DOCSLIB.ORG

Rose Hilton 2018 COMPLETE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rose Hilton 2018 COMPLETE cover 1 Across Penwith oil on canvas 61 x 81 cms 24 x 32 ins opposite 2 Woman oil on canvas 46 x 61 cms 18 x 24 ins 2018 3 www.messums.com Blue Still Life oil on canvas 28 Cork Street, London W1S 3NG 76 x 76 cms 30 x 30 ins Telephone: +44 (0)20 7437 5545 4 Apollo oil on canvas 123 x 183 cms 1 48 ⁄4 x 72 ins Rose Hilton What happens when two artists set up home together? Since the late 19th century, when British art schools began admitting women in ever larger numbers, artist couples have become increasingly common. Of course we all tend to gravitate towards people who share our interests and concerns, but when two artists marry or live together the effects can be far-reaching, and when I was asked by the Royal West of England Academy in Bristol to propose an exhibition I suggested this as a theme. They responded positively, and I began putting together a group of couples. The names of Roger and Rose Hilton came up early on, but while I admired Roger’s work for its austere power, Rose’s paintings were less familiar. Discovering an artist is one of life’s great pleasures, and when the artist is someone like Rose Hilton the pleasure is doubled. Visiting Cork Street to look at some paintings I immediately fell under her spell. The colours were gorgeous but never overwhelming. There was a lightness to the work but it was far from superficial. Certain pictures Photograph © Antony Crolla and details of pictures stayed in my mind. They had that elusive quality shared by good paintings, a kind of inner necessity. They showed strength of character as Roger’s did, only the character was quite different. As is made clear by Sandy Mallet in the essay that follows, Rose is a strong woman who has retained her natural warmth and love of life in spite of considerable hardship. Marriage to Roger was difficult, but she is generous in her recollections of him. While Roger undoubtedly held her back, not least by occupying so much of her time and attention, he also gave her valuable advice on the use of colour and tone, lessons he had learnt himself in Paris before World War Two. He also insisted that she strive to be herself in her work, and this she has done ever since. Yes, she is inspired by other artists and often finds solutions to creative problems in exhibitions and books, but these influences are worked into compositions that are unmistakeably hers. Look, for example, at ‘Self Portrait with Model’ (plate 25), one of three works Messum’s are kindly lending to the RWA exhibition this summer. At first, perhaps, we become immersed in warmth and colour. We are lured in, charmed. Then perhaps we step back, note the influence of Matisse and think we have ‘placed’ Rose Hilton as a decorative painter. We move on, only to be pulled back. There is something in the play of angles that holds the attention, a rigour that balances the charm. Yes, the painting is decorative but it is not simple. On 12 January 1983 Rose wrote in her diary: ‘I have always tried to hide my own efforts and wished my works to have the lightness and joyousness of a springtime which never lets anyone suspect the labours it has cost.’ She was quoting Matisse back then. Today she might say the same thing herself. James Russell Art historian and curator 5 Artist’s Model oil on canvas 1 41 x 39 cms 16 x 15 ⁄2 ins Introduction One vigorous line of art historical thought pursued a few of colour and warmth, of sensuality and light, of the human years ago sought to view the work of women artists as a form and womanliness. fundamental response to the suffering and restrictions they In fact, if the trials of her life have honed her and her had experienced, whether thrown at them by circumstance art in any way, one suspects it has actually reinforced a or by oppressive men. While it’s an idea potentially relevant set of heartening values, fuelling what has proved to be to artists such as Frida Kahlo and Tracey Emin, whose a remarkable and long-developed resilience. Rose Hilton art is often autobiographical and has trauma to relay, the has carried her art, her voice, her seductive outpouring same approach feels less appropriate for Gillian Ayres say, of light and form now into her 80s, where she still delights or Helen Frankenthaler, whose inspirations appear less in working regularly, testing herself, exploring possibilities, self-focused. and creating pleasure through beauty. It is a notion, though, that hovers in the background of It was this well-spring of work – one that she started Rose Hilton’s work, initially at least because one is aware fully exploring after the death of Roger Hilton in 1975 – that of a level of suffering and subjection that has threaded David Messum first came across in 1987, when visiting through parts of her life – whether in the form of serious Cornwall from London. It was an extraordinary discovery for illness (she had TB while at art college), or her looking after both of them, fortuitous, gratifying, which initially resulted in a famously cantankerous (and famous) husband, or he the first of Rose’s shows at Messum’s in 1989. This event actually demanding she shouldn’t paint – she has too often marked the start of a succession of what has now been been seen or referred to in these terms. over a dozen highly successful London solo exhibitions, as And yet the notion is ultimately invalid: the true Rose well as a watershed retrospective show at Tate St Ives in Hilton, not only the person one meets and talks delightedly 2008. The 1989 show also marked the beginning of a long with, but also the spirit that emanates from her art, seems journey towards proper recognition, an understanding not not at all sculpted by the experience of suffering. Quite the only of the true worth of her work, the shimmering powers reverse, as hers is, and as seems always to have been, she is able to conjure up, but also of her being able to a generous, open-hearted world, whatever the slings and establish herself fully beyond the shadow of Roger Hilton, arrows that have sometimes rained down. It is a world full who – because of his undoubted fame as a towering figure of post-war British abstraction – tended to have been so dominant in the minds of those looking at what Rose was doing. This gradual journey of discovery of an artist’s work and worth, the building of recognition and reputation – even over such a lengthy period – must be amongst the most satisfying and enjoyable tasks that a gallery can be involved in. It is serious stuff, getting the world to appreciate and acknowledge what you have discovered about an artist, to encourage a level of understanding about an artist that evolves into common agreement. It is also deeply fascinating because of just what it is you learn about the artist as the relationship between artist and gallery deepens. Rose Hilton’s story, particularly, is a remarkable one, as, from those years she has worked as an artist, she has 6 Studio Model and Artist oil on canvas 76 x 61 cms 30 x 24 ins herself played a part in some of the most exciting and most of 1959 asked her to venerated phases of post-war British art. Just recently she his cottage in Georgia, has been approached increasingly by curators as being the to the west of St Ives, last of a famous generation of St Ives artists still working, where they spent an still alive. But that is only a slice of it. idyllic two weeks, It’s a story that starts with her joining the Royal College before Rose took up a of Art in 1953, and being launched into an art scene that teaching post at Sidcup was becoming fast-changing in its response to new post- Art School (where one war ideas and art movements from the continent and of her pupils was Keith America. In her same year at the RCA were names like Richards). Rose and Peter Blake, Pauline Boty, Brian Fielding, Sonia Lawson Roger began to be seen and Ken Howard. Rose’s tutor at the RCA, Carel Weight, around town, Rose had set up the renowned Young Contemporaries annual being immersed in an exhibitions, which is where artists like Robyn Denny, Derek art scene that took her Rose on the roof of her Fulham Road Boshier and Richard Smith showed their ground-breaking flat in 1958 from Keith Vaughan to work, these exhibitions also attracting people like David Francis Bacon, and from Hockney and Frank Auerbach. London to Cornwall, finding herself with people and ideas Rose too exhibited at the Young Contemporaries show, of prime importance and interest. and while her work followed more figurative lines (with early After hiccoughs, estrangements, the birth of their son praise and prizes) she was fascinated by the adventure of Bo, and settling down in a Cathcart Road London flat, they more radical students. Brian Fielding, the abstract painter, found a good period, Roger producing some of his best became a particular friend, and when she graduated in work at the studio in St John’s Wood, with Rose looking 1957 she collected her degree with the revolutionary after Bo and (surreptitiously) using a bedroom space for Richard Smith.
Load more

Recommended publications
  • Helios by Gillian Ayres
    Helios by Gillian Ayres A talk by Amanda Phillips, Learning and Access Officer at Leeds Art Gallery This is the first of a series of short talks made for the exhibition Natural Encounters by staff and volunteers working at Leeds Art Gallery. Different voices share their ideas about one single artwork on display for our online audiences to enjoy as a personal interpretation that can add to their own. I have been asked share the first, which I’ve titled… Reading ‘Helios’ by Gillian Ayres. Up close this artwork is extraordinary. The paint is so thickly applied that it comes together in wave-top crests, with different colours meeting in mark-making that touches and then falls away. The effect blends colour in the mind’s eye, and supports the work of the imagination as it makes meaning. Helios by Gillian Ayres was produced in 1990, and is understood within the naming-systems of the art world as an Abstract painting. Currently it is displayed in the gallery’s ‘Natural Encounters’ exhibition, curated from Leeds’ art collections to explore the idea of human relationships with the natural world. The painting entered into the collection in 1991, not that long after she had painted it. In the gallery’s file of correspondence and other material linked to the artwork, is a letter that makes clear two options for purchase were on the table. Reading between the lines, it would seem that a member of the then gallery team had travelled to London in the winter of 1990 to see an exhibition of the artist’s new work, at an independent gallery owned by her then dealer.
    [Show full text]
  • Ivon Hitchens & His Lasting Influence
    Ivon Hitchens & his lasting influence Ivon Hitchens & his lasting influence 29 June - 27 July 2019 An exhibition of works by Ivon Hitchens (1893-1979) and some of those he influenced 12 Northgate, Chichester West Susssex PO19 1BA +44 (0)1243 528401 / 07794 416569 [email protected] www.candidastevens.com Open Wed - Sat 10-5pm & By appointment “But see Hitchens at full pitch and his vision is like the weather, like all the damp vegetable colours of the English countryside and its sedgy places brushed mysteriously together and then realised. It is abstract painting of unmistakable accuracy.” – Unquiet Landscape (p.145 Christopher Neve) The work of British painter Ivon Hitchens (1893 – 1979) is much-loved for his highly distinctive style in which great swathes of colour sweep across the long panoramic canvases that were to define his career. He sought to express the inner harmony and rhythm of landscape, the experience, not of how things look but rather how they feel. A true pioneer of the abstracted vision of landscape, his portrayal of the English countryside surrounding his home in West Sussex would go on to form one of the key ideas of British Mod- ernism in the 20thCentury. A founding member of the Seven & Five Society, the influential group of painters and sculptors that was responsible for bringing the ideas of the European avant-garde to London in the 30s, Hitchens was progres- sive long before the evolution of his more abstracted style post-war. Early on he felt a compulsion to move away from the traditional pictorial language of art school and towards the development of a personal language.
    [Show full text]
  • Aspects of Modern British Art
    Austin/Desmond Fine Art GILLIAN AYRES JOHN BANTING WILHELMINA BARNS-GRAHAM DAVID BLACKBURN SANDRA BLOW Aspects of DAVID BOMBERG REG BUTLER Modern ANTHONY CARO PATRICK CAULFIELD British Art PRUNELLA CLOUGH ALAN DAVIE FRANCIS DAVISON TERRY FROST NAUM GABO SAM HAILE RICHARD HAMILTON BARBARA HEPWORTH PATRICK HERON ANTHONY HILL ROGER HILTON IVON HITCHENS DAVID HOCKNEY ANISH KAPOOR PETER LANYON RICHARD LIN MARY MARTIN MARGARET MELLIS ALLAN MILNER HENRY MOORE MARLOW MOSS BEN NICHOLSON WINIFRED NICHOLSON JOHN PIPER MARY POTTER ALAN REYNOLDS BRIDGET RILEY WILLIAM SCOTT JACK SMITH HUMPHREY SPENDER BRYAN WYNTER DAVID BOMBERG (1890-1957) 1 Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 Coloured chalks Signed and dated lower right, Inscribed verso Monastery of Mar Saba, Wadi Kelt, near Jericho, 1926 by David Bomberg – Authenticated by Lillian Bomberg. 54.6 x 38.1cm Prov: The Artist’s estate Bernard Jacobson Gallery, London ‘David Bomberg once remarked when asked for a definition of painting that it is ‘A tone of day or night and the monument to a memorable hour. It is structure in textures of colour.’ His ‘monuments’, whether oil paintings, pen and wash drawings, or oil sketches on paper, have varied essentially between two kinds of structure. There is the structure built up of clearly defined, tightly bounded forms of the early geometrical-constructivist work; and there is, in contrast, the flowing, richly textured forms of his later period, so characteristic of Bomberg’s landscape painting. These distinctions seem to exist even in the palette: primary colours and heavily saturated hues in the early works, while the later paintings are more subtle, tonally conceived surfaces.
    [Show full text]
  • Wolverhampton Arts & Culture
    WOLVERHAMPTON ARTS & CULTURE STELLAR: STARS OF OUR CONTEMPORARY COLLECTION LEARNING PACK Allen Jones, Dream T-Shirt, 1964. © the artist TAKE LEARNING OUT OF THE CLASSROOM Wolverhampton Arts and Culture venues are special places where everyone can enjoy learning and develop a range of skills. Learning outside the classroom in museums, galleries and archives gives young people the confidence to explore their surroundings and broadens their understanding of people and the world around them. Contents Page 2 What is Contemporary Art - Page 14 Viewing and Reading or ‘When’? Page 15 Bibliography Page 4 Modern or Contemporary? Page 15 How to get in touch Page 12 Form or Idea? Stellar: Stars of our Contemporary Collection Stellar presents an overview of recent, or are by artists nominated for the Turner current and ongoing developments in Prize, which from 1984 has been awarded British art, as viewed through the lens of annually to the artist who has achieved an Wolverhampton Art Gallery’s collection. outstanding exhibition or presentation of Many of the works included in this their work. Accordingly, Stellar charts the exhibition also featured in past iterations changing face and shifting landscape of of the prestigious British Art Show – contemporary art practice in the United a touring exhibition that celebrates the Kingdom. Stellar is presented ahead of country’s most exciting contemporary art – British Art Show 9, which opens in Wolverhampton in March 2021. Unlike other art forms, contemporary practice can be an elusive topic to describe; there is no readymade definition and a walk through Stellar clearly reveals a wide variety of styles and techniques.
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • To Download Contemporary Art Society's Acquisitions & Art
    Contemporary Art Society Acquisitions & Art Consultancy APRIL 2017–MARCH 2018 Contents Foreword 5 Museums Receiving Artworks 9 Contemporary Art Society 59 Central Street, London EC1V 3AF Map of Museum Members 10 Tel: +44 (0)20 7017 8400 Email: [email protected] Website: contemporaryartsociety.org Special Projects Follow us on social media — Great Works 14 /thecontemporaryartsociety contemporaryartsociety — Collections Fund at Frieze 18 @ContempArtSoc — Valeria Napoleone XX Contemporary 20 Every effort has been made to contact all copyright Art Society holders. If proper acknowledgement has not been made, please contact the Contemporary Art Society. — Art Night 24 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronical, Acquisitions Scheme mechanical or otherwise, without first seeking the written permission of the copyright holders and — Fine Art 27 of the Contemporary Art Society. Images cannot be reproduced without prior permission from the — Omega Fund 75 Contemporary Art Society. Date of publication: June 2018 Edited by Marcus Crofton, Charlotte dos Santos, Gifts and Bequests 91 Caroline Douglas, Nina Johnson, Fabienne Nicholas and Christine Takengny Designed by Hyperkit Cover image: Gillian Wearing, Millicent Fawcett, 2018, Art Consultancy 99 bronze, pink granite and laser-etched black granite, 400 x 120 cm. Photo: Kevin Percival. Supporters and Patrons 108 Museum Members 112 Art Consultancy Clients 114 Trustees and Staff 115 Index of Artists 117 Image Credits 119 Foreword The Trustees of the Contemporary Art Society are a hard-working group of individuals whose commitment to our mission makes an enormous difference to the way we are able to operate.
    [Show full text]
  • Pauline Boty and the Predicament of the Woman Artist in the British Pop Art Movement Suetate Volume One
    GENDERING THE FIELD: PAULINE BOTY AND THE PREDICAMENT OF THE WOMAN ARTIST IN THE BRITISH POP ART MOVEMENT SUETATE VOLUME ONE (of two) A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the Degree of Doctor of Philosophy at Bath Spa University College School of English and Creative Studies, Bath Spa University College. November 2004 Volume One Contents Page i ACKNOWLEDGEMENTS Page ii AUTHOR'S PREFACE Page iii ABSTRACT Page 1 INTRODUCTION (statement of objectives) Page 8 CHAPTER ONE: METHODOLOGY and CRITICAL REVIEW OF LITERATURE page 8 Part One: Methodology page 8 Historiography page 10 A feminist historical materialism page 12 Mapping the dynamics of the field page 13 The artist's biography: the role of the 'life and works' page 16 Discursive shifts : art historical revisionism and problems in feminism page 17 Part Two: A Critical Review of Literature page 19 Ontological insecurity page 26 The myth of the homogeneous audience page 30 The evacuation of meaning page 36 The detached artist page 37 Multifarious yet gender free readings Page 43 CHAPTER TWO: GENDERING THE FIELD OF PRODUCTION AND DISTRIBUTION page 44 The Royal College of Art : a site for investigation page 45 A masculine ethos page 51 Kudos and gender page 56 Distributive apparatus page 57 The non-commercial sites page 58 The John Moores page 60 The ICA page 61 The Young Contemporaries page 66 Private galleries page 70 A comparison with Fluxus Page 76 CHAPTER THREE: PAULINE BOTY, A GLORIOUS EXCEPTION? page 76 Family
    [Show full text]
  • Generation Painting 1955–65
    Generation PaintinG 1955–65 British Art from the Collection of Sir Alan Bowness the heonG Gallery Alan Bowness Ten Good Years This collection of paintings was assembled in unusual circumstances and needs some explanation, which involves the beginnings of my inter- est in contemporary art. In the last years of the war, the great art museums were of course closed, but my interest in painting was suddenly brought to life by the amazing Picasso and Matisse exhibition at the Victoria and Albert Museum at the end of 1945. I was 17 and wanted to see more. I quickly discovered that the most advanced British art was to be found in the dealers’ galler- ies around Bond Street, particularly the Lefevre, Redfern and Leicester Galleries. Here were works by Henry Moore and Graham Sutherland, Paul Nash, John Piper, Ivon Hitchens, Victor Pasmore – artists popularised by Kenneth Clark’s series of Penguin Modern Painters books, which I owned. I loved these artists and thought highly of the British school – it must be remembered that almost no twentieth-century foreign art was on view in 1946 – but I also wanted to fnd the newest painting. This was being done by the ‘neo-romantics’: John Minton and Keith Vaughan, John Craxton, Lucian Freud and the two Roberts (Colquhoun and MacBryde). When I left school in the summer of 1946, I was awarded a prize for English and chose a 1945 edition of John Webster’s The Duchess of Malf with wonderful illustrations by Michael Ayrton. The youngest of the neo-romantics, Ayrton was only seven years older than me and felt like a contemporary.
    [Show full text]
  • Prints Prints Featuring the Work Piper of John 1Pm 18 September 2013 at Wednesday London Knightsbridge
    20739 Prints featuring the work of John Piper, of John work the featuring Prints Prints featuring the work of John Piper Wednesday 18 September 2013 at 1pm Knightsbridge, London 18 September 2013, 18 September 2013, Knightsbridge, London Knightsbridge, Prints featuring the work of John Piper Wednesday 18 September 2013 at 1pm Knightsbridge, London Bonhams Enquiries Please see page 2 for bidder Montpelier Street Michael Jette information including after-sale Knightsbridge + 44 (0) 20 7393 3941 collection and shipment. London SW7 1HH [email protected] www.bonhams.com Please see back of catalogue Customer Services for important notice to bidders Viewing Monday to Friday 8.30am to 6pm Sunday 15 September +44 (0) 20 7447 7447 Illustrations 11am to 3pm Front cover: Lot 107 Monday 16 September Sale Number: 20739 Inside front cover: Lot 296 9am to 4.30pm Inside back cover: Lot 277 Tuesday 17 September Catalogue: £15 (£17 by post) Back cover: Lot 318 9am to 4.30pm Wednesday 18 September 9am to 11am NB To request condition reports Bids on any of the lots in the +44 (0) 20 7447 7448 sale, please contact the +44 (0) 20 7447 7401 fax department directly. To bid via the internet please visit www.bonhams.com New bidders must also provide proof of identity when submitting bids. Failure to do this may result in your bids not being processed. Please note that bids should be Live online bidding is submitted no later than 4pm on available for this sale the day prior to the auction. Please email [email protected] with “Live bidding” in the subject Bidding by telephone will only be line 48 hours before the auction accepted on a lot with a lower to register for this service.
    [Show full text]
  • John Hoyland: the Making and Sustaining of a Career - 1960-82
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2015 JOHN HOYLAND: THE MAKING AND SUSTAINING OF A CAREER - 1960-82 Davies, Christopher Anthony http://hdl.handle.net/10026.1/5139 Plymouth University All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. JOHN HOYLAND: THE MAKING AND SUSTAINING OF A CAREER - 1960-82 By CHRISTOPHER ANTHONY DAVIES Volume 2: Images, Appendices and Bibliography June 2015 List of Illustrations Fig. 1 - John Hoyland, Situation painting 1, 1960. Oil on canvas. 183 x 168 cm. Collection: © The John Hoyland Estate. Fig. 2 - John Hoyland, April 1961, 1961. Oil on canvas. 152.5 x 152.7 cm. Collection: Tate Gallery London. Fig. 3 - Bridget Riley, Movement in Squares, 1961. Tempera on hardboard. 123.2 x 121.2 cm. Collection: Arts Council Collection. Fig. 4 - John Plumb, Edgehill, 1962. Acrylic paint, PVC, vinyl and tape on canvas. 180 x 122 x 5 cm. Collection: Tate Gallery London. Fig. 5 - Robyn Denny, Baby is Three, 1961. Household paint on canvas. 213 x 365 cm. Collection: Tate Gallery London Fig. 6 - Bernard Cohen, Painting 96, 1996. Oil on canvas. 244 x 366 cm. Collection: Walker Art Gallery, Liverpool Museums. Fig. 7 - Gillian Ayres, Distillation, 1957.
    [Show full text]
  • The Turner Prize • Summary
    A STROLL THROUGH TATE BRITAIN Unless otherwise mentioned all works of art are at Tate Britain. 1 A STROLL THROUGH TATE BRITAIN • The Aesthetic Movement, 1860-1880 • Late Victorians, 1880-1900 • The Edwardians, 1890-1910 • The Great War and After, 1910-1930 • The Interwar Years, 1930s • World War II and After, 1940-1960 • Pop Art & Beyond, 1960-1980 • Postmodern Art, 1980-2000 • The Turner Prize • Summary West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. A History of the Tate, discussing some of the works donated by Henry Tate and others. 2. From Absolute Monarch to Civil War, 1540-1650 3. From Commonwealth to the Start of the Georgian Period, 1650-1730 4. The Georgian Period, 1730-1780 5. Revolutionary Times, 1780-1810 6. Regency to Victorian, 1810-1840 7. William Blake (1757-1827) and his Influence 8. J. M. W. Turner (1775-1851) 9. John Constable (1776-1837) 10. The Pre-Raphaelite Brotherhood, 1840-1860 11. The Aesthetic Movement, 1860-1880 12. The Late Victorians, 1880-1900 2 13. The Edwardians, 1900-1910 14. The Great War and its Aftermath, 1910-1930 15. The Interwar Years, 1930s 16. World War II and After, 1940-1960 17. Pop Art and Beyond, 1960-1980 18. Art in a Postmodern World, 1980-2000 19. The Turner Prize 20. Summary 2 THE TURNER PRIZE • Tate created the Prize in 1984 as an annual award named after J.
    [Show full text]
  • Acquisitions & Art Consultancy
    Acquisitions & Art Consultancy Acquisitions & Art Consultancy NOVEMBER 2012—MARCH 2014 Contents Foreword 4 Museums receiving Artworks 7 Acquisitions Scheme Contemporary Art Society 59 Central Street, London EC1V 3AF — Fine Art 9 Tel: +44 (0)20 7017 8400 Email: [email protected] — Craft 63 Website: www.contemporaryartsociety.org Follow us on social media Facebook: /thecontemporaryartsociety Strategic Initiatives Instagram: contemporaryartsociety Twitter: @contempartsoc — Contemporary Art Society Annual Award 74 Every effort has been made to contact all copyright — Cathy Wills Sculpture Fund 78 holders. If proper acknowledgment has not been made contact Contemporary Art Society. — Collections Committee 80 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or Gifts & Bequests 83 otherwise, without first seeking the written permission of the copyright holders and of Contemporary Art Society. Images cannot be reproduced without prior permission from Contemporary Art Society. Art Consultancy 97 Date of publication: May 2014 Designed by Hyperkit Index of Acquisitions by Scheme 100 The Contemporary Art Society is supported by Cover image: Raphael Hefti, Disco no.7 (2006) Supporters & Patrons 104 Trustees & Staff 106 Image credits 107 Ruskin School of Art. The Annual Award is the only scheme in the country that actively promotes new collaborations between contemporary artists and public collections. As such it is unique in offering substantial funding to an artist to Foreword create a new work, and the opportunity for a museum to enliven and reappraise their permanent collections through the experience of working with an artist responding to them.
    [Show full text]