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Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan
No full textThis critical review forms a reflection on the research published within the following publications:
Patrick Procktor: Art and Life (Unicorn Press, 2010)
Keith Vaughan: The Mature Oils 1946-1977, (Sansom & Co., 2012)
The research is on two artists, Patrick Procktor (1936-2003), and Keith Vaughan (1912-1977). The monograph on Procktor – previously one of the least documented of the generation of artists who came to prominence in London in the Sixties – positions him in a history of art from which he had been notably absent. The research on Vaughan asserts a new reading of his work, one that is both deeper and more nuanced in its analysis of the ways in which personal experience and sexuality are encoded autobiographically within his work. Crucially, in both artists biography and work are symbiotically linked; the research therefore examines the links between life and art.
Revisionary in intent, the work examines trajectories of experience of gay British (or rather, English) artists in the twentieth century, artists who sought to express themselves and forge careers within the constraints of a heteronormative society, albeit one in which attitudes to sexuality were undergoing change. As gay men, both were constrained by the social mores of their times, and each used painting as a means to affirm personal and sexual identities. A key research interest is in the ways in which sexuality and persona are reflected in critical responses to the artist’s work: in Vaughan, Procktor and other gay male artists of the period. The writing on both Procktor and Vaughan examines the relationship between their personal and professional/artistic lives, framed within a broader socio-political and art historical context. It asserts the place of biography as a means to understand and form new readings of the work. The work adds substantially to the literature and wider discourse on post-war British painting and social history
Keith Vaughan - ACE147.2
No full textPaintings by Keith Vaughan – Harvest Assembly (1956) and others. Vaughan’s words on figures and their environment read over. Caption: "Keith Vaughan had no formal art training. He was a figurative painter at a time when Abstract Art became fashionable. He taught art briefly but made his living selling his paintings. He kept a journal for most of his life." Vaughan’s words on the reason for writing his journal read over. Photograph (1960) of Vaughan and one of his paintings. VO continues on the human body and Vaughan’s relationships over other paintings. Bryan Robertson, Art Critic, on Vaughan’s classical education. Boys at Christ’s Hospital (Bluecoats) School. Vaughan’s words VO talking about revisiting the school. Boys singing in chapel. Robertson’s VO on Vaughan’s affection for the work of Frank Brangwyn; views of his murals in the school chapel (1912-1923). Vaughan’s VO on his feelings on seeing them again. Robertson describes Vaughan as typical of his period, brought up in the 1920s and 1930s, rejecting any kind of bohemianism. Photograph of Vaughan. Sketches by Vaughan in advertisements for Lintas products (1931-1938). Painting of a miner. Photographs of young naked men on the beach. Vaughan’s words over. Sketches of male nudes. Christ’s Hospital boys’ band marching. Army band marching. Marching soldiers. Christ’s Hospital band. Images intercut. Vaughan VO on his call-up for military service. Sketches of wartime subjects
Keith Vaughan
No full textPaintings by Keith Vaughan – Harvest Assembly (1956) and others. Vaughan’s words on figures and their environment read over. Caption: "Keith Vaughan had no formal art training. He was a figurative painter at a time when Abstract Art became fashionable. He taught art briefly but made his living selling his paintings. He kept a journal for most of his life." Vaughan’s words on the reason for writing his journal read over. Photograph (1960) of Vaughan and one of his paintings. VO continues on the human body and Vaughan’s relationships over other paintings. Bryan Robertson, Art Critic, on Vaughan’s classical education. Boys at Christ’s Hospital (Bluecoats) School. Vaughan’s words VO talking about revisiting the school. Boys singing in chapel. Robertson’s VO on Vaughan’s affection for the work of Frank Brangwyn; views of his murals in the school chapel (1912-1923). Vaughan’s VO on his feelings on seeing them again. Robertson describes Vaughan as typical of his period, brought up in the 1920s and 1930s, rejecting any kind of bohemianism. Photograph of Vaughan. Sketches by Vaughan in advertisements for Lintas products (1931-1938). Painting of a miner. Photographs of young naked men on the beach. Vaughan’s words over. Sketches of male nudes. Christ’s Hospital boys’ band marching. Army band marching. Marching soldiers. Christ’s Hospital band. Images intercut. Vaughan VO on his call-up for military service. Sketches of wartime subjects.
Alan Ross, Publisher of the Journals, says that Vaughan was naturally "anti-heroic". Soldiers writing letters in the canteen. More wartime subjects. Film of German troops being marched to a prisoner of war camp, being registered, going to the showers. Sketches and drawings including A Barrack Room (1942); A Chat Before Lights Out (c.1942). Bush VO believes that Vaughan’s wartime work shows a sense of community lacking from that of other periods. Vaughan’s words over about life in the army. Various post-war paintings with Vaughan words VO on the peace, the suffering that remains, and his own feelings. Pages from Vaughan’s journal. Drawings. List of exhibitions of Vaughan’s work. Robertson on Vaughan’s "arcadian impulse" to find a link between man and his environment. Landscape. Fields. Photograph of nude boy. Sketch of male nude dated 1958. Life class with male model. Vaughan’s words over on his own qualities as a teacher, and on the difference between life and still life work. Group of Bathers (1951). Various nudes. The Martyrdom of St. Sebastian, Three Figures on a Red Ground (1963), and others. Robertson’s VO suggests that the "monumental" aspects, the "Dionysian" qualities, and the "energy" of the paintings are more important than the homoerotic themes in them. Figure paintings such as Small Assembly of Figures (1951). Vaughan’s VO on "space" in paintings: "As far as I can see, all space in painting is an illusion… the important thing is what has been painted there". Photograph of Vaughan with one of his paintings. His house in Essex and paintings of it. Ross VO on Vaughan’s relationships or lack of them. Photograph of Vaughan at home. Vaughan’s VO on being alone. Ross on Vaughan’s later journals. Paintings of young men intercut with film of men in similar poses – on a beach, in the sea, etc. Vaughan’s VO on the need for maturity. More beach scenes. Catalogue of exhibition at the Whitechapel Art Gallery, London, 1962. Robertson’s VO over paintings including Landscape with Figure, Morellos (1959); people talking about the exhibition and its critical reception. Vaughan’s words VO. Ross says that he had no idea of the loneliness, frustration and misery endured by Vaughan, though he thought he knew him well, until he read the journals. Vaughan’s VO on getting his CBE (1965). Photograph (1968) of Vaughan in his studio. Paintings; Assembly of Figures VII (1964). Ross on Vaughan’s cancer and other illnesses, his need to adjust to a new reality, and his suicide. Paintings. Vaughan’s VO on the suddenness of death and the need to arrange things so that there is as little "disorder" as possible. Photograph of Vaughan seated in his studio with a painting; painting – of a suicide – shown. Vaughan’s words on his own suicide. The last entry in the journal: "… It wasn’t a complete failure. I did some work." Credits
Keith Vaughan: The Mature Oils 1946-1977
No full textThe work is a catalogue raisonne and commentary of all known oil paintings by the artist Keith Vaughan (1912-1977). The catalogue and commentary are produced by the Vaughan specialist, art dealer Anthony Hepworth.
My contribution to the volume is a 22,000 word essay, "Walled Gardens", which discusses the stylistic and technical development of Vaughan's work during the period under consideration. Drawing on the artist’s own writings, including previously unpublished correspondence from the Tate archive and documents in private collections, my text documents the autobiographical factors which influenced the artist’s iconography, much of which centres on the male figure and landscape. Vaughan’s main influences – the artists Brangwyn, Cézanne, Matisse and De Staël are considered, as are the ways in which theatre, ballet, film and photography informed his work. The work is also set within a wider artistic and social context, and considers Vaughan’s position within figurative and abstract artistic developments of the period, both in London and internationally
Keith Vaughan - ACE147.3
No full textAlan Ross, Publisher of the Journals, says that Vaughan was naturally "anti-heroic". Soldiers writing letters in the canteen. More wartime subjects. Film of German troops being marched to a prisoner of war camp, being registered, going to the showers. Sketches and drawings including A Barrack Room (1942); A Chat Before Lights Out (c.1942). Bush VO believes that Vaughan’s wartime work shows a sense of community lacking from that of other periods. Vaughan’s words over about life in the army. Various post-war paintings with Vaughan words VO on the peace, the suffering that remains, and his own feelings. Pages from Vaughan’s journal. Drawings. List of exhibitions of Vaughan’s work. Robertson on Vaughan’s "arcadian impulse" to find a link between man and his environment. Landscape. Fields. Photograph of nude boy. Sketch of male nude dated 1958. Life class with male model. Vaughan’s words over on his own qualities as a teacher, and on the difference between life and still life work. Group of Bathers (1951). Various nudes. The Martyrdom of St. Sebastian, Three Figures on a Red Ground (1963), and others. Robertson’s VO suggests that the "monumental" aspects, the "Dionysian" qualities, and the "energy" of the paintings are more important than the homoerotic themes in them
Keith Vaughan - ACE147.4
No full textFigure paintings such as Small Assembly of Figures (1951). Vaughan’s VO on "space" in paintings: "As far as I can see, all space in painting is an illusion… the important thing is what has been painted there". Photograph of Vaughan with one of his paintings. His house in Essex and paintings of it. Ross VO on Vaughan’s relationships or lack of them. Photograph of Vaughan at home. Vaughan’s VO on being alone. Ross on Vaughan’s later journals. Paintings of young men intercut with film of men in similar poses – on a beach, in the sea, etc. Vaughan’s VO on the need for maturity. More beach scenes. Catalogue of exhibition at the Whitechapel Art Gallery, London, 1962. Robertson’s VO over paintings including Landscape with Figure, Morellos (1959); people talking about the exhibition and its critical reception. Vaughan’s words VO. Ross says that he had no idea of the loneliness, frustration and misery endured by Vaughan, though he thought he knew him well, until he read the journals. Vaughan’s VO on getting his CBE (1965). Photograph (1968) of Vaughan in his studio. Paintings; Assembly of Figures VII (1964). Ross on Vaughan’s cancer and other illnesses, his need to adjust to a new reality, and his suicide. Paintings. Vaughan’s VO on the suddenness of death and the need to arrange things so that there is as little "disorder" as possible. Photograph of Vaughan seated in his studio with a painting; painting – of a suicide – shown. Vaughan’s words on his own suicide. The last entry in the journal: "… It wasn’t a complete failure. I did some work." Credits
Written Out of Life: The Death of Keith Vaughan and his Journal
No full textWhen the British painter Keith Vaughan (1912–77) ingested a lethal cocktail of barbiturates, having made the decision to end his life after a long struggle with cancer, there was only one thing left to do: write one final entry in his journal, the lifelong literary account he had commenced in 1939 and maintained ever since. Vaughan’s journal is an extraordinary document, its 61 volumes spanning 38 years of impassioned ideas and personal development from his difficult wartime years as a conscientious objector through his post-war life as a successful but troubled artist. This paper focuses on the final volume of Vaughan’s journal, commenced in August 1975 and ending on the morning of 4 November 1977. It considers how Vaughan used journal-writing at a time of great suffering to reflect upon his life and his reasons for leaving it. By revealing the crucial role that Vaughan’s final volume played in justifying that his life had ceased to have forward momentum or meaning, this paper argues for the close relationship between the practice of journal-writing and questions of futurity, positing Vaughan as an exemplary author-subject who uses diary or journal forms to postulate a potential future and their relationship to it
Bradley Peori, Julie Glister, and Keith Vaughan in Chemistry Lab, 1998
No full textcolor photographExcellent condition.In a chemistry laboratory, Honours chemistry graduate Brad Peori pours something from a graduated cylinder into a test tube while third-year chemistry student Julie Glister and chemistry professor Dr. Keith Vaughan watch. The three are a summer research team researching triazenes to determine their anti-tumour potential. Peori and Glister wear lab coats and Peori also wears safety glasses. The test tube is one of two in a clamp holder. There is a cabinet full of jars on the wall behind them on the left, and some other laboratory equipment on the countertop to the right. It is very similar to 06.04.0321, but this photo is more of a close-up.From External Affairs. On the reverse, '1004.0' is written in black pen in the top left corner
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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