Relevant bibliographies by topics / Roland Penrose

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Roland Penrose'

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Published: 10 March 2023

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Journal articles on the topic "Roland Penrose"

1

FREEMAN, JULIAN. "VISITING PICASSO THE NOTEBOOKS AND LETTERS OF ROLAND PENROSE BY ELIZABETH COWLING." Art Book 13, no. 4 (November 2006): 33–34. http://dx.doi.org/10.1111/j.1467-8357.2006.00725.x.

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FREEMAN, ALANNA. "THE GREEN MEMORIES OF DESIRE: LEE MILLER, ROLAND PENROSE BY KATHERINE SLUSHER." Art Book 15, no. 2 (May 2008): 73–74. http://dx.doi.org/10.1111/j.1467-8357.2008.00966_1.x.

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Golia, Maria. "Surrealism and Photography in Egypt." Nka Journal of Contemporary African Art 2021, no. 49 (November 1, 2021): 144–62. http://dx.doi.org/10.1215/10757163-9435751.

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Over the course of three years researching thousands of old photographs for her 2010 book Photography and Egypt (Reaktion Books), the author came across few examples of what might be termed “surrealist photography” in Egypt and little evidence for the exhibitions organized by Art and Liberty, a group of Egyptian artists and writers who resisted the Nazi and fascist risings before and after World War II. Anchored by Samir Gharib’s Surrealism in Egypt and Plastic Arts; correspondence between photographer Lee Miller, living in Cairo in the 1940s, and British artist and poet Roland Penrose; and Donald LaCoss’s work and correspondence with Roland Penrose’s son, Anthony, this article elaborates and adjusts some of the perceptions of the Art and Liberty group that appeared in Photography and Egypt. The group would eventually feel the wrath of the Anglo-Egyptian authorities for providing translations of Marxist-Leninist texts, condemnations of anti-fascist and anti-imperialist ideals and politics, and affirmations of social reform and freedom of expression. On the other hand, the author supposes that it may also be the case that only a few photographic works produced by artists associated with the Art and Liberty group can be called “surrealist” at all, as Egypt’s surrealist moment left more prominent traces in painting and literature. Nonetheless, Art and Liberty’s activities acknowledged photography as a creative medium at an early, experimental stage in its development, before it was derailed by the 1952 Officer’s Revolution and, later, pressed into the service of the state. Despite the lack of access to the photographic record of works produced for or around Art and Liberty exhibitions, the author contributes contextual details for both those shows and the practice of photography around the time the group was active, illustrated by seminal images of works by Kamel Telmisany, Hassan El-Télmissany, Idabel, Hassia, Fouad Kamel, Wadid Sirry, Lee Miller, and others.
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Reverseau, Anne. "The blend of poetry and document in the photographical artist’s book The Road is Wider than Long by Roland Penrose (1939)." Interfaces, no. 43 (July 15, 2020): 125–41. http://dx.doi.org/10.4000/interfaces.810.

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conekin, becky e. "““Another Form of Her Genius””: Lee Miller in the Kitchen." Gastronomica 10, no. 1 (2010): 50–60. http://dx.doi.org/10.1525/gfc.2010.10.1.50.

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Lee Miller was a Vogue cover girl in New York in the mid-to-late 1920s. In the early thirties she was Man Ray's muse, student, and lover in Paris, where she also worked as both photographer and model for Paris Vogue, as well as for numerous courtiers, including Patou and Scheperelli. The mid-thirties found her with her own successful photographic studio back in Manhattan. In WWII she served as British Vogue's official war correspondent and was one of the first photographers to enter liberated Dachau and Buchenwald. In 1957 Miller passed the Cordon Bleu course at their Paris school. Generally overlooked, if not overtly dismissed, Lee Miller's gourmet phase in the 1950s and 1960s is discussed in this article as ““another form of her genius.”” Always ahead of her time, Miller was a mezza maven and a tapas enthusiast. The home she shared with her husband, Roland Penrose, in the English countryside was frequently filled with weekend guests drawn from the international modern art world. For many of them she created ““food pictures,”” some inspired by their own works of art. She collected and invented recipes, often based on her extensive travels and sometimes as practical jokes and rebukes.
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"Visiting Picasso: the notebooks and letters of Roland Penrose." Choice Reviews Online 44, no. 03 (November 1, 2006): 44–1332. http://dx.doi.org/10.5860/choice.44-1332.

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Garcés García, María Pilar. "Edouard Mesens, a Belgian forefather of the surreal movement in London 1936." Thélème. Revista Complutense de Estudios Franceses 34, no. 1 (June 5, 2019). http://dx.doi.org/10.5209/thel.61063.

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The article presents the birth and the origins of English surrealism. Hardly studied from its beginnings, its incipient manifestations began with the exhibitions and manifestations organized in London by the Belgian gallerist and writer Édouard Mesens, acquiring afterwards, insular and specific connotations through the work of surrealist English and Welsh artists and writers in the interwar period. Roland Penrose, Eileen Agar, Paul Nash, David Gascoyne, Humphrey Jennings, among others, consider that Paris is the cradle of the highest and most revolutionary manifestations of art in all its forms in that period of tense peace. After an accidental encounter in Paris, Roland Penrose and Édouard Mesens decide to introduce the Surrealist movement in England in 1936. The personal relations of Édouard Mesens with André Breton, Paul Éluard and Roland Penrose appointed Mesens representative of the English surrealist movement as Director of the London Gallery and editor of the London Bulletin, the official publication of surrealism in London. Besides, through different exhibitions, Édouard Mesens introduces the work of René Magritte and Paul Delvaux in the capital. At the same time, Mesens will take active part in the creation and development of the English surrealist movement and in 1944, he signed, together with J-B Brunius, the manifest “Idolatry and Confusion”. In 1947 the first declaration of the Surrealist Group in England appeared together with the first publications among which we can mention Message from Nowere, Fulcrum, Free Unions Libres or Surrealist transformation. The present article develops the relationship of all these literary and artistic manifestations and explains the connections between Belgian and English surrealism. It also analyzes and presents the work of the main artists, writers, and ideologues of English Surrealism. This constitutes the main and original contribution of this research paper.
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Dissertations / Theses on the topic "Roland Penrose"

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Lang, Sabine [Verfasser], and Sergiusz [Akademischer Betreuer] Michalski. "Studien zu Roland Penrose, dem Englischen Surrealismus und der Farley Farm als Künstlerhaus und Repräsentantin des künstlerischen Werkes / Sabine Lang ; Betreuer: Sergiusz Michalski." Tübingen : Universitätsbibliothek Tübingen, 2016. http://d-nb.info/1164018299/34.

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caterina, caputo. "Collezionare, esporre, vendere. Strategie di mercato e diffusione dell'arte surrealista tra il 1938 e il 1950: il caso della London Gallery." Doctoral thesis, 2018. http://hdl.handle.net/2158/1128889.

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La tesi analizza le strategie di mercato e la diffusione del surrealismo relative alle attività dell'unica galleria ufficialmente surrealista in Gran Bretagna, aperta a Londra dall'artista surrealista belga E.L.T. Mesens e dall'inglese Roland Penrose, e rimasta in attività dal 1938 al 1950. Nel corso della trattazione viene posta una particolare attenzione sia al mercato dell'arte che al collezionismo surrealista del periodo tra le due guerre e dell'immediato dopo guerra, non solo in ambito britannico ma anche internazionale. Lo studio, inoltre, ambisce a ricontestualizzare quel processo di internazionalizzazione che il movimento surrealista aveva posto tra i suoi principali obiettivi a partire dai primi anni Trenta.
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Books on the topic "Roland Penrose"

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Ray, Man. Two old pals: Man Ray & Roland Penrose. London: Mayor Gallery, 1990.

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Timothy, Baum, and Mayor Gallery, eds. Two old pals: Man Ray & Roland Penrose. London: Mayor Gallery, 1990.

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3

Sir, Penrose Roland, ed. Visiting Picasso: The notebooks and letters of Roland Penrose. New York, N.Y: Thames & Hudson, 2006.

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Sir, Penrose Roland, Miller Lee 1907-1977, Scottish National Gallery of Modern Art., and Dean Gallery (Edinburgh Scotland), eds. Roland Penrose, Lee Miller: The surrealist and the photographer. [Edinburgh]: Trustees of the National Galleries of Scotland, 2001.

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5

Katherine, Slusher, Fundación Pablo Ruiz Picasso, and TEA Tenerife Espacio de las Artes, eds. Roland Penrose y el surrealismo: Mirar de reojo = My windows look sideways. Málaga]: Fundación Pablo Ruiz Picasso, 2008.

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Alen, MacWeeney, ed. The home of the surrealists: Lee Miller, Roland Penrose, and their circle at Farley Farm. London: Frances Lincoln, 2001.

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7

King, James. Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474414517.

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8

Penrose, Antony. Roland Penrose: The Friendly Surrealist. Unicorn Publishing Group, 2019.

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9

James, King. Roland Penrose: The Life of a Surrealist. Edinburgh University Press, 2016.

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10

Two old pals: Man Ray & Roland Penrose. London: Mayor Gallery, 1990.

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Book chapters on the topic "Roland Penrose"

1

King, James. "The Uninvited Guest (1966–1984)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0015.

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This chapter details events in Roland Penrose's life from 1966 to 1984. By the mid-1960s, Roland used his Sussex home as a refuge from his lecture tours, meetings at the Institute of Contemporary Arts (ICA) and other London-based activities. As a result, he paid more attention to the garden and filled it with sculptures. Although he kept in touch with the ICA, Roland had lost touch with its day-to-day activities during his Picasso years. He had expected Herbert Read to carry on in his place, but when Read died in 1968 Roland felt duty-bound to rekindle his formerly close relationship with the Institute. Finding new quarters for the ICA — and raising funds to accomplish this — became Roland's preoccupation. In 1973, Picasso died on 8 April, in his ninety-first year. In 1977, when he served on the committee selecting the Picasso works that would constitute the dation en paiement (death duties) payable to the French government, Roland felt he was burgling an old friend's house.
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King, James. "A Heretic in Training (1919–1922)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0003.

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This chapter details events in Roland Penrose's life from 1919 to 1922. On 18 January 1919, a mere ten days after returning to England from the war, Roland enrolled at Queen's College, Cambridge. Roland's creativity was stimulated in his new environment but the effects of the war lingered on. Although he labelled the large charcoal drawings of men and monsters he had begun to draw as expressive of ‘romantic yearnings’, they really ‘came struggling out of darkness, symbolic but with that urgent yet forbidden aspect of sex, still too incomprehensible and dangerous for me to admit except in naïvely veiled appearances’. As a respite from academic study, Roland and his brothers joined the Marlowe Society, which, he claimed, ‘provided a release from puritanical taboos’.
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King, James. "‘This Fascinating Horror’ (1914–1918)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0002.

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This chapter details events in Roland Penrose's life from 1914–1918. In 1914, at the age of fourteen, Roland was sent to Leighton Park School near Reading, referred to at the time as ‘the Quaker Eton’, where he was further schooled in a fundamental aspect of his parents' religion: self-reliance. While the first fourteen years of Roland's life had been lived during peace, England would be changed forevermore by the Great War. Back home, his family was thrown into a state of quiet despondency because of Quakerism's strong adherence to pacifism. In March 1916, when the Military Service Act became law, conscription was introduced for the first time in Britain. Roland, anxious to be of use, began in 1918 preparing for service three months before he was eligible to enter the fray.
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King, James. "Insoluble Questions (1932–1935)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0005.

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This chapter details events in Roland Penrose's life from 1932 to 1935. In an attempt to sort out the problems in their marriage, Roland and Valentine travelled to India at the end of 1932, where their friend, Cuban-born archaeologist Vicente-Marcelino-Julio Galarza Pérez Castañeda had taken up a professorship in Arabic philosophy at the University of Calcutta. Although they were largely sheltered from them, the Penroses nevertheless felt themselves assaulted on a daily basis by the harsh realities of everyday life in India. Roland's sense of natural justice was further battered when he witnessed the treatment of the Indian people at the hands of their English rulers.
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King, James. "‘Let’s Do Something’ (1935–1936)." In Roland Penrose. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414500.003.0006.

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This chapter details events in Roland Penrose's life from 1935 to 1936. In Paris, in June 1935, Roland and Paul Éluard chanced upon precocious, intense nineteen-year-old David Gascoyne, who had recently completed his Short Survey of Surrealism. Éluard introduced the two Englishmen, who ‘got talking’ about the fact that in London, little is known about the excitement going on in Paris [in contemporary art, especially surrealism]. They then decided to organise the International Surrealist Exhibition, which marked a decisive turn in Roland's life, in that he began to allow his role as an apostle of modernism to overshadow his career as an artist. For the remainder of his life, these two sides would struggle to co-exist.
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"Index." In Roland Penrose, 317–44. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474414517-021.

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"6. ‘Let’s Do Something’ (1935–1936)." In Roland Penrose, 94–107. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474414517-009.

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"Preface: The Inner Light." In Roland Penrose, xii—xxi. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474414517-002.

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"15. The Uninvited Guest (1966–1984)." In Roland Penrose, 259–81. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474414517-018.

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"10. Grim Glory (1939–1945)." In Roland Penrose, 152–70. Edinburgh University Press, 2016. http://dx.doi.org/10.1515/9781474414517-013.

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