169,135 research outputs found
Sutherland Payment for Pedrorena
No full textFour pages of documentation relating to college bills and payments for Miguel Pedrorena, the charge of Thomas W. Sutherland
Sutherland Payment for Pedrorena
No full textFour pages of documentation relating to college bills and payments for Miguel Pedrorena, the charge of Thomas W. Sutherland
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
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
Sutherland, W C, 1203644
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/420043Surname: SUTHERLAND. Given Name(s) or Initials: W C. Military Service Number or Last Known Location: 1203644. Missing, Wounded and Prisoner of War Enquiry Card Index Number: SEA-5304.244623
Item: [2016.0049.52304] "Sutherland, W C, 1203644
U-Pn geochronology of deformed metagranites in central Sutherland, Scotland: evidence for widespread late Silurian metamorphism and ductile deformation of the Moine Supergroup during the Caledonian orogeny
No full textWithin the Caledonides of central Sutherland, Scotland, the Neoproterozoic metasedimentary rocks of the Moine Supergroup record NW-directed D2 ductile thrusting and nappe assembly, accompanied by widespread tight-to-isoclinal folding and amphibolite-facies metamorphism. A series of metagranite sheets which were emplaced and penetratively deformed during D2 have been dated using SHRIMP UâPb geochronology. Zircon ages of 424 8 Ma (Vagastie Bridge granite), 420 6 Ma (Klibreck granite) and 429 11 Ma (Strathnaver granite) are interpreted to date emplacement, and hence regional D2 deformation, during
mid- to late Silurian time. Titanite ages of 413 3 Ma (Vagastie Bridge granite) and 416 3 Ma (Klibreck granite) are thought to date post-metamorphic cooling through a blocking temperature of c. 550â 500 8C. A mid- to late Silurian age for D2 deformation supports published models that have viewed the internal ductile thrusts of this part of the orogen as part of the same kinematically linked system of forelandpropagating thrusts as the marginal Moine Thrust Zone. The new data contrast with previous interpretations that have viewed the dominant structures and metamorphic assemblages within the Moine Supergroup as having formed during the early to mid-Ordovician Grampian arcâcontinent orogeny. The mid-to late Silurian D2 nappe stacking event in Sutherland is probably a result of the collision of Baltica with the Scottish segment of Laurentia
Sutherland, J W A, 417008
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/420041Surname: SUTHERLAND. Given Name(s) or Initials: J W A. Military Service Number or Last Known Location: 417008. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 52830.244621
Item: [2016.0049.52302] "Sutherland, J W A, 417008
The CMB neutrino mass/vacuum energy degeneracy: a simple derivation of the degeneracy slopes
No full textThis is a pre-copyedited, author-produced PDF of an article accepted for publication in Monthly Notices of the Royal Astronomical Society, following peer review. The version of record Sutherland, W. (2018). "The CMB neutrino mass/vacuum energy degeneracy: a simple derivation of the degeneracy slopes." Monthly Notices of the Royal Astronomical Society 477(2): 1913-1920. is available online at: https://doi.org/10.1093/mnras/sty68
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