10,630 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
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
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
Winifred Nicholson. Not Nailed Down - ACE180.2
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
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
Correspondence from George W. S. Nicholson to James Kirk, Esquire
No full textThis correspondence, written by George W. S. Nicholson, former proprietor and editor of the Delaware State Reporter from Seaford, Delaware, is addressed to James Kirk, Esquire, editor of the Democratic newspaper The Delawarean. Nicholson begins the letter with “Private, not for publication.” He refers to a conversation between Kirk and an acquaintance regarding the removal of their names from a list of active participants and the potential need for a disclaimer. Nicholson expresses that he does not support a published disclaimer, as it “might be construed to be in opposition to the Greeley movement, whereas I am earnest in its support.
Correspondence from George W. S. Nicholson to James Kirk, Esquire
No full textThis correspondence, written by George W. S. Nicholson, former proprietor and editor of the Delaware State Reporter from Seaford, Delaware, is addressed to James Kirk, Esquire, editor of the Democratic newspaper The Delawarean. Nicholson begins the letter with “Private, not for publication.” He refers to a conversation between Kirk and an acquaintance regarding the removal of their names from a list of active participants and the potential need for a disclaimer. Nicholson expresses that he does not support a published disclaimer, as it “might be construed to be in opposition to the Greeley movement, whereas I am earnest in its support.
My sweet Marie from Sunny Italy, Oh, how I do love you [first line of chorus]
No full textstrophic with choruspiano and voiceads on back cover for Jos. W. Stern stock5682-3Johns Hopkins University, Levy Sheet Music Collection, Box
077, Item 181Words I. Berlin. Music By M. Nicholson
My sweet Marie from Sunny Italy, Oh, how I do love you [first line of chorus]
No full textstrophic with choruspiano and voiceads on back cover for Jos. W. Stern stock5682-3Johns Hopkins University, Levy Sheet Music Collection, Box
077, Item 181Words I. Berlin. Music By M. Nicholson
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