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1
Bogardus, Ralph F. "The Twilight of Transcendentalism: Ralph Waldo Emerson, Edward Weston, and the End of Nineteenth-Century Literary Nature." Prospects 12 (October 1987): 347–64. http://dx.doi.org/10.1017/s0361233300005639.
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That there is a striking correspondence between the thinking of such A nineteenth-century transcendentalists as Ralph Waldo Emerson and Henry David Thoreau and that of the twentieth-century American master of photography Edward Weston should come as no great surprise, for it is widely recognized that transcendentalism has been an essential ingredient in the lives and work of numerous major American artists. During the nineteenth century, this influence was most fully expressed by poets like Walt Whitman and Emily Dickinson, by the painter Thomas Eakins, and by the architect Louis Sullivan. At the turn of the century, the composer Charles Ives and painters Robert Henri and his “Ashcan” colleagues John Sloan, George Luks, William Glackens, and Everett Shinn continued to draw sustenance from the ideas and example of the transcendentalists. And during the early twentieth century, the brilliant architect Frank Lloyd Wright, the gifted painter Georgia O'Keeffe, and major poets Ezra Pound, T. S. Eliot, Robert Frost, Wallace Stevens, and William Carlos Williams made clear through their work the looming presence of the transcendentalist tradition. Thus, well before the 1920s, when Edward Weston began making his most innovative photographs, transcendentalism consciously and unconsciously pervaded American intellectual and artistic life: It was something to absorb or reject-or both. “Matthew and Waldo, guardians of the faith, the army of unalterable law,” was how Eliot put it. Weston was not exempt from this law.
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Suciu, Silvia. "Afacerea artei. Piața de artă în Marea Britanie în secolele XVII -XVIII." Anuarul Muzeului Etnograif al Transilvaniei 35 (December 20, 2021): 105–45. http://dx.doi.org/10.47802/amet.2021.35.06.
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While the royal houses and the aristocracy of Italy, Low Countries, France and Spain had already an history in collecting pieces of art, Great Britain adopted this “fashion” only under Charles the 1st reign, in 17th century. Charles the 1st understood that his painted portraits, sculpted busts and a royal collection of art could bring a higher value to his royal status and this practice was representing the power, the authority and the virtues of a king. He was a prodigious collector and made numerous acquisitions of paintings and statues. He collected the artworks of more than 1750 artists; that formed the basis of Royal Collection, the greatest private collection nowadays. The reign of Charles the 1st was highly significant for the appearance of “Court Painters”, who also had the quality of diplomats at various European courts. Peter Paul Rubens and Antoon Van Dyck have been highly appreciated at the court of Charles the 1st. In his artworks Van Dyck captured the “flamboyant” spirit of the time; he gave brilliance to his characters and transformed significantly the image of the King, providing him a special refinement, as it can be seen in the portraits he painted to Charles the 1st. The next century was marked by painters such as William Hogarth, Joshua Reynolds and Thomas Gainsborough. Hogarth was considered „the most famous painter in London”, and he brought his important contribution to the establishment of a copyright law. His printed graphic series and satirical paintings have been inspired from the social and political reality of his time. Aristocracy’s and bourgeoisie’s emancipation in the 18th century led to the flourishing of the portraiture. Reynolds and Gainsborough were the most desired painters when it came about making portraits and their fame transcended their time. Keywords: collection, Great Britain, Royal Painter, portrait, art power
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Cora, Dominika. "Miniature Painting in Eighteenth-Century England: The Case of William Pether (1739–1821)." Arts 11, no. 3 (May 27, 2022): 61. http://dx.doi.org/10.3390/arts11030061.
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William Pether (1739–1821) was a painter and skilled draftsman, whose abilities led to his becoming a master of engraving in the mezzotint technique—his prints reproducing works not only by the Dutch masters, such as Rembrandt van Rijn and his pupils Gerrard Dou and Willem Drost, but also by English artists such as Joseph Wright of Derby, Edward Penny, and Richard Hurlstone. An eminent British mezzotint engraver, he was also an underrated painter of miniatures. His artistic activity in this domain has been overlooked by scholars, who have focused on his print production; this study considers all extant miniatures produced by the artist during the period 1760–1820. The aim of this article is to present as many as possible known miniatures painted by this artist and to determine their proper attribution and dates through the use of stylistic analysis, the graphical-comparative method and handwriting research using available works of art and archival materials in the form of letters written by Pether.
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Naini, Farhard B. "William Hogarth's The Painter and His Pug." Archives of Facial Plastic Surgery 12, no. 2 (March 1, 2010): 136. http://dx.doi.org/10.1001/archfaci.2009.136.
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Kusserow, Karl. "William Sidney Mount: Painter of American Life." Journal of American History 87, no. 1 (June 2000): 172. http://dx.doi.org/10.2307/2567922.
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Dr. Dharmendra Kumar Singh. "Painting in Poetry and Poetry in Painting: Aesthetic Reflections in D.G. Rossetti." Creative Launcher 7, no. 3 (June 30, 2022): 58–75. http://dx.doi.org/10.53032/tcl.2022.7.3.08.
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Bright eyed and bushy-tailed poems and paintings are very rare, so are their past masters who create them. The history of the world literature is often brimming with such rare authors as are the unparalleled amalgamator of paintings and writings. In this field, the names, which are counted highly with boundless esteem, are of William Blake, Lewis Carroll, Hans Christian Andersen, Elizabeth Bishop, Leo Tolstoy, Lorraine Hansberry, Victor Hugo, Sylvia Plath, George Sand, Jack Kerouac, Herman Hesse, Gunter Grass, Charles Bukowski, Henry Miller, William S. Burroughs, E.E. Cummings, Tennessee Williams, Carlo Levi, J.B. Priestley, and R.N. Tagore. Undisputedly, D.G. Rossetti is one such figure. When the world literature is deconstructed, two clusters of the authors appear on the literary landscape. The first cluster consists of those authors who are painters and writers as well. The painters who have painted the literary pieces of the authors fall into the second cluster. D.G. Rossetti somewhere stands in- between. He is painter (especially illustrator) as well author-poet. But the flabbergasting certitude is that his elite poetry is found in his pieces of mural, and his elite mural in his pieces of poesy. His all creations, be they paintings, or poems, fall in three categories. In the first faction fall such pieces of his poems as are only poems—without any illustration, in the second faction fall such pieces of his paintings as are without poems, while in the third faction fall such pieces of his paintings as are with poems, or with mythical illustrations, or on certain literary pieces. Nothing to say about these groups, but one thing is clear that all of them possess aesthetic reflections. Keeping this very fact in mind, the present article aims at exploring, analyzing, and presenting the three-dimensional view in Rossetti painting and poetry with the help of the textual analysis, visual methods, and descriptive and explorative approach.
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Palmer, Sheridan, and Harriet Parsons. "Tuhituhi: William Hodges, Cook's painter in the South Pacific." Journal of Pacific History 48, no. 2 (June 2013): 238–39. http://dx.doi.org/10.1080/00223344.2013.774738.
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Irving, Howard. "Empiricism, Ideology and William Crotch's Specimens." Nineteenth-Century Music Review 9, no. 2 (December 2012): 237–53. http://dx.doi.org/10.1017/s1479409812000298.
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William Crotch's Specimens of Various Styles of Music Referred to in a Course of Lectures Read at Oxford and London was a remarkable new type of score anthology when it first appeared in three volumes published between 1807 and 1810. Many anthologies in this period effectively serve as memorials to an earlier classical tradition, but Crotch compiled the Specimens with an almost museum-like detachment and intended it only for the practical pedagogical purpose of tracing the evolution of music. Crotch's empirical, dispassionate, and one might say scientific approach in the Specimens mirrors a turn in British culture generally around the turn of the century toward empiricism, a shift that has been discussed at length in connection with the painter John Constable and his circle. Crotch himself was, not coincidentally, a significant landscape painter and a friend of Constable during the years in which the Specimens were published.Crotch's relatively objective approach to criticism in the Specimens is most noticeable in his treatment of so-called “national” music. In this area his remarks are strikingly different from the criticism of contemporaries, especially Charles Burney. In connection with concert music, however, Crotch is less successful at pursuing a programme of value-free criticism. In some cases he clearly selects examples with the goal of influencing a composer's reception and stresses qualities that are in line with his developing conception of what might be called “classical music”.
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Van Der Merwe, Pieter. "William Pratt of Greenwich (1717–95): Ship’s carpenter and painter." Mariner's Mirror 107, no. 3 (July 3, 2021): 370–73. http://dx.doi.org/10.1080/00253359.2021.1940526.
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Ballantyne, Margo. "STUART DAVIS: AMERICAN PAINTER. Lowery Stokes Sims , William C. Agee." Art Documentation: Journal of the Art Libraries Society of North America 11, no. 3 (October 1992): 156–57. http://dx.doi.org/10.1086/adx.11.3.27948468.
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Feng, Weiwen, and Jingdong Zhong. "Two Images of the Artist in Maugham’s The Moon and Sixpence." Frontiers in Humanities and Social Sciences 2, no. 6 (June 20, 2022): 21–26. http://dx.doi.org/10.54691/fhss.v2i6.888.
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Roughly based on the life of the French painter Paul Gauguin, William S. Maugham’s The Moon and Sixpence (1919) succeeded in creating an image of the artist — Once a British London stock trader, Strickland suddenly becomes obsessed with art. He abandons his wife and children, forsakes a life of prosperity and happiness, and runs to Paris and then Tahiti to pursuit the artistic dream. In spite of the entanglement of poverty and the torment of illness, this painter has injected all the values of his life onto the canvas. He creates his masterpieces at the cost of the happiness of others, including that of another painter named Stroeve, who lacks of the talent for painting despite that his paintings sell well and he is able to support a relatively well-off family. Two images of the artist fully denote the contradictions between the genius and the mediocre persons, artistic ideals and the materialistic reality. Besides, they reveal Maugham’s own artistic temperament as well.
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Sayers, Janet. "‘Dear Stokes’: Letters from Melanie Klein about Writing, Painting and Psychoanalysis." Psychoanalysis and History 14, no. 1 (January 2012): 111–32. http://dx.doi.org/10.3366/pah.2012.0101.
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The article consists of letters from Melanie Klein (1882–1960) to the writer and painter, Adrian Stokes (1902–72). Spanning nearly 20 years (from 1940 to 1959) these letters concern family and psychoanalytic matters together with Klein's repeated request for the destruction of a portrait of her by William Coldstream, commissioned by Stokes in honour of her 70th birthday on 31 March 1952.
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O'Neill, Dianne, and Patrick O'Neill. "Canadian Scene-Painter William Gill and the Survival of an 1892 Garden Scene." Theatre Research in Canada 18, no. 2 (January 1997): 230–41. http://dx.doi.org/10.3138/tric.18.2.230.
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William Gill (1854-1943) was a respected and prolific scene-painter based in Halifax and Boston. Of his many works, only one known example remains--an Italianate Garden Scene sitting in a small theatre in Musquodoboit, Nova Scotia. This feature briefly outlines the career of a neglected Canadian artist, and provides for the journal's readers the images of his damaged, deteriorating, but still evocative legacy of scene design in Canada.
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Mathur, Manisha. "WILLIAM BLAKE- AN ENLIGHTENED VISIONARY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3538.
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William Blake an English painter poet and printmaker is considered as a seminal figure in the history of poetry and visual arts of the Romantic age. In the realm of imaginative painting Blake stands quite alone, and to find any real parallel to this extraordinary man of genius one must go back to the illuminators and sculptors of the twelfth century. Born out of time, with no tradition of imaginative painting to guide him, the intense flame if his genius burns fitfully blazing with an unbearable brilliance. Blake, for his idiosyncratic views is held in high regard by critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterized as part of the Romantic movement are Pre-Romantic for its large appearance in the 18th C. Reverent of the bible but hostile to the Church of England, Blake was influenced by the ideals and ambitions of the French and American Revolutions.
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Mousa, Shubbar. "The Idea of Death in William Carlos Williams: A Study in Selected Short Poems." Kufa Journal of Arts 1, no. 3 (September 26, 2008): 72–87. http://dx.doi.org/10.36317/kaj/2010/v1.i3.6513.
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William Carlos Williams (1883-1963) is a modern American poet, novelist, critic, painter and pediatrician, who established his literary carrier with the advent of the twentieth century surveying various fields of life with a doctor's eye. He provides the English literature with prolific contributions that bear witness of his impressive ability and comprehensive realization of life as an artist. Williams reflects numerous salient traits in his works especially in poetry, but his primary concern is the application of naïve good sense and native intelligence to devise the poetic structure that would formalize experiences without deforming them. He says: "let the beat of speech determine the measure; to rinse the language of ornament and encrustation to scrupulously selective but to allow for accident and impingement." 1 Williams, who had been a derivative poet up to at least the age of thirty, became within few years a "remarkably original one. The reason for his striking transformation has never been adequately discussed. It is generally assumed that the change was due to the progressive maturation of Williams' poetic skills."2 Williams affirms the function of art, and of poetry in particular, a new kind of precision, equivalent to scientific method but directed towards obejectivising experience. To do this the" writer according to Mike Weaver, had to become his own reader, a functioning perceiver observing himself in action."3 Williams stated in his letter to John C. Thirwall the new tradition that he had devised to write his poems and how he had become aware of a basic change that affects the way of writing them.
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Bivar, A. D. H. "The Portraits and career of Mohammed Ali, son of Kazem-Beg: Scottish missionaries and Russian orientalism." Bulletin of the School of Oriental and African Studies 57, no. 2 (June 1994): 283–302. http://dx.doi.org/10.1017/s0041977x00024861.
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The occasion for the present article was the appearance for sale in a London auction of the portrait, apparently by the Scottish painter Sir William Allan 1782–1850), reproduced here on p1. I. It represented a young Persian gentleman in mid-nineteenth-century dress. On the back was a label in a later hand, which read:‘Muzjd [read Mirza?] Mohammed AH Bey / Professor of Oriental Languages / University of Hazan / Painted by Sir William All…’.On 26 March 1987 the present writer received an inquiry from the cataloguer, Karen Taylor, seeking help with the identification of the sitter and his place of residence. Some rapid inquiries were made at the time, from which it appeared that the university was probably that of Kazan in eastern Russia, and that the sitter may have had some connexion with a teacher of Persian known to the celebrated Russian Orientalist V. V. Bartol'd. However, records relating to Kazan then available in London were insufficient to support a definite identification. The portrait was sold as Lot no. 352 in the auction held on 4th November 1987, and was reproduced in the catalogue of the sale.Subsequent research, and inquiries in Russia, have brought forth fuller information about the sitter, a person whose career was unusual and distinguished, and who may be considered one of the founders of Oriental Studies at St. Petersburg. In spite of the time which has passed since the sale, it seems worth while to put the resulting information on record.
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Walter, Melissa. "Constructing Readers and Reading Communities: Marguerite de Navarre's Heptaméron 32 in England." Renaissance and Reformation 39, no. 1 (January 1, 2003): 35–59. http://dx.doi.org/10.33137/rr.v39i1.8879.
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En général, les collections de nouvelles françaises et italiennes de la Renaissance montrent une pratique de lecture active et réfléchie à laquelle les femmes et les hommes participent. Heptaméron 32 de Marguerite de Navarre donne au lecteur le rôle d’un témoin responsable à travers le personnage de Bernage. Dans leurs versions anglaises de cette nouvelle, William Painter et George Whetstone transforment le cadre et modifient le role du lecteur, tout en s’appropriant l’idée que lire et interpréter sont des processus sociaux qui peuvent refaçonner l’individu.
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O'Neill, Dianne, and Patrick O'Neill. "Canadian Scene-Painter William Gill and the Survival of an 1892 Garden Scene." Theatre Research in Canada 18, no. 2 (September 1997): 230–41. http://dx.doi.org/10.3138/tric.18.2.230.
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Danahay, Martin A. "J. M. W. Turner: Romantic Painter of the Industrial Revolution. William S. Rodner." Isis 90, no. 2 (June 1999): 371–72. http://dx.doi.org/10.1086/384364.
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Davenport, Nancy. "William Holman Hunt: Layered Belief in the Art of a Pre-Raphaelite Realist." Religion and the Arts 16, no. 1-2 (2012): 29–77. http://dx.doi.org/10.1163/156852912x615874.
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Abstract The essay is concerned with the evolving religious beliefs of the British Pre-Raphaelite painter, William Holman Hunt (1827–1910). Hunt’s faith was forged by his early connection and friendships with members and patrons of the High Anglican Oxford Movement and transformed by his repeated trips to the fraught religious environment of nineteenth-century Syria, the name generally used at the time to denote modern Israel. His contacts with urban and agrarian Jews, Christians, and Muslims, with officials in the Anglican, Byzantine, and Lutheran Churches, and with British colonial officials turned both him and his art in more universalistic directions from his former parochial British colonial/elitist global understanding.
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Wamsley, Douglas W. "Albert L. Operti: chronicler of Arctic exploration." Polar Record 52, no. 3 (December 16, 2015): 276–93. http://dx.doi.org/10.1017/s0032247415000753.
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ABSTRACTThe great wave of immigrants to the United States during the late 1800s brought many talented individuals who enriched American culture and society. Notable among them stands the Italian-born artist, Albert L. Operti (1852–1927), a versatile painter, illustrator and sculptor. For much of his professional career, Operti served as a scenic artist for the Metropolitan Opera House and later as an exhibit artist for the American Museum of Natural History. However, he maintained an avid personal interest in polar explorers and the history of polar exploration, ultimately turning his artistic skills to the subject. Operti served as official artist for Robert E. Peary during his Arctic expeditions of 1896 and 1897, producing paintings, drawings and even plaster casts of the Inuit from the expedition. Over the course of his lifetime he painted a number of ‘great’ pictures depicting, in a factually accurate manner, important incidents in Arctic history along with numerous smaller paintings, sketches, illustrations and studies. The quality of his work never rivaled his more talented contemporaries in the field of ‘great’ paintings, such as the prominent artists William Bradford and Frederic Church. Nonetheless, Operti achieved some recognition in his time as a painter of historical Arctic scenes, but the full extent of his contributions are little known and have been largely unexamined. Unlike the explorers themselves whose legacy rests upon geographic or scientific accomplishments and written narratives, Operti's legacy stands upon the body of distinctive artwork that served to convey, in realistic and graphic terms, the hardships and accomplishments of those explorers. This article recounts the life of Operti and his role as an historian in disseminating knowledge of the polar regions and its explorers to the public.
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Hobbs, Allyson. "Violence in the Gilded Ages, Then and Now." Journal of the Gilded Age and Progressive Era 19, no. 2 (March 20, 2020): 264–70. http://dx.doi.org/10.1017/s1537781419000690.
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In 1840, Joseph Mallord William Turner, the English painter, created Slave Ship: Slavers Throwing Overboard the Dead and Dying—Typhoon Coming On. The painting has many of Turner's signature elements: sensual imagery, brilliant sunsets, and dramatic landscapes ablaze with color. A closer look haunts the viewer. The scattering of a severed leg, shackles, and chains floating in bloody waters capture the monstrous decision of the captain and crew of the slave ship the Zong (originally named Zorg, which means, ironically, “Care” in Dutch) to throw 132 enslaved men, women, and children overboard, one by one, through cabin windows.
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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (January 2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.
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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.
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Van Alphen, Ernst. "Attention for Distraction: Modernity, Modernism and Perception." Text Matters, no. 7 (October 16, 2017): 87–97. http://dx.doi.org/10.1515/texmat-2017-0005.
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Particularly in the latter half of the nineteenth century sensorial experiences changed at breakneck speed. Social and technological developments of modernity like the industrial revolution, rapid urban expansion, the advance of capitalism and the invention of new technologies transformed the field of the senses. Instead of attentiveness, distraction became prevalent. It is not only Baudelaire who addressed these transformations in his poems, but they can also be recognized in the works of novelist Gustave Flaubert and painter Edward Munch. By means of the work of William James, Walter Benjamin, Siegfried Kracauer and Georg Simmel, the repercussions of this crisis of the senses for subjectivity will be discussed.
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Zhao, Sinan. "The Comparison and Fusion of William Blake’s Poetry and Paintings." Journal of Education, Humanities and Social Sciences 12 (April 19, 2023): 78–82. http://dx.doi.org/10.54097/ehss.v12i.7602.
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As a poet, painter and artist, William Blake was considered a transitional figure in English literature which followed no style but his own. He was also deemed as a pioneer of romanticism in the united kingdom and an outstanding poet with great achievements and profound influence in the history of English poetry. In recent years, studies have been more likely to conduct an in-depth analysis of Blake’s poems or paintings, but there are not many studies that combine them together. The researcher of this paper has found that there is an interaction between the works of his poetry and paintings; it is generally an extension or compensation of each other. The paper also found that his poems present a slow process of indoctrination, colors in his paintings can be the expression of the entire poetry. It can better reflect the theme, idea, metaphor, conception as well as symbol of the poetry. In the research, some of his famous poems and paintings were demonstrated and offered a personally slight apprehension through comparison. It also summarized the structure of this paper, giving an overall view of the whole passage.
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GODOY, RICARDO. "The Social Causes of Environmental Destruction in Latin America . MICHAEL PAINTER and WILLIAM H. DURHAM, eds." American Ethnologist 23, no. 1 (February 1996): 178–79. http://dx.doi.org/10.1525/ae.1996.23.1.02a00620.
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Pérez, Fátima Bethencourt. "A Spanish Painter in the White House: Joaquín Sorolla’s Portrait of President William Howard Taft (1909)." Source: Notes in the History of Art 42, no. 1 (September 1, 2022): 58–68. http://dx.doi.org/10.1086/724211.
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Pilkevych, Andrii. "«SECONDARY SOURCES» OF CELTIC AND NORSE MODES IN MODERN POPULAR CULTURE THROUGH THE PRISM OF FANTASY." Ethnic History of European Nations, no. 69 (2023): 153–57. http://dx.doi.org/10.17721/2518-1270.2023.69.19.
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The article deals with the main sources of the modern fantasy genre, presented in the form of several blocks of borrowings. First of all, this is the influence of the figures of the «Celtic Revival», who were engaged the search, recording and systematization of mainly Irish, Scottish and Welsh tales, myths and a wide range of folklore material. This legacy was transformed into an original literary tradition characterized by a combination of legendary heritage with fictional art elements and authorial reworking. Examples of pseudo-translations from Celtic languages presented as authentic, such as the work of James Macpherson. The article identifies the key figures of the «Celtic Revival» and singles out their works, which, in the opinion of the author, had the greatest impact on the formation of the fantasy genre. In particular William Butler Yeats, Isabella Augusta Persse (usually Lady Gregory), Thomas Moore, Edward John Moreton Plunkett (usually Lord Dunsany), Irish writer, poet, painter – George Russell, Irish playwright, poet, writer, collector of folklore – John Millington Synge, Irish writer Alice Letitia Milligan. The Romantic Age in English literature had a significant impact on the fantasy genre. The author analyzed the most relevant creative developments in this connection: William Blake, John Keats, William Wordsworth, Percy Shelley, Samuel Taylor Coleridge, Robert Southey, Walter Scott, Mary Shelley. Gothic fiction and in particular Gothic novels, is an equally important «factor of influence». First of all, it is about Horace Walpole, Clara Reeve, William Beckford, Matthew Gregory Lewis, Ann Radcliffe, Bram Stoker. The author presents a vision of the «wide treasury of inspiration» opus of the main archetypes of European fantasy, which also includes «German Romanticism». It is represented Ludwig von Arnim, Ernst Hoffmann, Ludwig Uhland, Friedrich von Hardenberg (usually Novalis), Ludwig Tieck, Joseph von Eichendorff.
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Windleburn, Maurice. "THE MUSICAL DEPICTION OF A DISTORTED PLACE, SPACE AND TIME: AN INTERPRETATION OF JOHN ZORN'S INTERZONE." Tempo 75, no. 296 (March 10, 2021): 34–45. http://dx.doi.org/10.1017/s0040298220000935.
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AbstractThis article interprets John Zorn's composition Interzone (2010) by comparing it to the eponymous place that is found throughout William S. Burroughs’ early novels. This is done through linking some of the ‘sound blocks’ that make up Zorn's composition to selected passages from Burroughs’ books as well as to specific events from the lives of Interzone's two dedicatees: Burroughs, and his associate, the writer and painter Brion Gysin. Zorn's disjointed, chaotic arrangement of sound blocks, and by extension their extra-musical associations, is then shown to emulate the dream-like structure of the phantasmatic place that is Interzone, which Burroughs created for his novels with the aid of Gysin's ‘cut-up’ method. Through these extra-musical connotations, it is demonstrated that Zorn's composition imitates Interzone's distortion of place; of internal and external space; and, most importantly, of time.
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Jervis, Simon Swynfen. "Antiquarian Gleanings in the North of England." Antiquaries Journal 85 (September 2005): 293–338. http://dx.doi.org/10.1017/s0003581500074412.
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William Bell Scott (1811-90) was active as painter, poet, designer, teacher and pundit. His littleknown Antiquarian Gleanings (1851), a wide-ranging anthology of Northern antiquities, with thirty-eight colour plates, is here re-published in its entirety, with a new index, as an appendix to a paper which explores its design and content, and the networks of collectors, many of them associated with the Antiquarian Society of Newcastle, whose treasures Scott illustrated. Scott is presented neither as a great scholar, nor as a pioneering archaeologist, but his book is a distinguished artefact in its own right and his choice of subjects has stood the test of time, as well as presenting a vivid reflection of the interests and activities of provincial antiquaries in the period after the coming of the railways and immediately before the Great Exhibition of 1851.
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Karaçoban, Atanas, and Patricia Denisa Dita. "Painting, Poetry and the Interference of the Genres in English Art: The Case of William Blake." Border Crossing 10, no. 1 (April 7, 2020): 29–42. http://dx.doi.org/10.33182/bc.v10i1.931.
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Throughout the history of Western culture and art, there are numerous examples of those who, in their creativity, went beyond the limits of a particular art, embarking instead on attempts to combine in one artistic discourse the practices of various arts, such as music and poetic text, drama and dance, literature and sculpture, literature and painting, and so on. One of these artists is William Blake, acclaimed as a major poet and painter of romanticism in English and world art. He is accredited as the founder of a whole new and original method of producing artistic works, called “illuminated printing”, which is a remarkable combination of poetic text, decoration, and picture. Apart from revealing Blake’s appurtenance to romantic tradition, the present study aims to present the specificity of his technique and, primary, to disclose the ways in which it combines the artistic practice of poetry with that of painting as to render and strengthen the meaning by mutually sustaining and illuminating each other.
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Davenport, Nancy. "William Holman Hunt’s Holy War in the Church of the Holy Sepulchre in Jerusalem." Religion and the Arts 17, no. 4 (2013): 341–80. http://dx.doi.org/10.1163/15685292-12341284.
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Abstract This essay is concerned to interpret the background, meaning, and reception of a late painting by the British Pre-Raphaelite painter William Holman Hunt entitled The Miracle of the Sacred Fire in the Church of the Holy Sepulchre (1899). The painting illustrates and critiques an annual Easter Saturday miracle reported to have been experienced by believers and nonbelievers since the third century CE. During this miracle, fire descends from the oculus of the dome in the Church of the Holy Sepulchre in Jerusalem onto the site believed to be the tomb of Christ, and impassioned pilgrims by the hundreds seek to light their candles with its flame. The painting, not well received when first exhibited at the New Gallery in London, remained in Hunt’s studio until his death in 1910. The history of the church in Jerusalem, the conflicts between the different Christian sects who guarded it, the attitude of one Victorian ecumenical Protestant traveler to Jerusalem toward these conflicts, and their resolution in his painting are the subjects used to explore this strangely overwrought and little known image.
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Cole, Suzanne. "‘Popery, Palestrina, and Plain-tune’: the Oxford Movement, the Reformation and the Anglican Choral Revival." Bulletin of the John Rylands Library 90, no. 1 (March 2014): 345–68. http://dx.doi.org/10.7227/bjrl.90.1.16.
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Following an extended period of neglect, the early 1840s saw a dramatic revival of interest in English church music and its history, which coincided with the period of heightened religious sensitivity between the publication of Newman‘s Tract 90 in early 1841 and his conversion to Roman Catholicism in October 1845. This article examines the activities and writings of three men who made important contributions to the reformation of the music of the English church that took place at this time: Rev. Frederick Oakeley; Rev. John Jebb and the painter William Dyce. It pays particular attention to the relationship between their beliefs about and attitudes towards the English Reformation and their musical activities, and argues that such important works as Jebb‘s monumental Choral Service of the United Church of England and Ireland (1843) are best understood in the context of the religious and ecclesiological debates that were raging at that time.
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Tiggelen, Brigitte Van, Danielle Fauque, and Fabienne Meyers. "London 1947: A Caricature." Chemistry International 41, no. 3 (July 1, 2019): 20–21. http://dx.doi.org/10.1515/ci-2019-0307.
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Abstract The caricature published in Chemistry and Industry, 2 August 1947, is Fred May’s impressions of the luncheon offered to the XIth International Congress of Pure and Applied Chemistry at the May Fair Hotel, London, 18 July 1947 by the Society of Chemical Industry to distinguished chemists on the occasion of its centennial [1]. Fred May (1891-1976) was a caricaturist and painter, who sent his first cartoons from the front in 1917. May insists on the strenuous time the toastmaster had during the dinner that welcomed many prominent British and international figures in the chemical sciences and industry. Dr Leslie H. Lampitt, president of the SCI, chairman of the Congress and treasurer of IUPAC (1947-1957) “expressed that welcome in a very homely way” [1]. William Hulme Lever, 2nd Viscount Leverhulme (1888-1949), cofounder of Unilever, a past president of the SCI, acted as president of the Congress [2].
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SOMERVILLE, ROSA. "WILLIAM POWELL FRITH. PAINTING THE VICTORIAN AGE BY MARK BILLS AND VIVIEN KNIGHT (EDS) AND WILLIAM POWELL FRITH. A PAINTER AND HIS WORLD BY CHRISTOPHER WOOD." Art Book 14, no. 4 (November 2007): 56–57. http://dx.doi.org/10.1111/j.1467-8357.2007.00882.x.
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Nicholson, Kathleen. "BOOK REVIEW: James Hamilton.TURNER AND THE SCIENTISTS. and William Rodner.J. M. W. TURNER: ROMANTIC PAINTER OF THE INDUSTRIAL REVOLUTION." Victorian Studies 43, no. 3 (April 2001): 501–3. http://dx.doi.org/10.2979/vic.2001.43.3.501.
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Atkins, Peter. "Martyn Christian Raymond Symons. 12 November 1925 – 28 January 2002." Biographical Memoirs of Fellows of the Royal Society 50 (January 2004): 299–308. http://dx.doi.org/10.1098/rsbm.2004.0019.
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Martyn Christian Raymond Symons was born on 12 November 1925 in Ipswich, Suffolk. The talents he was later to develop were a reflection of his genetic and cultural environment. Thus, his grandfather was William Christian Symons, who achieved contemporary minor fame as a painter in water colour and oils even though his work is now largely forgotten. His grandmother, Cecilia Davenport, was a concert pianist before her marriage. Symons was to display both artistic attributes, for he was a skilful self–taught pianist and an accomplished water colourist. The environment was richer than that, though, for the three sons of the grandparent's marriage were Mark, a painter, Phillip, who became a Benedictine monk and served as organist at Downside, and Stephen, Martyn's father. Painting, as already remarked, was one of Symons's great relaxations, and in early life (but not in middle age and after) the Catholic version of the Christian religion gave him guidance and solace. Indeed, there was a stage when he was poised to become a priest, but the passion passed and after the suffering and death of his first wife, who had become a Catholic in order to marry him, he rejected religion.The technical contribution to Symonss environment came from his father, Stephen White Symons, a consultant mechanical engineer, ably supported in the female manner of the day by his wife Marjorie. Here, though, the environment temporarily withdrew its support, for the young Symons entered the John Fisher School in Purley (1933–40), and hated every minute of it. Ill taught (he claimed) and bullied (he interpreted), the teachers—with the freedom of the age–almost literally hammered knowledge of a sort into him, not realizing the sensitivity of the child in their care and presumably contributing at least a little to his unusual psychology.
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Chanin, Natalie, Robert Rausch, Marquetta Dickens, Turcois Vazquez, Justin Cook, Bryan Thomas, Megan May, et al. "Snapshot." Southern Cultures 29, no. 3 (September 2023): 11–129. http://dx.doi.org/10.1353/scu.2023.a904679.
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Abstract: The Snapshot: Climate issue of Southern Cultures includes photography and reflections on climate impacts across the southern states by Jenny Adler, Austin Anthony, Kate Auger, Arden Barnes, Monica Patrice Barra, Robin Boggs, Jared Bramblett, Lily Brooks, Hannah Brown, Becca Burton, Matthew Busch, Gordon Campbell, Natalie Chanin, Vanessa Charlot, Walter Coker, Justin Cook, Cameron Davidson, Marquetta Dickens, Brandon Dill, Benjamin Dimmitt, Rory Doyle, Ryan Emanuel, Cameron Evans, J Henry Fair, Megan Faust, Annie Flanagan, Kathleen Flynn, Jerod Foster, John Gaulden, Hermina Glass-Hill, Allison Grant, Jerry Dickson Greer, Joshua Dudley Greer, Anna Hamilton, Virginia Hanusik, John Lusk Hathaway, Chuck Hemard, Tom Kimmerer, Virginie Kippelen, Jeremy M. Lange, Nate Larson, Mark Long, Jordan Lovejoy, Megan May, Roger May, Lisette Morales McCabe, Rob McDonald, Andrew Moore, Stephen B. Morton, Anna Gage Norton, Jocelyn Painter, Elena Peterman, Daniel Pullen, Tom Rankin, Robert Rausch, Jeff Rich, Beth Roach, Derek Slagle, Michael O. Snyder, Michael K. Steinberg, Bryan Thomas, Jacqui Thurlow-Lippisch, Simon Tye, Turcois Vazquez, Jordan Vonderhaar, Jason Matthew Walker, Will Warasila, Carlton Ward Jr., Brooke White, William Widmer, and Devin Wright.
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Humphris, Adrian, and Geoff Mew. "ARCHITECT ‐ or Painter, Politician, Forger, Farmer: Multiple careers a necessity in 1840s New Zealand." Architectural History Aotearoa 11 (October 1, 2014): 28–34. http://dx.doi.org/10.26686/aha.v11i.7413.
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Emigrants arriving in New Zealand in the 1840s who had some architectural training were rarely able to find full‐time employment in that profession. Some sought to make a living in related fields where their drafting skills could be used (as artists or surveyors); others changed completely to become farmers or real estate agents. A few sought civil service positions or moved into politics. The most persistent bided their time in other employment but moved back to architecture when conditions became more favourable.
Here we describe a number of examples of these categories. Edward Ashworth arrived in Auckland in 1842. Unable to find architectural work, he taught drawing to the Governorʹs children and also produced several paintings of early Auckland. Henry St Hill arrived in Wellington as the New Zealand Companyʹs Architect ‐ but followed a career as magistrate and sheriff. W Robertson practised as an architect in Auckland from 1847 ‐ but also advertised as a real estate agent. S Kempthorne arrived in 1842 as a church architect but did not adapt well to New Zealand conditions and fell out of favour with Bishop Selwyn. By 1864 he was Secretary of a Public Buildings Commission. Reader Gillson Wood, famous or infamous for New Zealandʹs first parliament building, the "Shedifice" in Auckland, became a well‐known politician ‐ but returned to practising as an architect several times during a long career. William Mason thought he was coming to New Zealand as Colonial Architect in 1840. Downgraded to Superintendent of Public Works, he resigned after two years. Mason then moved into auctioneering and farming for the next ten years before returning to architecture and, later, a highly successful career in Dunedin. T O'Meara of Wellington claimed to be an architect but was probably a builder. Either way his drafting ability was found to be wanting when he forged a series of government debentures and tried to pass them for payment. (This resulted in a ten‐year jail sentence, with transportation to Tasmania).
We also explore some of the social reasons for the apparent lack of work for early skilled architects, including the slow‐growing economy, immediate needs for basic shelter/food production and major differences in building material resources compared with settlersʹ countries of origin.
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Alexander, James W. "A Historiographical Survey: Norman and Plantagenet Kings since World War II." Journal of British Studies 24, no. 1 (January 1985): 94–109. http://dx.doi.org/10.1086/385826.
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If the sacred back was not always safe from family and associates in the Anglo-Saxon period, still less was it proffered in the Norman and Angevin periods. William I endured the rebellion of one son, William II an accidental death while hunting; Henry I suppressed a baronial rebellion in favor of his feckless brother Robert Curthose; Stephen's reign was characterized by lawlessness and rebellion on behalf of Empress Matilda. Henry II found his whole family actively at war against him, Richard I met his death in a political quarrel in Aquitaine, John was constrained by a rebellion of many barons to issue Magna Carta, Henry III faced constant baronial opposition to his policies, Edward I was compelled to face magnate disquiet from 1297 to 1300, Edward II was deposed (and betrayed by his wife). Edward III alone of the kings discussed in this portion of my article reigned withal quietly (after 1341) and successfully (in terms of familial and baronial opposition, at least until 1376). This is not a happy picture, but it is one that reminds us that family relations were vital to successful kingship and that a king must, if successful, be a canny politician. Unlike Rosenthal, I have chosen to limit my discussion of royal biography for the period 1066–1377 to pointing out the sources that have appeared in print since 1945 and to book-length royal biographies; no longer is it true (in the words of Sidney Painter written in 1949 that prefaced his study of The Reign of King John) that, “when I started to write this volume, there was no adequate account of the reign of a medieval English king.
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Kaplan, Cora. "BLACK FIGURES/ENGLISH LANDSCAPE." Victorian Literature and Culture 27, no. 2 (September 1999): 501–5. http://dx.doi.org/10.1017/s1060150399272130.
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IN ONE OF HIS LAST CANVASES — worked on for some six years and unfinished at his death — the distinguished genre and landscape painter, William Mulready (1786–1863), famous for his depiction of children and childhood, produced one of the most resonant and complex images of race and Empire of the mid-nineteenth century.1 Titled The Toy Seller and set in an emblematic rural landscape, it displays a mother holding a child of between one and two years old, while a kneeling pedlar respectfully proffers a rattle from a basket of similarly humble toys (Figure 19). The infant, however, perversely refuses to be tempted. Its body and gaze are turned awkwardly away from the toy seller, its shrugged shoulders and unhappy expression graphically suggest the unease provoked by the stranger’s importunities, or perhaps merely his presence. Meanwhile the mother’s look is turned with gentle concern on the distressed child. The pedlar too looks towards the baby with a still amd practiced watchfulness, as if waiting for the mother to coax the child into a more receptive mood. The toy seller is black; the mother and child are white.
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Grossman, Mark I. "Smithson Tennant: meteorites and the final trip to France." Notes and Records of the Royal Society 61, no. 3 (July 13, 2007): 265–83. http://dx.doi.org/10.1098/rsnr.2007.0188.
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Smithson Tennant is known mainly for his discovery of osmium and iridium. This paper details Tennant's involvement with meteorites, which has received little attention by his biographers, and provides new information about his final stay in Paris. Tennant reported his analysis of the Cape of Good Hope meteorite in 1806 and received a sample of the Bendego meteorite in 1811 that was subsequently analysed by Wollaston. During Tennant's final trip to France, which began in September 1814, Berthollet presented a sample of the Limerick meteorite that he received from Tennant to the French Institute. Tennant visited Delamétherie, and an unpublished letter acquired by the author shows that he met the explorer and scientist Alexander von Humboldt. The Limerick meteorite was discussed with Delamétherie and probably with Humboldt. Evidence suggests that Tennant met the painter François Gérard and the scientists Biot, Arago, Gay-Lussac and Cuvier. The Limerick meteorite specimen that Tennant gave to Berthollet is probably Muséum National d'Histoire Naturelle sample MNHN-35, whose donor is unknown. Tennant was the first to be quoted in the scientific literature about the Limerick meteorite—more than three years before the scientist William Higgins published his account of the meteorite shower.
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Moyano Rejano, Rocío. "Distorting Reality through the Crystal Mirror: Dialogue Between Literature and Painting in Waterhouse’s Representations of the Lady of Shalott." Epos : Revista de filología, no. 39 (December 18, 2023): 163–85. http://dx.doi.org/10.5944/epos.39.2023.38387.
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“The Lady of Shalott” is a lyrical ballad written by the English Victorian poet Alfred Tennyson. There have been a wide variety of interpretations of this poem. It has also been a source of inspiration for various artistic expressions, such as art, literature, and music. The purpose of this paper is to examine the process of reverse ekphrasis in two paintings produced by the painter John William Waterhouse: The Lady of Shalott and I Am Half-Sick of Shadows, Said the Lady of Shalott. On the other hand, Nicole (Nick) Loven’s film adaptation of the poem incorporates a circular intertextuality process that revolves around the interaction between images and words. Thus, the narrated text becomes a visual image. The conversion stage of the process of reverse ekphrasis, in which Tennyson’s source text is transformed into Waterhouse’s target text, depends on a specific moment depicted in the poem “The Lady of Shalott,” as conveyed through the lady’s words. Waterhouse’s intertextual dialogue with Tennyson’s poem involves a process of reverse ekphrasis. This interaction between image and word is later transformed into another visual representation. The word transformed into an image is then converted back into an image using a film version.
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Cabe, Linda. "Michael I. Wilson. William Kent: Architect, Designer, Painter, Gardner, 1685-1748. Boston: Routledge and Kegan Paul. 1984. Pp. x, 276. $50.00." Albion 17, no. 4 (1985): 495–96. http://dx.doi.org/10.2307/4049441.
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Verdonk, Peter. "Painting, poetry, parallelism: ekphrasis, stylistics and cognitive poetics." Language and Literature: International Journal of Stylistics 14, no. 3 (August 2005): 231–44. http://dx.doi.org/10.1177/0963947005054479.
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Ekphrasis is a sub-genre of poetry addressing existent or imaginary works of art. Though now a term in poetics, its cultural roots go back to classical rhetoric, which shows that the two have always been in an osmotic relationship. In a wider context, ekphrasis is also the natural outcome of the traditionally strong bond in Western art between poetry and the visual arts, which Aristotle regarded as imitative arts because both make use of mimetic representation. This close link found its fullest expression in Horace’s famous simile Ut pictura poesis. Different periods of Western art history had different ekphrastic agendas, ranging from Homer’s description of the making of the shield of Achilles in the Iliad to Auden’s ‘Musée des Beaux Arts’ on some pictures by Pieter Brueghel the Elder. Auden may have set the fashion, but as it happened this 16th-century Flemish painter became the favourite muse of a great many other 20th-century poets, in both Europe and the USA. As an illustration of this genre, I present a reading of William Carlos Williams’ s ekphrastic poem ‘The Dance’, which was inspired by Brueghel’s picture ‘The Kermess’. In my analysis I combine the tools of stylistics with those of cognitive poetics, which has embraced the cognitive linguistic theory that any act of language use can potentially be related to some underpinning mental faculty, for example, experience, memory, perception, imagination, and emotion. Along these lines, I try to show how my analysis and reading of the poem’s rhetorical elements, or perceived effects, might be traced to certain underlying cognitive structures such as mentally stored real-world experience, memories and images, genre knowledge, the human delight in repetitive formal patterns, the embodied experience of movement, spatial perception, figure-ground alignments in visual and other sensory perceptions, etc.
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Morecroft, Eleanor. "The Battlefield as Enlightened Space: War, the Senses, and the Emotional Soldier, ca. 1790–1840." Eighteenth-Century Life 45, no. 3 (September 1, 2021): 69–87. http://dx.doi.org/10.1215/00982601-9273006.
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The Revolutionary and Napoleonic Wars produced a new generation of military authors and artists who recounted their wartime experiences with unprecedented vividness and immediacy. Exploring the intense conflict and suffering of men at war while also underscoring their virtue and heroism, this work typifies what has come to be known as “military Enlightenment.” This essay examines a selection of military texts and images that represent soldiers’ sensory and emotional experience of the wartime spaces of battlefield and bivouac: the anonymous Journal Kept in the British Army (1796), L. T. Jones's Historical Journal of the British Campaign on the Continent (1797), the work of the army officer and historian William Napier (1785–1860), and the Waterloo images of the army officer and painter George “Waterloo” Jones (1786–1869) presented the wider British public with a complex understanding of war. Even as they represented battlefield violence and death with visceral intensity, they understood battlefield space itself to be grounded in affective practices associated with enlightened modes of virtue, sensibility, and civility. There the chaos and horror of conflict gave way to duty, order, civility, and community, and the distinctions of rank were maintained, even as the common humanity of officers and their men was affirmed.
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Lejman, Beata. "O niebezpiecznych związkach sztuki i polityki na przykładzie „żywotów równoległych” Michaela Willmanna i Philipa Bentuma." Porta Aurea, no. 19 (December 22, 2020): 114–34. http://dx.doi.org/10.26881/porta.2020.19.05.
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Michael Lucas Leopold Willmann (1630–1706) was born in Königsberg (now Kalinin grad in Russia), where his first teacher was Christian Peter, a well -off guild painter. After years of journeys of apprenticeship and learning in the Netherlands, the young artist returned to his homeland, after Matthias Czwiczek’s death in 1654 probably hoping for the position of the painter at the court of Great Elector Frederick William (1620–1688).What served to draw the ruler’s attention to himself was probably the lost painting, described by Johann Joachim von Sandrart as follows: ‘the Vulcan with his cyclops makes armour for Mars and a shield and a spear for Minerva’. The failure of these efforts led the future ‘Apelles’ to emigrate to Silesia, where he created a family painting workshop in Lubiąż (Leubus), and following the conversion from Calvinism to Catholicism, he became a Cistercian painter, creating famous works of art in religious or secular centres of Crown Bohemia. What connects him to Prussia is another painting of great importance in his career, the little -known ‘Apotheosis of the Great Elector as a Guardian of Arts’ from 1682.
The successor to Great Elector Frederick III (1657–1713) was crowned in 1701 as the ‘king of Prussia’. The ceremony required an appropriate artistic setting, which prompted many artists to flock to Königsberg, including a Dutchman from Leiden, the painter Justus Bentum, a pupil of Gottfred Schalken, who reached the capital of the new kingdom together with his son Philip Christian. After studying from his father, Philip Christian Bentum (ok. 1690 – po 1757) followed in the footsteps of the famous Willmann, and went on a journey, from which he never returned to Prussia. He went first to imperial Prague, where he collaborated with Peter Brandl and converted to Catholicism, following which he travelled to Silesia. After 1731, he took part in the artistic projects of Bishop Franz Ludwig von Pfalz–Neuburg of Wrocław (Breslau) and Abbot Constantin Beyer, who completed the project begun by Freiberger and Willmann: the extension and decoration of the Cistercian Abbey in Lubiąż. It was there that he made the largest in Europe canvas -painted oil plafond of the Prince’s Hall and completed his opus magnum: covering all the library walls and vaults with painting. Those pro -Habsburg works were finished two years before the death of Emperor Charles VI (1685–1740) and the military invasion of Silesia by Frederick II Hohenzollern (1712–1786), great - -grandson of the Great Elector.
The fate of the artists mentioned in the title was intertwined with Königsberg and Lubiąż. Both converts set off for the professional maturity from the Prussian capital via Prague to Silesia. They can be compared by the Dutch sources of their art and a compilation method of creating images using print ‘prototypes’. Their inner discrepancy can be seen in the choice of these patterns, as they followed both the Catholic Rubens and the Protestant Rembrandt Van Rijn. They were connected with the provinces playing a key role in Central -European politics: here the Hohenzollerns competed for power in Central Europe with the Habsburgs. They were witnessesto the game for winning Silesia, and even took part in it by creating propagandistic art. Both of them worked for Bishop Franz Ludwig von Pfalz–Neuburg (1664–1732), associated with the Emperor, a kind of the capo di tutti capi of the Counter -Reformation in Silesia. Bentum eagerly imitated selected compositions of his predecessor and master from Lubiąż, and I think he even tried to surpass him in scale and precision. The artistic competition with Willman is visible in the paintings of the library in Lubiąż. There, he presented an Allegory of Painting, which shows the image of Willmann carried by an angel, while the inscription praising the qualities of his character calls him ‘Apelles’.
The work of both painters, who took their first steps in the profession as Protestants in Königsberg, but became famous through their work for Catholics, provides an interesting material for the analysis of the general topic of artistic careers on the periphery of Europe, the relationship between the centres and the periphery, as well as for two stages of re -Catholisation in Silesia treated as an instrument of power. It was usually pointed out how much separates the two painters, but no one has ever tried to show what unites them. The comparison of the sources, motifs, and outstanding achievements of both of them, especially in Lubiąż, gives a more complete picture of their activity deeply immersed in the politics of their times. This picture is not as unambiguous as it has been so far, highlighting the political and propaganda aspects of their career spreading out between the coastal Protestant north and the Catholic south. The drama of their lives took place in Silesia, where the multiple dividing lines of Europe intersected.
The idea of narrating the parallel fates of two artists with great Politics in the background (as in he case of Plutarch’s ‘Parallel Lives’) came to my mind years ago when I curated the Exhibition ‘Willmann – Drawings. A Baroque Artist’s Workshop’ (2001, National Museum in Wrocław, in cooperation with Salzburg and Stuttgart). The present paper was to be included in the volume accompanying that project initiated by Andrzej Kozieł (Willmann and Others. Painting, Drawing and Graphic Arts in Silesia and Neighbouring Countries in the Seventeenth and Eighteenth Centuries, ed. A. Kozieł, B. Lejman, Wrocław 2002), but I withdrew from its publication. I am hereby publishing it, thanking Małgorzata Omilanowska for her presence at the opening of this first great exhibition of mine in 2001, as well for the excellent cooperation with my Austrian, Czech, German, and Polish colleagues. This text, referring to the topic of our discussions at the time – as on the event of the above -mentioned exhibition I spoke at a press conference in Stuttgart’s Staatsgalerie, where the curator of the German exhibition was Hans Martin Kaulbach, exactly two days after the attack on WTC.
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Троицкая, Анна Алексеевна. "MODELING HISTORY: RETROSPECTION AS AN ARTISTIC DEVICE IN WILLIAM ESSEX’S MINIATURES." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(26) (November 22, 2020): 160–71. http://dx.doi.org/10.23951/2312-7899-2020-4-160-171.
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Статья посвящена одной из сторон творчества английского миниатюриста-эмальера Уильяма Эссекса, выполнившего серию исторических портретов представителей тюдоровской династии. В контексте общего интереса к английской истории, а также определенной ретроспективной тенденции, свойственной викторианской эпохе, работы Эссекса демонстрируют восприятие портретной миниатюры как воплощение образов прошлого и как характерную «вещицу из прошлого». Традиция создавать небольшие изображения, предназначенные для приватного созерцания, довольно стара, и англичане, преуспевшие в развитии портретного жанра, на протяжении нескольких столетий были долгое время увлечены ею. В данной статье произведения Уильяма Эссекса рассматриваются с точки зрения стилистических и технических аспектов создания миниатюры, что позволяет осветить вопросы, связанные со сменой восприятия этой малой формы портретного искусства. Парадоксальность ситуации воспроизведения в миниатюре портретов английских монархов c миниатюрных же оригиналов, написанных в XVI – начале XVII вв., исследуется в статье с позиций теории и практики коллекционирования как способа взаимодействия с историей. Интерес к прошлому, разнообразно проявившийся в культуре викторианской Англии, здесь усиливается необходимостью представления фамильной истории английской короны. Выбор формы для ее визуализации определен предпочтением личного, приватного искусства миниатюры, которое придает обращению к истории сентиментальный характер. В контексте зарождения и распространения фотографических портретов той эпохи эмалевые миниатюры выступают как носители образов прошлого, как воплощение угасающего рукотворного искусства, вытесняемого новыми техническими средствами. Наконец, работа Эссекса над историческими портретами тюдоровской Англии, с его стремлением к формально-стилистическому подобию, становится частью сложного ретроспективного механизма, подобного двойной цитате, поскольку оригиналы воспроизводимых миниатюр также не являлись исходными изображениями. Анализ художественно-образных средств, характерных для серии портретов-миниатюр, и исторических обстоятельств возникновения интереса заказчика к конкретным образам прошлого позволяет выявить тонкую грань между воспроизведением и стилизацией, следованием традиции и идеализацией. Исследование специфического художественного опыта создания этих миниатюр обнаруживает особый способ обращения к культурной памяти, а также характер семейных и национальных ценностей, воплощенных через формирование коллекции. Практика коллекционирования – одно из проявлений викторианской визуальной культуры – в данном случае оказывает определенное влияние и на моделирование английской истории, и на формирование художественного вкуса эпохи. The article addresses the artworks of William Essex, an English enamel-painter, who created a series of the Tudors’ historical portraits. In the context of general interest in English history, as well as a certain retrospective trend peculiar for the Victorian era, William Essex`s works exemplify the miniature portraits as the embodiment of images from the past and as something characteristic to the past. The tradition of small-size portraits intended for private contemplation is quite old, and the British, who have succeeded in the development of the portrait genre, have been rather keen on it for several centuries. The article considers William Essex’s miniatures from the point of view of the stylistic and technical aspects of the genre, which allows casting some light on the issues related to the change of perception of this minor art form. The paradox of duplication by Essex of original sixteenth- and early-seventeenth-century miniatures is investigated in the article from the standpoint of the theory and practice of collecting as a way of interaction with history. The reason why the miniatures were commissioned by the Queen is both in necessity to create a gallery of family history of the English crown and in the Victorians` taste for reconstruction of the past. The choice of form for its embodiment is determined by the preference for personal, private miniature art, which gives a sentimental character to the appeal to history. In the context of the origin and spread of daguerreotypes at the time, enamel miniatures act as representatives of images of the past and the phenomenon of the fading handmade art, displaced by new technical means. In addition, Essex’s work on the Tudors’ historical portraits, with his aim for formal and stylistic resemblance, is included in a complex retrospective mechanism, like a double quote, since the sources of the reproduced miniatures were also not painted from the life and had their own originals. The analysis of artistic and imagery methods, characteristic for this series of miniatures, as well as the description of the historical circumstances in which the customer took interest in the specific images from the past, allows exposing a fine line between imitation and stylization, between tradition and idealization. In conclusion, it is stated that the specific artistic experience of the creation of these miniatures reveals a peculiar way to refer to the cultural memory, to assert some family and national values evoked in the process of the formation of the collection. Here the practice of collecting (one of the manifestations of the Victorian visual culture) is closely connected with the modeling of English history and the artistic taste of the era.
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Friedman, Alice T. "A House in Town: 22 Arlington Street, Its Owners and Builders Peter Campbell William Kent: Architect, Designer, Painter, Gardener 1685-1748 Michael I. Wilson." Journal of the Society of Architectural Historians 46, no. 3 (September 1987): 306–7. http://dx.doi.org/10.2307/990246.
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Klęczaj-Siara, Ewa. "DIFFERING PERSPECTIVES ON SCHOOL SEGREGATION ISSUES IN AMERICAN CHILDREN’S PICTURE BOOKS." Journal of Education Culture and Society 11, no. 2 (September 11, 2020): 322–34. http://dx.doi.org/10.15503/jecs2020.2.322.334.
Full textAbstract:
Aim. School segregation is a common theme of children’s books on minority groups living in the United States. Although it is primarily associated with black-white racial divisions, currently it also concerns white-Latino or rich-poor disparities. The aim of this paper is to analyse children’s picture books featuring Latino and African American characters who participate in the struggle against school segregation. The authors of the books, being members of racial minorities themselves, offer differing perspectives on the problem. Although they criticise school segregation, they also focus on the white perspective and the reasons why integrating schools has always been hard to achieve.
Methods. The study analyses the visual and verbal narratives of selected picture books using a variety of methods for examining this literary format. Among others, it applies the theory of picture book analysis by Martin Painter, William Moebius, Maria Nikolajeva and Carole Scott.
Results. The article shows that despite the existing scholarship on race-related problems in American schools, children’s literature seems to be the medium which tries to explain the problem to youngsters being directly involved in the system of segregation.
Conclusions. The results can be useful to educators who cope with the issue of racial diversity in American schools. They may consider using selected titles of children’s literature as teaching aids assisting students from minority groups in the process of self-development and empowerment.