Bibliografías temáticas / Vernon Gallery (London, England)

Literatura académica sobre el tema "Vernon Gallery (London, England)"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 27 de julio de 2024

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Artículos de revistas sobre el tema "Vernon Gallery (London, England)"

Mark, Emily. "London: 'Conquering England' at the National Portrait Gallery". Circa, n.º 113 (2005): 88. http://dx.doi.org/10.2307/25564351.

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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, n.º 3 (agosto de 2010): 613–25. http://dx.doi.org/10.1017/s0021875810001556.

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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.

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Orr, Michael, Jon Leach y Amy Koerbel. "Serpentine Gallery Pavilion 2017". Structural Engineer 96, n.º 11 (19 de noviembre de 2018): 18–28. http://dx.doi.org/10.56330/qcmi5074.

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The annual Summer Pavilion programme at the Serpentine Gallery in London is unique. It presents the work of an international architect, or design team, who has not completed a building in England at the time of the Gallery's invitation. The design and construction of each pavilion must be completed within six months and it remains situated on the Gallery's lawn throughout the summer for the public to explore and enjoy, before being demounted and relocated to a permanent site. The commission for the 2017 pavilion was accepted by Berlin-based Burkinabe, Francis Kéré and his practice. For the fifth year, AECOM provided technical design services including structural and civil engineering, fire engineering, specialist lighting and electrical design. The project was successfully completed on time and within budget, opening to the public in June 2017. This article describes the technical and engineering challenges of delivering Francis Kéré's vision of a floating steel-and-timber tree-like canopy over the sinuous timber walls that define the spaces inside the pavilion. Those spaces provided a temporary home to a wide range of community-based activities, ranging from cookery classes led by asylum seekers to 'Build your own pavilion' workshops, opening up the world of engineering and design to future generations. A fusion of traditional design methods combined with the very latest digital modelling technologies was used in the delivery of the pavilion. This included pioneering examples of combining augmented and virtual reality throughout the whole design and construction process, which enabled the intricate details of the pavilion to be quickly communicated and fully resolved before fabrication and construction commenced.

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BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain". European Review 13, n.º 4 (octubre de 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.

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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.

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Deslandes, Paul R. "Keith Vernon. Universities and the State in England, 1850–1939. Woburn Education Series. London: Routledge, 2004. Pp. vi+276. $114.95." Journal of British Studies 45, n.º 1 (enero de 2006): 196–98. http://dx.doi.org/10.1086/500890.

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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, n.º 01 (8 de marzo de 2007): 158–60. http://dx.doi.org/10.1017/s096392680727453x.

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Swinney, G. N. "The evil of vitiating and heating the air: Artificial lighting and public access to the National Gallery, London, with particular reference to the Turner and Vernon collections". Journal of the History of Collections 15, n.º 1 (1 de mayo de 2003): 83–112. http://dx.doi.org/10.1093/jhc/15.1.83.

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Bock, Carol A. "AUTHORSHIP, THE BRONTËS, AND FRASER’S MAGAZINE: “COMING FORWARD” AS AN AUTHOR IN EARLY VICTORIAN ENGLAND". Victorian Literature and Culture 29, n.º 2 (septiembre de 2001): 241–66. http://dx.doi.org/10.1017/s1060150301002017.

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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).

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Mitjans, Frank. "Non sum Oedipus, sed Morus". Moreana 43 & 44 (Number, n.º 4 & 1-2 (marzo de 2007): 12–67. http://dx.doi.org/10.3366/more.2007.43-44.4_1-2.4.

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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.

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Johl, S. S. "Italian Psychiatry". Bulletin of the Royal College of Psychiatrists 9, n.º 4 (abril de 1985): 73–74. http://dx.doi.org/10.1192/s0140078900001681.

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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.

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Libros sobre el tema "Vernon Gallery (London, England)"

Britain), National Gallery (Great, ed. The National Gallery, London. New York: Thames and Hudson, 1989.

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

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

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The whispering gallery. Oxford: ISIS, 2012.

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

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ill, Klassen J., ed. The hidden gallery. New York: Balzer + Bray, 2011.

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ill, Klassen J., ed. The hidden gallery. New York: Balzer + Bray, 2011.

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

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Wilder, Jess. A singular vision: Fifty years of British painting at the Portal Gallery. Munich: Prestel, 2009.

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(England), Corporation of London. The works of art of the Corporation of London: A catalogue of paintings, watercolours, drawings, prints and sculpture. Cambridge: Woodhead-Faulkner, 1986.

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Capítulos de libros sobre el tema "Vernon Gallery (London, England)"

Mörsch, Carmen. "Die Bildung der A_N_D_E_R_E_N durch Kunst". En Postcolonial Studies, 355–76. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839449868-018.

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Carmen Mörsch fokussiert in diesem Beitrag auf die Entwicklung der Kunstvermittlung in England in London. Dort ist dieses Arbeitsfeld weltweit am stärksten ausdifferenziert, und seine Diskurse und Praktiken setzen bis heute auch in Deutschland Impulse. Dies ist kein Zufall, denn seine Entstehung ist eingebettet in die Zeit der Nationalstaatsbildung und verwoben mit der Entstehung des Empire und damit mit der Formierung einer kolonial und kapitalistischen Gesellschaftsordnung. Anhand kurzer historischer Abrisse zum 18. und 19. Jahrhundert sowie eines Fallbeispiels, der Whitechapel Art Gallery in London und ihrer Vorläuferinstitution, dem Social Settlement Toynbee Hall, soll anschaulich werden, dass es sich bei Kunstvermittlung um ein Arbeitsfeld handelt, in dem sich minorisierte Subjektpositionen - allen zuvorderst und bis heute weiße, bürgerliche Weiblichkeit - professionelle Handlungsräume und Sichtbarkeit erkämpften und dass letztere nicht ohne Verluste - nämlich auf Kosten rassistisch und klassistisch markierter A_n_d_e_r_e_r - zu haben waren.

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Gee, Austin. "England 450–1066". En Annual Bibliography Of British And Irish History, 60–72. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780199265664.003.0004.

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Abstract 1115. Keynes, Simon. ‘Apocalypse then: England A.D. 1000’, A378, 247-70. 1116. Pelteret, David A.E. (ed.) Anglo-Saxon history: basic readings. New York: Garland, 2000. xxx, 450p. [Composite volume; all items previously pub lished: not itemised.] B.Historiography and Historical Methods See also [BJ: 491; [C]: 1005; [DJ: 1199, 1212, 1284; [F]: 2298; [HJ: 4752, 4811 1117. Banham, Debby; et al. ‘Bibliography for 2000’ [Anglo-Saxon studies]. Anglo-Saxon England, 30 (2001), 247-314. 1118. Barker, Katherine; Darvill, Timothy. ‘Introduction: landscape old and new’, A25, 1-8. 1119. Brown, Gary; et al. ‘A Middle-Saxon runic inscription from the National Portrait Gallery and an inscribed fossilised echinoid from Exeter Street, London’, Medieval Archaeology, 45 (2001), 203-210. 1120. Chaplais, Pierre. English diplomatic practice in the middle ages. London: Hambledon & London, 2002. 277p.

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

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

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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?

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Scase, Wendy. "John Northwood’s Miscellany Revisited". En Insular Books. British Academy, 2015. http://dx.doi.org/10.5871/bacad/9780197265833.003.0006.

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London, British Library, MS Additional 37787, a volume of prayers and other devotions and related material, was part-edited by Nita S. Baugh as A Worcestershire Miscellany Compiled by John Northwood c. 1400 (1956). Baugh’s title was based on ownership inscriptions of John Northwood, monk at Bordesley Abbey, Worcestershire, and members of the Throckmorton family also of Worcestershire. These associations have made the manuscript an important witness in narratives about Cistercian participation in the production and circulation of Middle English verse manuscripts in the West Midlands and the role of monasteries in fostering vernacular writing and book production, including the Vernon and Simeon manuscripts. This chapter proposes that this view is called into question by careful codicological examination of the volume. Through challenging these propositions it suggests alternative ways to explore and explain the production of books containing vernacular prayers and devotions in late medieval England.

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Coltman, Viccy. "‘The loving labours of a learned German’: Adolf Michaelis and the historiography of classical sculpture in Britain". En Classical Sculpture and the Culture of Collecting in Britain Since 1760, 7–48. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199551262.003.0002.

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Abstract In a letter of 20 September 1877, Adolf Michaelis, Professor of Classical Archaeology at the new Kaiser-Wilhelm-Universitaät in Strasbourg, wrote from the London home of George Scharf, Director of the National Portrait Gallery, to the Right Honourable W. Cowper Temple at Broadlands in Hamp-shire: ‘beg[ging] your pardon for having delayed so longtime the returning the Memorandum [figure 3] and sending my slight Notes on your Collection [figure 4]’. The German academic had compiled these notes during his third research visit to England, undertaking exhaustive, first-hand, study for a forthcoming publication devoted to ancient sculptures in English private collections. Michaelis explained all this in a letter dated 25 August 1877 to the 5th Marquis of Lansdowne, whose ‘matchless collection’ of ancient sculptures at Lansdowne House in Berkeley Square, London he had previously examined during his second visit to Britain in 1873 and to which he wished to gain access again ‘to make notes upon the marbles, in order to give a fuller account of them’.

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

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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.”

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

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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....

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