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The critical essays we have collected together here have nothing in common except a shared reluctance to see the world in terms of the certainty provided by essentialist models. In this issue editor Joseph Masheck and contributors explore the meeting points between art and religion, from architecture to artists influenced greatly by religion. Editor Stjepan G. Most essays are accompanied by stills or diagrams… Order here. In this issue editor Bunita Marcus brings together essays and scores by a group of composers that have formed in a loose collective.

Also included or referenced are excerpts from scores by each essayist, as well as Chris Newman… Order here. The editor and contributors pay tribute in various ways to Erik Satie and his composition Sports et Divertissements. In this issue, editor Michael Corris curates a look into the structures of the artist studio and galleries the showroom and how artists process their work from creation to display.

This issue brings together art and artists dealing with bi-culturalism. Often the search for a new identity within the foreign culture creates a crisis of no-identity. Once the process of adaptation occurs, one experiences an incredible sense of apathy. In exchange he has become partially stripped of his most fundamental beliefs and perceptions of the world. This issue, edited by Bernard Trevisano, continues the theme from the previous issue No. Jilek… Order here. Topics covered include colonization, bioengineering, Darwinism and conceptual art, and death.

Dube, and Oren Lyons… Order here. In this issue editor Keith Adams brings together essays, poetry, and art by South African people to give insight into the artistic culture. All have confronted it. The work in this issue has a sense of purpose. Nothing is wasted. The work has a voice of its own. Phil Wakashe… Order here. Schneider… Order here. This issue is devoted to the Hungarian group Squat Theatre, a group of artists, designers, performers, and musicians who produced innovative performance work in Budapest until their expulsion from Hungary in , at which point the group moved to New York.

The 32nd issue of New Observations Magazine contains a selection of short stories tethered to the enduring quest of courtship and its inevitable pitfalls. In this issue, criticism is both applied to subjects and theorized as a topic of discussion. Gerald Just opened the Gallery December in Munster, Germany, in and later moved to a more spacious space in Dusseldorf in In this issue he documents his curatorial work in these spaces with exhibition listings and photos of works and artists… Order here. The cover photograph is by Michael Kolomatsky… Order here. This issue features numerous poems by Duncan Smith… Order here.

This issue is devoted to the writings and works of art by Bruno Pinto with hand-written text in Italian followed by a typed English translation and full-page drawings interspersed throughout… Order here. Photocopied facsimile of the original. This issue is a collection of work grouped in the concept of Energism. Printed Matter… Order here. This issue takes its focus from De Kalb, a small industrial city located near Chicago, exploring the concept of society and civilization in poems and artwork. Earlier Issues. Guest edited by Pedro A. Organic Logic. The Art is in the Mail ing. Mug Shots - Performing Personae.

Of Hermes and History. A Memory Palace. Cultures of Cyberspace. Death and the Will to Live. Artists on Art. Popular Metaphysics. Ripple Effects: Painting and Language. Solar Art. Art in the Folds. The City as Mnemonic Device. Edited by: K.

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On Doubling. From the late s onwards, Adnams became known for her distinctive Surrealist paintings, and exhibited in local galleries and in London, including at the British Art Centre and the Modern Art Gallery. In she was the subject of a retrospective at Derby Art Gallery. She became a prominent muralist, creating decorations for both public and private spaces, including the British Pavilion at the Paris International Exhibition.

As a noteworthy female artist, Adshead exhibited frequently at the WIAC from the mid —s, before serving on their committee in Working at a time when expectations of women were still largely confined to issues of domesticity, her prodigious professional output was noteworthy. Her approach to mural painting — especially in her choice of subjects and her colourful palette — challeged the perceived divisions which determined that public and private spaces should necessarily be treated differently.

She was the subject of a retrospective at Liverpool Art Gallery in Over the next decade her work became increasingly Surrealist, and she contributed artworks to the International Surrealist Exhibition in London. Agar painted radical works that explored female sexuality and womanhood. Her autobiography, A Look at My Life , was published in John of the Cross , and he painted the motif throughout his career.

Aitchison also depicted animals, desert landscapes, and human portraits; many of his recurring subjects—such as a Bedlington terrier, which he owned—held personal significance for the artist.

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Aitchison aimed to achieve luminous yet translucent coloring in his paintings. Warm and fading, they reflect the sentimentality of his memories from childhood. With thanks to Artsy. After finishing university, Aldridge settled in London, taught himself to paint and held his first mixed exhibition in In , he presented his first one man-show at the Leicester Galleries in London and in he exhibited at the Venice Biennale art exhibition in Italy.

In , at age 28, Aldridge, and his cats, moved to Great Bardfield in the Essex countryside and acquired 'Place House'. He quickly became a friend of his neighbour, Edward Bawden, himself a painter. In , Aldridge joined the British Intelligence Corps as an officer interpreting aerial photographs. After leaving the army in , Aldridge returned to landscape painting. Although he was a skilled 'plein air' painter, many works were produced in his studio at his home; his subjects were the Essex countryside, scenes from his many visits to Italy and to Mallorca, and his much-loved garden at Place House.

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At the same time, other artists started moving to Great Bardfield, making the village a dynamic centre for the visual arts. These well-organised shows attracted thousands of art lovers. At these summer exhibitions, Aldridge exhibited his oils while Lucy exhibited her hand-knitted rugs. Although Aldridge's work was well-received, it seemed the most conservative of the Great Bardfield Artists as it possibly reflected the art scene of the s and s in Britain. The early s saw the Bardfield art community fragment but Aldridge would remain in Place House until his death.

He died in , his wife Gretl having deceased a few months earlier. When only seventeen years old he went to Tangier in the company of his father and Joseph Crawhall. He is known as an animal and bird painter, but also produced landscapes of his native Scotland. A great traveller he visited Egypt in and stayed for four years living on a Nile houseboat near Cairo. Alexander was an early member of the Society of Scottish Artists and in he was elected an Associate of the RSA and in a full member.

Solo exhibitions included Upper Grovesnor Galleries, Imperial War Museum holds her work. Lived in Eastleach, Gloucestershire. Although badly injured and having an artificial leg, Allen continued to paint and became Balfour's confidential secretary. From he painted full-time and joined the new Yorkshire Group of Artists. He also travelled in Ireland and was elected a member of the RBA in Although Allen's early work is conventionally realistic he soon developed his distinctive style of simplified landscape and figure studies, which eventually were shown abroad in Canada and America.

In the early s Allen published a series of articles in The Artist on landscape painting in which he expounded his approach. There was a memorial show at Graves Art Gallery, Sheffield, in and in Lived in Ecclesall, Sheffield. He was a British artist, considered to be of the Neo-Romantic school. Allen held a solo exhibition at the Walker's Galleries, London, in , for which the catalogue's introductory essay was written by his fellow painter Brian Thomas.

Pictures were purchased by T. The strain of the exhibition left him, after a while, unable to paint for eight years. In , after being asked to paint a tribute to Cardinal Newman, h e converted to Roman Catholicism at Abingdon. He died in Allinson was the eldest son of a doctor, Thomas Allinson, whose advocacy of vegetarianism and contraception had led to his being struck off, and a German Jewish portrait painter.

After leaving Wycliffe College, Allinson began studying medicine, but gave this up and turned instead to art, gaining a scholarship in his second year at the Slade School of Fine Art. Graduating in , he travelled to Europe to study in Paris and in Munich. Following his first exhibition, at the Alpine Club Gallery, in February , he became one of the founding members of the Camden Town Group, and with other members later joined with the Vorticists to form The London Group. He also designed sets for the Beecham Opera Company.

Following the war he again travelled to Europe. During the s he made a series of posters for London Transport and for the Empire Marketing Board. After the war, he taught at the Westminster Technical Institute. Edmunds, Suffolk. Her first encounter with art took place in when she enroled for a course at the John Hassall Correspondence School as a part-time student. At the time, she was working for the Standard Motor Company as a torch welder. A regular exhibitor during the inter-war years, of particularly her linocuts at the Redfern Gallery, she emigrating to Canada in She was a member of the Canadian Society of Painter-Etchers and Engravers and her career was rekindled when Michael Parkin gave her an exhibition at his gallery in Published by Lund Humphries, ISBN: ISBN Published by St.

Edmundsbury Borough Council, Published by Osborne Samuel Gallery, London, With thanks to artbiogs. For Tim All Alone Oxford, , which he wrote and illustrated, Ardizzone won the inaugural Kate Greenaway Medal from the Library Association, recognising the year's best children's book illustration by a British subject. For the 50th anniversary of the Medal — it was named one of the top ten winning works, selected by a panel to compose the ballot for a public election of the all-time favourite.

In January he recorded the arrival of American troops in Northern Ireland. He witnessed the fall of both Reggio Calabria and Naples, and spent the winter of in Italy before travelling to Germany. His early experiences between Arras and Boulogne are illustrated and described in his book Baggage to the Enemy London An extensive collection of his war pictures, as well as his wartime diaries, can be seen at The Imperial War Museum.

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His style is naturalistic but subdued, featuring gentle lines and delicate watercolours, but with great attention to particular details. The British Library published an illustrated bibliography of his works in Her severe physical disability, probably caused by childhood polio—which confined her to crutches, and, from her mid-thirties, to a wheelchair—rarely prevented her from pursuing her ambitions, or attracting admiring attention.

She excelled at art school, publishing her first illustration, in Pall Mall Magazine, at sixteen, yet her interests shifted toward writing for the theatre. Through a combination of personal acquaintance and initiative, she attracted the attention of eminent theatrical figures, notably Sir Charles Wyndham, Mary Moore, and Mrs Patrick Campbell. While she was in her early twenties several of her plays were staged, including Mrs Jordan, with Campbell in the title role.

Her family moved to London, where she mixed in artistic circles, associating with, among others, Richard Le Gallienne, Alice Meynell, and Gertrude Hudson. Her 'Princess' series in the St James's Gazette, dramatizing the dilemmas of modern womanhood, appeared as The Boudoir Critic in , the same year as her first novel, An April Princess, about a young woman's rebellion against her philistine Victorian family.

The works were, to an extent, self-referential. Smedley had two nicknames among her intimate circle: the Princess, a tribute to her benevolence and fantastical imagination; and Peter the fairy-tale miller's third son , recognizing her longing for masculine freedom and adventure. The books, the first of over forty, coincided with the beginning of Smedley's career as founder and honorary secretary of the International Lyceum Clubs for Women Artists and Writers, established to provide professional women with institutional support.

In her vision the clubs were pioneering. She aspired, not only to enable women to compete equally with men, but to create a democratic, non-hierarchical, centre for worldwide cultural exchange, and travelled across Europe, helping women in Amsterdam , Berlin , Paris , and Florence to open clubhouses.

Despite ambassadorial and administrative commitments Smedley continued to write for adults and children. Works published during her Lyceum years include Conflict , a novel about the unsheltered lives of working women, and Women: a Few Shrieks , a feminist polemic. Her encounters in the art world, through the Lyceum, eventually led her away from the institution. Meetings in Germany with Count Harry Kessler and Ruth St Denis were particularly important for the development of her beliefs and theatre practice.

Kessler, the art patron who promoted Gordon Craig, encouraged her dedication to international peace and synthetic theatre. St Denis, the modernist dancer, identified rhythm as the basis of all art, and introduced Smedley to the Christian Science church, of which she became a lifelong member.

On 20 January Smedley married Maxwell Ashby Armfield — , painter, illustrator, and writer. They had an unconventional partnership: her handicap, and his sexual preference for men, precluded full marital relations, and thus children. Yet their intense working relationship, and romantic friendship, led to fertile collaboration in literature and theatre. Upon their marriage Smedley resigned from the Lyceum, and they set up house at The Uplands, Minchinhampton and from at Rodborough Common in the Cotswolds, writing and illustrating books together.

They founded the Cotswold Players, for which they both wrote plays, developing symbolist performance techniques, and a philosophy of communal, democratic art. At the outbreak of the First World War the Armfields moved to Glebe Place, Chelsea, en route for America, where they hoped to participate in the 'little theatre' scene.

At the end of they procured visas for America, where they directed and taught Greenleaf drama for seven years, basing themselves in New York and Berkeley..

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Armfield, however, wanted more seclusion, so, to Smedley's regret, they returned to England in , setting up a Greenleaf studio at Mockbeggar Hill, Ibsley, the New Forest, and then at 8a Clareville Grove, South Kensington. Her publications during the s included Tales from Timbuktu , for children , Justice Walk , Greenleaf Rhythmic Plays —5 , and Greenleaf Theatre Elements —6, theatre textbooks.

Her autobiography, Crusaders , which unabashedly promotes herself and her work, captures her theatrical extravagance and warmth of character. Deteriorating health and finances blighted Constance Smedley's last decade. The Greenleaf folded, and her publications dwindled. Her death may have been avoidable, but her Christian Scientist faith discouraged her from receiving treatment for her final illness, or for the cataracts that afflicted her towards the end of her life.

Her final obscurity has clouded her earlier achievements, yet her eloquence, inventiveness, and audacity, conveyed through all her projects, have made a lasting impact. Her writing remains fresh and persuasive, while the Cotswold Players and International Lyceum Clubs continue to thrive. His work is held by the British Museum, provincial and overseas galleries. During World War I, with his writer wife Constance Smedley, Armfield attempted to set up a high-flown peoples' Greenleaf Theatre in his studio, an abortive venture amusingly recalled by Margaret Gardiner in her book A Scatter of Memories.

Armfield was a painter of landscape and still life well crafted and full of detail. Lived in Bath, Somerset. He was born in Hastings, Sussex. He held his first one-man show at the Leicester Galleries in In he became a member of Unit One, after which his work took on a surrealist character. For the Festival of Britain , he was commissioned to produce The Storm, and exhibited extensively at the RA from that year.

Armstrong had strong left-wing political convictions and from the time of the Spanish Civil War, when he painted Pro Patria, his pictures occasionally reflected his views. Symbolism is also a feature of his work. Armstrong's pictures are fastidiously painted in muted colours and reflect his own dry wit and gentle nature. Along with John Banting, he is one of only a handful of British artists whose oeuvre can be correctly described as surrealist. The RA held a memorial exhibition in He lived in London.

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While working in Bodley's office Ashbee lived at Toynbee Hall, the pioneer University Settlement in Whitechapel, where he initiated classes in art and craft that became the nucleus of the School of Handicraft and the Guild of Handicraft The Guild is now chiefly known for the metalwork and jewellery designed by Ashbee himself, and for the furniture made for the Grand Duke of Hesse in collaboration with the designer M. For a while the Guild's affairs prospered, but from the receipts from the craftwork fell off disastrously and by the company was forced into voluntary liquidation.

Ashbee continued throughout this period with his architectural practice, which brought in a number of decorative commissions to the Guild. He designed two groups of houses in Cheyne Walk, Chelsea, and a number of squat, square houses in the country, some of which feature in A Book of Cottages and Little Houses. Austen 's John Archibald Austen [commonly known as John Austen] was born in Buckland, Kent, England, on 5 January and trained as a carpenter before moving to London in where he embarked on a career as an artist.

His early work was influenced by the Aubrey Beardsley school of illustrators. In John Austen exhibited at St. John Austen was a prolific illustrator over a period of twenty-five years from He also worked as a commercial artist and drew press advertisement for Buoyant easy chairs and settees and Sunbeam Cars. We are grateful to Chris Mees for assistance. See all works by the artist John A. He studied at the School of Art there and at the Royal College of Art, and , winning the Rome Scholarship for engraving in the latter year.

Austin was a meticulous craftsman-engraver and a vigorous draughtsman, as his series of drawings of Women's Auxiliary Air Force and ballooning activities done during World War II shows. The Tate Gallery holds his work. The Ashmolean Museum, Oxford, organised an exhibition of his work in More recently he was the subject of two shows at the Fine Art Society plc and , the latter organised in conjunction with Liss Fine Art Ltd. Prix de Rome for engraving won in Exhibited RA, RE of which he was a member, and extensively abroad. Lived in London.

He specialised in scenes of the English countryside and in he illustrated Highways and Byways in Essex with F. He also was commissioned to deign railway advertising posters and In , Badmin was elected an Associate of the RWS and became a full member in During the war years he was commissioned to contribute to the Recording Britain project. Published by Sunday Times, London, Published by Collins, London, One of his early murals is to be found in the village hall at Wood Green in Hampshire, which he executed in conjunction with Edward Payne.

At the beginning of the s he returned to Paris where he met Breton, Creval, Giacometti, and Duchamp, amongst others. In he contributed pictures to the International Surrealist Exhibition, in London. After the war, he published A Blue Book of Conversation. He lived in rural Ireland for a while, then settled near his friend Edward Burra at Hastings, Sussex, where he died. Since his death, he has been included in many Surrealist exhibitions. He was given a retrospective at Oliver Bradbury and James Birch, His vision remained remarkably consistent throughout his life. In she moved to St Ives, where she rented no.

After the war, she travelled regularly in Europe and taught at Leeds School of Art in the mids. In , she held her first solo exhibition at the Redfern Gallery. Also in the briefcase — along with a very full passport and his battered old eye-shade — was an unpublished manuscript on painting. This is the source of his quoted pronouncements on life and art. A tutors Barry First paintings accepted at Royal Academy.

A submissions show shift from narrative to landscape Tutored by Frank Brangwyn. Ives after storing his etching plates in Milan Joins St. Ives and moves to Jersey Inherits title- third baronet of St. First one-man show at Zwemmer Gallery in , after which he showed extensively including RA, being elected RA in Work poured from Bawden's studio in the s for companies such as Shell-Mex; book illustrations such as Good Food , , and The Week-end Book , ; and a mass of often ephemeral work which evinced a wonderful wit, economy and aptness to subject. Tate Gallery and many other public collections hold his work.

Bawden did decorations for the ships Orcades and Oronsay and for the Unicorn Pavilion for the Festival of Britain of His son was the artist Richard Bawden. Lived in London and Edinburgh. He achieved wide recognition through the RA where he exhibited regularly from He specialised in landscapes, figure subjects and religious scenes and he was responsible for the mosaics in the Houses of Parliament and Westminster Cathedral.

Elected an Associate of the RA in , he became a full member in Bell belonged to the group of artist-craftsmen who brought about the last flowering of the Pre-Raphaelite movement. He painted in oil and watercolour and was among the pioneers of the revival of the use of tempera, becoming a member of the Society of Painters in Tempera. Anning Bell was also a member of the little-known Society of Twenty Five Painters and also contributed to the magazine Artwork and cartoons for mosaics by him were illustrated in the summer edition.

He was an illustrator and also worked in stained glass and mosaic, making many of his design at the Glass House, Fulham. His bas-reliefs in coloured plaster are best represented by the interior decorations at Le Bois de Moutiers, a house in Varengeville, Normandy, designed by Edwin Lutyens in He was also responsible for executing the decorative friezes designed by Charles Rennie Mackintosh for Miss Cranston's Buchanan Street tea rooms in Glasgow. Bell's appreciation of early Italian art forms the basis of his work in mosaic, a medium he used to great effect in other public commissions in London including the Horniman Museum.

He was an instructor in painting and design at University College, Liverpool in and head of design at Glasgow School of Art from , and Professor of Design at the Royal College of Art, London, from to His wife, Laura Richard-Troncy, a pupil of Alphonse Legros, assisted him with gesso-work and gilding. London, Published by J. Dent, London, She was educated at home by her parents in languages, mathematics and history, and took drawing lessons from Ebenezer Cook before she attended Sir Arthur Cope's art school in , and then studied painting at the Royal Academy in During her childhood, Stephen and her sister Virginia were sexually molested by their half-brothers, George and Gerald Duckworth.

After the deaths of her mother in and her father in , Vanessa sold 22 Hyde Park Gate and moved to Bloomsbury with Virginia and brothers Thoby — and Adrian — , where they met and began socialising with the artists, writers and intellectuals who would come to form the Bloomsbury Group. She married Clive Bell in and they had two sons, Julian who died in during the Spanish Civil War at the age of 29 , and Quentin.

The couple had an open marriage, both taking lovers throughout their lives. Vanessa Bell had affairs with art critic Roger Fry and with the painter Duncan Grant, with whom she had a daughter, Angelica in , whom Clive Bell raised as his own child. She is considered one of the major contributors to British portrait drawing and landscape art in the 20th century.

In , following the death of his father, he moved back to Paris with his family. After he had finished school there, he studied at the studio of Carolus Duran, and spent long hours copying at the Paris museums. He soon became familiar with the leading painters and intellectuals of the day, and became a founder member of the Salon d'Automne, exhibiting alongside the Impressionists and associating with Emile Zola, Oscar Wilde, Albert Moore, Renoir, Degas, Helleu and Toulouse-Lautrec. Toulouse-Lautrec and Belleroche were exact contemporaries, who first met at the age of eighteen.

Belleroche painted Toulouse-Lautrec's portrait and shared with him a passion for the model Lili, who epitomised the Belle Epoch aesthetic of Toulouse-Lautrec's most celebrated posters. Lili became Belleroche's favourite model and mistress. In Belleroche also met the already acclaimed American painter John Singer Sargent, who recognised Belleroche's talent and empathised with his free drawing style and sensitivity to light. They became life-long friends.

Sargent's handling of pastel was a great inspiration to Belleroche, while Belleroche's sensitivity to tone and creation of form through the modeling of light exerted a strong influence on Sargent. In , Belleroche became fascinated by the medium of lithography and by he was a leading figure in the field of lithographic portraiture. Hind, a former keeper of prints at the British Museum, described his works in lithography as "amongst the greatest achievements of the craft since its discovery.

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As however he had no need to live from his art, he rarely took on commissioned portraits, instead choosing models and sitters who interested him. This in part - though not entirely - explains why he is so little known. He was the subject of numerous publications during his lifetime, and in the San Diego Museum of Art organised an exhibition and produced a catalogue entitled The Rival of Painting: the Lithographs of Albert Belleroche.

For just as the war of was recorded by his father, the conflict was recorded by his son, Jean. He not only studied at the Beaux-Arts, and with his father, but was also a favourite pupil of the famous 19th Century French military painter, Edouard Detaille, who firmly believed in him as a future great military painter. As soon as hostilities broke out, Berne-Bellecour was among the first to rally to the Front as a combatant and took part in the Battle of the Marne.

Here, in spite of fine personal heroism, he was able to sketch several scenes in connection with that great historical event, which was met with immediate and enthusiastic success in military circles. His superior officers applied to the War Office for permission for him to be allowed to visit the entire line of French trenches, where he was given leave to roam at ease over the battlefield, sketching here and there at will, and often running great risks. Berne-Bellecour's "Souvenirs du Front" met with such success in Great Britain, that he was invited to visit the British Front and produce a similar document depicting the life of the British soldier under fire.

He was afforded every facility to see the Tommies at their work, and all latitude and freedom were given him along the line. These works were reproduced in "Dans les Lignes Anglaises" - a collection of studies from the British Front - part of a second volume of sketches that he made from the beginning of the war, with this particular painting amongst them.

His sketches are a remarkable series of life-like evocations of the daily routine of warfare. Admirers of the work of this very fine French artist will remark that his method is that of an artist equally gifted as a portrait and as a landscape painter. One consists in the mere rapid sketches taken in the midst of action, sometimes even under the most terrible conditions. Another method is that of the complete war picture - usually some war episode which the artists evolves graphically from his own notes and interprets later in his own studio.

But the third method - the one adopted by Berne-Bellecour - is that of the more finished sketch produced almost in the heat of action upon the battlefield. At times, the artist has begged some soldier engaged in his perilous work to sit for him for a few moments while he notes some characteristic detail. Thus, we feel as we look upon his drawings, the vivid truth and intense reality of the scene his pencil depicts.

Their realism teaches us a magnificent lesson. The tall young officer, hands thrust into his pockets, a pipe in his mouth is bending his head down to watch one of his own men fill his own pipe with tobacco. He does not question the whys and wherefores of the great, incomprehensible, absurd and supreme mystery. He is quietly determined and obeys his superiors without comment. And this, in the opinion of Berne-Bellecour, is the characteristic trait of the British soldier which entirely distinguishes him from his French comrade. In he produced a celebrated series of watercolours, which were reproduced as photogravure prints in a portfolio entitled Dans les Lignes Anglaises.

In he held his first one-person show at the Baillie Gallery. Bevan was an early member of the short-lived Fitzroy Street Group, a forerunner of the Camden Town Group of which he was a founder member in His paintings are highly prized and he is regarded as a leading British painter of the early years of the 20th Century. She was also a fellow of the RSBS from — Travels included Italy. By she had already achieved some commercial success, providing the illustrations for The Why Fairy Book by L. After returning to New Zealand from her studies in Paris, she met fellow artist John Hutton — Together, they embarked on a successful and prolific collaborative relationship eventually marrying in , holding a joint exhibition in Wellington in before relocating to London that same year.

They had three children — including Warwick Blair Hutton — who was to become a noted artist, glass engraver and illustrator — and continued to work and exhibit together in England even after their divorce in Blair made distinctive modernist works, often painted with a palette knife. Many of her paintings also contain classical or biblical references, particularly her landscapes, which recall the backdrops to the figure paintings of the Old Masters.

Many of these were shown at exhibitions in Cambridge where she lived until her death in She also wrote many other books - on Rug weaving, Gemstone craft, Mosaics and Woven structures. In his early work he excelled at creating the world of childhood in a series of works which paid detailed attention to ephemera: comics, badges, cigarette cards and packets. Between he travelled in Holland, Belgium, France, Italy and Spain on a Leverhulme research award studying popular art. In his collector's instinct found outlet in the collages and reliefs he began making, many of them using kitsch items, pop stars or other aspects of popular culture.

He is arguably the doyen of British Pop Art. In he married the painter Jann Haworth and with her became a founder member of the Brotherhood of Ruralists in Six years later he was elected to the RA. Latterly many of his works were reproduced as limited edition prints and sold through outlets like CCA Galleries. Liverpool, Brotherhood of Ruralists by Nicholas Usherwood.

We are grateful to artbiogs. Bliss's family was from Northamptonshire, England. Bliss himself was born in Karachi, India now in Pakistan. Bliss was raised in Edinburgh and educated at George Watson's College from to He had studied Art History in his first year. Bliss then studied painting at the Royal College of Art in London. In his post-graduate year he studied engraving. In the Oxford University Press published his engravings illustrating Border ballads.

Bliss then received a number of commissions, including a commission to write A History of Wood Engraving. In Bliss married Phyllis Dodd, who was a painter. Encouraged by his wife Bliss took up painting again, painting oil and watercolour landscapes in Scotland and England.

Coincidentally his paintings record the end of an era of small-holding. He also painted some urban scenes just before the towns were transformed by high rise and high-density buildings. In the s Bliss established the Blackheath Society, which continues today to attempt to protect the amenity of life in south-east London.

After the war he was appointed Director of the Glasgow School of Art. He referred to Glasgow as "the greatest industrial city in the Empire". Bliss was instrumental in saving much of the Art Nouveau architecture and furniture of Charles Rennie Mackintosh. He continued as Director from until Bliss's own art was exhibited around Britain.

There was an exhibition of his work in the Glasgow School of Art, in the northern hemisphere summer of Much of the work of Bliss's youth has been lost. Most of his engravings were unpublished before the beginning of the War in and his entire collection was stolen during the Blitz. Decades later sixteen degraded blocks were identified at an auction. Most split when printing was attempted. She studied at St.

She first exhibited in at the RA and her first solo exhibition was held at Gimpel Fils, London in followed by many others at home and abroad. Between she worked in Cornwall with artist Roger Hilton joining the Penwith Society in and from for fifteen years she taught at the RCA. Her abstract paintings employ colour, gestural brush marks and texture and for a period experimented with collages, and the combination of polythene, bamboo and paint.

In she was commissioned to create a glass screen for Heathrow Airport having relocated to St. Ives, Cornwall in due to escalating rental prices in London. Tate St. Bibliography: Sandra Blow by Jane Martineau. An exhibition catalogue for a retrospective exhibition held at the Royal Academy of Arts, London, Recent Work. An exhibition catalogue, Andrew Dixon Gallery, London, Published by Lund Humphries, London, Bone achieved early success in book illustration using woodcuts before he turned to painting and art criticism.

He became disillusioned with the Slade and left in to begin illustrating books, with woodcuts, for his mother and other writers. In he was the subject of a joint exhibition at the Goupil Gallery, alongside Rodney Joseph Burn, and in he painted a mural for the underground station at Piccadilly Circus. In he married the artist Mary Adshead and they were to have two sons and a daughter.

The couple travelled extensively across Britain and Europe which allowed Bone to paint outdoors in all weathers and develop a style of bright landscape painting that proved popular and sold well at a number of gallery exhibitions. In June Bone was appointed by the War Artists' Advisory Committee to be a full-time salaried artist to the Ministry of Information specialising in Admiralty subjects.

The post had originally being held by Stephens father, Muirhead Bone, but following the death of Gavin Bone, Stephens brother, Muirhead decided not to continue with the commission. Stephen produced a large quantity of works showing naval craft and coastal installations around Great Britain. He recorded the Normandy landings, painted scenes in Caen and Courseulles after the invasion and went on to record the assault on Walcheren Island in the Netherlands. Towards the end of he travelled to Norway and painted the wreck of the Tirpitz.

Gerald Peters Gallery

After the War, Bone found his style of painting somewhat out of fashion and, although he continued to paint, he found it difficult to get his work exhibited. He became an art critic for the Manchester Guardian, wrote humorous pieces for the Glasgow Herald and did television and radio work for the BBC.

With his wife, he wrote and illustrated children's books. Information archived is from leading historical periodicals and books, and includes eyewitness accounts of historical events, vivid descriptions of daily life, editorial observations, commerce as seen through advertisements, and genealogical records. Databases are encyclopedic in scope and allow full Boolean, group, name, string, and truncated searches.

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