Log in

Relevant bibliographies by topics / Manning Gallery (London, England)

Contents

Journal articles
Books
Book chapters

Academic literature on the topic 'Manning Gallery (London, England)'

Author: Grafiati

Published: 27 February 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Manning Gallery (London, England).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Manning Gallery (London, England)"

1

Mark, Emily. "London: 'Conquering England' at the National Portrait Gallery." Circa, no. 113 (2005): 88. http://dx.doi.org/10.2307/25564351.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

TALLACK, DOUGLAS. "Reflections on The American Scene: Prints from Hopper to Pollock, British Museum, London; Djanogly Art Gallery, Nottingham; Brighton Museum and Art Gallery; Whitworth Art Gallery, Manchester, April 2008–December 2009." Journal of American Studies 44, no. 3 (August 2010): 613–25. http://dx.doi.org/10.1017/s0021875810001556.

Full text

Abstract:

It is tempting to regard the remarkable success of this exhibition of works from the British Museum's American prints collection, as it toured England, as a response to the demise of the Bush Administration and the election of Barack Obama. However, George W. Bush was in the White House throughout the period when these prints were on display at the British Museum from April to September 2008.

APA, Harvard, Vancouver, ISO, and other styles

3

SHEPARD, ALEXANDRA. "VIOLENCE AND CIVILITY IN EARLY MODERN EUROPE." Historical Journal 49, no. 2 (June 2006): 593–603. http://dx.doi.org/10.1017/s0018246x06005358.

Full text

Abstract:

Violence in early modern Europe, 1500–1800. By Julius R. Ruff. Cambridge: Cambridge University Press, 2001. Pp. xii+269. ISBN 0-521-59119-8. £13.95.The London mob: violence and disorder in eighteenth-century England. By Robert Shoemaker. London: Hambledon and London, 2004. Pp. xvi+393. ISBN 1-85285-389-1. £25.00.Outlaws and highwaymen: the cult of the robber in England from the middle ages to the nineteenth century. By Gillian Spraggs. London: Pimlico, 2001. Pp. x+372. ISBN 0-7126-6479-3. £12.50.The duel in early modern England: civility, politeness and honour. By Markku Peltonen. Cambridge: Cambridge University Press, 2003. Pp. x+355. ISBN 0-521-82062-6. £45.00.Swordsmen: the martial ethos in the three kingdoms. By Roger B. Manning. Oxford: Oxford University Press, 2003. Pp. xvi+272. ISBN 0-19-926121-0. £47.00.Rebellion, community and custom in early modern Germany. By Norbert Schindler, translated by Pamela E. Selwyn. Cambridge: Cambridge University Press, 2002. Pp. xiv+311. ISBN 0-521-65010-0. £55.00.The history of violence appears to hold a particular fascination for scholars of the early modern period. This is not least because it is so often deemed integral to the differences between modern and pre-modern culture and politics, despite the fact that this particular difference is becoming increasingly difficult to sustain. The progressive decline and containment of violence – or at least certain forms of violence – has been central to narratives of state formation, the transition from courtesy to civility, a shift from aristocratic to bourgeois cultural hegemony, and the ‘civilizing process’ first theorized by Norbert Elias. Despite Michel Foucault's complication (if not rejection) of their teleological assumptions, such celebratory accounts of modernization have proved remarkably tenacious, albeit in a fragmented fashion. As the selection of books under review here illustrates, with the exception of Manning and, most notably, Peltonen, current scholarship is more likely to uphold, or to modify subtly, rather than to reject entrenched views of a gradual abeyance of violence in early modern Europe in response to imperatives of civility and politeness and to emergent state control.

APA, Harvard, Vancouver, ISO, and other styles

4

BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain." European Review 13, no. 4 (October 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

Full text

Abstract:

In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.

APA, Harvard, Vancouver, ISO, and other styles

5

Barber, Fionna. "Fintan Cullen and R.F. Foster, ‘Conquering England’: Ireland in Victorian London. London: The National Portrait Gallery. 2005. 80pp. Illus. £12.50. Fintan Cullen, The Irish Face: Rede.ning the Irish Portrait 1700–2000. London: The National Portrait Gallery. 2004. 240 pp. Illus. £30.00." Urban History 34, no. 01 (March 8, 2007): 158–60. http://dx.doi.org/10.1017/s096392680727453x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

King, Peter. "Legal Change, Customary Right, and Social Conflict in Late Eighteenth-Century England: The Origins of the Great Gleaning Case of 1788." Law and History Review 10, no. 1 (1992): 1–31. http://dx.doi.org/10.2307/743812.

Full text

Abstract:

In 1788 the Court of Common Pleas, after lengthy deliberations, came to a judgment in Steel v. Houghton et Uxor, concluding that “no person has, at common law, a right to glean in the harvest field.” Gleaning was of considerable importance to many laboring families in the eighteenth century; therefore, both the provincial and the London-based newspapers reported the 1788 judgment at length, as well as covering the 1786 case of Worlledge v. Manning on which it was partly based. The 1788 case not only stimulated a widespread public debate over the gleaners' rights, but also established an important legal precedent. From 1788 onward, every major legal handbook from Burn's New Law Dictionary of 1792 to the early twentieth-century editions of Wharton's Law Lexicon used it as the standard caselaw reference. It is quoted in a wide variety of law books written for farmers such as Williams's Farmers' Lawyer and Dixon's Law of the Farm, as well as inspiring long footnotes in the post-1788 editions of Blackstone's Commentaries. By 1904, it was being referred to in the law reports as “the great case of gleaning.”

APA, Harvard, Vancouver, ISO, and other styles

7

Ricketson, Matthew. "REVIEW: Julian Assange: Persecuted and abused for exposing dirty secrets of the powerful." Pacific Journalism Review : Te Koakoa 28, no. 1 & 2 (July 31, 2022): 247–51. http://dx.doi.org/10.24135/pjr.v28i1and2.1260.

Full text

Abstract:

The Trial of Julian Assange: A Story of Persecution, by Nils Melzer. Brooklyn, NY: Verso. 2022, 368 pages. ISBN 9781839766220 IT IS easy to forget why Julian Assange has been on trial in England for, well, seemingly forever. Didn’t he allegedly sexually assault two women in Sweden? Isn’t that why he holed up for years in the Ecuadorian embassy in London to avoid facing charges? When the bobbies finally dragged him out of the embassy, didn’t his dishevelled appearance confirm all those stories about his lousy personal hygiene? Didn’t he persuade Chelsea (formerly Bradley) Manning to hack into the United States military’s computers to reveal national security matters that endangered the lives of American soldiers and intelligence agents? He says he is a journalist, but hasn’t The New York Times made it clear he is just a ‘source’ and not a publisher entitled to First Amendment protection? If you answered yes to any or all of these questions, you are not alone. But the answers are actually no. At very least, it’s more complicated than that.

APA, Harvard, Vancouver, ISO, and other styles

8

Bock, Carol A. "AUTHORSHIP, THE BRONTËS, AND FRASER’S MAGAZINE: “COMING FORWARD” AS AN AUTHOR IN EARLY VICTORIAN ENGLAND." Victorian Literature and Culture 29, no. 2 (September 2001): 241–66. http://dx.doi.org/10.1017/s1060150301002017.

Full text

Abstract:

UNDER THE DIRECTION OF ITS FIRST EDITOR, William Maginn, Fraser’s Magazine purveyed popular images of literary life in the 1830s through its Gallery of Illustrious Literary Characters — Daniel Maclise’s engravings of contemporary literary figures accompanied by Maginn’s irreverent textual commentary — and through humorous depictions of the supposed staff meetings of “The Fraserians” themselves (figure 1), whom Miriam Thrall described as “care-free scholars, who laughed so heartily, and drank so deeply, and wrote so vehemently around their famous editorial table” (16). Composed by Maginn in imitation of Blackwood’s wildly successful Noctes Ambrosianae, which he had helped to write prior to the founding of Fraser’s in 1830, these imaginary meetings of London literati present a comic conception of authorship as a clubby activity, rebelliously bohemian and exclusively male. Patrick Leary’s 1994 essay on the actual management of Fraser’s as a literary business demonstrates just how inaccurate these highly fictitious accounts were and thereby contributes significantly to our understanding of the history of authorship in the 1830s. But if we are examining the influence Fraser’s had on its contemporary readers, then the facts of literary life which Leary discovers “beyond the imagery” of the magazine may be less important than the fictions which such representations of authorship communicated (107).

APA, Harvard, Vancouver, ISO, and other styles

9

Mitjans, Frank. "Non sum Oedipus, sed Morus." Moreana 43 & 44 (Number, no. 4 & 1-2 (March 2007): 12–67. http://dx.doi.org/10.3366/more.2007.43-44.4_1-2.4.

Full text

Abstract:

Frank Mitjans is an architect who has worked in London since 1976. He was introduced to the significance of the figure of St. Thomas More by Andrés Vázquez de Prada (1923-2005), author of the biography, Sir Tomás Moro, Lord Canciller de Inglaterra (Madrid, 1962). In 1977 Vázquez de Prada invited Mitjans to visit with him the Thomas More Exhibition at the National Portrait Gallery, which stimulated his interest in representations of More, his family and his friends. Since August 2002 he has given many presentations and talks on the topography of More’s London to groups of students and other interested people in Britain, Ireland, and Sweden. Frank Mitjans, architecte qui travaille à Londres depuis 1976, fut initié au personnage de Saint Thomas More par Andrés Vázquez de Prada (1923-2003), auteur de la biographie Sir Tomás Moro, Lord Canciller de Inglaterra (Madrid, 1962). En 1977 Vázquez de Prada l’invita à l’accompagner dans sa visite de l’exposition Thomas More à la National Portrait Gallery, évènement qui aiguisa son intérêt pour les représentations de More, de sa famille et de ses amis. Depuis août 2002 il a régulièrement fait des présentations et des exposés à des groupes d’étudiants et d’autres en Grande-Bretagne, Irlande et Suède au sujet de la topographie du Londres de Thomas More. The recent exhibitions of the works of Holbein in London and Basel (2006-2007), and scholarly publications such as Holbein and England (2004), have rekindled interest in the Portrait of Thomas More and his Family, and in the late sixteenth-century versions of Holbein’s presumed lost original. The present paper analyses the differences between the sixteenth-century versions and Holbein’s 1527 composition sketch, and concludes that the sketch is a more reliable witness to Holbein’s lost painting than the later versions, as well as the only authentic witness to More’s intentions; though anything we learn from the drawing must be checked against what we know from More’s letters and writings and other biographical data. From the later versions, however, and in particular from the references to Seneca on them, we can learn about those who commissioned them and England’s peculiar historical circumstances.

APA, Harvard, Vancouver, ISO, and other styles

10

Johl, S. S. "Italian Psychiatry." Bulletin of the Royal College of Psychiatrists 9, no. 4 (April 1985): 73–74. http://dx.doi.org/10.1192/s0140078900001681.

Full text

Abstract:

The dramatic changes in Italian psychiatry since 1978 when the practice of Democratic Psychiatry was officially started has had a controversial response from both inside and outside Italy. In an attempt to know more about the system that made sweeping changes in Italian psychiatry, five Italian psychiatrists and psychologists were invited to Sheffield for a two-week exposition of films, paintings, photographs, lectures and meetings on the art of Democratic Psychiatry from Italy. This was the final leg of the visit to England, after London and Manchester. The events were organized in a truly varied and democratic manner by the University Department of Psychiatry, the Division of Continuing Education at Sheffield University, and the Graves Art Gallery, in co-operation with MIND, the District Health Authority, the Family and Community Services Department, and staff from hospitals in Chesterfield, Doncaster and Sheffield. The aim of the exposition was to provide an opportunity to discuss the prospects for changes in the mental health and mental handicap services in the light of the Italian experience.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Manning Gallery (London, England)"

1

Andrew, Duncan. Nicholson London museums & galleries guide. London: Nicholson, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Halliday, Nigel Vaux. More than a bookshop: Zwemmer's and art in the 20th century. London: Philip Wilson Publishers, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

The whispering gallery. Oxford: ISIS, 2012.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Gallery, Orleans House, ed. Highlights of the Richmond Borough art collection: Orleans House Gallery, Twickenham. Twickenham: Orleans House Gallery, 2002.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

P, Casteras Susan, Denney Colleen 1959-, Yale Center for British Art., Denver Art Museum, and Laing Art Gallery, eds. The Grosvenor Gallery: A palace of art in Victorian England. New Haven: Yale Center for British Art, 1996.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

1727-1788, Gainsborough Thomas, and Reynolds Joshua Sir 1723-1792, eds. Gainsborough & Reynolds: Contrasts in royal patronage. [London]: Queen's Gallery, Buckingham Palace, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Gallery, Watts, ed. G.F. Watts in Kensington: Little Holland House and Gallery. Compton, Surrey: Watts Gallery, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

David, Shalev, and Tooby Michael, eds. Tate Gallery St Ives: The building : Evans and Shalev architects. Millbank, London: Tate Pub., 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Owen Edgar Gallery (London, England). Master paintings from four centuries. London, England: The Gallery, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Laura, Gascoigne, ed. A singular vision: Fifty years of British painting at the Portal Gallery. Munich: Prestel, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Manning Gallery (London, England)"

1

"Epilogue: ‘Saved from the Housekeeper’s Room’: The Foundation of the National Portrait Gallery, London." In Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England. Paul Mellon Centre, 1998. http://dx.doi.org/10.37862/aaeportal.00062.013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Moore, James. "A problem of scale and leadership? Manchester’s municipal ambitions and the ‘failure’ of public spirit." In High culture and tall chimneys, 190–220. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784991470.003.0007.

Full text

Abstract:

The 1870s and 1880s saw the Manchester art world arguably reach its cultural zenith. The rise of the proto-Impressionist ‘Manchester school’, the municipalisation of the Royal Manchester Institution building and the plans for a new city gallery produced an art community and institutional infrastructure second to nowhere in England, except London. However such progress concealed a growing disagreement about the purpose of municipal art institutions. As attendance at exhibitions fell, critics questioned the ability of large galleries to engage the public and called for more community-based art initiatives. The crisis point was reached when proposals for a new city art gallery in Piccadilly Square fell foul of Conservative and Labour opposition. At a time of economic slump, had art become an expensive luxury?

APA, Harvard, Vancouver, ISO, and other styles

3

Schaefer, Sarah C. "The Message Is Seen." In Gustave Doré and the Modern Biblical Imagination, 162–210. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190075811.003.0005.

Full text

Abstract:

Chapter 4 moves from France to England, where the growth of fervent evangelical Protestantism and a massive publishing industry resulted in an exponential increase in the reproduction and adaptation of Doré’s imagery. At the heart of this chapter are the monumental religious works produced for the Doré Gallery, established in London in 1868. By relying on consistent compositional structure and highly legible narratives, Doré’s biblical paintings cohere to evangelical principles and functioned counterdiscursively to the visual cultures of spectacle that shaped much of Victorian experience. While French audiences derided Doré’s efforts at painting, British viewers eagerly consumed these works, which were offered in the heart of the commercial art district and provided wholesome entertainment that counterbalanced the more suspect spectacles of nearby neighborhoods. This was a context in which commercialism and religious experience overlapped and which became, as one commentator put it, “where the godly take their children.”

APA, Harvard, Vancouver, ISO, and other styles

4

Smith, Ali. "Talk." In Katherine Mansfield and Virginia Woolf, 131–54. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474439657.003.0010.

Full text

Abstract:

This transcript of a talk given by Ali Smith at the National Portrait Gallery in London on 23 October 2014 is published here for the first time. A recording of the talk may be heard at https://soundcloud.com/npglondon/getting-virginia-woolfs-goat-a-lecture-by-ali-smith ‘Well it is five minutes to ten: but where am I, writing with pen & ink? Not in my studio.’ No, unusually, in this diary entry from May 1932, Woolf is miles from home and miles from England, a foreigner on holiday in Greece, sitting in a dip of land ‘at Delphi, under an olive tree […] on dry earth covered with white daisies’. Leonard is next to her. His holiday reading is a Greek grammar. She sees a butterfly go past. ‘I think, a swallow tail.’ It’s all part of the desire to catalogue where we are. She describes simply for her diary what’s around her: the bushes and rocks and trees, the ‘huge bald gray & black mountain’, the earth, the flies, the flowers, the sound of goat bells....

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!