1,762,559 research outputs found
The William G. Sutherland, D.O. Collection
No full textFinding aid for The William G. Sutherland, D.O. CollectionWilliam Garner Sutherland, D.O. (1872-1954), a Minnesota Osteopathic physician and student of Andrew Taylor Still, discovered the field of cranial osteopathy. Dr. Sutherland referred to his discovery as "Osteopathy in the Cranial Field" (OCF). He founded the Osteopathic Cranial Association in 1946 (which changed its name to the Cranial Academy when it became a component of the American Academy of Osteopathy in 1960). He also founded the Sutherland Cranial Teaching Foundation in 1953 to guide the training of physicians in cranial osteopathic techniques.The Sutherland Collection contains the writings, memorabilia, recorded lectures and voluminous correspondence of Dr. Sutherland, tracing the growth of the Sutherland Cranial Teaching Foundation as well as documenting the spread of the cranial concept as a viable specialty within the osteopathic profession. Included are the unofficial papers of the Sutherland Cranial Teaching Foundation (1950-1971) and the Moorestown Cranial Study Group. The papers were gathered by Anne L. Wales, D.O., an early faculty member of the Sutherland Cranial Teaching Foundation. The Moorestown Cranial Study Group was created by and met in the home/office of Rebecca Conrow Lippincott, D.O. and Howard A. Lippincott, D.O. for the further study and review of cranial procedures and advancements. Materials from the New England Cranial Study Group are also included. The collection contains transcriptions and slides from lectures by Dr. Sutherland, et al (1947-48), a manuscript copy of his seminal work, The Cranial Bowl (1939), photographs of Dr. Sutherland and many other early pioneers in the field, and audio and video presentations of classroom and conference lectures by Dr. Sutherland and other leading cranial experts of the time. Also included in the collection are personal items belonging to Dr. Sutherland and correspondence from Dr. and Mrs. Sutherland to Drs. Chester Handy and Anne Wales
J. F. Sutherland
No full text"PM6017 A/B J.F. Sutherland H.M.A.S. Melville 1943-44."PM6017 Able Seaman J.F. Sutherland, His Majesty's Australian Ship Melville 1943-44
Ian A. Sutherland
No full text"Sutherland Ian. [A.] 408787 F/Lt W.A.G. 2 Sqd. RAAF Batchelor. Hughes. Rapid Cr. Dwn. 42-43."Sutherland Ian. [A.] 408787 Flight Lieutenant. Wireless Air Gunner. 2 Squadron. Royal Australian Air Force. Batchelor. Hughes. Rapid Creek. Darwin. 42-43
graig-sutherland/transport-miz-tc: Software and Data for MIZ Transport by Sutherland et al. , TC, 2022
No full textSoftware and data assoicated with:
Sutherland, G., Aguiar, V., Hole, L.-R., Rabault, J., Dabboor, M., and Breivik, Ø.: Determining an optimal transport velocity in the marginal ice zone using operational ice-ocean prediction systems, The Cryosphere Discuss. [preprint], https://doi.org/10.5194/tc-2021-289, in review, 2021
Replication Data for: "Spectroscopic Insights into Ferromanganese Crust Formation and Diagenesis" by K.M. Sutherland, S.D. Wankel, J.R. Hein, and C.M. Hansel
No full textReplication Data for: "Spectroscopic Insights into Ferromanganese Crust Formation and Diagenesis" by K.M. Sutherland, S.D. Wankel, J.R. Hein, and C.M. Hansel. See README fil
Disciples of a crazy saint: The Buchen of Spiti
No full textThe Buchen are specialist religious performers from Spiti, a culturally Tibetan valley in North India. They are widely known for performing an elaborate exorcism ritual that culminates in a slab of stone, marked with images of demons, being smashed on a man’s belly. In winter groups of Buchen perform their religious theatre, a localised form of Ache Lhamo, the Tibetan Opera. This book, published in conjunction with an exhibition at the Pitt Rivers Museum at the University of Oxford is the result of a research project and substantial fieldtrip funded by the Arts and Humanities Research Council, with project partnership from the Pitt Rivers Museum.
Patrick Sutherland has been photographing in Spiti for nearly two decades and working with the Buchen for several years.
The book consists of a self-reflexive essay by Patrick Sutherland illustrated with historical photographs and his own photographs, followed by four sections of photographs and captions by Patrick Sutherland. It concludes with a substantial essay, placing the Buchen into a wider cultural and historical context, by Tashi Tsering, founding Director of the Amnye Machen Institute (Tibetan Centre for Advanced Studies) in Dharamsala. This essay is also illustrated with historical photographs
Graham Sutherland
No full textDriving along a country lane. Commentary suggests that "The best of British painting is that which has kept alive our ancient association with Nature and expressed a poetic vision of our surroundings." Landscape scenes. A country road near Farningham, Kent. Painting being taken out of Graham Sutherland’s house; followed by Sutherland himself. Kathleen Sutherland cutting branches in the garden. Inside the Sutherland house showing interior decorations, objects on the mantelpiece, etc., including bones, thistles, crystals, and fossils, reflecting Sutherland’s interest in geology and natural history. Exhibition catalogues. Views from the studio window. Sutherland looking at some of his paintings prior to sending them away to an exhibition; commentary says the images are both familiar and unfamiliar, being of natural objects, filtered through the artist’s imagination. Paintings on show in London. Religious themed work: Christ carrying the cross. Smaller works. Landscape in Pembrokeshire, near St David’s Head; grasses, thorns, roots, leafless bushes, water, etc. Commentary says this area and these kinds of objects were influential on Sutherland’s work before the Second World War. Some of Sutherland’s paintings from this early period. Rowing boats at edge of river, winding country road. Representation in Sutherland’s work.Self-portrait. Paintings of the Blitz, etc, made while Sutherland was an official War Artist. Sutherland at home. Several of his paintings showing images of thorns, a symbol of Christ’s crucifixion. Photographs of Sutherland’s painting of The Crucifixion itself (1946), one with Sutherland standing beside it. One of the photographs of Belsen survivors which influenced this work. Interior church of St Matthew in Northampton where the painting hangs. Canon Walter Hussey in front of the painting, talking about the tradition of Christian art, and about the feelings induced by Sutherland’s work. Sea breaking on rocks in the south of France. Statue of Virgin and Child, palm trees; landscapes; sunlit buildings, restaurant tables outdoors. The Sutherlands walking across a square. People walking along the waterfront at Monte Carlo; contrast with ancient landscape. The Sutherlands lunching outside their cottage at Cap Ferrat. View of nearby hill town. Sutherland walking through countryside; trees, bushes, a grasshopper. Objects on a table. Shadows. Sutherland in his studio. A table holding many objects picked up during previous excursions. Sutherland beginning a sketch of a subject resembling a grasshopper.Recent work and its influences: palm trees and their leaves and branches. The tropical gardens of the Ephrussi Rothschild Museum, St Paul-de-Vence, Cap Ferrat. Sutherland in his studio looking at thorny plant; paintings showing similar images. Sutherland among the tall grasses of the valley of the river Var; a sketch. Film of W Somerset Maugham talking as he sits for Sutherland. The resulting portrait, William Somerset Maugham (1949). William Maxwell Aitken, 1st Baron Beaverbrook (1952). The Maugham portrait. Landscape painting. Study of a Palm Tree, Palm on Wall (1948), Palm Palisade 1947-8, Study of a Hanging Maize, Still Life with Gourds, Banana Leaf and Landscape. Pictures influenced by the structure of insects. Sutherland standing in front of a huge ivy-covered wall. Sutherland in his garden. He says that "to try to express in words the equivalent of the look one wants in paint almost invariably ends in failure because words and painting are really separate means of expression." He says that he has sometimes tried to give clues to his work but often wishes afterwards that he hadn’t. He describes how he sees things when he goes for a country walk, how ideas are generated, how he tries to capture his original response to seeing objects, his fascination with organic forms,. VO continues of views of some of his paintings. Commentary continues over shots of paintings. Sutherland painting. The End
Arkansas Vernacular Architecture Manuscript Vernacular Building Type List and Sketches
No full textHandwritten ink building type list with building elevation sketches.Of particular note is Sutherland's use of the term "duple" for the double pen house. Author Donald Harington is credited with coining the term, and Sutherland with popularizing it
Graham Sutherland - ACE003.4
No full textRecent work and its influences: palm trees and their leaves and branches. The tropical gardens of the Ephrussi Rothschild Museum, St Paul-de-Vence, Cap Ferrat. Sutherland in his studio looking at thorny plant; paintings showing similar images. Sutherland among the tall grasses of the valley of the river Var; a sketch. Film of W Somerset Maugham talking as he sits for Sutherland. The resulting portrait, William Somerset Maugham (1949). William Maxwell Aitken, 1st Baron Beaverbrook (1952). The Maugham portrait. Landscape painting. Study of a Palm Tree, Palm on Wall (1948), Palm Palisade 1947-8, Study of a Hanging Maize, Still Life with Gourds, Banana Leaf and Landscape. Pictures influenced by the structure of insects. Sutherland standing in front of a huge ivy-covered wall. Sutherland in his garden. He says that "to try to express in words the equivalent of the look one wants in paint almost invariably ends in failure because words and painting are really separate means of expression." He says that he has sometimes tried to give clues to his work but often wishes afterwards that he hadn’t. He describes how he sees things when he goes for a country walk, how ideas are generated, how he tries to capture his original response to seeing objects, his fascination with organic forms,. VO continues of views of some of his paintings. Commentary continues over shots of paintings. Sutherland painting. The End
Graham Sutherland - ACE003.3
No full textSelf-portrait. Paintings of the Blitz, etc, made while Sutherland was an official War Artist. Sutherland at home. Several of his paintings showing images of thorns, a symbol of Christ’s crucifixion. Photographs of Sutherland’s painting of The Crucifixion itself (1946), one with Sutherland standing beside it. One of the photographs of Belsen survivors which influenced this work. Interior church of St Matthew in Northampton where the painting hangs. Canon Walter Hussey in front of the painting, talking about the tradition of Christian art, and about the feelings induced by Sutherland’s work. Sea breaking on rocks in the south of France. Statue of Virgin and Child, palm trees; landscapes; sunlit buildings, restaurant tables outdoors. The Sutherlands walking across a square. People walking along the waterfront at Monte Carlo; contrast with ancient landscape. The Sutherlands lunching outside their cottage at Cap Ferrat. View of nearby hill town. Sutherland walking through countryside; trees, bushes, a grasshopper. Objects on a table. Shadows. Sutherland in his studio. A table holding many objects picked up during previous excursions. Sutherland beginning a sketch of a subject resembling a grasshopper
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