241 research outputs found
Henrietta Simson and Esther Teichmann Lulled into Believing
No full textArtist Catalogue for a collaborative exhibition. Lulled into Believing. 22 September - 31 October 2009 at Man and Eve in London. With Henrietta Simson and Esther Teichmann - a dialogue of works
Henrietta Simson: Reimagining Wilderness
No full textTaking the Cornish landscape and the site of Tremenheere especially as a starting point, the works in this exhibition explore how the transformative values attributed to the wilderness in medieval and early Renaissance paintings can develop contemporary definitions of landscape.
The landscapes of Cornwall are habitually seen through a touristic lens, as places of leisure and aesthetic pleasure. Instead, the works emphasise landscape as time (history), presence, embodiment and materiality in an exploration shaped by the material and spiritual dimensions of wilderness. They map the metals and minerals of Cornish extraction to their symbolic meanings within medieval painting, finding resonance between the clay pit and the desert, exploring the dual history of mining and pilgrimage contained within the Cornish landscape. Through themes of land, sky and water, they question the visual realism that has structured the idea of landscape for centuries in the west, presenting Cornish heritage as central to rethinking the functions of landscape today
Autograph of Henrietta Eliza Vaughan Palmer Stannard (John Strange Winter)
No full textabstract: Concerning the autograph of Henrietta Eliza Vaughan Palmer as John Strange Winter.Condition of Original: Rust marks from a removed staple on upper left corner. Originally folder. Glued.Transcription Details: This is my autograph, written for Mr. M Hyam- {?word}. What will he do with it?
John Strange Winter
N.B. {?word word} the shilling in the {?word}- of the 27 which are owing.Creation Date Details: Undated range is the author's lifespan
[Letter to Henrietta from a sibling]
No full textLetter to Henrietta. The author asks Henrietta to do some favors for them, including copying down recipes to send to them. The last page(s) of the letter are missing
[An irregular ode] to Edward Byrne, Esq. of mullinahack, on his marriage with Miss Roe, step-daughter to one Noble Lord, and niece to another!!! [electronic resource].
No full textAnonymous. By Henrietta Battier.Price in square brackets: (Price a British Sixpence.)Di copy bears MS. author attribution: "by Henrietta Battiere". Di copy cropped at head and fore-edge, affecting title and text and probably removing an initial articleElectronic reproduction.English Short Title Catalog,Reproduction of original from National Library of Ireland
I miss the land but does the land miss me?
No full text‘Humans are a product of the earth’s surface – dust of her dust. As the surface of the earth presents obstacles, so it offers channels for the easy movement of humanity.’
Geographer Ellen Semple
Art Seen is pleased to present the group exhibition 'I miss the land but does the land miss me?'
Participating artists: Panayiotis Doukanaris (CY), Carali McCall (CA), Henrietta Simson (UK), Amy Stephens (UK). By means of expanding painting and sculpture processes, the four artists in this exhibition explore the material spaces we inhabit;
Carali McCall uses the line as a drawing process to address time and energy executed through performance. By holding a piece of the physical landscape (a rock) she is interested in the act of endurance. In this exhibition, McCall and Stephens have collaborated with the indigenous landscape to shape a new performance on the opening evening with documentation and artworks that will remain in place for the duration of the show.
Panayiotis Doukanaris’ blank canvases embody the uncanniness of encountering an indeterminate landscape. In their transparent fragility, they paint the becoming of a place, the birth of the familiar and the emergence of a poetic encounter. The works offer a new approach to traditional methods of painting questioning the before and aftermath of a previous performance. The artist is also interested in the (re)configuration of collective and individual identities.
Henrietta Simson’s works disrupt the structures that have traditionally shaped how the landscape is viewed. This is achieved by stressing the material and the affective power of the image. The works on display play with illusion and embodied presence. They offer realist assumptions that draw out the connotations of care that accompany the categorising and collecting frameworks of the museum diorama.
Amy Stephens’ artwork is underpinned by geology and travel. The main focus of her practice is to re-appropriate and recycle objects from the immediate landscape. By elevating local artefacts, she offers an exchange of ideas and a new perspective about the everyday. All rocks and minerals come with their own story, but the abundance of any material can be a source of invisibility.
Tectonic plates are always on the move and therefore so is the process of building new territories and spaces in between. As a collective, the artists in this exhibition have worked alongside each other to bring an exhibition together that demonstrates a commitment to their chosen materials and to their relationship with time amongst the landscape
The school luncheon
No full textby Mrs. Henrietta Calvin, professor of domestic science.This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
As facts and not as shadows: four American architects and their travel impressions
No full textThis dissertation examines American architectural and social history of the late nineteenth and early twentieth centuries through the material culture of study abroad. Focusing on sketchbooks, journals, drawings, correspondence, and photographs of three generations of architects, the study will explore attitudes toward European cultural hegemony, the perceived value of foreign travel, changes in architectural education in the United States, and the process of image-making in the age of photography. Although the idea of observing and drawing existing monuments is rooted in the tradition of the Grand Tour and the heritage of architectural theorists dating back to Vitruvius, this essay will argue that the practice took on new meaning during a period of expansion, urbanization, and industrialization in America, c. 1850 through the 1930s. Using case studies of Frank Miles Day, Eleanor Manning, William Jarrett Hallowell Hough, and Louis Skidmore, I have investigated historical, social, and scientific epistemologies, including visual theory, of the period, and the ways in which they affected the education and professional status of American architects. My dissertation also asks why architects continued to draw after photography became commonplace, and why study abroad remained de rigueur even when the first schools of architecture were established in America. In the conclusion, I have discussed the role of hand-drawing in the modern architectural office, and how the use of computer technology is altering architectural practice.Ph. D.Includes bibliographical referencesby Henrietta F. Sablov
Principles of bread making
No full textBread -- Parkerhouse rolls -- Cinnamon rolls -- Hot cross buns -- Zwieback mixture.by Mrs. Henrietta W. Calvin, Dean of the School of Domestic Science and Art.This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
[Exhibition] Re-Unpacking. The Cafe Table Commissions
No full textRe-unpacking is an exhibition at Nottingham Castle that explores 6 artists who re-engage with their historical (pre-20th century) precursors, by looking at how they utilise, transform and re-imagine specific artworks from a previous artistic era. The show is curated by Andrew Bracey to complement his solo exhibition ReconFigure Paintings (6 December 2014 to 17 January 2015) in the Long Gallery upstairs, creating further conversations and lineages between contemporary and historical artists. Re-unpacking seeks to explore how artists are continually learning from the art of the past, mining it for inspiration in order to put something new back into the world to show how (familiar) historic. The artists were Tom Butler, Tim Dunbar, Tracey Eastham, Henrietta Simson, Annabel Tilley and Jenny Wiener. The artists work was housed in vitrines made by the artists collective MOOT in the cafe space of Nottingham Castle.</p
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