Auswahl der wissenschaftlichen Literatur zum Thema „Pen drawing, British – Exhibitions“
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Zeitschriftenartikel zum Thema "Pen drawing, British – Exhibitions"
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GOYLE, SONAKSHI. „TRACING A CULTURAL MEMORY: COMMEMORATION OF 1857 IN THE DELHI DURBARS, 1877, 1903, AND 1911“. Historical Journal 59, Nr. 3 (01.03.2016): 799–815. http://dx.doi.org/10.1017/s0018246x15000424.
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ABSTRACTThe three imperial durbars held in Delhi for the coronation of British monarchs as the rulers of India were gatherings of royalty, administration, and the military, organized in the years 1877, 1903, and 1911. As impressively invented, improvised, and self-styled orientalist representations of the late Victorian tradition, these durbars were pageants of power, prestige, and authority, creations of their organizing viceroys: Robert Lytton (1877), George Curzon (1903), and Charles Hardinge (1911). But, as this article shows, they were also commemorative exhibitions of the triumphant memory of the event of 1857 (variously called the Indian Mutiny, Sepoy war, War of Independence), especially in Delhi which had to be emphasized regularly for perpetuating myths about British superiority and invincibility. Spread over a period of thirty-five years, these rituals of commemoration were performed through four illustrative choices. These were the selection of site, selection of mutiny veterans as participants, the construction of mutiny memorials, and contribution to the growth of mutiny pilgrimage tours. Drawing attention to the successive formation of 1857 as a seminal ‘cultural moment’ through its periodic commemoration, the present article brings to focus the enduring significance of the event for the British empire in India, which had to be re-visited time and again for purposes of legitimation and cultural appropriation.
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Aselmeyer, Norman. „Ruin of Empire“. Journal of Educational Media, Memory, and Society 14, Nr. 1 (01.03.2022): 14–32. http://dx.doi.org/10.3167/jemms.2022.140102.
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This article is concerned with the memory of the Uganda Railway in Kenya. Built during the heyday of British imperialism at the end of the nineteenth century, the colonial railway has been a highly contested infrastructure. Drawing on museum exhibitions, public speeches, and publications, the article argues that the main narrative of the railway line as a tool of oppression began to change when the railway infrastructure gradually deteriorated in the mid-twentieth century. I show how three distinct groups (white expatriates, Kenyan-Asians, and Kenya’s political elite) were involved in creating a new public memory that popularized the Uganda Railway as a cornerstone of the postcolonial nation. Their uncoordinated but simultaneous efforts toward a new reading of the past all aimed, albeit for different reasons, at reimagining the nation. The article thus shows mechanisms of coming to terms with the colonial past in a postcolonial nation.
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Rider, Robin E. „Equations as Unruly Objects“. Nuncius 35, Nr. 3 (14.12.2020): 471–505. http://dx.doi.org/10.1163/18253911-03503007.
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Abstract Specialized notation, complexity, and sheer length contributed to the unruly nature of 18th-century equations, whether in manuscript or printed form. By close examination of early modern material texts, this essay compares constraints and affordances of the pen and the composing stick for setting boundaries and imposing order on algebraic expressions. Drawing on French and British mathematical works, it considers typesetting practices and advice to readers in influential algebra textbooks, compares mathematical manuscripts prepared for print and the printed results, unpacks oversize pages brimming with derivations and multiple cases, and reflects on practices of mise-en-page in the Mémoires of the Paris Academy of Sciences and the Philosophical Transactions. It thus invites attention to the tools, gestures, and traces of amateur, expert, reader, writer, and typesetter in 18th-century algebra.
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Martens, Lydia. „Selling infant safety: entanglements of childhood preciousness, vulnerability and unpredictability“. Young Consumers 15, Nr. 3 (12.08.2014): 239–50. http://dx.doi.org/10.1108/yc-10-2013-00409.
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Purpose – This paper aims to examine, through a focus on the practice of child caring, how three qualities of childhood preciousness, vulnerability and unpredictability, are nurtured by being brought together as rationales for product re-design, innovation and diversification. The new parent of today is confronted with a myriad of products that are designed to “safeguard”, “guide” and “monitor” the young child and ensure its well-being. Design/methodology/approach – The paper draws on research into the organisation of encounter platforms that serve as communication forums for commercial practitioners and child carers, and includes insights derived from fieldwork and a cultural content analysis of the British retailer Mothercare, consumer exhibitions and brand–product websites. Findings – After providing a brief outline of the research on which this paper draws, the author present three ways in which child safety is present in the market that caters for young children and their care. This is followed by a discussion of two case studies, which respectively expand on how vulnerability and unpredictability are nurtured in commercial narratives. Originality/value – The author concludes by drawing out the implications of the risk-averse culture, which this creates.
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Park, Hyungji. „“GOING TO WAKE UP EGYPT”: EXHIBITING EMPIRE IN EDWIN DROOD“. Victorian Literature and Culture 30, Nr. 2 (27.08.2002): 529–50. http://dx.doi.org/10.1017/s1060150302302080h.
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IN 1821 IN PICCADILLY, Giovanni Battista Belzoni staged a spectacular full-scale reproduction of royal tombs he had uncovered in the Valley of the Kings. Crowds of paying visitors milled through rooms at the Egyptian Hall, marveling at enormous stone artifacts and at colorful wall paintings replicating ancient Egyptian tomb interiors. About half a century later and around the globe, tens of thousands of guests, including many European luminaries, witnessed the grand 1869 opening of the Suez Canal and fêted the achievement of its chief engineer, Ferdinand de Lesseps, with fireworks and extravagant feasts. The driving forces behind these exhibitions were very different — one was an entrepreneur’s packaging of ancient Egypt into a leisure excursion for Londoners, the other evidence of Egyptian acquiescence to European pressure for enhanced trading routes; one was available for a middle-class, fee-paying popular British audience; the other to specially invited international guests traveling thousands of miles — but both were public displays that rendered Egypt, past and present, into a cultural and visual commodity for the West. Dickens’s final, unfinished novel The Mystery of Edwin Drood (1870), written during the excitement and controversy over the Suez Canal and drawing on both de Lesseps and Belzoni as partial models for the title character, is deeply aware of such Egypt-gazing, but Egypt’s presence within the novel is in fact highly unspectacular, almost invisible.
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Craciun, Adriana. „THE FRANKLIN RELICS IN THE ARCTIC ARCHIVE“. Victorian Literature and Culture 42, Nr. 1 (19.02.2014): 1–31. http://dx.doi.org/10.1017/s1060150313000235.
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In August 2013 the Canadian governmentlaunched its largest search for the ships, relics, and records of the John Franklin expedition, which disappeared with all 129 hands lost searching for the Northwest Passage in 1845. Canada's latest search was its fifth in six years, one of dozens of search expeditions launched since 1848, in a well-known story of imperial hubris elevated to an internationalcause célèbre. Recent work in nineteenth-century literary and visual culture has shown the significant role that Franklin played in the Victorian popular imagination of the Arctic (see Spufford, Potter, David, Hill, Cavell, Williams, Savours, MacLaren). In panoramas, stereographs, paintings, plays, music, lantern shows, exhibitions, and popular and elite printed texts, record numbers of Britons could enjoy at their leisure the Arctic sublime in which Franklin's men perished. Alongside this work on how Europeans represented Arctic peoples and places, we also have a growing body of Inuit oral histories describing their encounters with nineteenth-century Arctic explorers. Drawing on these traditional histories of British exploration, visual culture, and literary imagination, and on postcolonial, anthropological and indigenous accounts that shift our attention away from the Eurocentrism of exploration historiography, and toward the “hidden histories of exploration,” this essay uncovers an unexamined material dimension of these encounters – the “Franklin Relics” collected by voyagers searching for Franklin.
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Pollini, John. „The “lost” Nollekens Relief of an imperial sacrifice from Domitian's Palace on the Palatine: its history, iconography, and date“. Journal of Roman Archaeology 30 (2017): 97–126. http://dx.doi.org/10.1017/s1047759400074043.
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Mainstream classical scholarship has long considered as lost a Roman “historical” relief, excavated in the earlier part of the 18th c. in the Palace of Domitian on the Palatine hill. Showing an emperor sacrificing, it is known as the Nollekens Relief after Joseph Nollekens, an accomplished British sculptor who came to possess it in the 18th c. Besides being a sculptor and painter, he was a sculptural restorer and dealer active between 1761 and 1770 in Rome, where he worked in the workshop of the sculptural restorer Bartholomeo Cavaceppi and in his own studio. The relief has been known chiefly from two engravings and a pen-and-watercolor drawing, all produced in the 18th c., but, rather than being lost, the relief has been hiding in plain sight in the Gatchina Palace near St. Petersburg. Its dimensions are 88 cm high x 139 cm wide. A recent visit to St. Petersburg established that the relief has been continuously in the Gatchina Palace since the late 1770s and that it had been damaged not only in antiquity but also during and after World War II. I also discovered that a cast of it existed by 1870 and that a photograph of the relief itself had appeared in an obscure Russian publication of 1914.
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Calè, Luisa. „Blake and Exhibitions, 2020“. Blake/An Illustrated Quarterly 55, Nr. 1 (21.07.2021). http://dx.doi.org/10.47761/biq.287.
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2020 exhibitions placed Blake within artistic traditions of drawing in The Artful Line at the Harris and of wood engraving in Scene through Wood at the Ashmolean. His role within a surrealist genealogy was reinterpreted in British Surrealism at Dulwich Picture Gallery, which took the International Surrealist Exhibition of 1936 as a starting point and measured its impact on British surrealists since then. Facsimiles of his Gray watercolors were the inspiration for contemporary poets in The Bard: William Blake at Flat Time House. While the Tate retrospective reconstructed Blake’s coordinates through a very detailed account of the artisanal, artistic, and commercial communities around him in his several London locations, The Bard rooted Blake in Peckham, reenergizing creative and critical psychogeographic approaches. Trianon Press facsimiles were put to different uses, prompting reflection on the role of reproduction as a medium that can extend the circulation of Blake and bypassing the conservation restrictions that limit the exposure of works and require intervals between loans, as well as other conditions relating to the loan of originals. As noted, unbound Trianon facsimiles facilitated a dialogue with contemporary poetic practice at Flat Time House. The National Gallery of Canada’s William Blake, 1757–1827: Illustrated Books used them to juxtapose originals and copies, enabling comparisons between monochrome and color versions and between technologies of print and reproduction, while also documenting the archival practice of complementing originals with reproductions.
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Calè, Luisa. „Blake and Exhibitions, 2019“. Blake/An Illustrated Quarterly 54, Nr. 1 (20.07.2020). http://dx.doi.org/10.47761/biq.262.
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2019 was an extraordinary year for Blake. The retrospective at Tate Britain reassessed his work in the context of the choices that shaped the making of an artist’s career in Romantic-period London; elsewhere, individual works were reinterpreted within thematic exhibitions. The Judgment of Paris, illustrating Homer’s Iliad, was displayed as part of Troy: Myth and Reality. A selection of Blake’s illustrations represented the tension between fact and fantasy in an exhibition accompanying the 2019 biennial conference of the British Association for Romantic Studies in Nottingham. In Extreme Nature!, Behemoth and Leviathan from Illustrations of the Book of Job came across as an attempt to imagine all-powerful biblical beasts, captured within the frame of a book illustration, as examples of restrained, domesticated, and vanquished pride. The National Maritime Museum used Blake’s miniature emblem captioned “I want! I want!,” featuring a tiny figure propping up a long ladder across the sky to bridge the distance between earth and moon, to introduce the imagining of moon travel among mythical and scientific specimens brought together to mark the fiftieth anniversary of the moon landing. Blake’s watercolor Christ Refusing the Banquet Offered by Satan from John Milton’s Paradise Regained exemplified the dynamic of temptation and abstinence in a religious relationship with food in Feast and Fast: The Art of Food in Europe, 1500–1800, while earlier series illustrating Paradise Lost and On the Morning of Christ’s Nativity were on view at Tate Britain as examples of the patronage of the Rev. Joseph Thomas. Versions of The Good and Evil Angels were on display in three exhibitions. The pen and watercolor from 1793–94 was central in shaping the demonic power and active energy of the elements in Fire: Flashes to Ashes in British Art, 1692–2019 from June to September, while in October it went home to The Higgins, where its child-snatching element was inflected in a new context in Dreams and Nightmares. Meanwhile, Tate Britain’s impression of the color print of 1795 appeared on the wall of an outdoor basketball court as part of the animation of a series of iconic works in Sam Gainsborough’s trailer for the Blake retrospective. Inside the gallery, it was hung among the twelve large color prints—whose only known contemporary collector was Thomas Butts—showing how they might work as a series translating the experience of Renaissance cycles within a bourgeois interior.
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Lanzillo, Amanda. „Princely prisons, state exhibitions, and Muslim industrial authority in colonial India“. Journal of the Royal Asiatic Society, 17.05.2024, 1–22. http://dx.doi.org/10.1017/s1356186324000063.
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Abstract This article analyses the prison industries and state industrial exhibitions of three Indian princely states in the late nineteenth and early twentieth centuries, tracing how princely elites sought to develop distinct labouring and industrial cultures. Drawing on examples from three Muslim-led princely states, namely Rampur, Bhopal, and Hyderabad, the article argues that state elites distinguished their forms of cultural and religious authority from that of the British Raj by coercing and displaying new industrial practices. They aimed to cultivate an industrial modernity that could compete with colonial projects while also promoting what they characterised as Indian Muslim characteristics and courtly traditions for artisan labourers and their work. The article asks how princely elites worked to conscript their subjects—including marginalised subjects such as convict labourers—into visions of regional industrial authority. Princely visions of Muslim and courtly industrial futures in Rampur, Bhopal, and Hyderabad were rooted in the attempts of state administrators to fashion distinctive regional identities and assert authority in a context of circumscribed, quasi-colonial rulership. Industrial cultures associated with princely prisons and exhibitions ultimately exceeded the bounds of these projects, placing pressure on other state subjects to adopt new material practices and engage with state-defined regional craft traditions.
Bücher zum Thema "Pen drawing, British – Exhibitions"
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Gallery, Gillian Jason. Pencil pen & brush: Modern British drawing. London (42 Inverness St., London NW1): Gillian Jason Gallery, 1986.
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Stupía, Eduardo. Eduardo Stupía: Obras 1971-2006. Buenos Aires: Centro Cultural Recoleta, 2006.
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Stupía, Eduardo. Eduardo Stupía: Tinta sobre papel : del 22 de abril al 9 de mayo de 1999, Centro Cultural Recoleta, Buenos Aires. Buenos Aires, Argentina: Centro Cultural Recoleta, 1999.
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Kusama, Yayoi. Kusama Yayoi: Eien no eien no eien = Yayoi Kusama : eternity of eternal eternity. Tōkyō: Asahi Shinbunsha, 2012.
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Lisa, Bessette, und Metropolitan Museum of Art (New York, N.Y.), Hrsg. Pen and parchment: Drawing in the Middle Ages. New York: Metropolitan Museum of Art, 2009.
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(undifferentiated), David Smith. David Smith: Selected works 1940-1990. [Great Britain: s.n., 1990.
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Hanani, Jacob El. Jacob El Hanani: Drawings. New York: Acquavella, 2015.
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Hanani, Jacob El. Jacob El Hanani linescape: Four decades. New York: Acquavella, 2017.
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Pronk, Cornelis. Pronk met pen en penseel: Cornelis Pronk (1691-1759) tekent Noord-Holland. Amsterdam: De Bataafsche Leeuw, 1997.
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Schellow, Alexander. Alexander Schellow: Frischzelle 06. Stuttgart: Kunstmuseum, 2007.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Pen drawing, British – Exhibitions"
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Shasore, Neal. „Machine-Craft“. In Designs on Democracy, 127—C3.P115. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192849724.003.0004.
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Abstract This chapter provides a new reading of 66 Portland Place, the purpose-built headquarters of the Royal Institute of British Architects (RIBA) opened in 1934. It uses the building—its design, construction, and programme—to explore the forging of the RIBA as a modern, semi-public institution. Drawing together the themes of the first two chapters, it situates the building within the ‘DIA point of view’. To do so, it explores the concept of ‘machine-craft’, a term coined by the journalist and public relations expert John Gloag and a seemingly oxymoronic welding of words which captured an aspiration to marry handcraft and the artistic expression of the craftsman with a technical and economic understanding of the role of the (sometimes metaphorical) machine in manufacture, commerce, and public service. To elucidate the architecture of 66 Portland Place and the Institute that occupied it, the chapter looks at the creation of the Building Centre (in which a number of RIBA protagonists, including Grey Wornum, were engaged), and at one of the inaugural exhibitions at Portland Place—‘Everyday Things’ (1936)—which clearly expressed the RIBA’s commitment to design reform principles.