DOCSLIB.ORG

2017 Cultureshock Media (Cultureshockmedia.Co.Uk)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2017 Cultureshock Media (Cultureshockmedia.Co.Uk) 2016-17 ANNUAL REVIEW ANNUAL REVIEW 2016-17 RUNNING HEAD V&A Annual Review 2016–17 2 V&A ANNUAL REVIEW 2016–17 Year at a glance 4 Chairman’s foreword 8 Director’s foreword 10 2016–17 exhibitions and displays 12 Inspiring the next generation 18 A national museum 22 Keeping it live 26 A website for the 21st-century public 28 A year of the Museum 32 Acquisitions 36 Researching together 41 Leading the past into the present 44 In the best light: The Rosalinde and Arthur Gilbert Galleries 50 Around the world 52 David Bowie is… on tour 53 International activities 54 The Grand Entrance, Cromwell Road © James Medcraft Financials 58 Front cover: Elytra Filament Pavilion at the V&A, 2016. Photo: Peter Kelleher © Support 59 Victoria and Albert Museum, London Back cover: Benedetto da Rovezzano, The Wolsey Angels, 1524–1529, bronze. Purchased with the support of the National Heritage Memorial Fund, the Art Fund, a gift in memory of Melvin R. Seiden, the Friends of the V&A, the Ruddock Foundation for the Arts, the American Friends of the V&A, Demirjian Family, Sam Fogg, Michael and Stark Ward, Mr and Mrs Nicholas Coleridge CBE, Mr Crispin Odey, Miss Grace Patricia Hills, Fortuna Fine Arts, V&A Annual Review 2016–17 is published by Cultureshock Media on behalf of the Victoria and Albert Museum © 2017 Cultureshock Media (cultureshockmedia.co.uk) All images © Victoria and Albert Museum, London, unless otherwise stated While every effort has been made to identify copyright holders, some omissions may occur 5 V&AANNUALREVIEW2016–17 YEAR AT A GLANCE Art Fund Museum of the Year Game Plan: Board Games Rediscovered The V&A was awarded the prestigious Art Fund Museum Game Plan: Board Games of the Year prize in July 2016. Rediscovered at the V&A This was a defining moment in Museum of Childhood the V&A’s history and cements celebrated the joy of its place as one of the greatest playing board games with museums in the world. over 100 iconic objects from the V&A’s collection. Opus Anglicanum Fashion in Motion You Say You Want a Revolution? Friday Lates and Weekend Festivals Opus Anglicanum: Masterpieces of English The V&A was transformed into a The autumn exhibition You Say Medieval Embroidery, support generously The V&A hosted a series of showcase of international fashion with You Want a Revolution? Records provided by The Ruddock Foundation for popular Friday Lates and three major events this year. Leading and Rebels 1966–1970, sponsored the Arts and Hand & Lock, brought some weekend festivals. Highlights in designers Christopher Raeburn and House by Levi’s® with sound experience of the world’s finest examples of medieval 2016–17 included The Revolutions of Holland held live catwalk shows, while by Sennheiser, explored the embroidery to the V&A, marking the first Weekender featuring grime a group of Central Saint Martin’s students cultural impact of the late 1960s time many of these works had been shown artist Skepta and a takeover by inspired by Cristobal Balenciaga took over and proved to be one of the together. This was a once-in-a-generation female collective gal-dem. the ground floor of the V&A. V&A’s most popular exhibitions, opportunity as they will never be seen attracting 243,387 visitors. together again. LGBTQ hub London Design Festival The V&A was proud to be awarded Hub 99,000 people visited the V&A during Status for LGBT History Month. The LGBTQ Reopening The Rosalinde and Arthur Gilbert Collection the London Design Festival, the eighth V&A Research Institute Tour volunteer guides also won an award at year in a row the Museum has been the The Rosalinde and Arthur Gilbert Collection celebrates some of the most beautiful 2016 saw the launch of the V&A Research Institute, supported by The Andrew the London Volunteers in Museums Awards central hub of the festival. objects ever made, many in precious materials and many on a small scale. They are W. Mellon Foundation, which will create an innovative arena for developing for their monthly tours. now redisplayed in a newly refurbished gallery that opened in November 2016. collaborative research that is both collections-based and object-focused. 6 7 YEAR AT A GLANCE V&AANNUALREVIEW2016–17 Rapid Response Undressed The V&A’s Rapid Response The Undressed: A Brief History of Collecting, a programme that Underwear exhibition, sponsored acquires objects that advance by Agent Provocateur and design or become newsworthy, Revlon, opened in April 2016. The collected a range of works in Museum acquired 60 pieces of 2016–17. These included a burkini, underwear for the collection the Refugee Nation official flag including pants designed by and an iconic Pussyhat, worn in David Beckham. protest against comments by President Trump during a rally following his election. Learning at the V&A Visitor figures 486,700 children under 16 Wolsey Angels It was a busy year at the V&A attended the V&A South welcoming 3,439,800 visitors to This year saw the V&A's Conservation Kensington and the Museum South Kensington and the V&A Department bring the Wolsey Angels Digital Design Weekend of Childhood. This includes the Museum of Childhood. back to life. They were purchased with the many learning events designed The seventh year of the V&A’s Digital support of the National Heritage Memorial specially for this age group. Design Weekend saw its highest visitor Fund, the Art Fund, a gift in memory of figures to date, with installations, Melvin R Seiden, the Friends of the V&A, workshops and talks from over 40 artists the Ruddock Foundation for the Arts, the and engineers exploring the relationship American Friends of the V&A, and many between design and technology. other generous donors thanks to a major public appeal in 2014. National Loans The V&A lent 1,380 objects to temporary exhibitions at 125 UK venues and 1,485 loans as part of permanent displays supporting more partners in the UK than any other national museum. This includes photographs such as Harold Edgerton’s Girl with skipping rope, 1952 (left) given by the Harold and Esther Edgerton Family Foundation to The Dick Institute, Kilmarnock. Engineering Season New website The Engineering Season, supported by Volkswagen Group, was the first time a The V&A launched its redesigned website, UK museum has dedicated a season to this theme and celebrated creators and attracting 12.6 million visitors for the year. shapers from across the world. 8 9 CHAIRMAN’S FOREWORD The V&A entered this past year as Art Fund Museum of the We all feel proud of this relentless activity, of the exhibitions Year, and ended it with the highly successful unveiling of and scholarship of the V&A, and of the many different Amanda Levete’s V&A Exhibition Road Quarter. The Sackler individuals from across the world that make it happen. Courtyard, The Sainsbury Gallery and The Blavatnik Hall I would like to thank the Museum’s Senior Management were officially opened by HRH The Duchess of Cambridge to Team, the keepers, curators and numerous dedicated museum widespread acclaim from architectural critics, The Friends of staff and volunteers. Also the philanthropists and supporters the V&A and the general public. upon whose generosity we so frequently rely as well as our It has been a year of change, hard work and promise. Members for their passionate support of the V&A. Let me Our new Director, Dr Tristram Hunt, is successfully in place, also acknowledge the work and commitment of our Board of and the Museum is undertaking numerous new projects. Trustees, who give so freely of their time and expertise, and In the past year we have seen the V&A re-evaluate the are involved in every area of the Museum’s activities. 1960s in You Say You Want a Revolution? Records and Rebels It was with great sadness that we heard the news that 1966-1970, bring together works of unbelievable detail Dr Martin Roth had died in August 2017. Martin was an and age in Opus Anglicanum: Masterpieces of English inspirational Director of the V&A and his contribution to Medieval Embroidery and hold the first season in a UK the Museum will always be remembered by both those who museum dedicated to engineering, with an exhibition worked with him and the many visitors who were able to celebrating the contribution of Ove Arup, and a specially enjoy his sensibility through the exhibitions, activities and commissioned spectacular robotic sculpture in The John partnerships he so triumphantly staged. Madejski Garden by experimental architect Achim Menges with Moritz Dörstelmann, structural engineer Jan Knippers Nicholas Coleridge CBE and climate engineer Thomas Auer. This variety is just one Chairman, Victoria and Albert Museum of the qualities that typifies the V&A and that led Art Fund Director, Dr Stephen Deuchar, to declare it had “indisputably become one of the best museums in the world”. At the V&A it can feel that we are on a project of perpetual self-improvement, and alongside these exhibitions we strive to showcase human ingenuity across the Museum, and to inspire creativity in all our audiences. It is, therefore, particularly pleasing to see the reopening of The Rosalinde and Arthur Gilbert Galleries following their refurbishment. This collection celebrates some of the most beautiful objects ever made, from gold boxes to painted enamels and mosaics, now on display to our audiences in sparkling form. In another highlight of the past year, the V&A has launched a transformational research initiative that will cultivate new forms of collaboration between experts in curation, conservation and collections, academics and artists.
Load more

Recommended publications
  • No Man's Elizabeth: Frances A. Yates and the History of History! Deanne Williams
    12 No Man's Elizabeth: Frances A. Yates and the History of History! Deanne Williams "Shall we lay the blame on the war?" Virginia Woolf, A Room arOne's Own Elizabeth I didn't like women much. She had her female cousin killed, banished married ladies-in-waiting (she had some of them killed, too), and dismissed the powers and potential of half the world's population when she famously addressed the troops at Tilbury, "I know I have the body but of a weak and feeble woman, but I have the heart and stomach ~f a king."z Of course, being a woman was a disappointment from the day she was born: it made her less valuable in her parents' and her nation's eyes, it diminished the status of her mother and contributed to her downfall, and it created endless complications for Elizabeth as queen, when she was long underestim­ ated as the future spouse of any number of foreign princes or opportunistic aristocrats and courtiers. Elizabeth saw from a very early age the precarious path walked by her father's successive wives. Under such circumstances, who would want to be female? Feminist scholars have an easier time with figures such as Marguerite de Navarre, who enjoyed a network of female friends and believed strongly in women's education; Christine de Pisan, who addressed literary misogyny head-on; or Margaret Cavendish, who embodies all our hopes for women and the sciences.3 They allow us to imagine and establish a transhistor­ ical feminist sisterhood. Elizabeth I, however, forces us to acknowledge the opacity of the past and the unbridgeable distance that divides us from our historical subjects.
    [Show full text]
  • The Bayeux Tapestry
    The Bayeux Tapestry The Bayeux Tapestry A Critically Annotated Bibliography John F. Szabo Nicholas E. Kuefler ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Szabo, John F., 1968– The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler. pages cm Includes bibliographical references and index. ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain–History–William I, 1066–1087– Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II. Title. Z7914.T3S93 2015 [NK3049.B3] 016.74644’204330942–dc23 2015005537 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]
  • The Melk Chasuble, an Opus Anglicanum
    THE MELK CHASUBLE, AN OPUS ANGLICANUM BY HANNA KRONBERGER-FRENTZEN F late years the great artistic and paintings is also to be found in the beautiful technical merit of early English em- needlework of the Melk Chasuble. broidery and its widespread diffusion The subject of the crucifixion is often used in in various parts of Europe, has been English embroidery. It is to be met with in demonstrated again and again. Thus nearly all the famous series of designs with the oldest chasuble [PLATES A and B] of Melk which vestments are usually decorated. But Cathedral, hitherto regarded as an unknown there it always formed part of all the other piece of embroidery, must now be recognized as scenes, except that it is placed in the centre in Opus Anglicanum. Professor Tietze 1 mentions order to emphasize its significance. Thus we this chasuble as an iconographically interest- find it-to mention only a few-on the famous ing specimen of the early fourteenth century, Syon cope in the Victoria and Albert Museum without stating its origin. In spite of every and on those in the Vatican,5 also on that in the effort, it has proved impossible to trace how the Museo Civico in Bologna, and on that in Ascoli- chasuble found its way to the Treasury of the Piceno (the latter being the gift of Pope Nicholas Cathedral. Perhaps we may assume a certain IV). In the rare cases where the Crucifixion connexion with the cope, which until lately occurs alone, it is on a very small scale. It may belonged to the Cathedralof Salzburg and which be seen on the front of a burse (T.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STREET AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 EXHBITION FACT SHEET Title; THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons: Their Royal Highnesses The Prince and Princess of Wales Dates; November 3, 1985 through March 16, 1986, exactly one week later than previously announced. (This exhibition will not travel. Loans from houses open to view are expected to remain in place until the late summer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits; This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration v\n.th the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. History of the exhibition; The suggestion that the National Gallery of Art consider holding a major exhibition devoted to British art was made by the British Council in 1979. J. Carter Brown, Director of the National Gallery, responded with the idea of an exhibition on the British Country House as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust.
    [Show full text]
  • From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II
    The Image of the Queen; From Allegory to Domesticity and Informality, Elizabeth I and Elizabeth II. By Mihail Vlasiu [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme September 2000 © Mihail Vlasiu ProQuest Number: 13818866 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818866 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW 1 u n iv er sity .LIBRARY: \1S3lS Abstract This thesis focuses on issues of continuity and change in the evolution royal portraiture and examines the similarities and differences in portraying Elizabeth I in the 16th and 17th centuries and Elizabeth II in the 20th century. The thesis goes beyond the similarity of the shared name of the two monarchs; it shows the major changes not only in the way of portraying a queen but also in the way in which the public has changed its perception of the monarch and of the monarchy. Elizabeth I aimed to unite a nation by focusing the eye upon herself, while Elizabeth II triumphed through humanity and informality.
    [Show full text]
  • ISSUE 2493 | Antiquestradegazette.Com | 22 May 2021 | UK £4.99 | USA $7.95 | Europe €5.50
    To print, your print settings should be ‘fit to page size’ or ‘fit to printable area’ or similar. Problems? See our guide: https://atg.news/2zaGmwp 7 1 -2 0 2 1 9 1 ISSUE 2493 | antiquestradegazette.com | 22 May 2021 | UK £4.99 | USA $7.95 | Europe €5.50 S E E R 50 D V years A koopman I R N T antiques trade G T H E rare art KOOPMAN (see Client Templates for issue versions) [email protected] +44 (0)20 7242 7624 THE ART M ARKET WEEKLY www.koopman.art Big hitters return to major sales by Alex Capon The latest flagship sales of Modern and Contemporary art in New York showed a return to some normality after a difficult 14 months. The sighs of relief at the auction houses were almost palpable after the supply of major works had dropped off considerably during the pandemic but recovered signifi- cantly here, with some big-ticket items coming forward for last week’s series. Continued on page 4 Auction heads become dealers Pick Newton’s homage to Dorset Two long-standing auction department of the heads launch second careers as dealers this week month. tops Gloucestershire house sale David Houlston (oak furniture and works of art) and Paul Raison (Old Masters) Duke’s sale of property from Wormington Grange near paints manufacturer Winsor & Newton, enjoyed only a both recently left senior positions at Broadway in Gloucestershire held in Dorchester from modest career and went largely unrecognised during his Bonhams and Christie’s respectively. May 12-14 included a record for the Modern British lifetime.
    [Show full text]
  • The Bayeux Tapestry Embroiderers Story PDF Book
    THE BAYEUX TAPESTRY EMBROIDERERS STORY PDF, EPUB, EBOOK Jan Messent | 112 pages | 01 Jan 2011 | Search Press Ltd | 9781844485840 | English | Tunbridge Wells, United Kingdom The Bayeux Tapestry Embroiderers Story PDF Book Lists with This Book. Oxford University Press. The tapestry is a band of linen feet 70 metres long and Want to Read saving…. Is any historical primary source of information entirely reliable? Richard Burt, University of Florida. Reopening with new conditions: Only the gallery of the Tapestry is open, the interpretation floors remain closed Timetable: 9. The Latin textual inscriptions above the story-boards use Old English letter forms, and stylistically the work has parallels in Anglo-Saxon illuminated manuscripts. What's on? According to Sylvette Lemagnen, conservator of the tapestry, in her book La Tapisserie de Bayeux :. Hearing this news, William decides to cross the Channel in to reclaim his throne…. With a visit to the museum, you can discover the complete Bayeux Tapestry, study it close up without causing damage to it, and understand its history and how it was created thanks to an audio-guide commentary available in 16 languages. Rachelle DeMunck rated it it was amazing Sep 06, Open Preview See a Problem? Heather Cawte rated it it was amazing Apr 05, American historian Stephen D. The design and embroidery of the tapestry form one of the narrative strands of Marta Morazzoni 's novella The Invention of Truth. It required special storage in with the threatened invasion of Normandy in the Franco-Prussian War and again in — by the Ahnenerbe during the German occupation of France and the Normandy landings.
    [Show full text]
  • Arthur Graham Reynolds 1914–2013
    GRAHAM REYNOLDS Arthur Graham Reynolds 1914–2013 GRAHAM REYNOLDS (the ‘Arthur’ was firmly suppressed from an early age) was born in Highgate on 10 January 1914. His father, Arthur T. Reynolds, a monu- mental mason, made the tombstones and crosses for Highgate cemetery, priding himself on his lettering. When Graham was about ten, his father died as the result of a war wound and his mother, Eva (née Mullins), daughter of a bank clerk, married Percy Hill, a property manager, who became mayor of Holborn in the 1930s. He was, according to Reynolds, a ‘bad tempered brute’, but he had the saving grace of having acquired a collection of mezzotints which provided the beginnings of a visual education in the home. Furthermore, the family’s move to 82 Gower Street, so near to the British Museum, encouraged Graham’s early interest in art. From Grove House Lodge, a local preparatory school, he obtained a schol- arship to Highgate School. The years there were largely unmemorable, except for the fact that one of the teachers was descended from Sir George Beaumont, Constable’s patron. At school, as he later recollected, he did not suffer unduly from being known as ‘the brain’ and ‘the swot’. In 1932, he went to Cambridge on a maths scholarship at Queens’ College. After the first year he switched to English, but something of the mathematician’s precision remained with him all his life. He used to say that if there had been a faculty of art history in Cambridge at the time, he would have joined that.
    [Show full text]
  • 1 Boston University Study Abroad London British Painting 1500–1900
    Boston University Study Abroad London British Painting 1500–1900 CAS AH 388 (Elective A) Spring 2018 Instructor Information A. Name Dr Caroline Donnellan B. BU Telephone C. Email D. Office hours By appointment Course Overview This course is an introduction to British art covering the sixteenth to the nineteenth- century. As a category, British art is outside of the mainstream of Western European art surveys which usually concentrate on France, Italy, Spain and Holland. The course offers a unique opportunity for students to study British works of art. The British and foreign artists to be discussed will include Hans Holbein the Younger, Nicholas Hilliard, Daniel Mytens, Peter Paul Rubens, Anthony van Dyck, William Hogarth, Joshua Reynolds, Thomas Gainsborough, Joseph William Mallord Turner, John Constable, Dante Gabriel Rossetti and Edward Burne-Jones. The learning outcomes are that students will develop a robust knowledge and analytical understanding of British Painting 1500–1900 and will be able to critically think across a broad range of cultural and historical debates. The objective is that these tools will foster better synthetic skills which can be used throughout their academic development. Teaching Pattern Teaching Sessions will be divided between classroom lectures and field trips – where it is not possible to attend as a group these will be self-guided. Students should be dressed for all weather walking. Laptops are not permitted and mobile phones must be switched off. Listening to iPods or other devices is not permitted. Attendance at full class sessions, including visits is mandatory. Assessment Method Course Work Essay: Why and how does the image of Henry VIII change? Or Why and how does the image of Elizabeth I change? The essay counts for 50% of the overall mark and is due Monday 5 February at 8.45am, by 8.45am and is to be submitted to the Student Affairs Office.
    [Show full text]
  • Golden Threads & Silken Gardens 14Thcentury English Medieval
    Golden Threads & Silken Gardens 14th Century English Medieval Embroidery{Opus Anglicanum) By Dana Zeilinger . .having noticed that the ecclesiastical ornaments of certain English priests, such as choral copes and mitres, were embroidered in gold thread after a most desirable fashion, (the Pope) asked whence came this work. From England. They told him. Then exclaimed the Pope, 'England is for us surely a garden of delights..." -Mathew Paris {Chronica Majora) Christie's Education London Master's Programme September 2001 © Dana Zeilinger ProQuest Number: 13818857 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818857 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 (^VERS«*1 Abstract "In contrast to fashionable theories of the present day a medieval work of art asks to be understood as well as admired"- A.F. Kendrick. England, in the thirteenth and fourteenth centuries became famous for its production of high quality embroidery known as Opus Anglicanum or "English Work". The majority of the surviving examples are religious vestments. Some secular pieces have survived but they are less well documented.
    [Show full text]
  • Basics of Opus Anglicanum Embroidery (Pdf)
    Basics of Opus Anglicanum by Sidney Eileen 23 April, 2015 What is Opus Anglicanum? Opus Anglicanum is Latin for “English Work”, and refers to a style of embroidery practiced in England from approximately 1200-1350 c.e. It is typified by underside couched gold and silver thread, and silk thread worked in split stitch to create flowing details and shading often referred to as “painting with thread”. A handful of ecclesiastical examples survive to this day, but at the time it was may also have been used for secular pieces. Stylistic Details Metal threads are typically used for halos and backgrounds, worked almost exclusively in an underside couching stitch. This is done because it saves the couching thread from wear, and it creates a hinge in the metal thread, allowing the finished piece to move and flow, rather than being overly stiff. Background stitches are often placed in a way that creates a pattern on the finished piece, such as herringbone, lattice, chevrons, or florals. Halos are stitched in an oval or circle around the subject's head. Silks are worked in split stitch, often very tiny (as small as 2mm in detailed areas like faces), using three or more shades of each color to create detailed flow and shading of the figures, objects, and garments. The direction of the stitches is important to indicate flow and direction. For example, spiraling stitches on the forehead, cheek, tip of the nose, and chin to give a feeling of roundness and fullness. Stitches follow the folds of fabric, and the flow of hair.
    [Show full text]
  • News Release
    NEWS RELEASE FOURTH STRFFT AT CONSTITUTION AVENUE NW WASHINGTON DC 20565 . 737-4215/842-6353 Revised: July 1985 EXHIBITION FACT SHEET Title: THE TREASURE HOUSES OF BRITAIN: FIVE HUNDRED YEARS OF PRIVATE PATRONAGE AND ART COLLECTING Patrons; Their Royal Highnesses The Prince and Princess of Wales Dates: November 3, 1985 through March. 16, 1986. (This exhibition will not travel. Most loans from houses open to view are expected to remain in place until the late suitmer of 1985 and to be returned before many of the houses open for their visitors in the spring of 1986.) Credits: This exhibition is made possible by a generous grant from the Ford Motor Company. The exhibition was organized by the National Gallery of Art, Washington, in collaboration with the British Council and is supported by indemnities from Her Majesty's Treasury and the U.S. Federal Council on the Arts and the Humanities. Further British assistance was supplied by the National Trust and the Historic Houses Association. British Airways has been designated the official carrier of the exhibition. History of the exhibition; The idea that the National Gallery of Art consider holding a major exhibition devoted to British art evolved in discussions with the British Council in 1979. J. Carter Brown, Director of the National Gallery of Art, proposed an exhibition on the British country house as a "vessel of civilization," bringing together works of art illustrating the extraordinary achievement of collecting and patronage throughout Britain over the past five hundred years. As this concept carried with it the additional, contemporary advantage of stimulating greater interest in and support of those houses open to public viewing, it was enthusiastically endorsed by the late Lord Howard of Henderskelfe, then-Chairman of the Historic Houses Association, Julian Andrews, Director of the Fine Arts Department of the British Council, and Lord Gibson, Chairman of the National Trust.
    [Show full text]