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Angus McBean - Portraits
No full textAngus McBean (1904-90) was one of the most extraordinary British photographers of the twentieth century. In a career that spanned the start of the Second World War through the birth of the 'Swinging Sixties' to the 1980s, he became the most prominent theatre photographer of his generation and, along with Cecil Beaton, the last of the British avant-garde studio photographers.During the 1930s and 1940s, McBean developed Surrealist techniques, including the depiction of the actress Dorothy Dickson as a water lily. Yet his style kept pace with the times and by the 1950s and 1960s he was taking photographs of celebrities from Cliff Richard to Shirley Bassey. Arguably his most famous image is of the Beatles, leaning over the balcony at their recording studios, which was used on the album cover Please Please Me. His celebrated series of self-portraits, which he sent out as Christmas cards, capture his witty and eccentric personality, while his numerous photographic commissions in the 1980s - including his work with the pop singer David Sylvian - demonstrate his inventiveness and creativity.For the first time since his death in 1990, McBean's photographs of stars such as Vivien Leigh, Laurence Olivier, John Gielgud and Audrey Hepburn, and his colour prints from the 1960s of the Beatles, Maria Callas and Spike Milligan are to be brought together in a major retrospective exhibition, accompanied by this fascinating book. Terence Pepper's intriguing account of McBean's life and work includes extracts from the photographer's unpublished autobiography and is illustrated throughout with full-page colour and duotone reproductions.Published to accompany the retrospective exhibition at the National Portrait Gallery, London (5 July-22 October 2006), Graves Art Gallery, Sheffield (2 December 2006-10 March 2007), Amgueddfa Cymru - National Museum Wales (31 March-3 June 2007) and at Royal West of England Academy, Bristol (31 March 2007-20 May 2007)
Peggy van Praagh in "Jardin aux lilas", 1939 [picture] /
No full textTitle from accession record.; Condition: Good.; Part of the collection: Dame Peggy van Praagh collection. "Angus McBean / London"--Signed lower left. "Peggy van Praagh", "Favorite role "Jardin aux lilas" Lilac garden, 1938 [overwritten 1939]"--Handwritten on reverse. "Angus McBean, photographer, maskmaker, 29B Belgrave Road, London ..."--Photographer's stamp on reverse. "Royal Opera, Covent Garden International Opera season 1939 (May 1 - June 16) Peggy van Praagh who will be dancing as premier danseuse in "Aida" on Monday, May 29"--Publicity label attached to reverse
Sic transit gloria.
No full textGift of Dr. Mary Jane Esplen.Piano vocal [instrumentation]F major [key]Andante moderato [tempo]Popular song ; musical [form/genre]Crescent moon and stars ; photographs of cast [illustration]Angus McBean [engraver
Robert Helpmann as King John, Stratford-upon-Avon 1948 [picture] /
No full textTitle from printed information on reverse.; Condition: Good.; "Robert Helpmann as King John, Stratford-upon-Avon 1948, Royal Shakespeare Theatre series number 1, photograph by Angus McBean"--Printed on reverse
Peggy van Praagh and Hugh Laing in "The happy hypocrite", 1936 [1] [picture] /
No full textTitle from accession record.; Condition: Good.; Part of the collection: Dame Peggy van Praagh collection.; "Angus McBean 36"--Lower left. "Happy Hypocrite with Hugh Laing"--Handwritten in pencil on reverse
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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