1,721,441 research outputs found
Patrick Heron. Interviewed by John Read
No full textCaption: "This interview took place in Patrick Heron’s studio in St. Ives, Cornwall, in September 1984. The main subject was the work of Ben Nicholson and parts are included in the Arts Council Film ‘Ben’, directed by John Read on the life of Ben Nicholson." Patrick Heron talks about his connection with St. Ives to which his family first moved in 1925; gives some of his family background; about some drawings from the early period, one similar to those painted later by Alfred Wallis who first came to St. Ives in 1928. About Ben Nicholson first meeting Wallis, the influence of Wallis’s work on him; descriptions of Wallis’s use of colour, typical of the British avant-garde movement. Heron talks about "education" for painting, best done by painters looking at other people’s paintings. Influences on Nicholson: his father, Winifred Nicholson, Barbara Hepworth. The arbitrary distinctions between figurative and non-figurative painting. Heron on Nicholson’s "white reliefs", intended to eliminate figuration; "with time, certain associations accrue to these images"; images are "read back into reality"; facts are relative in their significance and mean different things at different times. The influence on the design world of Nicholson’s organisation of pure circles with pure rectangles. Heron on Nicholson’s "line", comparing him favourably with Mondrian. Nicholson’s landscapes from Yorkshire and West Cornwall, both places from Heron’s past. On Nicholson’s need for privacy. Heron on Nicholson after he left St. Ives; his work in the 1940s; the influence of Georges Braque. On Nicholson’s still life work; how Cornwall, uniquely among British landscapes, has had an influence on the twentieth century British avant-garde; influence of Picasso and Braque. Nicholson’s "English-ness"; his delicacy (sometimes overdone), his speed. Elements of Cubism and Constructivism. "The greatest English painter since Turner." On Turner and Constable. Heron denies any mystical side to Nicholson. On symbols as opposed to images. On Mark Rothko talking about "grace". Nicholson being very down to earth if sometimes over-complex. On "draftsmanship"; execution and conception go together. He says that Nicholson thought that the meaning of a thing springs from its physical reality. Heron on Nicholson’s studio: neat and tidy, and rather "domesticated". He says he unconsciously organises objects in his own studio on a rectilinear grid. Heron can’t identify only a single paramount quality in Nicholson’s work. Talks about seeing a seven-foot late Picasso alongside a similarly-dimensioned Nicholson he hadn’t seen before, which he thought "slightly overwhelmed the Picasso". On Nicholson’s Swiss period, returning to reliefs and mixing different periods. He believes that the two last exhibitions were full of new and "fantastically inventive" work, breaking new ground. Heron on his comparison between Nicholson and Joan Miró. Talks about Nicholson being very depressed because of the way he was more or less ignored by the Press, and couldn’t sell his work; that he only started to sell in Switzerland. On Nicholson’s "official recognition" through an award of the Order of Merit. Heron on Nicholson’s "immensely strong" work ethic. Support for Nicholson and other artists through the writings of Herbert Read. Credits
Patrick Heron. Interviewed by John Read - ACE150.2
No full textCaption: "This interview took place in Patrick Heron’s studio in St. Ives, Cornwall, in September 1984. The main subject was the work of Ben Nicholson and parts are included in the Arts Council Film ‘Ben’, directed by John Read on the life of Ben Nicholson." Patrick Heron talks about his connection with St. Ives to which his family first moved in 1925; gives some of his family background; about some drawings from the early period, one similar to those painted later by Alfred Wallis who first came to St. Ives in 1928. About Ben Nicholson first meeting Wallis, the influence of Wallis’s work on him; descriptions of Wallis’s use of colour, typical of the British avant-garde movement. Heron talks about "education" for painting, best done by painters looking at other people’s paintings. Influences on Nicholson: his father, Winifred Nicholson, Barbara Hepworth. The arbitrary distinctions between figurative and non-figurative painting
Summons for John Read
No full textTo the Sheriff of Hampshire County. Summons for John Read to answer petition of William Gibson. Signed by Gabriel Jones, clerk of Court. Hampshire County, Virginia. August 27, 1761
And how they titter'd! how they chaff'd! How my brother and sister laugh'd [first line of chorus]
No full textstrophic with choruspiano and voiceads on back cover for Hamilton S. Gordon stock7513-3Johns Hopkins University, Levy Sheet Music Collection, Box
136, Item 108Words and Music by John Read. Arranged by Dr. W.J. Wetmore.As Sung With Great Applause By Tony PastorSherman, Eng
Patrick Heron. Interviewed by John Read - ACE150.5
No full textHeron on his comparison between Nicholson and Joan Miró. Talks about Nicholson being very depressed because of the way he was more or less ignored by the Press, and couldn’t sell his work; that he only started to sell in Switzerland. On Nicholson’s "official recognition" through an award of the Order of Merit. Heron on Nicholson’s "immensely strong" work ethic. Support for Nicholson and other artists through the writings of Herbert Read. Credits
And how they titter'd! how they chaff'd! How my brother and sister laugh'd [first line of chorus]
No full textstrophic with choruspiano and voiceads on back cover for Hamilton S. Gordon stock7513-3Johns Hopkins University, Levy Sheet Music Collection, Box
136, Item 108Words and Music by John Read. Arranged by Dr. W.J. Wetmore.As Sung With Great Applause By Tony PastorSherman, Eng
Patrick Heron. Interviewed by John Read - ACE150.3
No full textHeron on Nicholson’s "white reliefs", intended to eliminate figuration; "with time, certain associations accrue to these images"; images are "read back into reality"; facts are relative in their significance and mean different things at different times. The influence on the design world of Nicholson’s organisation of pure circles with pure rectangles. Heron on Nicholson’s "line", comparing him favourably with Mondrian. Nicholson’s landscapes from Yorkshire and West Cornwall, both places from Heron’s past. On Nicholson’s need for privacy. Heron on Nicholson after he left St. Ives; his work in the 1940s; the influence of Georges Braque. On Nicholson’s still life work; how Cornwall, uniquely among British landscapes, has had an influence on the twentieth century British avant-garde; influence of Picasso and Braque. Nicholson’s "English-ness"; his delicacy (sometimes overdone), his speed. Elements of Cubism and Constructivism. "The greatest English painter since Turner." On Turner and Constable
Patrick Heron. Interviewed by John Read - ACE150.4
No full textHeron denies any mystical side to Nicholson. On symbols as opposed to images. On Mark Rothko talking about "grace". Nicholson being very down to earth if sometimes over-complex. On "draftsmanship"; execution and conception go together. He says that Nicholson thought that the meaning of a thing springs from its physical reality. Heron on Nicholson’s studio: neat and tidy, and rather "domesticated". He says he unconsciously organises objects in his own studio on a rectilinear grid. Heron can’t identify only a single paramount quality in Nicholson’s work. Talks about seeing a seven-foot late Picasso alongside a similarly-dimensioned Nicholson he hadn’t seen before, which he thought "slightly overwhelmed the Picasso". On Nicholson’s Swiss period, returning to reliefs and mixing different periods. He believes that the two last exhibitions were full of new and "fantastically inventive" work, breaking new ground
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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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