DOCSLIB.ORG

Please Find Below the Dates for The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Please Find Below the Dates for The of the Association of Art Historians Editor: Flavia Swann Editorial Office: Please find below the dates for the forthcoming 11.30 Students* meeting: chair, Andrew Department of issues of The Bulletin: Stephenson History of Art & Design Bulletin 22 Publication mid July 12.30 Lunch North Staffordshire Deadline for copy 24 May 1985 13.30 Schools' meeting: chair, Tony Dyson Polytechnic Bulletin 23 Publication late November. 14.15 College Road Schools' discussion Stoke-on-Trent ST4 2DE Deadline for copy 1 October 1985 Museums meeting: chair, Michael Telephone: Kauffman (0782)45531 APPOINTMENT OF SECRETARY TO THE 15.00 Universities meetings: chair, John AAH House 15.45 Art colleges and polytechnics meeting: Peter Fitzgerald, who has been our Honorary 16.30 chair, Jon Bird Secretary since June 1979, has decided to retire 16.45 Tea after the next Conference. The Executive 18.00 Art colleges and polytechnics discussion Committee has considered the future organisation End of day's programme at the City of the Association and has decided to appoint a 18.15 University part-time paid Secretary. I am pleased to 18.45 Buses leave for reception announce that Joseph Darracott, at present a Reception at Christies member of the Executive and this year's Sunday 31 March Conference Organiser, has agreed to take on the 9.00 new post, with effect from this April. The The morning programme begins: Constitution already contains a provision which French influence on Italian art enables the Association to make such an London (part one) appointment without the need for any amendment. Interiors 1600-1800 (part one) Joseph Darracott was born in 1934 and read The effectiveness of images (part one) History at Lincoln College, Oxford, followed by a Naturalism year at the Sorbonne after graduation. He worked Design History as an editorial assistant at Thames & Hudson 10.00 Twentieth century studies before becoming Keeper of the Rutherston 10.30 Coffee Collection at the City Art Gallery, Manchester. 11.30 Second papers This was followed by a lectureship in art and 12.30 Third papers design at Hornsey School of Art and he took a 13.30 Lunch (first sitting) BA as an external student at the Courtauld 14.30 Lunch (second sitting) Insitute of Art. He joined the staff of the Imperial The afternoon programme begins: War Museum in 1969, becoming Keeper of Art Renaissance architecture and later of Art and Design History, until his London (part two) resignation in 1983. Interiors 1600-1800 (part two) Dennis Farr The effectiveness of images (part two) Chairman Surrealism and photography 15.30 Open session 16.30 Second afternoon papers ASSOCIATION OF ART HISTORIANS 17.00 Tea LONDON CONFERENCE 1985 18.00 Third afternoon papers Annual General Meeting Evening free The eleventh annual conference will be held at the Monday 1 April City University, Northampton Square, London 10.00 Art History Book Fair opens EC1 from 30 March to 1 April 1985. 10.00 Coffee A conference publication this year will combine 10.30 The day's three sessions begin: a timetable programme, and abstracts of papers. Art History and Visual Perception The following draft programme may be subject to Aspects of Design minor alteration. Mass Culture and High Culture 12.15 Lunch (first sitting) Saturday 30 March 13.30 Lunch (second sitting) 9.00 Registration 14.30 Second papers begin 10.00 Coffee 15.30 Third papers begin 10.30 The use of exhibitions (forum) 16.30 Tea 17.00 Art History Book Fair closes Twentieth Century studies Fourth papers begin Chair: Brandon-Taylor, Winchester School of Art. 18.00 The days three sessions end The Chairman will be joined by another speaker 18.15 Art publishing (forum) on Picasso, namely Toni del Renzio, and Slavka There will be no formal closure of the conference. Sverakova (University of Ulster) will be giving a paper on the important Czech theorist, Bohumil Markalous. Sunday Programme Renaissance architecture Convenor: Caroline Elam, Westfield College. French influence on Italian art Three papers mainly discussing 16th century Convenor: Joanna Cannon, Courtauld Institute. Italian art contributed by Paul Davies, David Three papers will deal with topics ranging through Hemsoll and Andrew Murrough. the thirteenth and fourteenth centuries, contributed by Dillian Gordon (National Gallery), Surrealism and photography Lindy Grant and Kay Sutton. Convenor: Dawn Ades, University of Essex Recent work on a topical subject by Rosalind London Krauss (Columbia University), David Mellor Convenor: Selina Fox, Museum of London. (University of Sussex) and Ian Walker. A variety of topics by specialists in different fields, including Hermione Hobhouse on the Open Session London Survey, Clare Willsdon on murals at the John Clark, Camberwell School on painting in Royal Exchange, Luke Herrmann on the Sandbys, Taiwan under Japanese occupation, Gerald Ralph Hyde on fashion plates, Anthony Burton on Needham (York University, Ontario) on the the Bethnal Green Museum and Tessa Murdoch on underworld of Victorian art, Margaret Garlake on Hugeunot silver. British abstract post-war art. Interiors 1600-1800 Convenor: David Irwin, University of Aberdeen. Monday Programme Recent work on a significant theme with contributions from James Ayres (John Judkin Memorial), John Bury (Victoria and Albert Art History and visual perception Museum), Ian Gow (National Monuments Board Chair: John Steer will be joined by Sir Ernst of Scotland), Peter Thornton (Sir John Soane Gombrich, Richard Wollheim, and the Museum), and John Wilton-Ely (University of psychologist John Kennedy (University of Hull). Toronto). The effectiveness of images Aspects of Design Convenor: Alex Potts, Camberwell School of Arts Chair: Penny Sparke, Royal College of Art. and Crafts. Abram Games on his practice as a designer, How visual images function, especially in Bernard Myers (Brunei University) on design and projecting ideas with a concrete social and teaching, and Vicky Thomas on the gift trade. political significance; and how far engagement with cultural policies of the present affects our Mass culture and high culture evaluations. Contributors include Oriana Baddeley Chair: Jon Bird, Middlesex Polytechnic. (Camberwell), Clive Dilnot (Preston Polytechnic), This session is about the functioning of visual Andrew Hemingway (Wimbledon School of Art), images: how their impact as visual artefacts relates and Lynda Nead (Birbeck College). to their effectiveness in projecting ideas that have a concrete social and political significance outside Naturalism the world of art and visual illustration. Aspects of Convenor: Kenneth McConkey, Newcastle the recent debate discussed by Julian Roberts Polytechnic. (Cambridge College of Advanced Technology), Towards a definition of naturalism in late Angela McRobbie, Barry Curtis (Middlesex nineteenth century French art, with contributions Polytechnic) and from the University of by Gabriel Weisberg (National Endowment for the Birmingham Centre for Cultural Studies, Owen Humanities, Washington), Paul Duro (Newcastle Gavin, Angela Partington and Andy Lowe. Polytechnic), and Kathleen Adler Jones (Middlesex Polytechnic). Other participants The conference has been planned to give more Design History opportunity for discussion of issues affecting art Chair: John Turpin, National College of Art and history; members will note that it is possible for Design, Dublin. any member to attend all the meetings of the John Turpin on Irish design of the 1960s will be different groups on Saturday. joined by speakers on local resources: Kathy It is not possible to give details of all the Jenkins, (Humberside College) and textile history, speakers from the different platforms. However, Hazel Clark (Council for national Academic among the speakers at the opening forum will be Awards). Alan Bowness and Julian Spalding (City of Manchester Art Galleries). Publishers at the Monday forum will be Vicky Bird (Victoria and Albert Museum), Neil McGregor (Burlington Magazine), Conway Lloyd Morgan (Trefoil Books), and John Nicoll (Yale University Press) ART HISTORY BOOK FAIR — LONDON 1985 Facilities Monday 1 April — 10.00 to 17.00 The University bar will be open until 22.30 on The City University Sunday evening, and until 21.30 on Monday Northampton Square evening. London EC IV OHB Conference members staying at the City University will have further details about facilities April Fool's Day is an easy date to remember for open to them. the 6th Art History Book Fair. Although the administration of the Fair does not get any easier Day tickets it is gratifying not to have to explain and justify Members who have friends who may wish to buy the Fair which now has an established reputation. day tickets for the Monday programme should As with members wishing to attend the write to me. An application form will be available Conference, exhibitors find the London venue in March. The price for a day ticket will be £8 or easier to arrange and I can confidently predict a £5 for a student. Members are reminded that full bumper turnout. conference membership is only open to members. There will be two innovations at the 1985 Fair: (1) An AAH members' own stand, about which Bookings and deadlines you will find full details below. Bookings for accommodation should preferably be (2) A 'fiction for and by art historians' stand. received by 1 March. 50 rooms are available. Jonathan Cape are offering a prize of a copy of Bookings received later than 15 March may not be Anita Brookner's Hotel du Lac for the person acceptable. who comes up with the snappiest title for this Bookings for the conference should normally be stand. Send your suggestions to me as soon as received by 15 March. Members booking by this possible. date will receive an invitation to the Book Fair As usual the Fair is open to everyone free of lunch on Monday. charge and the extremely useful catalogue of Hungry conference members are encouraged to exhibitiors is also free to all visitors. Once again buy at least one hot dish on either Saturday or can I also appeal to any of you who could either Sunday (the University cafeteria is closed at the arrange for posters to be displayed at your weekend).
Load more

Recommended publications
  • The Controversial Treatments of the Wallace Collection
    HOME ABOUT US THE JOURNAL MEMBERSHIP ARCHIVE LINKS 8 September 2011 The Controversial Treatments of the Wallace Collection Watteaus Restorers who blunder often present their dramatically altered works as miraculous “recoveries” or “discoveries”. Sometimes they (or their curators) park their handiwork in dark corners pending re-restorations (see the Phillips Collection restoration of Renoir’s “The Luncheon of the Boating Party” and the Louvre’s multi- restoration of Veronese’s “The Pilgrims of Emmaüs”). Here, Dr Selby Whittingham, the Secretary-General of the Watteau Society (and the 2011 winner of ArtWatch International’s Frank Mason Prize – see below), discusses the controversial restorations of Watteau paintings at the Wallace Collection and calls for greater transparency and accountability in the treatment of old masters. Above, Fig. 1: “Les charmes de la vie”, (reversed) engraving by Pierre Aveline, after Antoine Watteau, the British Museum, London. Selby Whittingham writes: The Watteau exhibitions held in London 12 March – 5 June 2011 prompted much comment, but little about the condition of the oils at the Wallace Collection [- see endnote 1]. Exceptionally Brian Sewell mentioned their poor state: “both overcleaned and undercleaned, victims of cleaners with Brillo pads and restorers with a taste for gravy.” [2] This was a bit sweeping, but had some justification. In the Watteau Society Bulletin 1985 Sarah Walden contrasted the recent restorations at the Wallace Collection with those at the Louvre and the Above, Fig. 2: Watteau’s “Les charmes de la vie” as reproduced in the Wallace Collection’s 1960 volume of different philosophies behind them [3]. The report illustrations of pictures and drawings to accompany the on the cleaning of “Les Charmes de la vie” at the Catalogue of Pictures and Drawings.
    [Show full text]
  • Elhanan Bicknell - Collection of Paintings
    Elhanan Bicknell - Collection of paintings. Detail of those by JMW Turner Index Himalayan mountains ....................................................................................................2 Himalayan mountains ....................................................................................................3 Giudecca, la Donna della Salute and San Georgio ........................................................4 Campo Santo, Venice.....................................................................................................5 Palestrina – a Composition ............................................................................................6 Sun rising through Vapour.............................................................................................7 Calder Bridge.................................................................................................................8 Ivy Bridge Mill ..............................................................................................................9 Port Ruysdael...............................................................................................................10 Wreckers - Coast of Northumberland,.........................................................................11 Ehrenbreitstein:............................................................................................................12 Helvoetsluys: ‘The City of Utrecht’, 64, going to sea .................................................14 Antwerp: Van Goyen Looking for a Subject
    [Show full text]
  • Colnaghistudiesjournal Journal-01
    EDITORIAL COMMITTEE Charles Avery Art Historian specializing in European Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Sculpture, particularly Italian, French and English. Collection, New York. Colin Bailey Director, Morgan Library and Museum, New York. Salvador Salort-Pons Director, President & CEO, Detroit Francesca Baldassari Art Historian. Institute of Arts. Piers Baker-Bates Visiting Research Associate in Art History, Jack Soultanian Conservator, The Metropolitan Museum of Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is Art, New York. The Open University. to publish texts on significant pre-twentieth-century artworks in the European tradition Bruce Boucher Director, Sir John Soane’s Museum, London. Nicola Spinosa Former Director of Museo di Capodimonte, Naples. that have recently come to light or about which new research is underway, as well as Till-Holger Borchert Director, Musea Brugge. Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art. on the history of their collection. Texts about artworks should place them within the Antonia Boström Keeper of Sculpture, Metalwork, Ceramics Holly Trusted Senior Curator of Sculpture, Victoria & Albert broader context of the artist’s oeuvre, provide visual analysis and comparative images. & Glass, Victoria & Albert Museum, London. Museum, London. Edgar Peters Bowron Former Audrey Jones Beck Curator of Manuscripts may be sent at any time and will be reviewed by members of the journal’s Benjamin van Beneden Director, Rubenshuis, Antwerp. European Art, The Museum of Fine Arts, Houston. Editorial Committee, composed of specialists on painting, sculpture, architecture, Mark Westgarth Programme Director and Lecturer in Art History Xavier Bray Director, The Wallace Collection, London.
    [Show full text]
  • {PDF} Turner Ebook Free Download
    TURNER PDF, EPUB, EBOOK William Gaunt,Robin Hamlyn | 128 pages | 12 Aug 1998 | Phaidon Press Ltd | 9780714827599 | English | London, United Kingdom Turner | Definition of Turner by Merriam-Webster Turner — , English painter Jamie Turner born , American automobile dealer Jane Turner born , Australian actor and comedian Janine Turner born , American actor Jay Turner — , American football running back Jean Turner born , member of the Scottish Parliament Jermaine Turner born , American professional basketball player Jessie Franklin Turner — , American fashion designer. Turner born , American magician, mentalist and speaker Jonathan Baldwin Turner — , abolitionist and educational leader Jonathan D. Turner end , American football player T. Retrieved 28 August A Dictionary of English Surnames Third ed. Retrieved 9 December American Surnames. Genealogical Publishing Com. Dictionary of American Family Names. Oxford University Press. Time Traveler for turner The first known use of turner was in the 13th century See more words from the same century. Statistics for turner Look-up Popularity. More from Merriam-Webster on turner Thesaurus: All synonyms and antonyms for turner. Comments on turner What made you want to look up turner? Get Word of the Day daily email! Test Your Vocabulary. Love words? Need even more definitions? The awkward case of 'his or her'. Take the quiz Forms of Government Quiz Name that government! Take the quiz Spell It Can you spell these 10 commonly misspelled words? Take the quiz Citation Do you know the person or title these quotes desc Play the game. High levels of volcanic ash from the eruption of Mt. Tambora in the atmosphere during , the " Year Without a Summer ", led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner's work.
    [Show full text]
  • Naming and Narrating” Transferts Critiques Et Dynamiques Des Savoirs N° 1, 2014 Table De Matières
    “Naming and Narrating” Transferts critiques et dynamiques des savoirs N° 1, 2014 Table de matières Introduction 3 Yves Abrioux et Lori Maguire Naming Speaker’s Gender Identification: On the Influence of Mean f0 and Intonation in American English and French Listeners 6 Erwan Pepiot Paris ou Paris ou quand le littéraire fraye avec la botanique 19 Andrée-Anne Kekeh The Dream Comes by the Road: A Note on Botanical Nomenclature and Literature 30 Peter Behrman de Sinéty Labelling Wars, Implications and Consequences 34 Beatrice Heuser GWOT, the Global War on Terror – Gee, What’s in a Name 43 Lori Maguire Narrating Voix autres : transsexualisme et transfiguration 53 Claire Gillie De l’emprunte à l’empreinte vocale : traversées et chemins de traverse de la voix 82 Claire Gillie Voix et orthophonie : ou prendre la peine de n’en point prendre 105 Claire Pillot-Loiseau Transferts critiques et dynamiques des savoirs La voix en pilotage automatique : Maintenir la voix sur une trajectoire et avec une vitesse préétablies avec le logiciel RTCOMP pour les besoins de la correction phonétique 113 Roussi Nikolov et Malina Ditcheva French Perspectives on Digital Humanities 121 Yan Brailowsky Meaning Construction in Digital Environments: Turner’s Virtual Gallery 137 Séverine Letalleur-Sommer Diplomacy in the Age of Digital Communications 155 Nicolas de la Grandville, Beatrice Heuser, Richard Jones, Lori Maguire, Paul Patin, Raphaël Ricaud 2 “Naming and Narrating” 2014 Introduction Yves ABRIOUX et Lori MAGUIRE Au cours de l’année universitaire 2011-2012, l’unité de recherche EA 1569 « Transferts critiques et dynamiques des savoirs (domaine anglophone) » a développé une réflexion sur le thème de Naming and Narrating dans le but d’explorer ce qui fait la spécificité de ses différentes composantes : littérature, linguistique et histoire/politique, mais aussi et surtout ce qui est susceptible de les rapprocher.
    [Show full text]
  • Regionalism: Challenging the Canon Despatched by Surface Rather Than Air Mail
    May 1990 37 BULLETIN ASSOCIATION OF ART HISTORIANS Editor: Clare Pumfrey, 40 Sillwood Road, Brighton BN1 2LE Tel: 0273 29433 Advertising Manager: Pamela Courtney, Albert House, Monnington-on-Wye, Hereford HR4 7NL Tel: 09817 344 From the editor NEWS REPORT Problems with airmailing the Bulletin I must apologise to all overseas Dublin Conference Report members who received their copy of Bulletin 35 extremely late. This was due to the fact that the copies were Regionalism: Challenging the Canon despatched by surface rather than air mail. This error occurred because I was advised by the Post Office that The Association's sixteenth annual Reformation in the Regions: Image and when a large number of items to be conference was the first AAH conference Discord (Helga Robinson-Hammerstein) posted are collected by the Post Office, held outside the United Kingdom, hosted Word and Image (David Scott) and the postagehas been prepaid, the by the Department of the History of Art, Establishing the Canon: The Post Office will stick an airmail label Trinity College, Dublin. The conference Institutionalisation of Art (Peter on each one. This was completely false was organised by Fintan Cullen and took Funnell) information, and so all the overseas place from 23-26 March. In total, 490 Italian Painting: Centre and Periphery, copies went by surface mail even people attended. There were 357 full 1200-1300 (Julian Gardner) though I had paid the airmail postage. conference delegates and 88 partial The search for Vernacular Expression At the moment, I am in the process conference attendees. This total includes in Design: late 19th and early 20th of negotiating a reimbursement of the 45 Student Conference Assistants who had centuries (Nicola Gordon Bowe) excess postage that was paid.
    [Show full text]
  • Part 1: Veronese Into Botero from Veronese to Turner
    Home ABOUT US ARCHIVE LINKS MEMBERSHIP THE JOURNAL 24 March 2014 From Veronese to Turner, Celebrating Restoration-Wrecked Pictures Part 1: Veronese into Botero A rupture between words and pictorial realities has emerged in the museum world. It is the product of an over- heated international scramble to produce blockbuster exhibitions. After prising and pulling together works from many quarters, curators of temporary exhibitions write as if blind to the most glaring differences of condition and as if ignorant of all restoration-induced controversies. This widespread critical failure to address the variously – and often very recently – altered states of pictures corrupts scholarship and confers international respectability on damaging local restoration practices. In doing so, this effective pan-national conspiracy “not to notice” also compounds and sanctions the general reluctance of museums ever to acknowledge their own errors in the “conservation” treatment of art. The injuriousness of so much picture restoration is more the product of aesthetic/artistic incomprehension than of any self- agrandising intent. If every unhappy restoration is unhappy in its own way, so to speak, with Veronese, the best balanced of all painters, the most commonly encountered crime against his art is the debilitation of his firm plastic grip by restorers in hot pursuit of brightened and heightened colours. The catalogue to the National Gallery’s show “Veronese: Magnificence in Renaissance Venice” provides a usefully explicit and clear-cut case in point. Its text is entirely the work of the show’s “guest” curator, Xavier Salomon. The Above, Fig. 1: A detail of the Louvre’s Veronese The Supper at National Gallery’s director, and fellow Veronese Emmaus, as published in the catalogue to the National Gallery’s Credit Suisse sponsored exhibition “Veronese: authority/champion, Nicholas Penny, declares the catalogue Magnificence in Renaissance Venice”.
    [Show full text]
  • 2015 · Maastricht TEFAF: the European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015
    LOWELL LIBSON LTD 2 015 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–31 January 2015 · Maastricht TEFAF: The European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015 [ B ] LOWELL LIBSON LTD 2 015 • INDEX OF ARTISTS George Barret 46 Sir George Beaumont 86 William Blake 64 John Bratby 140 3 Clifford Street · Londonw1s 2lf John Constable 90 Telephone: +44 (0)20 7734 8686 John Singleton Copley 39 Fax: +44 (0)20 7734 9997 Email: [email protected] John Robert Cozens 28, 31 Website: www.lowell-libson.com John Cranch 74 John Flaxman 60 The gallery is open by appointment, Monday to Friday The entrance is in Old Burlington Street Edward Onslow Ford 138 Thomas Gainsborough 14 Lowell Libson [email protected] Daniel Gardner 24 Deborah Greenhalgh [email protected] Thomas Girtin 70 Jonny Yarker [email protected] Hugh Douglas Hamilton 44 Cressida St Aubyn [email protected] Sir Frank Holl 136 Thomas Jones 34 Sir Edwin Landseer 112 Published by Lowell Libson Limited 2015 Richard James Lane 108 Text and publication © Lowell Libson Limited Sir Thomas Lawrence 58, 80 All rights reserved ISBN 978 0 9929096 0 4 Daniel Maclise 106, 110 Designed and typeset in Dante by Dalrymple Samuel Palmer 96, 126 Photography by Rodney Todd-White & Son Ltd Arthur Pond 8 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Sir Joshua Reynolds 18 Cover: a sheet of 18th-century Italian George Richmond 114 paste paper (collection: Lowell Libson) George Romney 36 Frontispiece: detail from Thomas Rowlandson 52 William Turner of Oxford 1782–1862 The Sands at Barmouth, North Wales Simeon Solomon 130 see pages 116–119 Francis Towne 48 Overleaf: detail from William Turner of Oxford 116 John Robert Cozens 1752–1799, An Alpine Landscape, near Grindelwald, Switzerland J.M.W.
    [Show full text]
  • Accrediting Private Collections to Serve the Public Interest in Art
    ANDREW TOPOROFF, ACCREDITING PRIVATE COLLECTIONS TO SERVE PUBLIC INTEREST, 44 COLUM. J.L & ARTS 581 (2021) Accrediting Private Collections To Serve the Public Interest in Art Andrew Toporoff* INTRODUCTION This Note is about the civic role of private collections of art. Specifically, it argues that private collections can and should be a fixture of the U.S. cultural landscape alongside museums, which are devoted to serving the public.1 To some extent, this already happens. Collectors often lend their artwork for museum exhibitions, for example, and some put their entire collections up for public display.2 Nothing better illustrates the convergence of owning art as an asset and for conspicuous public display than one entrepreneur’s business idea to sell prefabricated private museums: Why not make it easy for collectors, with readymade galleries to accommodate the Koons or the Basquiat?3 But this Note adds to commentators who wish to see a reform in private collecting so that the public benefits more from these collections than it does currently.4 This Note argues that the public interest calls for enhancing, not subordinating, the role of private collectors. Certain commentators argue that collectors should be compelled to act in service to the public, either by lending significant works of art to a museum or publicly displaying the works themselves.5 Behind such proposals lies the notion that private collections and museums are in tension, and that museums are a superior institution for benefiting the public, if private collections are capable of * J.D. Candidate, Columbia Law School, Class of 2021. Thank you to Professor Philippa Loengard, Columbia Law School; Marina Schneider, UNIDROIT; the editors of the Columbia Journal of Law and the Arts, especially David Fischer, Benjamin Feiner, Kate Garber, Alec Fisher, Will Reed, and Sam Smart; my parents; and Antonia Miller.
    [Show full text]
  • Seduction, Space and Time in the Art of Jean-Antoine Watteau and William Hogart
    BIROn - Birkbeck Institutional Research Online Enabling Open Access to Birkbeck’s Research Degree output Making the crossing : seduction, space and time in the art of Jean-Antoine Watteau and William Hogart https://eprints.bbk.ac.uk/id/eprint/44593/ Version: Full Version Citation: Tambling, Kirsten Yvonne (2019) Making the crossing : se- duction, space and time in the art of Jean-Antoine Watteau and William Hogart. [Thesis] (Unpublished) c 2020 The Author(s) All material available through BIROn is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Making the Crossing: Seduction, Space and Time in the Art of Jean- Antoine Watteau and William Hogarth Volume One: Text Kirsten Yvonne Tambling Thesis submitted for the degree of PhD History of Art Birkbeck, University of London August 2018 1 DECLARATION I confirm that the work presented in this thesis is my own. Where information has been de- rived from other sources, this has been indicated. Kirsten Yvonne Tambling 2 ABSTRACT This thesis asks how seduction is addressed in the work of Jean-Antoine Watteau (1684-1721) and William Hogarth (1697-1764), in the context of early eighteenth-century cross-Channel relationships. Literally meaning ‘leading astray’, seduction in the eighteenth century had resonances for sexuality, gender, morality, politics and aesthetics. This thesis uses a broad methodology, drawing on literary and social history, as well as the history of art, to provide an overview of seduction’s parameters, and to address its implications on both sides of the Channel.
    [Show full text]
  • THE SALOPIAN Issue No
    TITLE HERE 1 THE SALOPIAN Issue No. 158 - Summer 2016 ith the shock waves of the recent decision to leave the EU still CONTENTS Wreverberating around the world, rarely has the Shrewsbury bubble seemed so disconcertingly seductive. But of course the bubble Academic News 4 is, and should be, an illusion, and it is perhaps more important than School Prizewinners 2016 7 ever for Shrewsbury’s pupils to be aware of what is going on outside the Scholarships 8 McEachran Prize 2016 8 bubble, so that their entry into a world which looks very different from Walking towards a Better Future 10 that into which, speaking for myself, I graduated in the late 1970s does Head of School 10 not come as too much of a shock. Jim Kennedy - obituary 11 Michael Schützer-Weissmann 12 That the rough seas of the wider world lap, or perhaps crash, against Ingsoc and Stalin 14 Our World is Beautiful 16 Shrewsbury’s walls, and that the chronic geopolitical instability we see The Pupil Voice 17 not only in Europe, but around the world, are not new phenomena, is Old Salopians in WWI - 1916 18 obvious, but we are sharply reminded of it in this issue by the centenary Ten Trees 20 article on 1916 and the Battle of the Somme in which many Salopians Art at Shrewsbury 26 lost their lives at a time when it must have seemed that Europe was Drama 28 Music 30 irreparably fractured. It is important for us all, whatever our political Miles Clark Travel Scholarship 32 persuasion, to keep such memories alive, for many reasons, but not least Rovers Return 35 to provide us with some perspective on the challenges which face us in RSSH 36 our own time.
    [Show full text]
  • Bcwe06a Artwatch UK
    An ArtWatch UK Submission to the Burrell Collection (Lending and Borrowing) (Scotland) Bill Committee, on: Concrete evidence of injuries to works of art during overseas travel Public knowledge of any travel-induced injuries is incomplete because accounts of such are rarely volunteered whether works of art are travelling at home or abroad - or even when being moved within an institution. International travel compounds risks because: 1) The distances are greater and exposure to fluctuations of environment and vibrations at high and fluctuating altitudes is correspondingly greater and longer. In “Conservation and Exhibitions” (Butterworths, 1987) the conservator Nathan Stolow said that: “There are few reports available on the damage of works of art resulting from atmospheric pressure changes in air travel. Figure10.20 illustrates the extensive damage caused to a painting in an air trip from London to Rome. The large paint losses here were attributed to sharp changes in the internal relative humidity during the itinerary, most likely caused by pressure changes.” Such risks were confirmed to ArtWatch by one of its members who had been a trans-Atlantic pilot on Boeing 707s. As Stolow reported, when Henry Holiday’s, "Dante and Beatrice" was en route from London to Rome on loan from the Walker gallery in Liverpool it suffered severe damage resulting in the subsequent repairs shown below. Stolow cited another incident where water got into a packing case on the Tarmac. When Leonardo’s “Mona Lisa” was loaned to the Metropolitan Museum in New York it was drenched overnight by a faulty sprinkle in a security vault. 2) The logistics and costs of preparing works for long international journeys make it financially necessary to show travelling exhibitions in more than one venue.
    [Show full text]