9,225 research outputs found
[Correspondence Between Patrick J. Nicholson and Barbara Jordan - June 25, 1973-July 25, 1973]
No full textCorrespondence between Patrick J. Nicholson and Barbara Jordan where Nicholson thanks Jordan for her support of the Public Broadcast Bill (HR 8538) and Jordan thanks Nicholson for his letter
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 - ACE151.5
No full textViews 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
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
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
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
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
Educational Developmentalists Divided? Patrick Cannon, Patrick Hillery and the Economics of Education in the Early 1960s
No full textThe catalytic effect of the OECD-linked study that produced Investment in Education is a much celebrated episode of Ireland’s modernisation. A remarkably broad cross-departmental consensus supported the initiative. Bureaucratic caution and ministerial self-preservation were set aside to allow a “warts and all” portrait of Irish education to be painted by the study team. Special efforts were made to focus public attention on the findings of a damning report that legitimated a quickening pace of government action to increase access to an expanded, rationalised and reoriented education system. But, as well as developmentalist triumph over conservatism in the education field, there was also significant division between state and civil society developmentalists. This is examined through an analysis of the relationship between the Federation of Lay Catholic Secondary Schools and the Department of Education.
Patrick Chamoiseau Recovering Memory
No full textThis timely new book skillfully examines the work of the award-winning writer Patrick Chamoiseau. Considered by many as one of the most innovative writers to hit the French literary scene in over 40 years, Chamoiseau made his name with his book Texaco (published in 1992 and winner of the highest literary prize in France, the Prix Goncourt). His books have gone on to sell millions and his work has been translated by a number of academic presses. McCusker sets the author in context, providing a valuable contribution to 'memory studies' by looking at literary representation of memory in Martinique, a society founded on slavery but now politically assimilated to the metropolitan centre, France.Title Page -- Contents -- Introduction -- 1: Beginnings: The Enigma of Origin -- 2: 'Une tracée de survie': Autobiographical Memory -- 3: Memory Re-collected: Witnesses and Words -- 4: Memory Materialized: Traces of the Past -- 5: Flesh Made Word: Traumatic Memory in Biblique des derniers gestes -- Afterword -- Notes -- Bibliography -- IndexThis timely new book skillfully examines the work of the award-winning writer Patrick Chamoiseau. Considered by many as one of the most innovative writers to hit the French literary scene in over 40 years, Chamoiseau made his name with his book Texaco (published in 1992 and winner of the highest literary prize in France, the Prix Goncourt). His books have gone on to sell millions and his work has been translated by a number of academic presses. McCusker sets the author in context, providing a valuable contribution to 'memory studies' by looking at literary representation of memory in Martinique, a society founded on slavery but now politically assimilated to the metropolitan centre, France.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Old age by Simone Beauvoir (translated by Patrick O'Brian). London, UK: Andre Deutsch, Weidenfeld and Nicholson and G.P. Putnam's Sons, 1972. 592 pp.
No full textOld age by Simone Beauvoir (translated by Patrick O'Brian). London, UK: Andre Deutsch, Weidenfeld and Nicholson and G.P. Putnam's Sons, 1972. 592 pp
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