11,502 research outputs found
Property of Wray H. Nicholson
No full textPhotocopies of Wray H. Nicholson\u27s notebook with the text Property of W.H. Nicholson on the inside page.https://digitalcommons.usf.edu/fos_records/1663/thumbnail.jp
Wray H. Nicholson\u27s Field Notes, 1930–1933
No full textPhotocopies of Wray H. Nicholson\u27s field notes on Florida bird skins from 1930 to 1933.https://digitalcommons.usf.edu/fos_records/1662/thumbnail.jp
Wray H. Nicholson\u27s Field Notes, 1930–1931
No full textPhotocopies of Wray H. Nicholson\u27s field notes consisting of nesting records from 1930 to 1931.https://digitalcommons.usf.edu/fos_records/1661/thumbnail.jp
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
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
Nicholson, H. G., 1843- : Confederate Service Record, 1913.
No full textThis service record is an account of military actions during the American Civil War by veteran H. G. Nicholson (1843- ), dated from 1916.1 leaf ; 2 pdf pages.All descriptive lists and service records in this United Confederate (Civil War) Veterans manuscript collection believed to be based out of Robert E. Lee Camp #158 of the United Confederate Veterans (Fort Worth, Tex.).
United Confederate Veterans. R.E. Lee Camp No. 158 (Fort Worth, Tex.)The Southwest Collection Manuscript Record can be accessed at the following URL: http://www.lib.utexas.edu/taro/ttusw/00119/tsw-00119.htm
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
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
Joseph Milford Nicholson (b. 1935) : pioneer trombone historian
No full textInterest in the history and development of the trombone and its literature escalated during the last half of the twentieth century. As curricula for doctoral degrees began to develop during the 1950s, trombonists in advanced degree programs began to recognize lapses in the history of the instrument. One of the earliest doctoral documents that focused upon creating a more comprehensive single source of trombone heritage was entitled, "A Historical Background of the Trombone and Its Music" (1967), by Joseph Milford Nicholson (b. 1935). Joseph Nicholson was born in Penoke, Kansas, on August 15, 1935. Raised in a musical family, he learned to play the trombone in the public school bands of his hometown, Fruita, Colorado. Later, Nicholson enrolled at Southwestern Bible Institute (1952-1955) and graduated from Texas Wesleyan College (B.Mus 1957). He earned the MME (1961) from North Texas State University and the D.M.A. (1967) from the Conservatory of Music at the University of Missouri at Kansas City (UMKC). Nicholson taught at Southwestern beginning in 1956, but left in 1960 to teach at Evangel College, Springfield, MO, where he taught until 1991. During his years at Evangel, Nicholson was chair of the Fine Arts Department (1967-1981), the principal trombonist in the Springfield (MO) Symphony (1966-1977), and an active member of the Springfield Brass Quintet (1966-1977). Nicholson pursued his interest in trombone history and literature while studying at UMKC. Because his text summarized into one document the current knowledge of the time about the history and literature of the trombone, Nicholson's work was one of the earliest to appear outside the context of the music dictionaries. Through his writing, teaching, and presentations, Nicholson is thought to have spurred interest among the next generation of trombonists who began to develop a more comprehensive chronicle of the trombone. Nicholson's legacy continues through his influence upon trombonists and the citations in later, more era-specific histories of the instrument."--Abstract from author supplied metadata
James Nicholson
No full textThis black and photographic postcard features James Maurice Nicholson at 21 months old. He is standing on a chair and is wearing a light colored outfit. Photo by L. H. Williams, Hinton, Oklahoma.https://scholars.fhsu.edu/harvey/1467/thumbnail.jp
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