Felix Issue 0888, 1991
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Prolegomena to Pastels & Pastellists
Prolegomena to Pastels & pastellists NEIL JEFFARES Prolegomena to Pastels & pastellists Published online from 2016 Citation: http://www.pastellists.com/misc/prolegomena.pdf, updated 10 August 2021 www.pastellists.com – © Neil Jeffares – all rights reserved 1 updated 10 August 2021 Prolegomena to Pastels & pastellists www.pastellists.com – © Neil Jeffares – all rights reserved 2 updated 10 August 2021 Prolegomena to Pastels & pastellists CONTENTS I. FOREWORD 5 II. THE WORD 7 III. TREATISES 11 IV. THE OBJECT 14 V. CONSERVATION AND TRANSPORT TODAY 51 VI. PASTELLISTS AT WORK 71 VII. THE INSTITUTIONS 80 VIII. EARLY EXHIBITIONS, PATRONAGE AND COLLECTIONS 94 IX. THE SOCIAL FUNCTION OF PASTEL PORTRAITS 101 X. NON-PORTRAIT SUBJECTS 109 XI. PRICES AND PAYMENT 110 XII. COLLECTING AND CRITICAL FORTUNE POST 1800 114 XIII. PRICES POST 1800 125 XIV. HISTORICO-GEOGRAPHICAL SURVEY 128 www.pastellists.com – © Neil Jeffares – all rights reserved 3 updated 10 August 2021 Prolegomena to Pastels & pastellists I. FOREWORD ASTEL IS IN ESSENCE powdered colour rubbed into paper without a liquid vehicle – a process succinctly described in 1760 by the French amateur engraver Claude-Henri Watelet (himself the subject of a portrait by La Tour): P Les crayons mis en poudre imitent les couleurs, Que dans un teint parfait offre l’éclat des fleurs. Sans pinceau le doigt seul place et fond chaque teinte; Le duvet du papier en conserve l’empreinte; Un crystal la défend; ainsi, de la beauté Le Pastel a l’éclat et la fragilité.1 It is at once line and colour – a sort of synthesis of the traditional opposition that had been debated vigorously by theoreticians such as Roger de Piles in the previous century. -
Madrid Es Ruido 2018
MADRID ES RUIDO 2018 23 Y 24 NOVIEMBRE EN MADRID, MOBYDICK CLUB 21:30 TERCERA EDICIÓN DEL FESTIVAL SHOEGAZE MÁS IMPORTANTE DE ESPAÑA ENTRADAS 17€ ENTRADA DE DÍA / 32€ ABONO DOS DÍAS PUNTOS DE VENTA : ESCRIDISCOS, LA INTEGRAL, MOLAR DISCOS Y DISCOS BAJO EL VOLCÁN ENTRADAS EN TICKETEA.COM AIR FORMATION | SUSSEX - ENGLAND | SHOEGAZING - DREAM POP Drive-in Records, Clirecords, Club AC30, Distant Noise Air Formation: Matt Bartram (Guitarras & Vocals), Ben Pierce (Bajo), James Harrison (batería), Ian Sheridan (Guitarras) and Richard Parks (teclados). Air Formation se formó en 2000, mucho antes de que bandas ahora tan fundamentales como Spiritualized, Slowdive y Loop se considerarán influencias aceptables. Desde que firmaron con la discográfica Club AC30, bastión del llamado shoegaze moderno, la banda ha ganado seguidores devotos y ha sido aclamada por la crítica, como por ejemplo la publicación Drowned In Sound, que describe a la banda como "uno de los conjuntos más consistentes del país”. Sus grandes shows en vivo, han conseguido que hayan sido seleccionados para tocar con bandas como Chapterhouse. Air Formation lanzó su aclamado quinto LP 'Near Miss' en marzo de 2018 y lo presentará en Madrid, ciudad en la que tocarán por primera vez en toda su carrera, por lo que este será un concierto muy especial para ellos. influencias: Flying Saucer Attack, The Cure, My Bloody Valentine, Spacemen 3, Spiritualized, Spectrum, The Velvet Underground, Slowdive, Mogwai, Yo La Tengo, The Raveonettes, Mahogany, Jesus and Mary Chain, Nick Drake, Sonic Youth. -
Artist of the Year
THE 4 Trading Post Way Medford Lakes, New Jersey 08055 HARD REPORT' December 18, 1987 Issue #59 609-654-7272 ARTIST OF THE YEAR ZGI A a 112 MALE VOCAL ISLAND RADIO RATES THE BEST OF '87 COMEBACK BREAKTHROUGH GRATEFUL REM DEAD "DOCUMENT" "TOUCH OF GREY" IRS ARISTA FEMALE 6.vryttri,Vizer NEW FEMALE VOCAL SUZANNE VEGA ANN WILSON "SOLITUDE STANDING" "BAD ANIMALS" A&M CAPITOL IMAGE NEW MALE TURNAROUND RICHARD AEROSMITH MARX "PERMANENT EMI VACATION" GEFFEN WORLD PARTY NEW AMERICAN Private Revolution NEW IMPORT BAND ACT THE BRANDOS WORLD PARTY "HONOR AMONG "PRIVATE THIEVES" REVOLUTION" RELATIVITY CHRYSALIS AND NOW A WORD FROM OUR SPONSOR ... It's four in the morning and frcm where we sit, this Final Issue looks like a keeper. We've put a ton of time and energyinto this particular edition, and we think you'll have lots of fun with the overview. After all, with some 90 + stations responding to our sur- vey, it's basically your window on RockWorld as it went down this past year. The first year of any new business is hell on wheels, (Groanong, creaking, barking dog sound efx, please) and we've seen quite a parade in '87. When I look back over my final comments last year (after nine issues), it sounded as if we had moved mountains. And in a way we had, starting from scratch to a full service publication some 140 stations deep. But in the 12 months since, it has become readily apparent that we were barely walking then. We've extended our reporter roster well past the 200 mark; Our New Alternative and Hard Rock sections have inspired numerous imitators, and our combi- nation of high technology and people power has effectively re -defined what a tip sheet can and will be in the years to come. -
Mapping the Music Industry in Scotland
Mapping the music industry in Scotland: A report John Williamson (Queen Margaret University College/ Sano Management) Martin Cloonan (University of Glasgow) and Simon Frith (University of Stirling) Report commissioned by: Scottish Enterprise February 2003 Contents Page Acknowledgements iii Executive Summary iv Preface vii Introduction 1 Literature Review 4 Chapter One: The Scottish Music Industry 11 (i) Artists and Composers 12 (ii) Live Music 26 (iii) The Recording Industry 37 (iv) The Media 45 (v) Other Creative Industries 51 (vi) Ancillary Services 59 (vii) Education 67 (viii) Retail 70 (ix) Overall Figures 78 Chapter 2: The Stakeholders 80 Chapter 3: Case Studies of Scottish Music Industry Businesses 103 (1) Chemikal Undergrond 104 (2) DF Concerts 106 (3) Fence Records 109 (4) Fopp 111 (5) Lismor Records 113 (6) The Paragon Ensemble 116 (7) Simbiotic 119 i Overview of Case Studies 121 Conclusion and Final Thoughts 125 Appendix A: Schedule for Stakeholder Interviews 128 Appendix B: Schedule for Case Study Interviews 129 Appendix C: Scottish Enterprise Creative Industries Cluster: Music Activities 2002 130 Appendix D: Highlands and Island Enterprise: Support to the Music Industry in 2002 132 Appendix E: Questionnaire results 134 Bibliography 150 ii Acknowledgements This report would not have been possible without the financial support of Scottish Enterprise (SE), Highlands and Islands Enterprise (HIE) and Scottish Development International (SDI). We wish to acknowledge that support as evidence of the commitment of these organisations to developing the music industry within Scotland. During this research we have benefited from the support of staff at SE, HIE and SDI and we would particularly like to thank Sue Jones, Mary Walker, Iain Hamilton and Emma Harcus for their help. -
Teacher and Adult Helper Notes
Teacher and adult helper notes Contents 1 Visiting the exhibition 2 Exhibition content 3 Suggested activities within the exhibition 4 Activities and resources to use in class 5 Questions and feedback Introduction Discover the story of Scottish pop music as we take you on a musical journey from the 1950s to the present day. This is the first major exhibition dedicated to Scottish pop music, exploring the musical culture of the nation over more than half a century, from influential indie pioneers to global superstars. From the days of the dancehalls and folk clubs to the emergence of pop in an explosion of colour in the 1960s, through the 1970s/early 1980s New Wave and post-punk, Rip It Up features global stars and independent local heroes from pop’s early days right up to today’s outstanding newcomers. Artists and bands featured include Lonnie Donegan, Gerry Rafferty, the Sensational Alex Harvey Band, Lulu, The Rezillos, Midge Ure, Simple Minds, The Skids, Big Country, Garbage, Franz Ferdinand, Young Fathers, and many more. The exhibition contains original stage outfits and instruments, many loaned by the artists themselves, plus memorabilia, props, film, videos and, of course, music. 1. Visiting the exhibition Important information (Ensure each teacher/adult accompanying the group reads this information beforehand) • In the Scottish Voices section of this exhibition, there is a display on the band Frightened Rabbit and the recent death of their lead singer Scott Hutchison. If you, or any pupils visiting with you, are affected by the issues discussed in this display, please visit samh.org.uk/find-help • This exhibition contains two instances of swearing. -
'Shambles' Page
--- RLBOTRKE GLASGOW GALLERY . HERALD --- Old College NEW WORKS AWARD by JOHN McLEAN 1he ArtiSt'" ResideKe u the UiYtrslty olEdnugh lDec-20 Dec WINNER ~the&til)itionthe.AnistwiHbe~inginthe GalleryMon-Sit lO :rn-Spm .. s..bsilistd by the ScottishAru CoU'd Motions calling for the 1 renaming of the Student 1 Centre as 'The Mandela. Centre', and condemning Glasgow Rangers FC's secta rian policy towards Catholics, were among six passed quorately at the EUSA AGM on Monday in the McE- wan Hall. · , . With an attendance of 560 Lady Victoria students, the AGM also pas sed quorately and without a Colliery vote motions on Gartcosh and Ravenscraig, Scottish CND, Social Security cuts and Waste Paper. All these motions are now EUSA pol icy. Two other motions, on Palestinian Rights and Local Government, were passed inquorately after being amended and taken to a vote. This weekend. the Scottish Mining Museum opens it s second site, the "Donald?" . "Yes Mike" . "What's a budget?" Lady Victoria Colliery at Newton 1· EUSA Accounts grange. Julia Morrice previews the opening of this relic of Scotland·s The AGM opened with EUSA industrial heyday. Treasurer Donald Pollock pre sented the Annual Accounts for -page 13 1984/85 and Budget 1985/6. The EUSA Accounts are split into Action-packed Grant Aided and Trading activities. While the latter made a David Puttnam profit of £8539 this year, the EUSACO had made a bigger than approval, those of EUSACO Ravenscraig steelworks. expected trading loss·of £62,163, were presented for its information Srudent brings you an exclusive former, which are those ·activities interview with David Puttnam, the this was due to the two new travel only. -
Dream Calendar
Painted, spoken edited by Richard Price number 23 Painted, spoken is edited, typeset, and published by Richard Price. Please send an A5 stamped self-addressed envelope for a free copy (two first class stamps please). Painted, spoken's editorial policy is constituted in instalments by the contents of Painted, spoken Earlier issues are available digitally at www.hydrohotel.net/mags Painted, spoken appears occasionally, from 24 Sirdar Rd, Wood Green, London N22 6RG Other related projects are outlined at www.hydrohotel.net Contributors James Aitchison was born in Stirlingshire in 1938 and educated at Glasgow and Strathclyde Universities. He has published five collections of poetry and the critical study The Golden Harvester: the vision of Edwin Muir. Simon Barraclough’s collections include the Forward shortlisted Los Alamos Mon Amor and Neptune Blue. Chris Beckett is a Curator at the British Library. Recent poetry in Black Market Review and Cordite Poetry Review. Recent essays on M J Tambimuttu, Bob Cobbing and J G Ballard in the Electronic British Library Journal. Katy Evans-Bush’s poetry collections are Me and the Dead (2008) and Egg Printing Explained (2011), from Salt, and the pamphlet Oscar & Henry (2010, Rack Press). She is a freelance writer and poetry tutor, and writes the blog Baroque in Hackney. ‘Analogue’ was commissioned as part of an art installation called 'Infinite Playback', in which a turntable plays an LP recorded with the sound of its own making. The poem was read aloud to the LP at the private view of SWITCH/OVER at Wimbledon Space, 18 April 2012. Antony John’s poetry has appeared in VLAK, Veers Away, Off and About, the Poetry and Revolution International Conference anthology, Herbarium, Greatworks, Freaklung, Writers Forearm and AND. -
Post-Punk Britain 1975-Present - V1420 - Lucy Robinson | Sussex University
09/30/21 Post-Punk Britain 1975-present - V1420 - Lucy Robinson | Sussex University Post-Punk Britain 1975-present - V1420 - View Online Lucy Robinson Adams, R. (2008a). The Englishness of English punk: Sex Pistols, subcultures, and nostalgia. Popular Music and Society, 31(4), 469–488. https://doi.org/10.1080/03007760802053104 Adams, R. (2008b). The Englishness of English punk: Sex Pistols, subcultures, and nostalgia. Popular Music and Society, 31(4), 469–488. https://doi.org/10.1080/03007760802053104 Albertine, V. (2015). Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys. Faber & Faber. Albiez, S. (2003). Know history!: John Lydon, cultural capital and the prog/punk dialectic. Popular Music, 22(3), 357–374. http://www.jstor.org.ezproxy.sussex.ac.uk/stable/3877580 Albiez, S. (2006). Print the truth, not the legend. The Sex Pistols: Lesser Free Trade Hall, Manchester, June 4, 1976. In I. Inglis (Ed.), Performance and Popular Music: History, Place and Time: Vol. Ashgate popular and folk music series (pp. 92–106). Ashgate. https://contentstore.cla.co.uk/secure/link?id=ec23bb39-3b0e-e711-80c9-005056af4099 Albiez, S. (2012a, March 4). Print the truth, not the legend: Sex Pistols: Lesser Free Trade Hall. 4 June 1976. https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnx zZWFuYWxiaWV6fGd4OjRmNWI5NTE5ZmI0OTU3NDk&pli=1 Albiez, S. (2012b, March 4). Print the truth, not the legend: Sex Pistols: Lesser Free Trade Hall. 4 June 1976. https://docs.google.com/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnx zZWFuYWxiaWV6fGd4OjRmNWI5NTE5ZmI0OTU3NDk&pli=1 Albiez, S. (2012c, March 4). Print the truth, not the legend: Sex Pistols: Lesser Free Trade Hall. -
Paid More Income Tax
BROWN THE Sou+~,~~~~d~o~~ ~9YL ~ STATIONERS 12 Noveml>!tr-17 December WE'RE BETTER Janet Patt.;rson DREAMTIME-A "l'raveller's 20 N'JCOlson Street F.dinburgh EH8 9DH Images of Australia 031-667 8844: 668 ml Mon.Sat 10 am.5 pm Admisslon Free SubsidiHdbY the Scottish Am eou:.a . t Thursday, November: 17., 1988 20p DINOSAUR JUNIOR FASHION Comfort and Joy, p. 24: • Oxford research points to increased pregnancy risk amongst students Abortion Rise Linked • to Condoms rate of user-failure (between 2 by Graeme Wilson and 15 per cent). :MEDICAL authorities She s·a-id that the Brooke Advis- ory Centre advises that those throughout Britain are women "who are already on the recor1ing a su_rge in the pill should keep Jaking it. !.f tliey mumoer of unplanned pre- _are worried about AIDS infecton gnancies and abortions •they c;n also' use a condom." among young women bet- She also stressed that the pill is ween the ages of 17 and 25. not itself completely safe, with a - failure rate of 1 to 7 per cent, "it is .Jne explanation pf this only as reliable as the people who - homenon is the widespread take it" , she said. move away from the contracep- · A ·k tive pill to the cefndom as a result . spo eswoman from the Fam of fears of infection' from the. 11 ~ Planning Association agreed AIDS virus. · with Dr Sauter's statements. She added that the researchers in Research conducted in Oxford, Oxford were P!)rticularly con where they have seen unplanned cerned about widespread ignor- . -
(And Recording) Studios
Anderson, Robert (2015) Strength in numbers: a social history of Glasgow's popular music scene (1979-2009). PhD thesis. https://theses.gla.ac.uk/6459/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work 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 Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Strength in Numbers A Social History of Glasgow’s Popular Music Scene (1979-2009) Robert Anderson BA (Hons), PGCE, MEnvS, DipEd Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow June 2015 © Robert Anderson, 2015 2 Abstract In 2004, US Time magazine named Glasgow Europe’s ‘capital of rock music’ and likened it to Detroit in its Motown heyday (Porter, 2004). In 2008 UNESCO awarded Glasgow the title of ‘City of Music’ and the application dossier submitted in support of this title noted the importance of rock and pop for the city’s musical reputation. Since the late 1970s a large number of bands have emerged from (or been associated with) the city, yet little academic research has been carried out to determine the factors behind this phenomenon. -
James Mcneill Whistler in Context
AMES MCN FT I LT WHISTLER NTEXT ESSAYS FROM THE WHISTLER CENTENARY SYMPOSIUM UNIVERSITY OF GLASGOW, 2003 Edited hj Lee Gbzer, Margaret F, MacDoriald, Linda Merrill, and Nigel Thorp FREER GALLERY OF ART OCCASIONAL PAPERS NEW SERSES, VOL. 2 S M I T H S O N 1 A N I N S T 3 T U T I O N WASHINGTON, DrC,.y::M^ FREER GALLERY OF ART OCCASIONAL PAPERS NEW SERIES, VOL. 2 Freer Gallery of Art FREER GALLERY OF ART OCCASIONAL PAPERS ORIGINAL SERIES, 1947-1971 A. G. Wenley, llic Grand Empress Dowager Wen Ming and the Northern Wei Necropolis at Fang Shan, Vol I, no. I, 1947 Burns A. Stubbs, Paintings. Pastels, Drawings, Prints, and Copper Plates by and Attrihnted to Aitieriean and European Artists. Together with a List of Original Whistlenanti in the Freer Gallery of Art, Vol. 1, no. 2, 1948 Richard Ettinghausen, Studies in Muslim konograph]' I: Ihe Unicorn, Vol. 1, no. 3, 1950 Burns A. Stubbs, James McNeUl Whistler: A Biographical Outline, Illustrated from the Collections of the Freer Gallery of Art, Vol. 1 , no. 4, 1950 Georg Steindortf, A Royal Head from Ancient Egypt, Vol. 1, no. 5. 1951 lohn Alexander Pope, Fourteenth-Century Blue-and-Wliitc: A Group oj Chinese Porcelains in the Topkapi Sarayi Miizesi, Istanbul. Vol. 2, no. 1, 1952 Ruthertord f. Gettens and Bertha M. Usilton, Abstracts of Technical Studies in Art and Archaeology I94i-I952, Vol. 2, no. 2, 1955 Wen Fong, Vie Lohans and a Bridge to Heaven, Vol. 3, no. 1, 1958 Calligrapliers ami Painters: A Treatise by Qddi Ahmad. -
Traditions of Punk and the Politics of Empowerment
Anyone Can Do It: Traditions of Punk and the Politics of Empowerment By Pete R.W. Dale Re-submission for PhD ICMuS Newcastle University 2010 Blank page ii Anyone Can Do It: Punk, Folk and the Politics of Empowerment Contents Title Page Page i Contents Page Page iii Introduction page vi Chapter One page 1 i. What Is Punk? Style vs. Substance page 2 ii. What Is Folk? Getting the Folk ‘Us’ in Focus page 27 iii. Punk as Folk: Two Sides of the Same Coin? page 57 iv. Chapter Conclusion page 84 Chapter Two page 88 i. Punk, Avant-gardism and Novelty page 90 ii. Marxism, Anarchism and the Issue of Universality page 119 iii. Justice to Come and the Micromatic Recoil page144 iv. Chapter Conclusion page 183 Chapter Three page 189 i. An Original Re-Birth? page 191 ii. There Is No Authority, But… : Anarcho-punk page 195 iii. Indie-Pop Ain’t Noise Pollution: The Cutie Movement page 231 iv. Chapter Conclusion page 269 iii Chapter Four page 275 i. Still Birth? page 277 ii. The Arrival of a New, Renegade, Girl-Boy Hyper-Nation: Riot Grrrl page 284 iii. Delivering the Groceries at 128 Beats per Minute: Math Rock page 326 iv. Chapter Conclusion page 366 Conclusion page 369 Bibliography page 389 iv Blank page v Introduction When the word punk is invoked, a majority of people – in the UK, at least – will think of the Sex Pistols, safety pins through the nose and other such bands and signifiers from the late 1970s. The purpose of this research, in large part, is to show that punk has in fact been a persistent and consistent tradition in the decades since.