Post World War II Optimism Transcript
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Art Collection of Peter Watson (1908–1956)
099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement. -
Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard. -
Visual Art in the English Parish Church Since 1945
Peter Webster Institute of Historical Research Visual art in the English parish church since 1945 [One of a series of short articles contributed to the DVD-ROM The English Parish Church (York, Centre for the Study of Christianity and Culture, 2010).1] Even the most fleeting of tours of the English cathedrals in the present day would give an observer the impression that the Church of England was a major patron of contemporary art. Commissions, competitions and exhibitions abound; at the time of writing Chichester cathedral is in the process of commissioning a major new work, and the shortlist of artists includes figures of the stature of Mark Wallinger and Antony Gormley. It is less well known that this activity is in fact a relatively recent phenomenon. In the early 1930s, by contrast, it was widely thought (amongst those clergy, artists and critics who thought about such things) that there was, in the strictest sense, no art at all in English churches. Of course, the medieval cathedrals and parish churches contained many exquisite examples of the art of their time. The nineteenth century had seen a massive boom in urban church building in the revived Gothic style, with attendant furnishings and decoration. However, the vast bulk of the stained glass, ornaments and church plate of the more recent past was regarded as hopelessly derivative at best, and of poor workmanship at worst. The sculptor Henry Moore wrote of the ‘affected and sentimental prettiness’ of much of the church art of his time. One director of the Tate Gallery argued that if the contents of churches were the only evidence available, ‘our civilisation would be found shallow, vulgar, timid and complacent, the meanest there has ever been.’ Much research remains to be done on that nineteenth century heritage, to determine how justly such charges were laid against it. -
THE CHURCHILLIAN Churchill Society of Tennessee June 2019
THE CHURCHILLIAN Churchill Society of Tennessee June 2019 th D-DAY 75 Anniversary June 22, 1944 Winston Churchill visits the beaches of Normandy Inside this issue: Upcoming Events: Churchill’s Tour of the Normandy Beaches Summer Tea on July 20, 2019 and D-Day announcement to Parliament September 28, 2019 - Fall Session and Banquet, From the President - Jim Drury At the Brentwood Country Club Behind the Photo – Churchill’s Iconic Photograph The Graham Sutherland “Churchill Portrait” by Celia Lee Book Review - Robin Sinclair The Churchillian Page 1 Churchill’s visit to the Normandy beaches on June 22, 1944 pictures from “World War II Today” Churchill and Monty on the beach at Normandy Lighting up and rolling out! FM Sir Allen Brook, Mr. Churchill, FM Montgomery LTG Simonds, LTG Dempsey, Churchill and Monty Churchill boarding HMS Kelvin off the Normandy Coast Churchill and FM Sir Allen Brook The Churchillian Page 2 This is Prime Minister Churchill’s announcement to members of Parliament that the D-Day invasion had begun. I have to announce to the House that during the night and the early hours of this morning the first of the series of landings in force upon the European Continent has taken place. In this case the liberating assault fell upon the coast of France. An immense armada of upwards of 4,000 ships, together with several thousand smaller craft, crossed the Channel. Massed airborne landings have been successfully effected behind the enemy lines and landings on the beaches are proceeding at various points at the present time. The fire of the shore batteries has been largely quelled. -
Graham Sutherland (1903-1980) Biographical Notes
Graham Sutherland (1903-1980) Biographical Notes Graham Sutherland was born in London the son of Vivian Sutherland, a barrister who later became a civil servant. Around 1910 the family moved to live at Sutton in Surrey and Sutherland became a pupil at a preparatory school there before attending Epsom College. During 1919-20 he studied mathematics at Battersea Polytechnic with a view to training as an engineer and in 1920-21 duly became an engineering apprentice at Derby with the Midland Railway Company. However Sutherland really wished to become an artist and between 1921 and 1926 was a student at Goldsmith’s College of Art in London where he specialised in etching. He quickly became an accomplished etcher and his first one-man exhibition of engravings and drawings was held at the Twenty-One Gallery, London in 1924. He was made an associate member of the Royal Society of Painter Etchers & Engravers the following year. His early etchings, such as Lammas (1926), were clearly influenced by the idyllic, visionary rural landscapes of Samuel Palmer (1805-1881). In 1926 Sutherland converted to Roman Catholicism and the next year married Kathleen Barry who was from a catholic family. The couple went to live in Kent and around that time Sutherland commenced teaching for two days a week at Chelsea School of Art, a post he held until 1939. Initially Sutherland had made a reasonably comfortable living from selling etchings and teaching but demand for the former greatly diminished during the worldwide economic depression around 1930. Consequently he had to find fresh commercial outlets for his art and he was greatly assisted in this search by the business contacts of his lifelong friend, the graphic designer, Milner Gray. -
Our New Acquisitions the St. Edmund Hall Ceri Richards Altarpiece Newsletter 15 — Spring 2016 Running Head 1 Dr
NO.15 — SPRING 2016 NEWSLETTER £1.00 WHERE SOLD Enhancing the Collection: Our New Acquisitions The St. Edmund Hall Ceri Richards Altarpiece Newsletter 15 — Spring 2016 Running Head 1 Dr. Jonathan Koestlé-Cate on Contemporary Art and Sacred Places NO.15 — SPRING 2016 DEAR FRIEND THE COLLECTION ON FILM Once again, it gives me great Friends who have been with us for the past few years may recall that those pleasure to bring you the responsible for hosting the Collection in Preston, in 2012, put together some first Newsletter of 2016. Our delightful footage. This highlighted the part played by the Methodist Modern dedicated production team at Art Collection in that year’s City’s Guild Celebrations. A substantial part of Cultureshock Media continue the Collection was on display, under the title ‘Visible Faith’, at St. Peter’s Art to do a marvellous job for us, Centre, Lancaster University. as I’m sure you will agree. They Those of you who regularly visit our website will, no doubt, are currently working hard already have taken the opportunity to view a similar, recent initiative; on the 2015 Annual Report an excellent short film that was produced ahead of the visit of the which you should be receiving Collection to Lincoln where it is currently on exhibition at the (electronically via MailChimp in Cathedral and ‘The Collection’. Well worth five minutes of your time, if the majority of cases) within a you have not already done so. couple of months. We are delighted to confirm that while the Collection is at Bath We have no Exhibition Abbey, over the month of October, we shall be engaging the services of Reports to feature in this an experienced team of documentary film makers. -
Ceri Richards at the National Museum and Gallery Cardiff
Themes and Variations Ceri Richards at the National Museum and Gallery Cardiff 27 July - 27 October 2002 Education Pack Content 1. Ceri Richards 2. Relief Constructions and Paintings 1934-39 3. The Cycle of Nature 1943-1969 4. Music, Light and Colour 1949 - 1953 5. Music and Nature (La Cathédrale engloutie) 1957 - 1962 6. Encore 7. Ideas for Practical Work 8. Useful Vocabulary 9. Education Programme 10. Where to find further information AMGUEDDFEYDD AC ORIELAU CENEDLAETHOL CYMRU NATIONAL MUSEUMS & GALLERIES OF WALES Ceri Richards Ceri Richards was born in Dunvant near Swansea in 1903. His father was a tin plate worker and music and poetry formed an important part of every day life. His father conducted the local choir and Ceri Richards was taught to play the piano. Aspects of this Welsh childhood, of music, poetry and nature influenced his art throughout his life. It became the source of inspiration for his painting, drawing, printmaking and constructions. On leaving secondary school he was apprenticed to an electrical engineer. He attended evening class to study engineering drawing. He soon realised that drawing not engineering was his main interest and became a full time student at the Swansea School of Art in 1921. It was during a Summer School in 1923 at Gregynog that Ceri Richards encountered for the first time modern art. Gregynog was the home of Gwendoline and Margaret Davies It was there that he saw for the first time works of art by great European artists. He was especially drawn to the work of Claude Monet. He then moved from Swansea to the Royal College of Art. -
Album Booklet
American Voices Saint Thomas Choir of Men & Boys Fifth Avenue, New York 7 John Scott conductor 18 RES10 Leonard Bernstein (1918-1990) American Voices Chichester Psalms American Choral Music 1. Psalm 108, verse 2; Psalm 100, entire [3:42] 2. Psalm 23, entire; Psalm 2, verses 1-4 [5:54] 3. Psalm 131, entire; Psalm 133, verse 1 [8:20] Randall Thompson (1899-1984) Meg Bragle mezzo-soprano ⁵ 4. Alleluia [5:08] Frederick Teardo organ Anna Reinersman harp Aaron Copland (1900-1990) Maya Gunji percussion 5. In The Beginning [17:02] Saint Thomas Choir of Men & Boys, Nico Muhly (b. 1981) Fifth Avenue, New York Bright Mass with Canons 6. Kyrie [4:07] [4:13] John Scott conductor 7. Gloria 8. Sanctus and Benedictus [2:35] 9. Agnus Dei [3:18] Samuel Barber (1910-1981) 10. Agnus Dei [7:49] Daniel Castellanos (b. 1995) 11. Eternal Light [2:36] About Saint Thomas Choir of Men & Boys and John Scott: Ned Rorem (b. 1923) 12. Sing My Soul [2:17] ‘[...] an intensely dramatic reading [...] Scott and his 13. O God, My Heart is Ready [3:39] magnificent choir capture the fervent writing in all its rich variety’ The Observer arr. Gerre Hancock (1934-2012) 14. Deep River [3:38] ‘[Scott] and his New York forces achieve some memorable results, not least the clarity of their sound’ Choir & Organ Total playing time [74:18] American Voices: American Choral Music Psalm 100 (‘O be joyful in the Lord’) is set of the Berkshire Music Centre in 1940. American music to which no European in an agitated and dance like seven-four Expecting a piece that would be a joyful master of composition could sign his name A man of phenomenal and wide-ranging rhythm that contrasts fittingly with the choral fanfare, the Centre received instead and get away with it.’ It seems extraordinary musical gifts, Leonard Bernstein was one of opening of the second movement, a lyrical this masterpiece of introspection. -
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. -
Kyffin Williams and Welsh Art
Gareth Lloyd Roderick Kyffin Williams Online at the National Library of Wales: presenting and interpreting art in a digital context. 0 1 Mandatory Layout of Declaration/Statements Word Count of thesis: 82,423 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed ....................................................... (candidate) Date .......................................................... STATEMENT 1 This thesis is the result of my own investigations, except where otherwise stated. Where *correction services have been used, the extent and nature of the correction is clearly marked in a footnote(s). Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed ..................................................................... (candidate) Date ........................................................................ [*this refers to the extent to which the text has been corrected by others] STATEMENT 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ..................................................................... (candidate) Date ........................................................................ 2 Acknowledgements I would like to thank my supervisors, Professor Robert Meyrick and Professor Lorna Hughes for their help, guidance -
Benjamin Britten's Liturgical Music and Its Place in the Anglican
Benjamin Britten’s liturgical music and its place in the Anglican Church Music Tradition By Timothy Miller Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording School of Arts, Communication and Humanities University of Surrey August 2012 ©Timothy Miller 2012 ProQuest Number: 10074906 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 10074906 Published by ProQuest LLO (2019). 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 LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which fonction well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer’s musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten’s creative character; it casts additional light on the composer’s technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten’s commitment to the idea of a composer serving society. -
Delve Deeper Discover More About the Cathedral’S 900 Year History, and the Shared Heritage Between Sussex and the US
Delve Deeper Discover more about the Cathedral’s 900 year history, and the shared heritage between Sussex and the US. chichestercathedral.org.uk/american-patrons Explore Chichester Cathedral We hope that we can welcome you to the Cathedral in person, but until then here are some tasters to enjoy from your own home. Complete an online pilgrimage Make an online pilgrimage to The Shrine of St Richard, our own Saint and 13th century Bishop. The Shrine was one of the most important for pilgrims during Medeival times and thousands continue to visit and pray here each year. Click here to make your pilgrimage >> 1 Image: The Shrine of Saint Richard, with the anglo-german tapestry by artist Ursula Benker-Schirmer Page 1 Image: The Cathedral’s Organist & Master of the Choristers Charles Harrison Join us online for Evensong Join us for Evensong and enjoy the exceptional beauty of our Cathedral choir whose 2 singing has a global reputation. We encourage you to find a comfortable position that helps you to pray. Click here to join the service from 3rd March (5.00pm EST) >> Page 2 Did you know? ? Here are just a few of the many historical American links to East and West Sussex for you to explore. Revolution The father of the American Revolution Thomas Paine came from Lewes, East Sussex. Thomas Paine was introduced to Benjamin Franklin by the third Duke of Richmond, whose Goodwood Estate lies just outside of Chichester. The Duke gained the title of the ‘Radical Duke’ reflecting his support for the American Revolution. The Sussex Declaration, a rare copy of the American Declaration of Independence, is held at the West Sussex Archives.