2,618 research outputs found
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
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
Plasmodium Ovale Malaria Parasite: Found To Be Two Species - 28 April 2010
No full textAn international group of scientists has found that one of the common types of malaria parasite — plasmodium ovale — is actually two completely different species, but living side by side in the same human communities. One of the researchers involved with the discovery (just published in the Journal of Infectious Disease), Colin Sutherland of the London School of Hygiene and Tropical Medicine, explains to Sarah Maxwell how this finding is not only interesting scientifically but could also help in the global fight against malaria
MBAM; Montreal Museum of Fine Arts; MMFA; Futur pavillon Michal et Renata Hornstein
No full textConnu depuis 2000 sous le nom de Pavillon Michal et Renata Hornstein; Architectes: Edward et William Sutherland Maxwell; Dates de construction: 1910-1912; Date d'inauguration: 9 décembre 1912; Photographie: Pierre-Richard Bisson, 1979.07.2
MBAM; Montreal Museum of Fine Arts; MMFA; Futur pavillon Michal et Renata Hornstein
No full textConnu depuis 2000 sous le nom de Pavillon Michal et Renata Hornstein; Architectes: Edward et William Sutherland Maxwell; Dates de construction: 1910-1912; Date d'inauguration: 9 décembre 1912; Hartill Art Associates. ACa-186
MBAM; Montreal Museum of Fine Arts; MMFA
No full textConnu à l'origine sous le nom de Musée des Beaux-Arts de Montréal; Connu depuis 2000 sous le nom de Pavillon Michal et Renata Hornstein; Architectes: Edward et William Sutherland Maxwell; Dates de construction: 1910-1912; Date d'inauguration: 9 décembre 1912; Cours AME 2340: Photographie en aménagement - Projet personnel - Été 2017; Professeur: Alain Laforest; Photographie: Lévy Lavoie-Giasson, 2017.05.22; Numéro de repérage: LLG_DSC025
Tuttiett, Mary Gleed [pseud. Maxwell Gray] (1846–1923), novelist
No full textBiographical entry of popular female author Maxwell Gray
Maison Maria-Raymond; United Services Club; Fondation Macdonald Stewart
No full textConnue aussi sous les noms de Maison Maria-Raymond, United Services Club et Fondation Macdonald Stewart; Architecte probable du bâtiment d'origine: Maurice Perrault; Architectes chargés de réaménager l'intérieur: Edward et William Sutherland Maxwell; Architecte chargé d'agrandir le bâtiment: Hugh Percival Illsley; Date de construction du bâtiment d'origine: 1883; Dates du premier réaménagement intérieur: 1902-1903; Dates d'agrandissement: 1930-1931; Photographie: Pierre-Richard Bisson, 1979.07.2
MBAM; Montreal Museum of Fine Arts; MMFA
No full textConnu à l'origine sous le nom de Musée des Beaux-Arts de Montréal; Connu depuis 2000 sous le nom de Pavillon Michal et Renata Hornstein; Architectes: Edward et William Sutherland Maxwell; Dates de construction: 1910-1912; Date d'inauguration: 9 décembre 1912; Cours AME 2340: Photographie en aménagement - Projet personnel - Été 2017; Professeur: Alain Laforest; Photographie: Lévy Lavoie-Giasson, 2017.05.21; Numéro de repérage: LLG_DSC0225À gauche: Hommage à Wirikuta, sculpture faite de pneus de Betsabée Romero réalisée en 2011; Au centre: Le soleil, sculpture en verre soufflé de Dale Chihuly réalisée en 2013; À droite: Figure vêtue d'une cape, sculpture en bronze de Lynn Chadwick réalisée en 197
Maison Maria-Raymond; United Services Club; Fondation Macdonald Stewart
No full textConnue aussi sous les noms de Maison Maria-Raymond, United Services Club et Fondation Macdonald Stewart; Architecte probable du bâtiment d'origine: Maurice Perrault; Architectes chargés de réaménager l'intérieur: Edward et William Sutherland Maxwell; Architecte chargé d'agrandir le bâtiment: Hugh Percival Illsley; Date de construction du bâtiment d'origine: 1883; Dates du premier réaménagement intérieur: 1902-1903; Dates d'agrandissement: 1930-1931; Photographie: Pierre-Richard Bisson, 1979.07.28À gauche: Maison Thomas-Craig, 1201, rue Sherbrooke Ouest, Montréa
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