Contents Information and Debate (See Page 3)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Aesthetic Movement to Degeneration
• The Aesthetic Movement in England was related to other movements such as Symbolism or Decadence in France and Decadentismo in Italy. • British decadent writers were influenced by Walter Pater who argued that life should be lived intensely with an ideal of beauty. • It was related to the Arts and Crafts movement but this will be traced back to the influence of British decorative design, the Government Schools of Design and Christopher Dresser. • In France, Russia and Belgium Symbolism began with the works of Charles Baudelaire who was influenced by Edgar Allan Poe. • It is related to the Gothic element of Romanticism and artists include Fernand Khnopff, Gustave Moreau, Gustav Klimt, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, and Edvard Munch. These artists used mythology and dream imagery based on obscure, personal symbolism. It influenced Art Nouveau and Les Nabis (such as Édouard Vuillard, Pierre Bonnard and Maurice Denis). • In Italy, Gabriele D’Annunzio (1863-1938) promoted irrationality against scientific rationalism. 1 Simeon Solomon (1840-1905), Walter Pater, 1872, pencil on paper, Peter Nahum Ltd, Leicester Galleries Walter Pater (1839-1894) • Essayist, literary and art critic and fiction writer. His father was a physician but died when he was young and he was tutored by his headmaster. His mother died when he was 14 and he gained a scholarship to Queen’s College, Oxford in 1858. • He read Flaubert, Gautier, Baudelaire and Swinburne and learnt German and read Hegel. He did not pursue ordination despite an early interest. He stayed in Oxford and was offered a job at Brasenose teaching modern German philosophy. -
The Aesthetic Interior As Incubator of Health and Well-Being
Architectural History (), –. © The Society of Architectural Historians of Great Britain doi:./arh.. The Aesthetic Interior as Incubator of Health and Well-Being by RICHARD W. HAYES Domestic interiors created during the Aesthetic Movement have come under intense scrutiny by contemporary scholars. Designers such as E.W. Godwin (–), Christopher Dresser (–) and Thomas Jeckyll (–) have been studied for the extent to which their work seems to realise ideas of aesthetic autonomy associated with Théophile Gautier (–), Walter Pater (–) and Joris-Karl Huysmans (–).1 According to this line of approach, the aesthetic interior participated in a cult of beauty divorced from morality and utilitarian needs.2 Some of these interpreta- tions have gone as far as to align the Aesthetic Movement with ‘decadence’, seeing the terms as virtually synonymous.3 This essay takes a different tack by analysing the aesthetic interior in the light of concerns for health reform. In particular, I discuss the work of architect and designer E.W. Godwin, described by his friend and client Oscar Wilde as ‘one of the most artistic spirits of this century’.4 In tandem with his aesthetic idealism, Godwin was a committed reformer who saw the well-designed domestic interior as an incubator of physical health and mental well-being. He pursued interior design as a means to foster a healthy life, one based on hygiene, relief from urban stress and a quickened aesthetic sensitivity. He con- ceived of spare and calm interiors that offered sanitary and healthful alternatives to dust-infested Victorian clutter while concomitantly offering psychological respite from the ‘high-pressure, nervous times’ endemic to metropolitan life.5 These goals accord with Godwin’s related interest in dress reform, a preoccupation that led to his participa- tion in London’s International Health Exhibition of , for which he wrote a handbook on dress in relation to health and climate. -
Dispelling the Myths Surrounding Nineteenth-Century British
Recommended book: Shearer West, Portraiture, Oxford History of Art, (£10.34 on Amazon). An introduction to portraiture through the centuries. • Portraits were the most popular category of painting in Britain and the mainstay of most artists earnings. There are therefore thousands of examples of portraits painted throughout the nineteenth century. I have chosen a small number of portraits that tell a story and link together some of the key artists of the nineteenth century while illustrating some of the most important aspects of portrait painting. • In the second exhibition at the Royal Academy in 1769 of the 265 objects a third were portraits, sixty years later, in 1830, of 1,278 objects half were portraits of which 300 were miniatures or small watercolours or and 87 sculptures. In the next 40 years photography became a thriving business, and in 1870 only 247, a fifth, of the 1,229 exhibits were portraits but only 32 were miniatures. Portrait sculptures, which photography could not emulate, increased to 117. • The unique thing about portrait paintings is that a recognisable likeness is a prerequisite and so the many fashions in modern art have had little impact on portrait painting. • The British have always been fascinated by the face of the individual. • Portraits had various functions: • Love token or family remembrance • Beauty, the representation of a particular woman because of her beauty (ideal beauties were painted but were not portraits) • Record for prosperity of famous or infamous people • Moral representation of the ‘great and the good’ to emulate. Renaissance portraits represented the ‘great and the good’ and this desire to preserve the unique physical appearance of ‘great men’ continued into the 19th century with Watts ‘House of Fame’. -
The Burne-Jones Pianos and the Victorian Female Gender Performance
PERFORMING UPON HER PAINTED PIANO: THE BURNE-JONES PIANOS AND THE VICTORIAN FEMALE GENDER PERFORMANCE By AMELIA KATE ANDERSON A THESIS Presented to the Department of the History of Art and Architecture and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2017 THESIS APPROVAL PAGE Student: Amelia Kate Anderson Title: Performing Upon Her Painted Piano: The Burne-Jones Pianos and The Victorian Female Gender Performance This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of the History of Art and Architecture by: Dr. Nina Amstutz Chairperson Dr. Joyce Cheng Member Dr. Marian Smith Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017 ii © 2017 Amelia Kate Anderson iii THESIS ABSTRACT Amelia Kate Anderson Master of Arts Department of the History of Art and Architecture June 2017 Title: Performing Upon Her Painted Piano: The Burne-Jones Pianos and The Victorian Female Gender Performance This thesis centers around three pianos designed and/or decorated by the Victorian artist Sir Edward Coley Burne-Jones: The Priestley Piano, The Graham Piano, and the Ionides Piano. I read and interpret the Burne-Jones pianos not only as eXamples of the artist’s exploration of the boundaries of visual art and music, but also as reflections of the Victorian era female gender performance. Their physical forms and decorations, both designed and eXecuted by Burne-Jones, enhance the piano as an instrument and accentuate their respective female performers. -
A New Road to Modernity1: Thomas Jeckyll‟S Design
Res Mobilis Revista internacional de investigación en mobiliario y objetos decorativos Vol. 5, nº. 5, 2016 A NEW ROAD TO MODERNITY1: THOMAS JECKYLL‟S DESIGN INNOVATIONS OR THE REFORMATION OF THE MID-VICTORIAN DECORATIVE ARTS THROUGH THE JAPANESE CULTURE UN NUEVO CAMINO HACIA LA MODERNIDAD: EL DISEÑO Y LA INNOVACIÓN DE THOMAS JECKYLL O LA REFORMA DE LAS ARTES DECORATIVAS VICTORIANAS A TRAVÉS DE LA CULTURA JAPONESA Johannis Tsoumas* Hellenic Open University Resumen A través de las numerosas turbulencias en el transcurso del diseño y las artes decorativas en Inglaterra en la segunda mitad del siglo diecinueve, destacó la emergencia de un nuevo estilo basado en la filosofía y estética de la cultura japonesa combinada con la tradición británica. El llamado estilo “Anglo-japonés” dentro de un amplio Movimiento Estético, aunque asociado con la decoración más que con la estructura de los objetos, introdujo aspectos innovadores para la abstracción y la geometría en el diseño definiendo de este modo la Modernidad en sí misma. Aunque existieron muchos representantes de este nuevo estilo, Thomas Jeckyll, arquitecto y diseñador menos conocido, a través de su trabajo constituyó la culminación de ese nuevo orden mundial, contribuyendo de una manera silenciosa pero significativa a un nuevo diseño de la realidad estética emergente. Este artículo tiene la intención de investigar a través de los importantes acontecimientos históricos a mitad de época victoriana y las nuevas tecnologías del momento y el efecto de la cultura japonesa impulsada por Jeckyll en la evolución de las artes decorativas británicas hacia la Modernidad. Palabras clave: Modernidad, Estilo Anglo-japonés, Thomas Jeckyll, artes decorativas, metalistería, mobiliario. -
Conservation Areas in Horning and Ludham Report by Head of Planning
Planning Committee 06 December 2019 Agenda item number 13 Conservation areas in Horning and Ludham Report by Head of Planning Summary Members will be aware that the Authority has a statutory duty to review its Conservation Areas periodically and from time to time to consider the designation of new ones. The purpose of this report is to advise members of the work that has been carried out on the re-appraisal of the Conservation Areas at Horning and Ludham and to seek authority to commence a public consultation exercise. Recommendation That Members i. Consider the draft re-appraisals for the Horning and Ludham Conservation Areas; and ii. Endorse these for public consultation. Contents 1. Introduction 2 2. Current position on Horning and Ludham 2 3. Next Steps 3 4. Financial implications 4 5. Conclusion 4 Appendix 1 - Draft re-appraisal for Horning conservation area 6 Appendix 2 - Draft re-appraisal for Ludham conservation area 24 Appendix 3 - Extract from minutes to Heritage Asset Review Group (HARG) meeting on 7 December 2018 43 Ludham and Horning Conservation Area Re-Appraisals 43 Ludham 43 Horning 43 Planning Committee, 06 December 2019, agenda item number 13 1 1. Introduction 1.1. As a Local Planning the Broads Authority has a statutory duty to identify areas which are worthy of Conservation Area status, to designate them and then maintain up to date appraisals. An informal agreement has been reached with the District Councils’ Conservation Officers whereby areas that fall mainly within the Broads Authority area would have the appraisal work carried out by the Broads Authority and areas that fell mainly outside the Broads Authority area would have the appraisal work carried out by the relevant district. -
Planning Committee Agenda 06 December 2019 10.00Am Yare House, Thorpe Road, Norwich, NR1 1RY
Planning Committee Agenda 06 December 2019 10.00am Yare House, Thorpe Road, Norwich, NR1 1RY Introduction 1. To receive apologies for absence 2. To receive declarations of interest 3. To receive and confirm the minutes of the Planning Committee meeting held on 8 November 2019 (Pages 3 -10) 4. Points of information arising from the minutes 5. To note whether any items have been proposed as matters of urgent business Matters for decision 6. Chairman’s announcements and introduction to public speaking Please note that public speaking is in operation in accordance with the Authority’s Code of Conduct for Planning Committee. Those who wish to speak are requested to come up to the public speaking desk at the beginning of the presentation of the relevant application 7. Request to defer applications included in this agenda and/or to vary the order of the agenda 8. To consider applications for planning permission including matters for consideration of enforcement of planning control: i. BA/2018/0359/FUL Sandersons Marine Craft Ltd, Riverside, Reedham (Pages 11-29) Enforcement 9. Enforcement update (Pages 30-32) Report by Senior Planning Officer Policy 10. Statement of Community Involvement – consultation responses and adoption (Pages 33-75) Report by Planning Policy Officer Planning Committee, 06 December 2019 1 11. Trowse with Newton Neighbourhood Plan (Pages 76-78) Report by Planning Policy Officer 12. Consultation documents and proposed response – Great Yarmouth North Quay (Pages 79-81) Report by Planning Policy Officer 13. Conservation areas in Horning and Ludham Report by Head of Planning (Pages 82-125) Matters for information 14. -
The Peacock Room: a Re-Examination
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Thomas Jeckyll, James McNeill Whistler, and the Harmony in Blue and Gold: The Peacock Room: A Re-Examination Cynthia Fischer Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3301 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Thomas Jeckyll, James McNeill Whistler, and the Harmony in Blue and Gold: The Peacock Room: A Re-Examination A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by Cynthia Kaye Fischer Master of Art, American University, 2005 Bachelor of Art, Duquesne University, 2003 Director: Charles Brownell, Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia October 4, 2013 ii Acknowledgement This dissertation could not have been written without the unflagging support of my advisor Charles Brownell and my husband Ryan Fischer. I could not have found two more encouraging and supportive men. In particular I would like to acknowledge the numerous sacrifices Ryan made on a regular basis which allowed me to devote so much attention to my studies. I would also like to thank my parents, Stanley and Kathleen Jaworski, and my father-in-law, Rick Fischer, for their unwaivering support throughout my three and a half years at Virginia Commonwealth University. -
Aesthetic Movement to Degeneration Part 2
• The Aesthetic Movement in England was related to other movements such as Symbolism or Decadence in France and Decadentismo in Italy. • British decadent writers were influenced by Walter Pater who argued that life should be lived intensely with an ideal of beauty. • It was related to the Arts and Crafts movement but this will be traced back to the influence of British decorative design, the Government Schools of Design and Christopher Dresser. • In France, Russia and Belgium Symbolism began with the works of Charles Baudelaire who was influenced by Edgar Allan Poe. • It is related to the Gothic element of Romanticism and artists include Fernand Khnopff, Gustave Moreau, Gustav Klimt, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, and Edvard Munch. These artists used mythology and dream imagery based on obscure, personal symbolism. It influenced Art Nouveau and Les Nabis (such as Édouard Vuillard, Pierre Bonnard and Maurice Denis). • In Italy, Gabriele D’Annunzio (1863-1938) promoted irrationality against scientific rationalism. 1 Art Movements • Pre-Raphaelite Brotherhood, founded by a group of three (Millais, Holman Hunt, Rossetti), then four more (Woolner, Stephens, W. M. Rossetti and Collinson), in 1848. They rejected laziness in painting and wanted to return to nature and represent its intense colours, complexity of form and infinite detail. It caused an enormous impact and the style influenced artists through the rest of the century but as a brotherhood the artists had gone their separate ways by 1853. • Aesthetic Movement, also called ‘art for art’s sake’, emphasized the aesthetic rather than making a moral point or telling a story. -
Whistler's Peacock Room and the Artist As Magus
Huxtable, Sally-Anne (2013) Whistler’s Peacock Room and the Artist as Magus. Published in Lee Glazer & Linda Merrill (eds), Palaces of Art, Whistler and the Art Worlds of Aestheticism, (Smithsonian Institution Scholarly Press) pp. 67-81 DOI:10.5479/si.9781935623311.0 http://repository.nms.ac.uk/1133 Deposited on: 29 January 2014 NMS Repository – Research publications by staff of the National Museums Scotland http://repository.nms.ac.uk/ Whistler’s Peacock Room and the Artist as Magus Sally-Anne Huxtable ames McNeill Whistler’s Harmony in Blue and Gold: The Peacock Room (Figure 1) has become such a familiar feature of the terrain of Victorian aestheticism that it has J often been taken for granted, lost in the reiteration of the scandals that followed in its wake like the trailing tail feathers of Whistler’s own rendering. Instead of reiterating the well-known saga surrounding the creation of the room, this discussion will refl ect upon the decoration itself, arguing that it functions as an expression of Whistler’s self- consciously created artistic identity as magus and his ideas about the nature of artistic creation. Nevertheless, it is not only the stories and the history but also the unashamed spectacle of the Peacock Room that obfuscates the debates that the artist used the room to explore—specifi cally, ideas regarding the role of the artist, the function of art, the relationship between art and nature, and the ancient concept of the artist as magician, an individual who somehow has the power to improve on nature itself.1 It is pertinent here to remember the original proximity of the Peacock Room, at 49 Prince’s Gate, to the South Kensington Museum (now the Victoria and Albert), home to the Green Dining Room (Figure 2).