DOCSLIB.ORG

9JD7TLWIMNICYM.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
9JD7TLWIMNICYM.Pdf BARBARA RAE R.A. BARBARA RAE R.A. LANDMARKS: Unique Images an exhibition of recent monotypes FEBRUARY 2009 TOM CALDWELL Published by Tom Caldwell Gallery © Copyright Barbara Rae R.A. and Tom Caldwell Gallery 429 Lisburn Road, Belfast BT9 7EY Tel: 028 9066 1890 Fax: 028 9068 1890 E-mail: [email protected] www.tomcaldwellgallery.com 1 Monotypes are one-off unique works of art. Paint applied to a hand, which is then pressed to a wall is the monotype at its most basic (as in the Lascaux Caves in France). Using pigment transferred to paper from non-porous sheets of metal or glass, major artists such as Bonnard and Toulouse Lautrec were beginning to use the medium in a variety of ways in the late 19th and early 20thCenturies. Barbara Rae works with ink on a perspex sheet using rollers and brushes. With rags and scrapers she can then remove areas of ink from the smooth surface to create her design. A sheet of paper is placed on top and rolled through a press to transfer the image. This process is repeated with different colours and image layers, often up to four times, creating nuances of colour, tone and texture. The resulting images, as the term monotype infers, are unique and cannot be reproduced as multiple prints. The artist has been working with monotype for many years but recent intensive work with the medium has honed her understanding of the nature of the materials and technique to an exceptionally high level. The majority of the works in this exhibition are as a result of a recent venture in Spain. The Irish images are inspired by the landscape of the west of Ireland where Barbara Rae spends a month each year with residencies at Ballinglen Arts Foundation, Ballycastle, County Mayo. 2 MONOTYPES ACHILL SEA 16 X 12 4 MAYO MARKER 16 X 11 5 SHORE STONES - DOUNPATRICK 15 X 15 FRONT COVER & 6 ROADSIDE RUIN 16 X 11 7 FRENCH GARDEN 15 X 15 8 SOUTHERN SIERRA 16 X 16 9 HILL VILLAGE - POLOPOS 16 X 11 10 ORGIVA RUIN 16 X 11 11 RUIN CASTARES 25 X 22 12 ANDALUCIA ENTRANCE 25 X 21 13 ORCHARD DOOR 16 X 11 14 PUEBLO 16 X 11 15 SIERRA DEL SUR 16 X 11 16 WINTER - PUEBLO 16 X 12 17 SPANISH DOOR IV 16 X 11 18 SPANISH DOOR V 16 X 11 19 CAMPO DOOR 12 X 12 20 WHITE SANDS EVENING, N.M. 15 X 15 21 GRANADA DOORWAY 16 X 11 22 ABOVE ORGIVA 13 X 22 BACK COVER 3 ACHILL SEA 16” X 12” 4 MAYO MARKER 16” X 11” 5 SHORE STONES – DOUNPATRICK 15” X 15” 6 ROADSIDE RUIN 16” X 11” 7 FRENCH GARDEN 15” X 15” 8 SOUTHERN SIERRA 16” X 16” 9 HILL VILLAGE – POLOPOS 16” X 11” 10 ORGIVA RUIN 16” X 11” 11 RUIN, CASTARES 25” X 22” 12 ANDALUCIA ENTRANCE 25” X 21” 13 ORCHARD DOOR 16” X 11” 14 PUEBLO 16” X 11” 15 SIERRA DEL SUR 16” X 11” 16 WINTER – PUEBLO 16” X 12” 17 SPANISH DOOR IV 16” X 11” 18 SPANISH DOOR V 16” X 11” 19 CAMPO DOOR 12” X 12” 20 WHITE SANDS, EVENING 15” X 15” 21 GRANADA DOORWAY 16” X 11” 22 BARBARA RAE R.A. Selected Biography 1943 Born Falkirk, Scotland 1961-65 Edinburgh College of Art 1965 Post Graduate Study 1966 Travelling Scholarship to France and Spain 1968 Elected Professional Member, Society Scottish Artists 1975 Elected Member of the Royal Scottish Society of Painters andWatercolours (RSW) 1979 May Marshall Brown Award RSW Centenary Exhibition 1983 Elected President Society of Scottish Artists 1985 Scottish Arts Council grant. Three months working in Spain and Santa Fe, New Mexico, USA 1989 Alexander Graham Munro Award, RSW Extended visit to Spain 1991 Vice President (East) RSA 1992 Elected Full Member of Royal Scottish Academy (RSA) 1994 Tapestry commission for The Festival Theatre, Edinburgh (carried out by the Edinburgh Tapestry Company) 1996 Elected Member of Royal Academy (RA) Extended visit to South Africa 1997 Second visit to South Africa 1998 Visit to Japan Discovers the Painted Desert of Arizona 1999 Awarded CBE Carpet commission for Royal Scottish Museum (carried out by The Edinburgh Tapestry Company) Received Honorary Doctorate from Napier University, Edinburgh 2000 Continues exploration of The Painted Desert 2001 Works in Florence, Italy and Cordes, France 2002-06 Residency at Ballinglen Arts Foundation, Co Mayo, Ireland 2002 Honorary Doctorate Aberdeen University, D.Litt Honorary Fellowship, Royal College of Art 2008 Honoray Degree, St Andrews University, Dr of Letters 23 BARBARA RAE R.A. Selected Solo Exhibitions 1977 Gilbert Parr Gallery, London 1978 University OF Edinburgh 1979 The Scottish Gallery, Edinburgh 1983 The Scottish Gallery, Edinburgh 1985 Wright Gallery, Dallas, Texas 1986 Leinster Fine Art, London 1987 The Scottish Gallery, London Glasgow Print Studio 1988 The Scottish Gallery, Edinburgh 1989 Landmarks and Docklands, The Scottish Gallery, London 1990 The Scottish Gallery, London 1991 Perth Museum and Art Gallery 1992 New Monotypes and Prints, Glasgow Print Studio 1993 The Reconstructed Landscape, Highland Regional Council touring exhibition Jorgensen Fine Art, Dublin 1994 Theatre Andre Dumas, Germain-en-Laye The Reconstructed Landscape, Harewood House, Leeds Art First, London 1995 The Scottish Gallery, Edinburgh Jorgensen Fine Art, Dublin 1996 Art First, London Waxlander Gallery, Santa Fe, New Mexico Bohun Gallery, Henley-on-Thames 1997 New Paintings (The South Africa Series) Art First, London 1998 The Scottish Gallery, Edinburgh Edinburgh The Festival City, Galleri Galtung, Oslo 1999 The Painted Desert, Art First, London 2000 West, The Scottish Gallery, Edinburgh 2001 Zuma Beach, Art First, London 2002 Paintings From Ireland, Art First, London 2003 Travelog, Glasgow Print Studio An tlarthar – The West, The Scottish Gallery, Edinburgh 2004 Tom Caldwell Gallery, Belfast 2005 Monotypes – The Scottish Gallery, Edinburgh New Paintings – Jorgensen Fine Art, Dublin Adam Gallery, Bath 2006 Mayo, Monoprints and Colour Etchings – Tom Caldwell Gallery, Belfast 2008 Adam Gallery, Cork Street, London Adam Gallery, Bath Belfast Print Studio, residency and exhibition Selected Public and Corporate Collections Aberdeen Art Gallery; Birmingham City Art Gallery; British Museum, London; City Arts Centre, Edinburgh; Contemporary Arts Society, London; Derby Museum and Art Gallery; Dundee Art Gallery; Dundee University; Fleming Art Foundation; Highland Regional Council; Hunterian Art Gallery, University of Glasgow; Hugh Lane Gallery, Dublin; Isle of Man Arts Council; Kelvingrove Art Gallery and Museums, Glasgow; Leeds City Education Department; Museum of Art For Women, Washington DC; National Museum of Scotland; Perth Art Gallery and Museum; Royal Bank of Scotland; Scottish National Gallery of Modern Art, Edinburgh; Standard Life; The Scottish Office, Edinburgh; University of Edinburgh; University of Glasgow; University of York; Whitworth Art Gallery, Manchester; Bar Library, Belfast; Miller Construction Limited; MacRoberts Solicitors, Glasgow. 24 ABOVE ORGIVA 13” X 22” TOM CALDWELL.
Load more

Recommended publications
  • Screenprinting and Intaglio: the Development of Coherent, User and Environmentally Friendly Systems for Creative Printmaking
    Robertson, Carol (2010) Screenprinting and Intaglio: The Development of Coherent, user and Environmentally Friendly Systems for Creative Printmaking. Doctoral thesis, University of Sunderland. Downloaded from: http://sure.sunderland.ac.uk/5222/ Usage guidelines Please refer to the usage guidelines at http://sure.sunderland.ac.uk/policies.html or alternatively contact [email protected]. SCREENPRINTING AND INTAGLIO THE DEVELOPMENT OF COHERENT, USER AND ENVIRONMENTALLY FRIENDLY SYSTEMS FOR CREATIVE PRINTMAKING CAROL ROBERTSON A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy by Existing Published or Creative Works February 2010 Screenprinting and Intaglio: The development of coherent, user and environmentally friendly systems for creative printmaking Carol Robertson 2010 Abstract In 1987, to avoid working with hazardous traditional materials, I began to research with the aim of developing safer and more environmentally friendly printmaking systems for artists. I studied the history of innovation to identify principles; analysed theory and practice; identified risks; selected criteria; researched classical, traditional and new methodologies; revised classification and terminology; identified gaps in the projected systems; developed water-based materials for acrylic-resist etching, screenprinting and autographic positives; created new systems for water-based screenprinting, etching, collagraphy and other intaglio methods; tested these through teaching artists and co-publishing with high-profile artists; revised teaching and learning; documented the research; and wrote and illustrated two pedagogic books to disseminate the research. The results of the research have been the creation of coherent printmaking systems designed for artists; the manufacture by Lascaux of eighteen new water-based materials for printmaking; the exhibition of works made using the systems; and the publication by Thames & Hudson of the books.
    [Show full text]
  • 3Summer Resource:First Draft.Qxd
    news THE ROYAL SOCIETY OF EDINBURGH ISSUE 32 SUMMER 2011 RESOURCE THE NEWSLETTER OF SCOTLAND’ S NATIONAL ACADEMY NEW FELLOWS WELCOMED TO THE SOCIETY New Fellow, Barbara Rae CBE (pictured) is an artist whose work is included in many private collections in Britain, Europe and the USA, as well as in many public and corporate collections. Dr Rae was born in Falkirk and educated in Edinburgh where she now lives and works. Forty-five new Fellows were elected to the Fellowship in March 2011, most of whom attended an Induction Day at the Society in May. Full details of all the new Fellows can be found on our website at www.royalsoced.org.uk and some photographs from the event are reproduced on the back page. Reconstructing the pastCurrent developments Looking to the future Evidence and Advice A COMMON STRATEGIC FRAMEWORK FOR EU RESEARCH AND INNOVATION FUNDING In May, the RSE responded to a European Commission consultation on future EU funding for research and innovation. This consultation is part of a process through which the EU aims to bring together and simplify current funding programmes, make participation easier and increase scientific and economic value. An RSE Working Group was set up to prepare the response. Key points emphasised include: • EU research and innovation funding must be carefully targeted on where it can add value, and be seen to add value, to national efforts. There are three characteristics of EU-level funding and activity that are of significant value: mobility; coordination; and solidarity. • Mobility is a natural driver of collaboration, bringing together European research groups involving the highest levels of talent.
    [Show full text]
  • Download (4MB)
    Patrick, Pauline (2014) Into the light: modelling artistic practices in schools. Ed.D thesis. http://theses.gla.ac.uk/5683/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] INTO THE LIGHT: MODELLING ARTISTIC PRACTICES IN SCHOOLS PAULINE PATRICK SEPTEMBER 2014 SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTORATE IN EDUCATION (EdD) SCHOOL OF EDUCATION COLLEGE OF SOCIAL SCIENCES UNIVERSITY OF GLASGOW SUBMITTED TO THE LIBRARY OF THE UNIVERSITY OF GLASGOW SEPTEMBER 2014 INTO THE LIGHT ABSTRACT There is a recognised tension between the different roles that teachers of art in secondary schools are required to adopt in the course of their careers. This study explores the hypothesis that a teacher who continues to practice art is better able to model artistic practices for pupils and that this is a valuable factor which argues in favour of teacher/artists continuing to practice both professions simultaneously. This issue is approached first of all through the author’s own experiences as an artist and art teacher, then through a literature review which covers the place of art in the curriculum, the Artist Teacher Scheme (ATS), the gap which is perceived to exist between so-called ‘school art’ and contemporary art, the making process, constructivist learning theories, the artist’s identity and the teacher’s identity.
    [Show full text]
  • The Collections Management Policy
    Collections Management Policy APPROVED THE UNIVERSITY OF EDINBURGH UNIVERSITY COLLECTIONS 2015-2020 ___________________________________________________________________ The Mission of the University of Edinburgh The Mission of The University of Edinburgh is the creation, dissemination and curation of knowledge. Vision for Library & University Collections A library and university collection that is at the heart of education, research and engagement at Edinburgh, with an international reputation for innovation, quality and excellence. Statement of Purpose of University Collections Preserving, promoting and providing access to the University’s historic and cultural collections. To achieve this mission and statement of purpose, the University is committed to expanding, maintaining and enhancing its collections in order to make the best possible use of them not only for scholarly research and teaching, but also as a source of knowledge exchange between the University and the wider community at local, national and international levels. The Collections Management Policy Governing Body: The University of Edinburgh Court 1.0 Introduction to the Collections Management Policy The purpose of this document is to bring together in one place the policies of The University of Edinburgh which relate to the management of the collections that are owned or cared for by the University of Edinburgh and that are currently held at the locations listed below and also in store at the Library Annexe. Collections are displayed at the same locations, the Talbot Rice
    [Show full text]
  • BARBARA RAE a D a M G a L L E R Y
    a d a m g a l l e r y BARBARA RAE a d a m g a l l e r y BARBARA RAE RA 24 CORK STREET London W1S 3NJ t: 0207 439 6633 13 JOHN STREET Bath BA1 2JL t: 01225 480406 e: [email protected] www.adamgallery.com ‘Celtic Connections’ link Barbara Rae’s work from western Scotland, western Ireland and south west France. She is drawn to western coastlines for the C ELTIC C ONNECTIONS intensity of the light as well as to communities where she feels a strong connection to the human history. These locations with ‘Celtic Connections’ are not ‘centralized’ but places on the ‘margins’. They are ‘small countries within countries’. Barbara is drawn to the individuality and independent spirit of the Irish, the Catalans and the Basques. She celebrates these strong identities by scraping through the superficial topography of a landscape, and discovering the human stories that leave their traces on the land. Barbara investigates human markings such Foreword by Richard Cork as roads, fences, markers and standing stones. Celtic markings and ancient symbols remind her of the history as well as the geography of the land. For this exhibition, Barbara has revisited places that she has known for more than forty years, so she has a deep understanding of the changes that have taken place in the landscape. As soon as our eyes encounter one of Barbara Rae’s images, its impact is instantaneous. We find ourselves caught up at once in her sensuous, urgent and impassioned involvement with the world she explores.
    [Show full text]
  • Biography Daniel F
    Newsletter No 46 Autumn 2014 From the Chair see that sports and culture do not have to be odds with one another. Within the SSAH, I would like to report that Greetings and I hope you have enjoyed the so far this year, the society has offered three tours. beautiful sunshine across Scotland! Glasgow has Dr Donal Bateson, Reader in Numismatics at the been in the news over the past few months. University of Glasgow, led a tour through the Tragically, the west wing of Mackintosh’s beloved Hunterian Art Gallery’s Scottish Gold exhibition on building at the Glasgow School of Art fell victim to 12 April. SSAH committee member and former a serious fire on 23 May. 90% of the structure and chair, Matthew Jarron, jumped into his role as 70% of the building’s content could be saved curator of the University of Dundee Museum thanks to the quick and efficient response by the Collections to give an expert tour of A Glimpse of a Scottish Fire and Rescue Service. But its famous Great Vision: The D’Arcy Thompson Art Fund library, the hen-run and a storage space were Collection at the Tower Foyer & Lamb Galleries, destroyed. This has left many of us devastated but University of Dundee on 07 June. Most recently, volunteers from organisations across Scotland SSAH members were treated to behind-the-scenes immediately pitched in to help with the salvage talks and tours at two National Museums Scotland efforts and I am pleased to report that all surviving sites. Also, we had such a great response to collections are now stabilized.
    [Show full text]
  • Newsletter 11-11
    Newsletter No 38 Winter 2011 collection of nearly 2000 artworks, creating From the Chair exhibitions of university and loaned art, managing the documentation for the seven museum collections and Christmas is nearly upon us again, despite the fact working with researchers. She has a University of that it seems like no time since our last, snow- Leicester MA in Museum Studies. postponed AGM. Thankfully the snow has yet to Prior to joining the University, Shona worked appear this year, so we’re keeping our fingers at the Wordsworth Trust, Grasmere and The crossed for this year’s AGM on 10 December, which Armitt, Ambleside, undertaking a wide variety of you should all have received details of already. We’re tasks, including installing art exhibitions and looking forward to a fascinating tour of the J D cataloguing prints and glass negatives. Fergusson exhibition (featured in the last issue of the Shona's strong interest in art history has newsletter) from curator Sarah Skinner. The day grown from working with art collections and before, we’re lucky enough to be one of the first studying artistic movements during her groups to get a guided tour of the re-opened Scottish undergraduate and postgraduate music degrees at National Portrait Gallery from director James Royal Holloway, University of London. She is Holloway, who tells us more about the re-vamp in particularly interested in early 20th century European this issue. If you are intending to come to either art and works by John Constable. Shona has written event but have not yet let us know, please do so as a thesis about perceived connections between the soon as possible.
    [Show full text]