Distortion, Illusion and Transformation: the Evolution Of
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Annual Chili Feed and Heritage Fair
WWI Razzle-Dazzle Odd Fellows Cabins Tricked German Subs Get Needed TLC After heavy losses of ships in the Historicorps in cooperation with North Atlantic during World War DCHS complete critical first phases I, British planners razzle-dazzled of stabilization work needed to save German U-boat commanders. the four cabins. See Page 2 See Page 3 The Homesteader Deschutes County Historical Society Newsletter – November 2017 ANNUAL CHILI FEED AND HERITAGE FAIR It’s time for the Annual Chili Feed and Heritage Fair, last winter, who doesn’t want to win one of those? November 10-11 at the Deschutes Historical Museum. Last year we launched a small genealogy research Millie’s Chili with Rastovich Farms Barley Beef can’t table—this year, with support from the Deschutes be beat—a family tradition that has helped support the Cultural Coalition, we are expanding our genealogy museum for over thirty years. A special time to visit session to a full two-day Heritage Fair designed to jump the museum and catch up with other members and start your genealogy research. volunteers. The Bake Sale features tasty treats from our members, homemade jams and jellies, and things you Our featured presenter is Lisa McCullough, a genetic can’t find anywhere else. The Raffle is lining up great genealogy researcher and lecturer. Commercials local staycations, nights on the town, the ever fought promise ancestral discoveries through simple DNA tests—swab your cheek and send it off, but what are over table at History Pub and—a snow blower! After -- continued on page 4 The Homesteader: Volume 43; No. -
The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period. -
Intangible Heritage(S): an Interplay of Design, Social and Cultural Critiques of the Built Environment
TANGIBLE - INTANGIBLE HERITAGE(S): AN INTERPLAY OF DESIGN, SOCIAL AND CULTURAL CRITIQUES OF THE BUILT ENVIRONMENT • Paper / Proposal Title: ‘ARCHITECTS – WHERE IS YOUR VORTEX? VORTICISM, THE CITY AND URBAN EXPERIENCE • Author(s) Name: Dr. JONATHAN BLACK FRSA • University or Company Affiliation: KINGSTON SCHOOL OF ART, KINGSTON UNIVERSITY • Presentation Method. I would like to: i. present in person (with/without a written paper)* • Abstract (300 words): From its conception in the spring of 1914 the British avant garde art movement known as Vorticism was obsessed with the city and urban existence as central to the forward march of technologically innovative modernity. Indeed, the movement largely owed its very name to the American poet Ezra Pound having already identified London as the ‘great modern vortex’, the end point for all the energies of modern life and of British/Imperial power. My paper is rooted in many years of research into Vorticism and British Art before, during and after the First World War. It will focus on some of the many images that evoked the strikingly positive Vorticist vision of the city – one that as much looked to the example of vertically vertiginous New York as that by experimental thinkers on the European continent – by leading adherents of the movement such as: Wyndham Lewis, Edward Wadsworth, Frederick Etchells, Jessica Dismorr and Helen Saunders. Living in London much of their imagery was indebted to that city. However, examples will be discussed alongside a group of woodcut prints produced c. 1914-18 by Wadsworth inspired by the cities and industrial towns of his native Yorkshire such as Leeds, Bradford, Halifax and Huddersfield. -
The Power of Patterns
34 | Features Features | 35 TAMSIN CULL What were your initial thoughts about collaborating with the Gallery’s Children’s Art Centre on an interactive project? JEMIMA WYMAN Some of the first ideas I had were in response to the architecture of the gallery space and how I might make it an optical experience through colouring or patterning different areas. I was thinking particular pattern is really bold, tessellated, fashion rather than military camouflage. After about how to create collective images — and black and white. It appears to relate to all, floral patterns are an organic, disruptive collective quilts, a collective canopy, or a Bridget Riley’s ‘Op Art’ paintings. The keffiyeh design2 that breaks up the contour of a body. collective voice of protest. I was also thinking also has a history of being worn by British And then I started to ask why camouflage isn’t about mandalas and how they represent soldiers as camouflage, while Yasser Arafat floral, why armies don’t wear floral uniforms, a holistic view of the universe, becoming a used it as a patriotic accessory. The list and then I started to realise that there is a patterned icon for a group. For [the ‘Pattern goes on: the use of the pattern as a fashion psychology behind certain patterns being Bandits’ project] I was particularly interested statement, and then more recently a lot of selected or disregarded by a group. in the power of a group coming together to protesters have worn the keffiyeh as a mask make something happen that also visually to protect their identity, or to link themselves Could you further explain some of the art represented that group in some way. -
Setting the Stage for Deception Perspective Distortion in World War I Camouflage
rivista on-line del Seminario Permanente di Estetica anno IX, numero 2 Setting the Stage for Deception Perspective Distortion in World War I Camouflage Roy R. Behrens Near the end of the 15th century, Leonardo da Vinci described a discovery he had made while investigating perspective. He mentioned it in his Treatise on Painting, and elsewhere included two drawings. He had discovered what is known as anamorphosis, of which his two examples may be the oldest surviving attempts. One is a drawing of a baby’s face, but laterally stretched and distorted, as if on a rubber sheet. The second, which represents a human eye, is also horiZontally stretched (Baltrusaitis [1977]: 33; Leeman [1976]: 10-11). At the time he made these drawings, there was no way of predicting that, centuries later, this seemingly trivial finding, and its later applications, would be of substantial significance in World War I ship camouflage. In linear perspective, an artist typically faces a perpendicular working surface, both while constructing an image and later in viewing the final result. In the case of Leonardo, it is apparent that his drawings were not made from that frontal position but from a surprising view from the side, at the extreme edge of the page. As a result, when the drawings are viewed head-on, they appear distorted. However, when viewed from the edge of the page – from the position from which they originated – they appear to be perfectly normal. Anamorphosis was apparently little more than a curiosity for Leonardo, not something of evident practical use. He did not use it in any of his own paintings, in part because, as he explained, anyone wanting to interpret the image would have to view it from the side, and even, to experience it optimally, to observe it through a peephole with one eye only (Baltrusaitis [1977]: 33). -
Die Folgenden Überlegungen Zielen Nicht Etwa Auf Kleine Dinge, Sondern Auf Kleine Unterschiede. Sie Thematisieren Minimale Diff
Peter Bexte Haarrisse im Gefüge. Bemerkungen zu kleinen Unterschieden Die folgenden Überlegungen zielen nicht etwa auf kleine Dinge, sondern auf kleine Unterschiede. Sie thematisieren minimale Differenzen, wie sie an beliebig großen Gegenständen auftreten können. Näher betrachtet geht es um relationale Gefüge von Kolorit, Schattierung, Musterbildung. Die Minimalisierung von Unterschieden auf diesem Terrain eröffnet seltsame Überlagerungen von Kunst, Militär und Biolo- gie, will sagen: Ton-in-Ton-Malerei, Camouflage und Mimese. 1. Ton in Ton 1991 malte Martin Kippenberger eine Serie von elf weißen Bildern ohne Titel. Sie wirken bis heute überraschend. Man wird bei dem Namen Kippenberger wohl kaum als erstes an monochrome Malerei denken. Im Gegenteil ist dieses Enfant terrible der postmodernen Kunstszene niemals vor greller Farbigkeit zurückgeschreckt, oft verbunden mit launigen Bildtiteln. Darin traf er sich mit dem Boom an neo-ex- pressiver/postmoderner Malerei der 1980er Jahre. Dagegen nun elf scheinbar rein weiße Leinwände. Sie sind nicht oft gezeigt worden, zuerst 1992 im Musée d’art moderne de la Ville de Paris. 2006 waren sie in der Tate Gallery London zu sehen, 2013 auch im Hamburger Bahnhof Berlin. Wer den großen Parcours der Berliner Ausstellung mit vielen bunten Bildern durchlaufen hatte, betrat schließlich einen hellen und seltsam leer wirkenden Raum. Manche Besucher haben sich irritiert umgeschaut, nach Kunst gesucht, sie nicht gefunden und sind wieder gegangen. Tatsächlich war die Malerei in diesem Raum nicht auf den ersten Blick zu entdecken; vielmehr war sie in aller Offenheit verborgen, und genau dies war der Kunstgriff. Es war nämlich die Idee des Künst- lers, dass diese elf weißen Leinwände nicht etwa in einen Rahmen gefasst und auf der Wand ausgestellt werden sollten, sondern in der Wand. -
How Did an Artist Use Cubism to Fight the War at Sea?
How did an artist use Cubism to fight the war at sea? Video transcript – The legacy of dazzle By the end of the First World War, dazzle camouflage had been applied to more than 2000 ships. And the number of vessels sunk by U-boats had begun to fall. However, there is no definitive proof that this was all thanks to Wilkinson's scheme. Dazzle camouflage was used alongside other U-Boat countermeasures and merchant ships sailed in convoys protected by naval escorts. The Admiralty had clearly been impressed by Norman Wilkinson's plan, and had rolled it out as quickly as possible. But they did not have conclusive evidence of effective it was. What they did agree upon, however, was the value of the scheme as a morale- booster. It made the crew on these spectacular ships feel safer from attack. The US Navy continued to use dazzle into World War Two, until development of radar technology made it redundant. Wilkinson also went back to work in World War Two. He helped to disguise Britain's airfields - this time using more traditional colours. The military value of dazzle remains unclear, but it certainly had an impact in the art world. The artist Edward Wadsworth worked for Wilkinson supervising the painting of dazzle ships. He was one of the founders of the Vorticist art movement. The dazzle elements in his work are clear to see. The most famous cubist artist of them all, Picasso, is said to have “stopped spell- bound” on the streets of Paris when he saw a tank painted in a dazzle pattern. -
(1934) Oil on Panel on Long-Term Loan from a Private
Vanessa Bell (1879 –1961) John Cooper (1894 –1943) Raymond Coxon (1896 –1997) Vera Cunningham (1897 –1955) Frank Dobson (1886 –1963) Portrait (Portrait of Angelica) (1934) Three Prima Donnas (1934) Cumberland (1934) Susannah and the Elders (1934) The Toilet (Leaning Figure) (1934) Oil on hardboard Oil on panel Oil on board Oil on canvas board Cast terracotta On long-term loan from On long-term loan from On long-term loan from On long-term loan from On long-term loan from a Private Collection (1997) a Private Collection (1997) a Private Collection (1997) a Private Collection (1997) a Private Collection (1997) Stanley William Hayter Stanley William Hayter Florence Englebach (1872 –1951) Duncan Grant (1885 –1978) (1901–1988) (1901–1988) Barbara Hepworth (1903 –1975) Crocus and Stocks (1934) Still Life (1934) Composition (Main Serrisant une …) Composition (Leda) (1934) White Hills (Mother and Child) (1934) Oil on canvas Oil on board (Hand squeezing a.....) (1934) Oil on sculpted board with collage Alabaster On long-term loan from On long-term loan from Oil on sculpted board On long-term loan from On loan from a Private Collection (2021) a Private Collection (1997) a Private Collection (1997) On long-term loan from a Private Collection (1997) a Private Collection (1997) Tristram Hillier (1905 –1983) Tristram Hillier (1905 –1983) Ivon Hitchens (1893 –1979) Frances Hodgkins (1869 –1947) Augustus John (1878 –1961) La Truite aux Pommes Vapeurs Marine (1934) Spring Mood (1934) Spanish Peasants (1934) Arabella (1934) (Steamed Apple Trout) (1934) -
Dazzle Exhibition Information
St Barbe Exhibitions 2018/2019 DAZZLE: Disguise and Disruption in War and Art 16 June - 22 September 2018 The use of Dazzle patterning on warships was introduced during the First World War, not with the intention of helping the ships to blend in with their surroundings, but to confuse U-Boat commanders as to the direction and speed in which a vessel was travelling. The inspiration behind Dazzle painting is usually credited to British marine artist Norman Wilkinson who led the Admiralty’s Dazzle Section based at the Royal Academy in London. Wilkinson recruited a team of artists who designed patterns to be applied to warships, passenger ships and cargo ships. Dazzle’s dramatic patterning owed something to pre-war avant-garde art movements such as Futurism and Vorticism, indeed Vorticist artist Edward Wadsworth became a part of the Dazzle team. This exhibition, guest curated by art historian and author James Taylor, looks at the development of Dazzle patterning in Britain and will be based around paintings, prints and drawings made at the time by artists such as Wilkinson, Wadsworth, Fergusson and many more on loan from the Imperial War Museum, National Maritime Museum, regional and private collections. The exhibition will also feature models and plans used by the artists to prepare the patterns for painting on to the ships themselves. We are delighted that the Wilkinson Estate is supporting the development of the exhibition and that Southampton City Art Gallery will mount an exhibition on Dazzle’s influence on contemporary art and design to complement the St Barbe show. -
Look Again : Leeds Fine Artists
JUNE 2021 Look Again : Leeds Fine Artists at the Stanley and Audrey Burton Gallery, University of Leeds 8th June to 23rd October 2021 The curators at the Gallery have written the following introduction to the exhibition : “Leeds Fine Artists was founded in 1874. It is one of the oldest regional arts organisations in the North of England. A Its members were invited to respond to artworks in the University Art Collection. Each artist has translated their chosen piece into their own media and format. The resulting artworks show the diversity of creative responses to this challenge. We hope their works inspire you to look again at the University Art Collection, too.” Furthermore, an early visitor to the exhibition commented: “I came away very impressed with all aspects of the presentation and content. The concept of employing the gallery’s collection as a source of inspiration works admirably. Whether by chance or otherwise, the range of these artefacts is richly diverse in both period and subject. Of even greater delight is the sheer range of media, thematic interpretations and creativity displayed by LFA artists. The exhibition even contains works referencing elements of wit and humour, qualities all too rarely seen in contemporary shows today!” TIM PEARCE Entwined Forms Tim Pearce’s response to the Edward Wadsworth watercolour: ‘Ladle-Slag, Old Hill 2’ (1919) Wadsworth’s dynamic response to the debris left over from a Black Country steel-making process may well have been triggered by the powerful war-torn landscapes depicted by artists on the Western Front during the preceding four years. -
The Artist in the Connecticut Landscape October 2, 2015–January 31, 2016
Annual Report Issue SUMMER 2015 A Special Invitation to Florence Griswold Museum Members Please join us for the 69th Annual Meeting and the Members’ Reception for the Opening of All the Sea Knows: Marine Art from the Museum of the City of New York. Friday, June 5, 2015 at 5:30pm and trustees. At 6:30pm, we’ll enjoy Florence Griswold Museum a festive reception for the opening of 96 Lyme Street All the Sea Knows: Marine Art from the Museum of the City of New York. Old Lyme, Connecticut The 69th Annual Meeting of the This is your invitation to the Florence Griswold Museum takes place Members’ Reception. We hope on Friday, June 5, 2015 at 5:30pm under you can join us. Kindly RSVP a tent on the Adrian P. Moore Garden (acceptances only) to 860-434-5542 Terrace. We will share brief reports on ext. 122 or [email protected]. the activities of the Museum and invite James Edward Buttersworth (1817–1894), Yacht Race off Fort Wadsworth, ca. 1870. Oil on board, 9 1/4 x 12 1/4 members to elect a new slate of officers inches. Museum of the City of New York All the Sea Knows–a New Exhibition BEFORE MISS FLORENCE Sea Knows reveals the diverse ways the helped introduce the world to American sea has been depicted in American art Impressionism, her father, Captain and its connections to the Connecticut Robert Griswold, made his mark as a shore. A special gallery will unite, for respected sea captain. For 25 years he the first time, paintings from MCNY’s sailed the Atlantic between New York collection with selections from the and London on packet ships of the Black Museum’s collection that depict ships X Line. -
'Random Or Deliberate? the Science of Dazzle Art' by David Williams
RANDOM OR DELIBERATE? The Science of Dazzle Art by David Williams Marine camouflage is the most complex subject and an incredible challenge to achieve. A ship at sea cannot be easily concealed, unlike a tank or a howitzer gun on land. The ship naturally stands out against an ever-changing background of sea and sky, the variations of which are innumerable: the level of light and visibility, the angle and direction of illumination, the states of the weather and the ceaselessly varying aspect of the sea, all influencing the canvas against which ships are viewed. Further complications arise from the ship’s inherent structure of deck overhangs, masts, cowls, lifeboats in davits and so on, besides smoke emissions from the funnels and reflections off the hull plates – all difficult, if not impossible to hide. The buff funnels, white upper-works and black hulls of the Victorian Navy had given way to overall plain grey, adopted prior to the First World War as a utility service colour for warships. But the war itself imposed a demand for much more in the form of painted protection, both for mercantile and naval vessels, in the face of a deadly weapon combination, the submarine and self-propelled torpedo. Grey livery alone was not the answer. Imagine 1: ORP Blyskawica, Second World War ship. In both World Wars, Great Britain had a unique predicament. With its expansive empire and great dependency on the supply of food, fuel and other essential commodities from overseas, plus the manpower required to support its war effort, it was essential to keep the ocean supply lines open.