14,688 research outputs found
Letter from Herbert Nicholson to Michi Weglyn, October 30, 1980
No full textA letter from Herbert Nicholson to Michi Weglyn about his experiences working with other religious figures in the Manzanar incarceration camp.These materials are from box 73 and 74 of the Frank Chin Papers. The Frank Chin Papers contain personal and professional correspondence between Frank Chin and Michi Weglyn relating to particular projects on which either author was working as well as files related to the Day of Remembrance Tribute to Michi Weglyn
Ben Nicholson 1894-1982 - ACE151.2
No full textPatrick Heron, Felicitas Vogler, Leslie Martin, Andras Kalman, and Angela Verren each reminisce about Ben Nicholson whom Heron claims "was the greatest English painter since Turner". Photographs of Ben Nicholson at various stages of his life. John Read VO says that Nicholson has been called "the man who re-drew the map of English painting" and says that the events leading up to this were witnessed by his father, Herbert Read. Cover of edition of Axis from 1935. Page from magazine showing Nicholson’s Carved Relief in White (1935). He "changed the whole idea of what painting should be"; commentary reads from Axis article by H. Read, explaining different techniques employed: landscapes, a collage, paintings. A photograph of Nicholson carving out shapes in wood. White Relief (1936). A sculpture in gardens. Biographical information – photographs of his parents, both of whom were artists, Sir William Nicholson and Mabel Pryde; Ben Nicholson portrait by his mother (c.1910-1914). Leslie Martin points out that Nicholson was born into the art world – family group by Sir William Orpen (A Bloomsbury Family, 1907). Photograph of Nicholson. Kalman talking about Nicholson balancing being an "English gentleman" as well as a member of the avant-garde and supporter of the modern movement. He believes Nicholson reacted against his father’s work. Painting by William Nicholson; Mushrooms (1940). Some still life paintings with Ben Nicholson’s words over on what he learned from his father. Collection of goblets, bottles, jugs, which Nicholson inherited from his father and claimed influenced his move to abstract art. Various works incorporating images of some of these
Ben Nicholson 1894-1982
No full textPatrick Heron, Felicitas Vogler, Leslie Martin, Andras Kalman, and Angela Verren each reminisce about Ben Nicholson whom Heron claims "was the greatest English painter since Turner". Photographs of Ben Nicholson at various stages of his life. John Read VO says that Nicholson has been called "the man who re-drew the map of English painting" and says that the events leading up to this were witnessed by his father, Herbert Read. Cover of edition of Axis from 1935. Page from magazine showing Nicholson’s Carved Relief in White (1935). He "changed the whole idea of what painting should be"; commentary reads from Axis article by H. Read, explaining different techniques employed: landscapes, a collage, paintings. A photograph of Nicholson carving out shapes in wood. White Relief (1936). A sculpture in gardens. Biographical information – photographs of his parents, both of whom were artists, Sir William Nicholson and Mabel Pryde; Ben Nicholson portrait by his mother (c.1910-1914). Leslie Martin points out that Nicholson was born into the art world – family group by Sir William Orpen (A Bloomsbury Family, 1907). Photograph of Nicholson. Kalman talking about Nicholson balancing being an "English gentleman" as well as a member of the avant-garde and supporter of the modern movement. He believes Nicholson reacted against his father’s work. Painting by William Nicholson; Mushrooms (1940). Some still life paintings with Ben Nicholson’s words over on what he learned from his father. Collection of goblets, bottles, jugs, which Nicholson inherited from his father and claimed influenced his move to abstract art. Various works incorporating images of some of these.
Photograph of Winifred Roberts Nicholson. 1921- circa 1923 (Cortivallo, Lugano) (1921-c.1923), where they often spent the winter. Land- and seascapes. Trout (1924), a completely abstract picture, in which the stripes were based on one of his father’s jugs (shown). Picasso’s Bouteille, Guitare, Pipe (1912) which had a profound effect on Nicholson. Christopher Wood’s Self Portrait (1927) and a seascape. Photographs of the Nicholsons’ house in Cumberland; flower painting by Winifred Nicholson showing view from the window; landscapes and a flower painting by Ben Nicholson, as well as another landscape by Winifred, mostly from around 1927. Sailing Boat on a River (1929) by Winifred; a view down the river Fal by Ben (1929). Photograph of Nicholson and Barbara Hepworth. Commentary on Nicholson’s reviving commitment to Abstraction and his "love affair with Parisian painting". Au Chat Botté (1932), "the key picture"; details with Nicholson’s thoughts about the composition read over. Various pictures "the most personal of his career" and "in complete contrast to the total abstraction that followed", including more or the jugs, 1932 (girl in a mirror - drawing) (1932), and composite views of himself and Hepworth. Photograph of their shared studio, photograph of Herbert Read, who lived next door to them in Hampstead where there was "an immense concentration of revolutionary aesthetic power". Exterior Mall Studios, Henry Moore’s flat in Parkhill Road, Blue Plaque to Piet Mondrian, Paul Nash’s house in Eldon Road; commentary points to European artists who were taking refuge in London. Nash’s Equivalents for the Megaliths (1935). Naum Gabo’s Construction through a Plane (Construction on a Plane) (1937). Hepworth’s Three Forms (1935). Top of a sculpture by Moore.
Photograph of Mondrian’s studio; Nicholson’s memories, particularly of the artist’s "silences" over. Mondrian’s Composition with Red, Yellow and Blue (1921). Maxwell Fry’s Sun House (1935) and Lawn Road Flats (1934) by Wells Coates, both buildings of the Modern movement, in Hampstead. Cover of Circle - International Survey Of Constructive Art (1937); co-editor Leslie Martin says that they believed in "some kind of parallel between developments in painting, sculpture, architecture, science too" and hoped to put this kind of "positive, Constructive" work together in a single publication which would "speak for itself". Nicholson quoted, "We’ve got to get rid of the degenerate idea that painting is something to be made on a four-square stretched canvas…" over abstract; black and white reproduction of 1939-44 (painted relief) (1939-1944); another relief. Nicholson quoted, saying that "it’s passion, not patience…" which produces art; photograph of him at work. Martin describes going to an exhibition of contemporary art in the mid-1930s, and seeing three painted reliefs by Nicholson; he explains why he likes the painting he subsequently bought (shown). Similar painting; commentary says Nicholson "began to reintroduce colour" to his work, "refusing to restrict his artistic freedom by any kind of formal theory". Commentary quotes Winifred Nicholson on "the nature of abstract colour" over more abstracts; details. June 1937 (painting) (1937). Felicitas Vogler says that Nicholson liked soft, pastel colours: 1938 (painting - version 1). Commentary says that the artists of the Modern movement dispersed on the advent of war, and the movement itself was "virtually at an end".Views of St Ives, where Nicholson, Hepworth, and their children, went to live; Nicholson quoted over. Landscape: commentary says that this, "the nature of the light, the colours, the textures, and the sense of space were especially exciting to the modern artists who moved down there". Patrick Heron talks about the importance of environment to the artist, particularly of West Cornwall to the mid-twentieth century artist. Nicholson’s studio showing lighting and notes he made. Heron shows some of the items he found there, including the compasses he used to draw his circular shapes.
Early painting of St Ives bay; sketch of similar view with foreshortened perspective. Photograph of Alfred Wallis; his cottage. Painting by Wallis; Heron talking about Wallis’s work, its relevance to contemporary artists, and Nicholson’s attraction to it. Schooner, Fishing Boat and Lighthouse. Heron relates anecdote concerning Nicholson’s attitude to his work.
View of St Ives. Nicholson’s St Ives (1940-1946). Landscape sketch; film of same view. Landscape with jugs. Sketch of ship off St Ives links; film of similar view including churchyard; other sketches of subjects in the churchyard. Commentary notes that "the Cornish views were often framed in a window" with superimposed jugs and vases: More houses and landscapes with jugs and mugs superimposed including 1945 (St. Ives) (1945). Heron says "this device of the window" derives from Cubism, particularly the work of Braque and Picasso, and describes how Nicholson extended it by superimposing the jugs, etc. St Ives bay; rooftops; the rooftop cabin from which Nicholson drew many of his local views. Heron talks about Nicholson’s "restrained passion" and "work ethic". St Ives’s street; view over town and bay. Vogler talks about their move to Switzerland in 1958. Mountains, Ticino, Lake Maggiore. The Nicholsons’ house. Vogler VO talking about this "new chapter in his life". Photograph of Nicholson. Vogler with small framed painting explains how Nicholson thought out and made his reliefs; photographs of Nicholson working. Various reliefs. View of lake. Vogler on the "feeling" conveyed by the paintings.
Landscape sketch; commentary on Nicholson’s subsequent travelling and "continual flow of drawings" over the next twenty years. More sketches and drawings, some from Greece or Turkey, including 1967 (Patmos Monastery) (1967); Italian subjects; Vogler describes how Nicholson would absorb atmosphere before beginning work; photographs of him drawing. Drawings; view from the Ticino house. Yorkshire church and drawing. Photograph of Nicholson walking in the Dales. Rievaulx Abbey, which "inspired some of his finest drawings": view of the ruins and drawing of the same aspect. River. Leslie Martin’s converted mill at Great Shelford, Cambridgeshire, where Nicholson stayed after leaving Switzerland in 1971. Angela Verren talks about Nicholson’s love of certain parts of the English countryside. Nicholson’s flat in Hampstead. Verren explains how Nicholson’s purchase of his plumber’s tools set him off on a new creative period, in which he produced oil-washed drawings based on their shapes. The "five forms" side by side; Verren describes the differences between the different pictures, some of which she feels have "rather an aggressive quality": others images of these shapes.
Heron talks about the "small paintings" of Nicholson’s last years which "looked like Indian ink and 6B pencil", and "the configuration [of which] was new … there’s nothing more difficult than to discover a new way of dividing up this rectangle … [Nicholson] was breaking new ground…". Jugs and mugs including May 1978 (single jug) (1978). May 1978 (shadows and lilac) (1978). Exterior of Nicholson’s last home, at Pilgrim’s Lane, Hampstead. Photograph of his collection of glassware and mugs, etc. Verren says that he had trouble with his eyes which made it difficult for him to work, and that he needed companionship and a tranquil atmosphere. Heron describes seeing a "late Picasso" alongside a Nicholson of similar size and thinking that the latter "slightly overwhelmed" the latter. Andras Kalman talks about Nicholson’s work before 1933 and his ability to alternate abstraction with more representational images; he feels that, in the abstract painting, "the placing of the colours, the lines, have a perfection and an elegance which doesn’t appear in either Mondrian or Braque or Picasso … a unique contribution to twentieth century art". Commentary notes that Nicholson died before completing his last work, "a thirty-foot wall, built in Carrara marble, and based on one of his famous white reliefs", the Nicholson Wall, at Sutton Place, Surrey. Credit
Winifred Nicholson. Not Nailed Down
No full textMother of pearl shell; VO of Winifred Nicholson talking about Byam Shaw, her art school tutor, being disapproving of the colours she was using to paint such a shell. Artist mixing paints on palette. VO talking about the changeable nature of colours though "for a long time they have been nailed down like carpets." Paintings including Honeysuckle and Sweet Peas (c.1945-1946), while commentary describes her as "a joyful experimenter with colour" and as "an important painter who has been overlooked". Winifred Nicholson interviewed in 1980: "Colours make me want to paint. To jump for joy." Photographs of Nicholson. Judy Collins, The Tate Gallery, saying Winifred Nicholson wasn’t as famous as her husband, Ben, "because she didn’t court fame". Collins says that when both became recognised as part of the British Modern movement, he asked her to change her name, and she painted as Winifred Dacre. Photographs. Collins VO gives brief career details, and talks about starting her researches on Nicholson’s work. Exterior and interiors Banks Head, the Nicholsons’ house in Cumbria. Nicholson’s description over. Landscapes including view of house over fields; painting of same view, The Swaites (1923). Photograph of country lane; painting of similar view. Collins talks about her researches and being shown a letter from the 1960s in which Nicholson said "I never date my work, I never sign my work and I never give my work titles, because if I did, what would it leave the art historian to do." Donald Wilkinson shows painting of wild flowers on Iona which has the painting The Red Flower Pot (1930) on the back. Collins talking about letters written by Nicholson in response to requests for information in which she claims that such information is not important. Photographs of Winifred and Ben Nicholson. Winifred’s words over talking about meeting Ben. Painting showing the location of the Villa Capriccio Castagnola, on Lake Lugano. Photographs of Winifred. Nicholson’s VO talking about "a flowering point" in their painting; Mughetti (1922), painting of a pot of Lily of the valley given her by Ben. Cyclamen and Primula (1922). Collins VO talking about Nicholson’s "favourite composition" of a vase or pot of flowers in front of a window space overlooking hills or mountains (no middle ground) and quoting Nicholson as writing that she tried to "toss the light and the colours like a shuttlecock" between foreground and background . Paintings including Moss Roses and White Campanulas at Burwash (1937) and Narcissi in a Grey Pot. Paintings with commentary quoting Nicholson’s description of colours as "halts in the river of light" and saying that she tried to capture these moving colours which is one reason she painted fast. Donald Wilkinson describes Nicholson as painting fast but having thought a good deal about the subject first. Susie Honnor and Andy Christian: Honnor talks about Nicholson making pea-pod soup. Wilkinson talking about Nicholson’s sense of humour; her relationship with children, her "playing to win". Domestic subjects including The Warwick Family (1925-1926). Christian talks about Nicholson and her children, and about Ben Nicholson leaving her and their family; photographs. Berries in Window, Night, Fishbourne (1931-1932) Mughetti. Nicholson words VO talking about this painting as being "the idea of marriage" she had. Painting (Starry Eyed, 1927) and photographs of Ben and baby; VO commenting on Ben’s ideas for their "new relationship". Film and photographs of Paris to where Winifred moved with her children. Le Quai d’Auteuil (1932-1933). Photographs of the children; film of Paris. Collins VO talking about Nicholson’s contacts with Brancusi, Mondrian, Giacometti, etc., and her "acting as a significant link" between developments in Paris and London. Nicholson’s words VO, talking about "years of inspiration". Photographs of Bauhaus chairs, and contemporary pottery and buildings. Gouache of Cyclamen and Primula; more and more abstract versions of same, 1935-1936; Nicholson’s words VO talking about art becoming "functional". Untitled (1935-1936) and two abstracts. Nicholson talking in 1976 about the new idea that "you didn’t need to just copy like a photograph" or paint something "the colours that it was"; abstract painters dealt with "the spaces in between". Sun Circles (1936 and 1970). Nicholson interview. She talks about "the Abstract people" keeping to themselves: "they wouldn’t speak to the Surrealists". Views from moving trains. Nicholson’s words VO talking about her time in France and "saying goodbye", not just for herself "but for the whole world". Caption: "1939".
Collins and colleague examining Shepherd (1936). Collins VO talking about the exhibition being mounted covering Nicholson’s career and showing that she was more than "just a flower painter". Exhibits. Honeysuckle and Sweet Peas (c.1945-1946). Tate Gallery condition report. Collins VO saying that Nicholson formed the style of the Seven and Five Society. Paintings being packed for transport. Collins VO talking about height at which pictures should be hung. Photographs of Nicholson’s grandparents (George Howard, 9th Earl of Carlisle and his wife) and Castle Howard. Christian explaining that her private income meant she was never under pressure to sell paintings which gave her great autonomy. Collins on Nicholson’s exhibitions; labels on the backs of one or two paintings. Collins talking about Nicholson not signing her work and about the importance to her of her family. Family subjects including Kate and Jake, at the Isle of Wight (1931-1932) and Bathtime (1934). Honnor describing conversations she had with Nicholson about relationships. Paris Light (1933-1934). Wilkinson VO talking about Nicholson liking rainbows. Photographs of rainbow effects. Paintings. Wilkinson says Nicholson would ask "what sort of orange?" and "how would you paint that red and the violet?", the latter being "a very important colour to her". View from window. Eigg, Candle (1980). Wilkinson says he would telephone Nicholson to tell her about rainbows he saw. More photographs and painting of rainbow effects. A rainbow. Collins talking about Nicholson looking at the rainbow "as a sort of colour lesson". Flower Table (1938-1939), etc. Collins on Nicholson and Christian Science, and her ability to experience joy. The Gate to the Isles (1980). Hebridean Roses, Eigg (1980). Glimpse Upon Waking (1976). Photographs of Nicholson. Paintings. Nicholson filmed in 1976 through the window of her house. Interior of the house. Photographs of Nicholson. Christian talking about her optimism, and the excitement she found in life. Sooke Valley (c.1930). Nicholson’s words VO: "The picture will always be there… If it is a true picture, I shall never grow tired of it… However familiar I have grown with it, I shall not come to the end of its friendship." Nicholson drinking tea. Credits
John C. Nicholson Family
No full textThis black and white photograph features an image from the Nicholson Family Collection in 1920. This studio portrait features Mr. Nicholson sitting with one child by his side and the other child standing in front. Edith and Lottie Nicholson are standing beside them. He is wearing a suit. The women are wearing blouses and skirts, and the children are wearing light colored outfits. Lottie Hart Nicholson, top right. John C. Nicholson, the man. Malcolm Nicholson, child in center. John Hart Nicholson, child at bottom. Young woman at left may be Edith Nicholson, daughter of John C. by his second wife, Ida Logdon.https://scholars.fhsu.edu/harvey/1485/thumbnail.jp
Ben Nicholson 1894-1982 - ACE151.3
No full textPhotograph of Winifred Roberts Nicholson. 1921- circa 1923 (Cortivallo, Lugano) (1921-c.1923), where they often spent the winter. Land- and seascapes. Trout (1924), a completely abstract picture, in which the stripes were based on one of his father’s jugs (shown). Picasso’s Bouteille, Guitare, Pipe (1912) which had a profound effect on Nicholson. Christopher Wood’s Self Portrait (1927) and a seascape. Photographs of the Nicholsons’ house in Cumberland; flower painting by Winifred Nicholson showing view from the window; landscapes and a flower painting by Ben Nicholson, as well as another landscape by Winifred, mostly from around 1927. Sailing Boat on a River (1929) by Winifred; a view down the river Fal by Ben (1929). Photograph of Nicholson and Barbara Hepworth. Commentary on Nicholson’s reviving commitment to Abstraction and his "love affair with Parisian painting". Au Chat Botté (1932), "the key picture"; details with Nicholson’s thoughts about the composition read over. Various pictures "the most personal of his career" and "in complete contrast to the total abstraction that followed", including more or the jugs, 1932 (girl in a mirror - drawing) (1932), and composite views of himself and Hepworth. Photograph of their shared studio, photograph of Herbert Read, who lived next door to them in Hampstead where there was "an immense concentration of revolutionary aesthetic power". Exterior Mall Studios, Henry Moore’s flat in Parkhill Road, Blue Plaque to Piet Mondrian, Paul Nash’s house in Eldon Road; commentary points to European artists who were taking refuge in London. Nash’s Equivalents for the Megaliths (1935). Naum Gabo’s Construction through a Plane (Construction on a Plane) (1937). Hepworth’s Three Forms (1935). Top of a sculpture by Moore
Winifred Nicholson. Not Nailed Down - ACE180.4
No full textCollins and colleague examining Shepherd (1936). Collins VO talking about the exhibition being mounted covering Nicholson’s career and showing that she was more than "just a flower painter". Exhibits. Honeysuckle and Sweet Peas (c.1945-1946). Tate Gallery condition report. Collins VO saying that Nicholson formed the style of the Seven and Five Society. Paintings being packed for transport. Collins VO talking about height at which pictures should be hung. Photographs of Nicholson’s grandparents (George Howard, 9th Earl of Carlisle and his wife) and Castle Howard. Christian explaining that her private income meant she was never under pressure to sell paintings which gave her great autonomy. Collins on Nicholson’s exhibitions; labels on the backs of one or two paintings. Collins talking about Nicholson not signing her work and about the importance to her of her family. Family subjects including Kate and Jake, at the Isle of Wight (1931-1932) and Bathtime (1934). Honnor describing conversations she had with Nicholson about relationships. Paris Light (1933-1934). Wilkinson VO talking about Nicholson liking rainbows. Photographs of rainbow effects. Paintings. Wilkinson says Nicholson would ask "what sort of orange?" and "how would you paint that red and the violet?", the latter being "a very important colour to her". View from window. Eigg, Candle (1980). Wilkinson says he would telephone Nicholson to tell her about rainbows he saw. More photographs and painting of rainbow effects. A rainbow. Collins talking about Nicholson looking at the rainbow "as a sort of colour lesson". Flower Table (1938-1939), etc. Collins on Nicholson and Christian Science, and her ability to experience joy. The Gate to the Isles (1980). Hebridean Roses, Eigg (1980). Glimpse Upon Waking (1976). Photographs of Nicholson. Paintings. Nicholson filmed in 1976 through the window of her house. Interior of the house. Photographs of Nicholson. Christian talking about her optimism, and the excitement she found in life. Sooke Valley (c.1930). Nicholson’s words VO: "The picture will always be there… If it is a true picture, I shall never grow tired of it… However familiar I have grown with it, I shall not come to the end of its friendship." Nicholson drinking tea. Credits
Winifred Nicholson
No full textThis work shows the reader English painter Winifred Nicholson (1893-1981) as she has never fully been seen before. The author has had access to newly archived material of her letters and articles and has also drawn on the family archive to find previously unpublished material, shedding new light on her career and personal life
K.E. NICHOLSON, B.I. CROTHER, C. GUYER & J.M. SAVAGE (2014) Anole classification: A response to Poe Zootaxa, 3814(1): 109-120.
No full textNicholson, K.E., Crother, B.I., Guyer, C., Savage, J.M. (2014): K.E. NICHOLSON, B.I. CROTHER, C. GUYER & J.M. SAVAGE (2014) Anole classification: A response to Poe Zootaxa, 3814(1): 109-120. Zootaxa 3815 (4): 600-600, DOI: http://dx.doi.org/10.11646/zootaxa.3815.4.1
James C. Nicholson and David Nicholson
No full textThis black and white photograph features an image from the Nicholson Family Collection. David is standing with a hand on his hip and he is wearing a uniform with boots, and James is leaning on a table and he is wearing a military uniform with a cap. Photo is copied from a photo collage, 2009.100.669. Man on left is identified as David Nicholson and man on right in a military uniform is identified as James C. Nicholson. See 1020.205.21 which shows a photo of David William Nicolson who died in a German hospital. Note different spellings as Nicholson/Nicolson.https://scholars.fhsu.edu/harvey/1498/thumbnail.jp
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