Hello, and Welcome to the Autumn BAVS Newsletter! Autumn 2011
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The Fourth Report of Senior Pay and Perks in UK Universities History This
Transparency at the top? The fourth report of senior pay and perks in UK universities History This is the fourth report on pay and perks at the top of British higher education institutions (HEIs) to be published by the University and College Union (UCU). It forms part of the union’s ongoing campaign for greater transparency in higher education, including the rationale behind senior pay rises. UCU submitted a Freedom of Information (FoI) request to 158 HEIs in October 2017. This followed similar requests submitted in 2016, 2015 and 2014. All requests were designed to shine a light on the arbitrary nature of senior pay and perks in universities, and support the union’s call for reform. The basis for this report The FoI request that forms the basis of this report was sent to 158 (HEIs). It requested details of vice-chancellors’ (or head of institution if known by a different title) salaries and those of other senior post-holders earning over £100,000 at the institution during the academic year of 2016/17 (1 August 2016 to 31 July 2017). It also asked for details of flights, spending on hotels, spending on expenses and if the vice-chancellor was provided with accommodation by the university. Finally, we requested to know whether or not the vice-chancellor was a member of the remuneration committee, and requested a copy of the most recently ratified minutes of the institution’s remuneration committee. Variety of responses The questions on expenditure on flights, hotels, expenses and accommodation for vice-chancellors elicited a huge variation in responses with many institutions deploying exemptions under the Freedom of Information Act to avoid providing data. -
Unlocking Eastlake Unlocking Eastlake
ng E nlocki astlak U e CREATED BY THE YOUNG EXPLAINERS OF PLYMOUTH CITY MUSEUM AND ART GALLERY No. 1. ] SEPTEMBER 22 - DECEMBER 15, 2012. [ One Penny. A STROKE OF GENIUS. UNLOCKING EASTLAKE UNLOCKING EASTLAKE It may be because of his reserved nature that Staff at the City Museum and Art Gallery are organising a range of events connected to the Eastlake is not remembered as much as he exhibition, including lunchtime talks and family-friendly holiday workshops. INTRODUCING deserves to be. Apart from securing more Visit www.plymouth.gov.uk/museumeastlake to stay up to date with what’s on offer! than 150 paintings for the nation, Eastlake was a key figure in helping the public gain like to i uld ntro a better understanding of the history of wo d uc WALKING TRAILS e e EASTLAKE western art. Through detailed catalogues, W THE simpler ways of picture display, and the Thursday 20th September 2012: : BRITISH ART’S PUBLIC SERVANT introduction of labels enabling free access to Grand Art History Freshers Tour information, Eastlake gave the us public art. YOUNG EXPLAINERS A chance for Art History Freshers to make friends as well as see what lmost 150 years after his Article: Laura Hughes the Museum and the Young Explainers death, the name of Sir Charles Children’s Actities / Map: Joanne Lees have to offer. The tour will focus on UNLOCKING EASTLAKE’S PLYMOUTH Eastlake has failed to live up to Editor: Charlotte Slater Eastlake, Napoleon and Plymouth. the celebrity of his legacy. Designer: Sarah Stagg A Illustrator (front): Alex Hancock Saturday 3rd November 2012: Even in his hometown of Plymouth, blank faces During Eastlake’s lifetime his home city Illustrator (inside): Abi Hodgson Lorente Eastlake’s Plymouth: usually meet the question: “Who is Sir Charles of Plymouth dramatically altered as it A Family Adventure Through Time Eastlake?” Yet this cultural heavyweight was transformed itself from an ancient dockland Alice Knight Starting at the Museum with interactive acknowledged to be one of the ablest men of to a modern 19th century metropolis. -
Eastlake's Scholarly and Artistic Achievements Wednesday 10
Eastlake's Scholarly and Artistic Achievements Wednesday 10 October 2012 Lizzie Hill & Laura Hughes Overview I will begin this Art Bite with a quotation from A Century of British Painters by Samuel and Richard Redgrave, who refer to Eastlake as one of "a few exceptional painters who have served the art they love better by their lives than their brush" . This observation is in keeping with the norm of contemporary views in which Eastlake is first and foremost seen as an art historian and collector. However, as a man who began his career as a painter, it seems it would be interesting to explore both of these aspects of his life. Therefore, this Art Bite will be examining the validity of this critique by evaluating Eastlake's artistic outputs and scholarly achievements, and putting these two aspects of his life in direct relation to each other. By doing this, the aim behind this Art Bite is to uncover the fundamental reason behind Eastlake's contemporary and historical reputation, and ultimately to answer; - What proved to be Eastlake's best weapon in entering the Art Historical canon: his brain or his brush? Introduction So, who was Sir Charles Lock Eastlake? To properly be able to compare his reputation as an art historian versus being a painter himself, we need to know the basic facts about the man. A very brief overview is that Eastlake was born in Plymouth in 1793 and from an early age was determined to be a painter. He was the first student of the notable artist Benjamin Haydon in January 1809 and received tuition from the Royal Academy schools from late 1809. -
FOI REQUEST From
FOI REQUEST From: James Murphy <[email protected]> Date: Tue, 10 Sep 2019 at 17:05 Subject: Freedom of Information request - Copies of periodic communications between the Vice-Chancellor and staff To: FOI requests at University of Sheffield <[email protected]> Dear University of Sheffield, I am writing to request copies of periodic communications between the Vice-Chancellor of your institution and all staff working at the University. These circulars might be sent by email and/or placed on the university intranet and may be described as Vice Chancellor’s Updates or something similar. Could you please provide all such communications for the last 5 years or as long as you have recorded if this is shorter? Best wishes, James Murphy University of Sheffield response: Please find below communications from our President and Vice-Chancellor to all staff between 27 June 2014 and 5 September 2019. These were sent to staff via email and are also published on our staff web pages. Note: The below communications include those from our current President and Vice- Chancellor, Professor Koen Lamberts as well as from our previous President and Vice- Chancellor, Professor Sir Keith Burnett. 5 September 2019 Our vision for Sheffield - your invitation to join the conversation Dear colleague Earlier this summer, I emailed you about my intention to hold a University-wide dialogue about our future direction. I’m pleased to invite you to a series of town-hall style sessions where we can discuss the direction we want to take. Conversations at these sessions will be centred around a Vision Green Paper, which I have developed following my meetings with all University departments, with support from colleagues on the University Executive Board (UEB) and their teams. -
British Vet School Accreditation Report Cover.Indd
CONTENTS 0 INTRODUCTION ....................................................................................................1 1 ORGANIZATION ....................................................................................................7 2 FINANCES .........................................................................................................15 3 FACILITIES AND EQUIPMENT..................................................................................25 4 ANIMAL RESOURCES ............................................................................................39 5 INFORMATION RESOURCES ....................................................................................53 6 STUDENTS.........................................................................................................57 7 ADMISSION AND PROGRESSION..............................................................................65 8 ACADEMIC AND SUPPORT STAFF .............................................................................73 9 CURRICULUM .....................................................................................................85 10 ASSESSMENT ...................................................................................................105 11 RESEARCH PROGRAMMES, CONTINUING AND HIGHER DEGREE EDUCATION ......................115 12 OUTCOMES ASSESSMENT.....................................................................................127 13 ESEVT INDICATORS..........................................................................................155 -
Národní Galerie V Čr a Uk
Masarykova univerzita Ekonomicko-správní fakulta Studijní obor: Veřejná ekonomika INSTITUCIONÁLNÍ KOMPARACE KONTINENTÁLNÍHO A ANGLOAMERICKÉHO MODELU: NÁRODNÍ GALERIE V ČR A UK Institutional comparison of a continental and an Anglo- american models: National Gallery in UK and CZ Diplomová práce Vedoucí diplomové práce: Autor: Ing. František Svoboda, Ph.D. Bc. Veronika Králíková Kyjov, 2009 Jméno a příjmení autora: Veronika Králíková Název diplomové práce: Institucionální komparace kontinentálního a angloamerického modelu: Národní Galerie ČR a UK Název v angličtině: Institutional comparison of a continental and an Anglo- american models: National Gallery in UK and CZ Katedra: Veřejná ekonomika Vedoucí diplomové práce: Ing. František Svoboda, Ph.D. Rok obhajoby: 2009 Anotace Předmětem diplomové práce „Institucionální komparace kontinentálního a angloamerického modelu: Národní Galerie ČR a UK“ je analýza historického vývoje těchto institucí a jejich vzájemná komparace. První část popisuje historický vývoj a tedy i východiska, na kterých byly obě galerie vybudovány. Druhá část je věnována dnešní podobě galerií. Závěrečná kapitola je zaměřena na jejich vzájemnou komparaci. Annotation The objective of the thesis „Institutional comparison of a continental and an Anglo-american models: National Gallery in UK and CZ“ is historical development analysis and their mutual comparison. The first part describes the historical making and thus also origins of the establishment of both galleries. The second part presents their contemporary form. The closing -
The Turner Collector: Elhanan Bicknell
The Turner Collector: Elhanan Bicknell PETER BICKNELL Cambridge with HELEN GUITERMAN London `There took place last Saturday an event in London such as, we serge business; this had been moved to London from Taunton earlier venture to think, could scarcely in the same time and under the same in the century. William was musical, a mathematician, something of a conditions have happened in any other city in the world. It was not a writer and a great reader. He found the wool trade uncongenial and the great national event - a Royal reception, or a popular demonstration. It year after Elhanan's birth sold the business to buy the freehold of an was not anything attaching to or symbolising institutions or sentiments 'Academy' attended by some i 00 scholars, in the old palace of the peculiarly British. It had nothing to do with our glorious constitution, Bishop of Lincoln at Ponder's End, Enfield. The school prospered, our lords, our commons, our free press, our meteor-flag, our climate, and in December 1804 he moved it and his residence to Surrey our racehorses, or our bitter beer . It was merely a sale of Hall, Lower Tooting. Elhanan's curious name' came through the pictures. The collection of paintings thus sold had been gathered Bicknell connection with the Free Churches, John Wesley having been together by a private Englishman, a man of comparatively obscure a friend of the family at Taunton and in London; William's closest position, a man engaged at one time in mere trade - a man not even friend was the American preacher, the Reverend Elhanan pretending to resemble a Genoese or Florentine merchant prince, but Winchester, author of Universal Restoration, a book which gave simply and absolutely a Londoner of the middle class actively William great comfort and satisfaction. -
Art History Scholarship Between the 1820S and 1870S: Contextualising the Eastlake Library at the National Gallery, London
Art history scholarship between the 1820s and 1870s: contextualising the Eastlake library at the National Gallery, London Katie Lissamore and Jonathan Franklin Figure 1 Carte de visite photograph of Charles Lock Eastlake, undated. National Gallery Archive NG67/5/1. Photo: The National Gallery, London. The Eastlake Library began life as the personal library of Sir Charles Lock Eastlake (pictured in figure 1).1 He had been a practising painter for a number of years before moving into official roles as Secretary to the Fine Arts Commission that was tasked with overseeing the decoration of the new Houses of Parliament (as of 1841); as Keeper (1843-1847) and then first Director (1855-1865) of the National Gallery; and simultaneously as President of the Royal Academy (1850-1865). At the same time, Eastlake was a researcher and scholar, publishing his pioneering classic of technical art history, Materials for a History of Oil Painting,2 in 1847.3 The Library, numbering 1 The authors would like to thank Dr Susanna Avery-Quash for her kind assistance with this article, which has been adapted and expanded from a presentation with the same title that was delivered in the session ‘Historic Libraries and the Historiography of Art (II)’ at the College Art Association conference in Chicago on Friday, February 14, 2020. The subject of the article arises from a doctoral project which is being co-supervised by Robert Gordon University in Aberdeen, Scotland, and the National Gallery in London, England. Of the two co-authors, Katie Lissamore is the PhD candidate and Jonathan Franklin is one of her three co-supervisors. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Formování Veřejného Zájmu: Studie Vzniku a Rozvoje Londýnské National Gallery
Masarykova univerzita Ekonomicko-správní fakulta Studijní obor: Evropská hospodářská, správní a kulturní studia FORMOVÁNÍ VEŘEJNÉHO ZÁJMU: STUDIE VZNIKU A ROZVOJE LONDÝNSKÉ NATIONAL GALLERY Formulating of public interest: essay about the founding and evolving of the National Gallery Bakalářská práce Vedoucí bakalářské práce: Autor: Ing. František SVOBODA, Ph.D. Aleš HORÁČEK Brno, květen 2010 Jméno a příjmení autora: Aleš Horáček Název bakalářské práce: Formování veřejného zájmu: studie vzniku a rozvoje londýnské National Gallery Název v angličtině: Formulating of public interest: essay about the founding and evolving of the National Gallery Katedra : Veřejná ekonomie Vedoucí bakalářské práce: Ing. František Svoboda, Ph.D. Rok obhajoby: 2010 Anotace v češtině: Předmětem bakalářské práce na téma „Formování veřejného zájmu: studie vzniku a rozvoje londýnské National Gallery" je analýza prvků veřejného zájmu v péči o kulturní dědictví společnosti, tedy takových faktorů , které stály i u zrodu jedné z největších světových galerií světa - londýnské National Gallery. Této problematice je věnována první část. Díky těmto a dalším vlivům se galerie v čase postupně vyvíjela a rostla, aţ dospěla do současného stavu. Tento proces a jeho výsledky jsou pak náplní druhé části mé práce. Anotace v angličtině: The objective of my bachelor work " Formulating of public interest: essay about the founding and evolving of the National Gallery", is the analysis of the components of public interest in the cultural heritage of our society, i.e. such factors, that led to the creation of one of the greatest galleries in the world - the National Gallery. The first part is dedicated to this topic. Due the influence of this factors, the gallery has been evolving ang getting bigger and ultimately reached the present state. -
GIORGIO VASARI, the Life of GIOVANNI ANGELICO DA
VASARI IN ENGLAND, 2: FRA ANGELICO TRANSLATED, 1850 GIORGIO VASARI, The Life of GIOVANNI ANGELICO DA FIESOLE, Translated from the Italian of Vasari By GIOVANNI AUBREY BEZZI, With Notes and Illustrations Printed for the Arundel Society, London: The Chiswick Press, 1850 Edited by CHARLES DAVIS FONTES 76 [11.06.2013] Zitierfähige URL: http://archiv.ub.uni-heidelberg.de/artdok/volltexte/2013/2180 urn:nbn:de:bsz:16-artdok-21807 1 Title page of GIORGIO VASARI, The Life of GIOVANNI ANGELICO DA FIESOLE, Translated from the Italian of Vasari By GIOVANNI AUBREY BEZZI, With Notes and Illustrations, Printed for the Arundel Society, London: The Chiswick Press, 1850, 32 pages and 1 + 20 plates, with 1 figure, “Printed by C. Whittingham, Chiswick.” 2 C O N T E N T S VASARI IN ENGLAND, 2 4 INTRODUCTION: FRA ANGELICO TRANSLATED, 1850 THE ARUNDEL SOCIETY SIR CHARLES LOCK EASTLAKE GIOVANNI AUBREY BEZZI ARUNDEL SOCIETY, FIRST PROJECTS THE CHISWICK PRESS GIOVANNI AUBREY BEZZI’S TRANSLATION THE NOTES AND BEZZI’S SOURCES THE CATALOGUE OF WORKS THE PLATES GIOVANNI BEZZI’S TRANSLATION OF VASARI’S VITA AS AN ARTIST MONOGRAPH FRA ANGELICO 19 THE FULL TEXT OF GIOVANNI AUBREY BEZZI, THE LIFE OF GIOVANNI ANGELICO DA FIESOLE, London 1850: THE LIFE OF GIOVANNI ANGELICO DA FIESOLE NOTES CATALOGUE OF THE PAINTINGS REMAINING BY FRA GIOVANNI ANGELICO LIST OF PLATES 41 SELECTED PLATES FROM BEZZI’S ANGELICO MONOGRAPH 48 APPENDIX I: VASARI, VITA DI FRA ANGELICO, 1550 51 APPENDIX II: VASARI, VITA DI FRA ANGELICO, 1568 57 APPENDIX IV: THE REVISION AND EXPANSION OF VASARI’S FIRST REDACTION OF THE FRA ANGELICO VITA (1550) IN THE SECOND EDITION OF VASARI’S VITE (1568) 60 APPENDIX V: MRS. -
John Platt (1842-1902), a Late Victorian Extra-Illustrator, and His Collection
J. M. W. Turner and his World: John Platt (1842-1902), a Late Victorian Extra-illustrator, and his Collection Felicity Myrone 1. Introduction In August 2007 the British Library Press Office was able to announce the ‘discovery’ of a ‘missing Constable sketch’.1 This had come to light by chance during cataloguing a few months earlier in an extra-illustrated copy of George Walter Thornbury’s The Life of J. M. W. Turner: Founded on letters and papers furnished by his friends and fellow academicians (London: Hurst and Blackett, 1862). The Constable is just one of over 1,600 additions to Thornbury’s text, collected and inserted by a businessman and justice of the peace from Warrington, John Platt (1842-1902). This essay will briefly examine the collection, its collector and his library. Extra-illustration was a popular activity from the mid-eighteenth to the early twentieth century. It involves the embellishing of an existing text with complementary illustrations and documents.2 Thornbury’s biography of Turner is an excellent choice for extra- illustration, as a large number of Turner’s predecessors and contemporaries are mentioned in the text, as well as places Turner visited and painted. Thornbury’s text also relies on quoting long passages from letters by Turner as well as the writings, letters and reminiscences of his friends and acquaintances or their descendants, and Platt collected manuscript material to match. Most accounts of extra-illustration or ‘grangerization’, as it was often known in the past, have concentrated on the extra-illustrator’s use of portraits and topographical images.