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{PDF EPUB} Away We Go! Advertising London's Transport by Edward Bawden Download Image Read Ebook {PDF EPUB} Away We Go! Advertising London's Transport by Edward Bawden Download image. Other uses, including exhibition catalogue and display, broadcast, advertising, book jackets and commercial packaging, are covered by our commercial terms. If you would like a larger file, or to use the image in other ways, contact our Licensing team. Country Walks. Sheet height: 9.4cm Sheet width: 15.2cm Printed area height: 4.5cm Printed area width: 10.5cm Each image height: 4.5cm Each image width: 5.1cm. Eric Ravilious made these two woodcuts for the covers of the Country Walks booklets issued by London Transport in 1936. The booklets promoted the Green Line rural coach routes. They are part of a larger initiative begun by Frank Pick in 1908 to promote London's transport through stylish design and advertising.(October 2010) Eric Ravilious (1903-1942) . f) Proof for a bookplate for Gwyneth Lloyd Thomas. 1932 Wood engraving E.550-1972 . Eric Ravilious had an unrivalled sense of lively decorative pattern. This partly arose from his mastery of the principle of the reversed out image. It entailed an organisation of design where black silhouettes should appear against a white background and white against a black. This principle was applied even in the small commercial work shown here. In 1935 a contemporary wrote in admiration of the range of his work which included a 'variety of designs for business and miscellaneous purposes (with all the restrictions this work often implies) which we think will rank amongst his finest and most spontaneous achievements. '.(1995) Harling, Robert. Notes on the wood-engravings of Eric Ravilious. London, 1946, p. 62. Richards, J. M. The wood-engravings of Eric Ravilious. London: Lion and Unicorn Press, 1972, no. 90. Mainstone, Tim [Ed.] Away We Go! Advertising London's Transport: Edward Bawden and Eric Ravilious. Norwich, The Mainstone Press, 2006. About this object record. Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly. Eric Ravilious. Eric William Ravilious (22 julio 1903 - 2 septembro 1942) estis angla farbisto, dizajnisto, libroilustristo kaj lignogravuristo. Li kreskis en East Sussex, kaj estas precipe konata pro siaj akvareloj de la Sudaj Lanugoj. Li funkciis kiel militartisto, kaj mortis kie la aviadilo li estis populara estis perdita de Islando. Enhavo. 1 Vivo 3 Dezajno 4 Akvarelo 5 Militartisto 6 Morto 7 Ekspozicioj 8 Referencoj 9 Fontoj 10 Plia legaĵo 11 Eksteraj ligiloj. Ravilioza estis naskita la 22an de julio 1903 en Churchfield Road, Acton, Londono, la filo de Frank Ravilious kaj lia edzino Emma ( née Ford). [2] [3] Dum li daŭre estis malgranda infano la familio proponita al Eastbourne en Sussex, kie liaj gepatroj prizorgis antikvaĵkomercon. Li estis edukita en Eastbourne Grammar School. En 1919 li gajnis stipendion al Eastbourne School of Art (Orientrivereto Lernejo de Arto) kaj en 1922 alian por studi ĉe la Dezajno-Lernejo ĉe la Royal College of Art (Reĝa Postgimnazio de Arto). Tie li iĝis proksimaj amikoj kun Edward Bawden [4] (lia 1930 pentraĵo de Bawden sur laboron estas en la kolekto de la kolegio) [5] kaj, de 1924, studis sub Paul Nash. [6] Nash, entuziasmulo por ksilografio, instigis lin en la tekniko, kaj estis imponita sufiĉe de lia laboro por proponi lin por membreco de la Society of Wood Engravers (Socio de Wood Engravers) en 1925, kaj helpis al li ricevi komisionojn. En 1925 li ricevis vojaĝstipendion al Italio kaj vizitis Florenco'n, Sienon, kaj la monteturbojn de Toskanio. [6] Sekvi tion kiun li komencis al instruado partatempe ĉe la Eastbourne Lernejo de Arto, kaj de 1930 instruis (ankaŭ partatempa) ĉe la Reĝa Kolegio de Arto. [8] En la sama jaro li geedziĝis kun Eileen Lucy " Tirzah " Garwood, ankaŭ artiston kaj gravuristo. [9] Ili havus tri infanojn kune: John Ravilious; la fotisto James Ravilious; kaj Anne Ullmann, redaktisto de libroj pri ŝiaj gepatroj kaj ilia laboro. En 1928 Ravilioza, Bawden kaj Charles Mahoney pentris serion de murpentraĵoj en Morley College en Suda Londono pri kiu ili laboris por tuta jaro. [10] Ilia laboro estis priskribita de J. M. Richards kiel "akra en detalo, pura en koloro, kun stranga humuro en iliaj marionet-similaj figuroj" kaj "frapa foriro de la konvencioj de murpentraĵo en tiu tempo", sed estis detruita per bombado en 1941. Inter 1930 kaj 1932 Raviliozaj kaj Garwood vivis en Hammersmith, Londono, kie ekzistas blua plako sur la muro de ilia domo ĉe la angulo de Supra Butikcentro kaj Weltje Road. Kiam Ravilioza kaj Bawden studentiĝis ĉe la Radio Corporation of America ili komencis esplori la Essex- kamparon en priserĉado de kamparaj temoj por pentri. Bawden luis Brikdomon en Great Bardfield kiel bazo kaj kiam li geedziĝis kun Charlotte Epton, lia patro aĉetis ĝin por li kiel geedziĝdonaco. Ravilioza kaj Garwood luloĝis en Brikdomo ĉe la Bawdens ĝis 1934 kiam ili aĉetis Banko- House en Castle Hedingham, [11] kiu nun estas ankaŭ markita per blua plako. Ekzistis poste pluraj aliaj Grandaj Bardfield artistoj. En 1933 Ravilioza kaj lia edzino pentris murpentraĵojn ĉe la Midland Hotelo en Morecambe. [12] En novembro 1933, Ravilious okazigis sian unuan solludan ekspozicion ĉe la Zwemmer Galerio en Londono kaj 20 el la 37 verkoj prezentitaj estis venditaj. Presaĵkreado kaj ilustraĵo. Ravilioza gravuris pli ol 400 ilustraĵojn kaj desegnis pli ol 40 litografajn dezajnojn por libroj kaj publikaĵoj dum lia vivdaŭro. [13] Lia unua komisiono, en 1926, devis ilustri romanon por Jonathan Cape. Li daŭriĝis por produkti laboron kaj por grandaj firmaoj kiel ekzemple la Lanston Corporation kaj pli malgranda, malpli komercaj eldonistoj, kiel ekzemple la Ora Virkokido-Gazetaro [7] (por kiu li ilustris eldonon de Trireĝovespero ), [14] la Curwen Gazetaro kaj la Peĉbovlo-Gazetaro. [7] Lia ksilografiaĵo de du viktoriaj sinjoroj ludantaj kriketon aperis sur la fronto de ĉiu eldono de Wisden Cricketers' Almanack ekde 1938. [15] Lia stilo de ksilografio estis tre influita per tiu de Thomas Bewick. [7] Li en victurno influis aliajn lignogravuristojn, kiel ekzemple Gwenda Morgan kiu ankaŭ prezentis scenojn en la Sudaj Lanugoj kaj estis komisiita fare de la Ora Virkokido-Gazetaro. En la mez-1930-aj jaroj li prenis supren litografion, farante presaĵon de Newhaven Harbour por la "Contemporary Lithographs" skemo, kaj aron de tutpaĝaj litografoj, plejparte de butikinternoj, por libro nomita Ĉefstrato , kun teksto fare de J. M. Richards. [16] Sekvante ekskurseton en submarŝipo en la milito li produktis Submarine Dream , aron de 11 litografoj. Dezajno. En februaro 1936, Ravilious okazigis sian duan ekspozicion ĉe la Zwemmer Galerio kaj denove ĝi estis sukceso, kun 28 el la 36 pentraĵoj montritaj estante vendita. [11] Tiu ekspozicio ankaŭ kaŭzis komisionon de Wedgwood por ceramikaj dezajnoj. Lia laboro por ili inkludis memortrinkujon marki la malsukcesan kronadon de Edward VIII; la dezajno estis reviziita por la kronado de George VI. [11] Aliaj popularaj Raviliozaj dezajnoj inkludis la Alphabet-trinkujon da 1937, [18] kaj la porcelano metas, Afternoon Tea (1938), Travel (1938), kaj Garden Implements (1939), kaj plie la Boat Race Day tason en 1938. [19] Produktado de la dezajnoj de Ravilious daŭris en la 1950-aj jarojn, kie la kronada trinkujdezajno estas postmorte reverkita por la kronado de Elizabeth II en 1953. [20] Li ankaŭ entreprenis vitrodezajnojn por Stuart Crystal en 1934, grafikajn anoncojn por London Transport kaj meblarlaboron por Dunbar Hay en 1936. [19] Ravilioza kaj Bawden estis ambaŭ aktivaj en la kampanjo de la Artists' Internacia Unuiĝo apogi la Respublikanan celon en la Hispana Enlanda Milito. Ĉie en 1938 kaj 1939, Ravilious pasigis tempon laborantan en Kimrio, Sud Francio kaj ĉe Aldeburgh por prepari verkojn por sia tria unu-vira spektaklo, kiu estis okazigita ĉe la Arthur Tooth & Sons Gallery en 1939. Akvarelo. Krom mallonga eksperimentado kun petroloj en 1930 - inspirita per la verkoj de Johan Zoffany - Ravilious pentris preskaŭ tute en akvarelo. [14] Li estis aparte inspirita per la pejzaĝo de la Sudaj Lanugoj ĉirkaŭ Beddingham. Li ofte revenis al Okonmejloj, la dometo de Peggy Angus. Li diris ke lia tempo tie "mia tuta perspektivo ŝanĝis kaj pentromanieron, mi opinias ĉar la koloro de la pejzaĝo estis tiel bela kaj la dezajno tiel bele evidenta . tion mi simple devis prirezigni I nuancigitajn desegnaĵojn". [21] Kelkaj el liaj verkoj, kiel ekzemple Teo je Okonmejloj , estis pentritaj tie. Militartisto. Ravilioza estis akceptita kiel plentempa salajrigita artisto fare de la War Artists' Advisory Committee (Advisory Committee de militartistoj) en decembro 1939. [22] [ a ] Li ricevis la rangon de Honorary Captain en la Reĝa Marinfanterio [24] kaj asignita al la admiraleco. En februaro 1940, li raportis al la Royal Naval-kazerno ĉe Chatham Dockyard. Dum bazite tie li pentris ŝipojn ĉe la dokregiono, barbalonoj ĉe Sheerness kaj aliaj marbordaj defendoj. Danĝera Laboro ĉe Malfluso, 1940 prezentas bombforigokspertojn alirantajn germanan magnetan minon sur Whitstable Sabloj. Du membroj de la teamo Ravilious-pentritaj estis poste premiitaj la Eminenta Servo-Kruco. [25] La 24an de majo 1940 Ravilioza velis al Norvegio sur HMS altmontarano kiu eskortis HMS Glora kaj la forton estante sendita por rekapti Narvik. Altmontarano revenis al Scapa Flow antaŭ forirado por Norvegio dua fojo la 31an de majo 1940. De la ludkartaro de altmontarano , Ravilious pentris scenojn de kaj HM Ark Royal kaj HMS Glora en ago. HMS Glorious in the Arctic (HMS Glora en la Arkto) prezentas Kolportisto-Uraganojn kaj Gloster Gladiators alteriĝantan sur la ludkartaron de Glorious kiel parto de la evakuado de fortoj de Norvegio sur 7/8 junio. La sekva vespero Glora estis mallevita, kun granda perdo de vivo.
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