead Men Lie' James Cook's 'The Bequinage, Brussels' 15 2019 Oil on board 13h x 17w cm $1,200 1940 with Brexiteer Margaret Fleming's 'The cockatoo' 1895 16 2018 Oil on board 7h x 15w cm $1,200 with six-pack rings A.H. -
Auctions - Calendar - Browse Catalogue
Sotheby's - Auctions - Calendar - Browse Catalogue Receive Email Updates CATALOGUE: FOSTER’S COLLECTION OF AUSTRALIAN ART AUCTION DATE LOCATION SALE AU0698 SESSION 1 | 23 May 05, Melbourne 06:30 PM. PURCHASE CATALOGUE ABSENTEE BID FORM CURRENCY CONVERTER (Enter a keyword to find specific lots in this sale) LOTS PER PAGE SORT BY DISPLAY JUMP TO 1 - 20 of 70 lots PAGE 1 2 3 4 Next or LOT Lot # Description Estimate 1 EUGENE VON GUERARD 1811-1901, CUMBERLAND 70,000 - 90,000 AUD CREEK, NEAR LORNE, VICTORIA 2 CONRAD MARTENS 1801-1878, SYDNEY HARBOUR 200,000 - 300,000 AUD FROM VAUCLUSE 3 JOHN SKINNER PROUT 1805-1876, ABORIGINE 80,000 - 120,000 AUD STALKING - WILLOUGHBY FALLS, NEW SOUTH WALES 4 ALEXANDER SCHRAMM C. 1814-1864, ADELAIDE, A 400,000 - 600,000 AUD TRIBE OF NATIVES ON THE BANKS OF THE RIVER TORRENS 5 W. C. PIGUENIT 1863-1914, NEAR LIVERPOOL, NEW 80,000 - 120,000 AUD SOUTH WALES 6 JOHN GLOVER 1767-1849, HOUSE OF THE DERWENT, 700,000 - 1,100,000 VAN DIEMEN'S LAND AUD 7 EUGENE VON GUERARD 1811-1901, MOUNTAIN 250,000 - 350,000 AUD SCENERY NEAR JAMBEROO, NEW SOUTH WALES 8 HENRY GRITTEN C. 1818-1873, MELBOURNE 200,000 - 300,000 AUD 9 W. C. PIGUENIT 1863-1914, CUMMING'S PEAK, 50,000 - 70,000 AUD WESTERN BLUFF, TASMANIA 10 CONRAD MARTENS 1801-1878, VIEW ABOVE 90,000 - 120,000 AUD RUSHCUTTERS BAY, NEAR SYDNEY, N.S. WALES 11 EUGENE VON GUERARD 1811-1901, ST AGNES HEAD, 150,000 - 250,000 AUD SOUTHERN SIDE OF PHILIP ISLAND 12 AFTER WILLIAM LIGHT 1786-1839, DISTANT VIEW OF 90,000 - 125,000 AUD THE LANDING PLACE AND THE IRON STORES AT PORT ADELAIDE, SOUTH AUSTRALIA 13 WALTER WITHERS 1854-1914, RICKETT'S POINT, 80,000 - 120,000 AUD VICTORIA 14 ELIOTH GRUNER 1882-1939, IN MORNING SUNLIGHT, 30,000 - 50,000 AUD RICHMOND, NEW SOUTH WALES 15 ARTHUR STREETON 1867-1943, 'SUNLIGHT SWEET', 1,800,000 - 2,500,000 COOGEE AUD 16 W.