How Classical is Ariadne's Parrot? Southall's Painting and Its Literary Registers

Ramus ◽  
2010 ◽  
Vol 39 (1) ◽  
pp. 53-72
Author(s):  
Paula James
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Literary Representations ◽  
Art Gallery

In this article I suggest ways in which a gorgeously crafted, colourful, compelling 20th century painting of an abandoned Ariadne highlights both her tragic and comic presence in classical literary representations. Joseph South-all's 1925-6 work Ariadne in Naxos (tempera on linen, 83.5 × 101.6 cm), reproduced below, can be viewed in all its glory in the Birmingham City Art Gallery (bequeathed by the artist's widow, Anne Elizabeth, in 1948) but it was featured to fine effect in the 2007 exhibition The Parrot in Art: From Dürer to Elizabeth Butterworth, Barber Institute of Fine Arts, University of Birmingham. It was in this psittacine (psittaceous?) context that I first encountered Ariadne's parrot so the bird perhaps loomed larger in the painting than it might as a stand-alone Southall on its home ground in the Gallery.

From the history of manufacturing Romanian nai at the turn of 20–21 centuries

2018 ◽  
pp. 71-74
Author(s):  
A. Drutsé
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Research Interest ◽  
Modern World ◽  
Music Theater ◽  
Technical Improvement ◽  
Performance Skills ◽  
Doctoral Candidate ◽  
History Of ◽  
And Performance

The modern world popularity of the nai — a traditional Romanian instrument — has identified interest in writing this article. This problematic constitutes the circle of our research interest as a doctoral candidate, but also as a concert performer, a graduate of the Academy of Music, Theater and Fine Arts. One of the most interesting aspects of the study of nai is its technical improvement since 60s of the 20th century, which led to the acquisition of a number of new, innovative skills and performance skills. In this article we have identified some pages of the modern history of the manufacture of this ancient instrument associated with these processes.

Mun Sen, Yong (1896–1962)

2018 ◽  
Author(s):  
Kelvin Chuah
Keyword(s):  
World War Ii ◽  
Subject Matter ◽  
Fine Arts ◽  
Vice President ◽  
The State ◽  
Chinese Art ◽  
World War ◽  
Art Gallery ◽  
State Museum

Yong Mun Sen was a prominent watercolorist born in Sarawak, Malaysia, and is acknowledged as one of the country’s pioneer artists. His watercolor landscapes and depictions of life present visual histories of British Malaya, and his subject matter ranges from tropical scenes to farming imagery to local architecture. A self-taught painter, Mun Sen’s residence in Singapore and subsequent permanent relocation to Penang created his fruitful artistic relationships with artists based in both locations. Notably, Mun Sen went for plein air trips with his peers in Singapore and Penang, which was an art activity not previously practiced by local artists in the area but most suitable for watercolor productions. Artists active in Penang before World War II also held gatherings at Mun Sen’s photographic studio. This group of artists formed the Penang Chinese Art Club (1935) with Mun Sen serving as vice-president. Mun Sen also contributed to the formation of the Nanyang Academy of Fine Arts, Singapore (1938). As Tan Chong Guan has written, local and foreign patrons collected Mun Sen’s watercolors, including Malcolm MacDonald, the governor-general of British Malaya. Mun Sen was nationally recognized with exhibitions at The National Art Gallery of Malaysia and also the State Museum of Penang, both in 1972.

The Library of the Barber Institute of Fine Arts at the University of Birmingham

2010 ◽  
Vol 35 (4) ◽  
pp. 24-28 ◽  
Author(s):  
David Pulford
Keyword(s):  
Art History ◽  
Fine Arts ◽  
Art Gallery ◽  
Art Galleries ◽  
University Library ◽  
The University

The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.

scholarly journals 20th-century Bronx Childhood: Recalling the Faces and Voices

Collections ◽  
2017 ◽  
Vol 13 (2) ◽  
pp. 91-102
Author(s):  
Janet Butler Munch
Keyword(s):  
New York ◽  
Oral History ◽  
20Th Century ◽  
Sensory Experience ◽  
Spoken Word ◽  
Art Gallery

A popular photographic exhibit on childhood, originally featured in the Lehman College Art Gallery in the Bronx, New York, was brought to life two decades later through a library digitization grant. The website Childhood in the Bronx ( http://www.lehman.edu/library/childhood-bronx/home.htm ) features 61 photographs of boys and girls with family or friends, at play, on streets, and in parks, schools, shelters, hospitals, and other locales. Oral history sound excerpts about their childhood, not heard in the original exhibit, complement the 18 vintage photographs shown. The combination of images with the spoken word enhances the user's sensory experience with deeper meaning and enjoyment. This article discusses how the project was accomplished and what can be learned from the Lehman digitization team's experience.

Fine arts libraries in British Columbia: culture on the West Coast of Canada

1999 ◽  
Vol 24 (3) ◽  
pp. 5-7
Author(s):  
Melva J. Dwyer
Keyword(s):  
British Columbia ◽  
Fine Arts ◽  
Public Library ◽  
Art Gallery ◽  
Public College ◽  
University Of British Columbia ◽  
The North ◽  
Arts And Culture ◽  
The University ◽  
The North Pacific

Fine arts and culture have existed in British Columbia from the time that the First Peoples came to the North Pacific coast of Canada. Vancouver’s first fine arts library was established in 1930 at the Vancouver Public Library; significant collections have subsequently been developed at the Vancouver Art Gallery, Emily Carr Institute of Art & Design and the University of British Columbia. They serve a diverse clientele: students, artists and researchers. Outlook, a province-wide network, provides access via the Internet to library catalogues of public, college and institution libraries throughout the Province.

Stewart, Col Sir Frederick (Charles), (died 10 March 1950), Chairman of Thermotank Ltd, Thermotank Engineering Co., Ltd, Glasgow, London, Liverpool and Newcastle, of Thermotank (SA) (Pty) Ltd Johannesburg, and of Thermotank (India) Ltd, also President of Thermotank (Canada) Ltd; Chairman: North British Locomotive Co., Ltd, Glasgow and London; North British Locomotive Co. (Africa) Ltd; Kelvin, Bottomley & Baird, Ltd, Glasgow, London and Basingstoke; Kelvin & Hughes, Ltd; Clyde Confections Ltd; Deputy Chairman; Brown Bros & Co., Ltd; Henry Hughes & Son, Ltd; Director: William Baird & Co., Ltd; The Clydesdale & North of Scotland Bank, Ltd; Eagle Star Insurance Co., Ltd; Scottish Industrial Estates Ltd; Hillington Industrial Estates Ltd; Bruas-Perak Rubber Estates Ltd; Caledonian Trust Co., Ltd, Second Caledonian Trust Co., Ltd, Third Caledonian Trust Co., Ltd; S. Smith & Sons (England) Ltd; Midland Bank Ltd; Midland Bank Executors & Trustee Co. Ltd; Western Reversion Trust Ltd; Consulting Ventilating Engineer to Ministry of Sea Transport; Past President, Institution of Engineers and Shipbuilders in Scotland, 1941–43 (now Hon. Member); Assessor to the Rector of Glasgow University; Hon. Vice-President: Glasgow County Scout Council; Royal Glasgow Institute of the Fine Arts; Glasgow Art Gallery and Museums Associations; Zoological Society of Glasgow; Vice-President Institute of Industrial Administration; Member of Council, Institution of Naval Architects; Governor, Royal Scottish Academy of Music; Member: Clyde Navigation Trust; Lloyds Register of Shipping (Glasgow Committee); Hon. Company of Master Mariners, London; Wardens’ Court, The Worshipful Company of Shipwrights, London; Institute of British Engineers; Admiralty Aeronautical Research Advisory Panel; Railway Staff Tribunal; Executive Council (and of Scottish Committee) of Festival of Britain, 1951; etc

2007 ◽  
Keyword(s):  
Fine Arts ◽  
Vice President ◽  
Advisory Panel ◽  
Art Gallery ◽  
Past President ◽  
Sea Transport ◽  
Zoological Society ◽  
Industrial Estates ◽  
Festival Of Britain ◽  
Deputy Chairman

The Boxing Paintings of Thomas Eakins

Prospects ◽  
1979 ◽  
Vol 4 ◽  
pp. 403-419
Author(s):  
Carl S. Smith
Keyword(s):  
Fine Arts ◽  
American Art ◽  
Vigorous Activity ◽  
New Haven ◽  
Yale University ◽  
Art Gallery ◽  
Thomas Eakins ◽  
Human Figure ◽  
Ancient Times ◽  
Philadelphia Museum Of Art

Late in the 1890s, accompanied by several of his friends, Thomas Eakins attended a number of prizefights at the Arena on the corner of Broad and Cherry Streets in Philadelphia, diagonally across from the Pennsylvania Academy of the Fine Arts and a few blocks from his Chestnut Street studio. Eakins was sufficiently intrigued by the matches he saw to befriend several of the participants and to ask them to pose for him. The results were three major canvases—Taking the Count (1898—Yale University Art Gallery, Whitney Collections of Sporting Art, New Haven, Conn.), Salutat (1898—Addison Gallery of American Art, Phillips Academy, Andover, Mass.), and Between Rounds (1899—Philadelphia Museum of Art)—and about ten related sketches, studies, and portraits. Although since ancient times painters and sculptors have celebrated their periods' equivalent of the pugilist, Eakins' boxing paintings are completely original in their conception. Indeed, one can think of few works by a serious artist of Eakins' era as far removed from the lofty propriety that dominated nineteenthcentury American art as are these treatments of nearly nude boxers. The boxing paintings reflect Eakins' special fondness for sport and vigorous activity in his life and art, as well as his sometimes controversial belief in portraying the unidealized human figure; but they go beyond these interests insofar as they are complicated compositions by a mature master who is using his craft to examine his life and career.

scholarly journals Artistic explorations of Lviv artists of decorative and applied arts in small-scale plastics of the second half of the 20th century: image of a human being

2021 ◽  
Vol IX(258) (47) ◽  
pp. 10-14
Author(s):  
V. Honcharuk
Keyword(s):  
20Th Century ◽  
Art Criticism ◽  
Fine Arts ◽  
Decorative Arts ◽  
Small Scale ◽  
Human Being ◽  
Applied Art ◽  
Wide Range ◽  
Characteristic Features

The present article examines the special characteristics of the development of small-scale sculpture as an independent phenomenon in Lviv fine arts of the second half of the 20th century within the framework of the interpretation of a human being image, since the following problem has not been sufficiently studied in Ukrainian art criticism. In particular, the research focuses on the specific features of artistic experiments of the representatives of decorative and applied art in the field of anthropomorphic sculpture; traces characteristic features of conceptual and modelling solutions; identifies artistic and stylistic features and peculiarities of the representation of a human being image. The author stresses upon the role of Lviv Ceramic and Sculpture Factory that largely set trends in the development of small-scale sculpture. In addition, as based on works of famous representatives of Lviv school of decorative arts, the author identifies the variety of interpretations and wide range of modelling means as well as traces the most vivid anthropomorphic designs.

scholarly journals La recuperación de los centros históricos durante el Franquismo. El caso de Jaén

Imafronte ◽  
2020 ◽  
pp. 29-58
Author(s):  
José Manuel Almansa Moreno
Keyword(s):  
20Th Century ◽  
National Economy ◽  
Special Function ◽  
Fine Arts ◽  
Directorate General ◽  
History Of ◽  
Siglo Xx ◽  
The City ◽  
Santa Maria ◽  
Modern Image

PRUEBA - A mediados del siglo XX se inicia la revalorización de los centros históricos en Es- paña, especialmente de aquellas ciudades vinculadas con la historia de nuestro país, buscando desarrollar su potencial turístico como pieza clave para mejorar la economía nacional y ofrecer una imagen de modernidad en el extranjero.En esa labor tiene especial importancia la Sección de Ordenación de Ciudades de Interés Artístico Nacional, organismo dependiente de la Dirección General de Arquitectura, cuyos arquitectos son los encargados de diseñar proyectos de mejora y embellecimiento urbano, los cuales generalmente se complementaban con otras intervenciones acometidas en los edificios monumentales por otras instituciones (como, por ejemplo, la Dirección General de Bellas Artes o los cabildos municipales).A través de este estudio pretendemos analizar las intervenciones acometidas en la ciudad de Jaén durante la década de los 60 y 70, proyectos urbanísticos llevados a cabo si- guiendo otros ejemplos en la provincia como las reformas acometidas en Úbeda y Baeza una década antes, y que pretendían embellecer espacios tan emblemáticos como la Plaza de Santa María y el histórico barrio de la Magdalena. In the middle of the 20th. century began the revaluation of the historical centers in Spain, especially those cities linked to the history of the country, seeking to develop their tourist potential as a key piece to improve the national economy and to offer a modern image abroad. In this work it has special function the Section of Ordination of Cities of National Artistic Interest, organism dependent of the Directorate General of Architecture, whose architects are in charge of designing projects of improvement and urban beautification, which were generally complemented by other interventions in monumental buildings by other institutions (such as the Directorate General of Fine Arts). Through this study we intend to analyze the interventions undertaken in the city of Jaén during the decades of the ' 60s and ' 70s, urban projects carried out following other examples in the province as the reforms undertaken in Úbeda and Baeza a decade before, and which sought to beautify so emblematic as the Square of St. Mary and the historic district of the Magdalene.  

scholarly journals Identification of the type of paint, acrylic or vinyl, in works of two contemporary painters, Manuel Vilarinho and Pedro Cabrita Reis, by ATR-FTIR

2020 ◽  
Vol 34 ◽  
pp. 109-115
Author(s):  
Maria Eduarda Araújo ◽  
Oleksander Pavlyshyn ◽  
Alice Nogueira Alves
Keyword(s):  
20Th Century ◽  
Fine Arts ◽  
Spectroscopic Technique ◽  
Synthetic Materials ◽  
First Case ◽  
Materials Used ◽  
Acrylic Paints ◽  
Contemporary Artists

Many times, records of the materials used by contemporary artists in their first works are scarce. If the work under study has been carried out during the artist youth, sometimes artists just remember to have used synthetic materials but no longer have memory of its specific type. In the last decades of the 20th century, vinyl-based synthetic paints marketed as Sabu paints, were sold at affordable prices making them popular among the students of Fine Arts as substitutes of more expensive acrylic paints. Using the ATR-FTIR spectroscopic technique it was possible to unequivocally distinguish acrylic from vinyl paints in two early works from Manuel Vilarinho and Pedro Cabrita Reis, both belonging to the collection of the Faculdade de Belas-Artes da Universidade de Lisboa. Samples from the first case painting presented the characteristic peaks of acrylic paints while those collected from the second case paint presented the characteristic peaks of Sabu paints.

Sign in / Sign up

Export Citation Format

Share Document