1,795 research outputs found
Adrian Piper: In an Informal Discussion of Her Recent Work
No full textPoster designed by Robert Horvitz, former RISD faculty member and director of the Visiting Artists Program during the academic year 1974-75. Poster designed to advertise Horvitz\u27s invitation of Adrian Piper to speak at Rhode Island School of Design during the spring semester, 1975 when he taught the course The Idea Art Workshop .https://digitalcommons.risd.edu/visitingartists/1000/thumbnail.jp
Rose Piper, circa 1948
No full textWritten on verso: Rose Piper, 304 West 11th Street, New York City.The Atlanta University Center Robert W. Woodruff Library acknowledges the generosity of the Digital Public Library of America for supporting in part the digitization of this collection as part of the Black Women's Suffrage Digital Collection, a project made possible through funding from Pivotal Ventures, A Melinda Gates Company
John Piper
No full textCredits. Piper looking at books in his studio, near Henley on Thames. Details of décor, including some of Piper’s abstract paintings, decorative letters, etc. Some of his architectural paintings – Windsor Castle 1942, Windsor Town Hall – painting by Poussin, Bacchanal: the Andrians (1628-1630) which has formed the basis for one of his costume studies Variation Poussin Dancers (1952). A reclining nude. Designs for stained glass window for chapel at Oundle School (1954). Lithograph designed for restaurant chain, with costumes taken from Elizabethan period. Costume designs for Lucretia (for Britten’s The Rape of Lucretia) and others. Set design for Benjamin Britten’s The Turn of the Screw. Piper with director Basil Coleman at Sadler’s Wells, 1954. Still from production of Gloriana (1953). Designs and stills for The Pearl Fishers (1954) and others. Carving on Piper’s studio wall. Paintings. Piper reading. Drives away from his house. Country church in Yorkshire – Piper’s painting of it. Details of church, churchyard, brasses, effigy, mediaeval stone carving, details from some of Piper’s paintings. The Coventry Monuments, Croome D'Abitot, Worcestershire, 1953 (originals designed by Capability Brown and Robert Adam); Piper looking around. Sketches and part of effigy on tomb of Margaret Coventry, turning his picture into a "Madonna and Child". In the studio. Turning the painting into an acquatint. Covers copper plate with grease and blackens surface. Uses a tracing of his drawing to transfer the outline into the plate, which he then follows with etching needle to expose the copper. Coats the plate with stopping-out varnish, and treats it with acid. Etched plate placed in box of resin dust, and then heated to melt the resin. Covers white parts of design with stopping-out varnish; baths the plate in acid. Takes first proof in hand press. Finished acquatint. Paintings of bombed-out churches which offered more abstract images and unusual lighting effects. Painting of Knole, Kent. Other paintings. Landscapes. Mallam Cove, Gordale Scar, Hardrow Force, and similar features in Yorkshire, and some of Piper’s paintings of them. Commentary quotes Wordsworth over: "The stationary blasts of waterfalls/Rocks that muttered close upon the ear/Black clinging crags that spake by the wayside." Ruins of Byland Abbey. Sketch by Piper. Final painting (1940). Other paintings of similar ruins, all displaying his neo-Romantic style. Scenes in North Wales. Paintings.Cliffs and breaking waves on the coast at Portland, near Weymouth. Piper sketching. Details of the surroundings – rocks, the lighthouse, village, etc. Piper’s paintings. Some of Piper’s Beach Engines, decorated with abstract designs. The real abstractions of Portland. Stones and stone quarries. The deserted church and its graveyard; paintings. Paintings of nearby cottages. Ruined lighthouse and connected buildings; Piper’s painting. The new lighthouse; some of Piper’s paintings. Piper in his studio, turning his sketches into paintings. His VO describes the process. The finished work. Details of various Piper paintings. Commentary reiterates information about the romantic and abstract nature of his work, but points out that he "never loses sight of the object he wants to interpret". Piper leaves his studio. The End
John Piper - ACE004.2
No full textCredits. Piper looking at books in his studio, near Henley on Thames. Details of décor, including some of Piper’s abstract paintings, decorative letters, etc. Some of his architectural paintings – Windsor Castle 1942, Windsor Town Hall – painting by Poussin, Bacchanal: the Andrians (1628-1630) which has formed the basis for one of his costume studies Variation Poussin Dancers (1952). A reclining nude. Designs for stained glass window for chapel at Oundle School (1954). Lithograph designed for restaurant chain, with costumes taken from Elizabethan period. Costume designs for Lucretia (for Britten’s The Rape of Lucretia) and others. Set design for Benjamin Britten’s The Turn of the Screw. Piper with director Basil Coleman at Sadler’s Wells, 1954. Still from production of Gloriana (1953). Designs and stills for The Pearl Fishers (1954) and others. Carving on Piper’s studio wall. Paintings. Piper reading. Drives away from his house. Country church in Yorkshire – Piper’s painting of it. Details of church, churchyard, brasses, effigy, mediaeval stone carving, details from some of Piper’s paintings. The Coventry Monuments, Croome D'Abitot, Worcestershire, 1953 (originals designed by Capability Brown and Robert Adam); Piper looking around. Sketches and part of effigy on tomb of Margaret Coventry, turning his picture into a "Madonna and Child"
The Piper, May 10, 1929
No full textWritten on verso: "The Piper", May 10, 2929, Mary Louise Miller.The Atlanta University Center Robert W. Woodruff Library acknowledges the generous support of the Council on Library and Information Resources (CLIR) in supporting the processing and digitization of a number of historic collections as part of the project: Our Story: Digitizing Publications and Photographs of the Historically Black Atlanta University Center Institutions.</em
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[The Pied Piper of Hamelin]
No full textPhotograph of a 1910 edition of Robert Browning's The Pied Piper of Hamelin, held by UNT Special Collections
Piper, A T R (Arthur Thomas Robert), NX10848
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/410940Surname: PIPER. Given Name(s) or Initials: A T R (ARTHUR THOMAS ROBERT). Military Service Number or Last Known Location: NX10848. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 23461.226653
Item: [2016.0049.43206] "Piper, A T R (Arthur Thomas Robert), NX10848
Robert Buchanan 1841-1901: an assessment of his career.
No full textPhDRobert Buchanan was widely regarded during his
lifetime as a poet of distinction, a capable and powerful
novelist, and a critic of some perception, yet his name is
now associated only with one regrettable episode, while
those of lesser men and women continue to be remembered for
work inferior to his. A man possessing large reserves of
energy, and pressed to write for a living at an early age,
he produced much work that deserves the oblivion it has
found; but his early verse, expressing his profound compassion
for the sufferings of the unfortunate in the simplest
language, some of his ballads, and not a little of his
later more vatic verse, is still worthy of study. As a
novelist his work is provocative and readable, but too
often descends to the level of the sentimental melodrama
which earned him, for a while, a very good income from the
stage. As a critic he was not profound, but was quick to
detect and praise expression of his own sympathy for humanity
that came to represent for him art's highest aspiration;
Dickens, Browning and Whitman were his heroes, and for the
last two he did sterling work in helping them to gain widespread
recognition. As a polemist he rushed into several
arenas, for some of which his talents were not especially
suited; but he publicly supported C. S. Parnell and Oscar
Wilde when few found the courage to do so. An interesting
man of impressive variety and undoubted talent has found an
undeserved neglect, and a full-scale critical biography of
Robert Buchanan is long overdue
Merry Piper
No full textA traveling piper enjoys his life.https://egrove.olemiss.edu/kgbsides_uk/1830/thumbnail.jp
Data for: A Calculator for Easy Estimation of coverage with shRNA, CRISPR, and cDNA libraries
No full textThis is a video that instructs how to use the MALTA software to calculate library coverage
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