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C. J. and P. J. Vaughan
No full text"Pte. C. J. Vaughan. NX 91680 Alice Springs (149 AGT) Pte. P. J. Vaughan NX 117913"Private C. J. Vaughan. NX 91680 Alice Springs (149 Australian General Transport Company) Private P. J. Vaughan NX 117913.Date:199
Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan
No full textThis critical review forms a reflection on the research published within the following publications:
Patrick Procktor: Art and Life (Unicorn Press, 2010)
Keith Vaughan: The Mature Oils 1946-1977, (Sansom & Co., 2012)
The research is on two artists, Patrick Procktor (1936-2003), and Keith Vaughan (1912-1977). The monograph on Procktor – previously one of the least documented of the generation of artists who came to prominence in London in the Sixties – positions him in a history of art from which he had been notably absent. The research on Vaughan asserts a new reading of his work, one that is both deeper and more nuanced in its analysis of the ways in which personal experience and sexuality are encoded autobiographically within his work. Crucially, in both artists biography and work are symbiotically linked; the research therefore examines the links between life and art.
Revisionary in intent, the work examines trajectories of experience of gay British (or rather, English) artists in the twentieth century, artists who sought to express themselves and forge careers within the constraints of a heteronormative society, albeit one in which attitudes to sexuality were undergoing change. As gay men, both were constrained by the social mores of their times, and each used painting as a means to affirm personal and sexual identities. A key research interest is in the ways in which sexuality and persona are reflected in critical responses to the artist’s work: in Vaughan, Procktor and other gay male artists of the period. The writing on both Procktor and Vaughan examines the relationship between their personal and professional/artistic lives, framed within a broader socio-political and art historical context. It asserts the place of biography as a means to understand and form new readings of the work. The work adds substantially to the literature and wider discourse on post-war British painting and social history
Keith Vaughan
No full textPaintings by Keith Vaughan – Harvest Assembly (1956) and others. Vaughan’s words on figures and their environment read over. Caption: "Keith Vaughan had no formal art training. He was a figurative painter at a time when Abstract Art became fashionable. He taught art briefly but made his living selling his paintings. He kept a journal for most of his life." Vaughan’s words on the reason for writing his journal read over. Photograph (1960) of Vaughan and one of his paintings. VO continues on the human body and Vaughan’s relationships over other paintings. Bryan Robertson, Art Critic, on Vaughan’s classical education. Boys at Christ’s Hospital (Bluecoats) School. Vaughan’s words VO talking about revisiting the school. Boys singing in chapel. Robertson’s VO on Vaughan’s affection for the work of Frank Brangwyn; views of his murals in the school chapel (1912-1923). Vaughan’s VO on his feelings on seeing them again. Robertson describes Vaughan as typical of his period, brought up in the 1920s and 1930s, rejecting any kind of bohemianism. Photograph of Vaughan. Sketches by Vaughan in advertisements for Lintas products (1931-1938). Painting of a miner. Photographs of young naked men on the beach. Vaughan’s words over. Sketches of male nudes. Christ’s Hospital boys’ band marching. Army band marching. Marching soldiers. Christ’s Hospital band. Images intercut. Vaughan VO on his call-up for military service. Sketches of wartime subjects.
Alan Ross, Publisher of the Journals, says that Vaughan was naturally "anti-heroic". Soldiers writing letters in the canteen. More wartime subjects. Film of German troops being marched to a prisoner of war camp, being registered, going to the showers. Sketches and drawings including A Barrack Room (1942); A Chat Before Lights Out (c.1942). Bush VO believes that Vaughan’s wartime work shows a sense of community lacking from that of other periods. Vaughan’s words over about life in the army. Various post-war paintings with Vaughan words VO on the peace, the suffering that remains, and his own feelings. Pages from Vaughan’s journal. Drawings. List of exhibitions of Vaughan’s work. Robertson on Vaughan’s "arcadian impulse" to find a link between man and his environment. Landscape. Fields. Photograph of nude boy. Sketch of male nude dated 1958. Life class with male model. Vaughan’s words over on his own qualities as a teacher, and on the difference between life and still life work. Group of Bathers (1951). Various nudes. The Martyrdom of St. Sebastian, Three Figures on a Red Ground (1963), and others. Robertson’s VO suggests that the "monumental" aspects, the "Dionysian" qualities, and the "energy" of the paintings are more important than the homoerotic themes in them. Figure paintings such as Small Assembly of Figures (1951). Vaughan’s VO on "space" in paintings: "As far as I can see, all space in painting is an illusion… the important thing is what has been painted there". Photograph of Vaughan with one of his paintings. His house in Essex and paintings of it. Ross VO on Vaughan’s relationships or lack of them. Photograph of Vaughan at home. Vaughan’s VO on being alone. Ross on Vaughan’s later journals. Paintings of young men intercut with film of men in similar poses – on a beach, in the sea, etc. Vaughan’s VO on the need for maturity. More beach scenes. Catalogue of exhibition at the Whitechapel Art Gallery, London, 1962. Robertson’s VO over paintings including Landscape with Figure, Morellos (1959); people talking about the exhibition and its critical reception. Vaughan’s words VO. Ross says that he had no idea of the loneliness, frustration and misery endured by Vaughan, though he thought he knew him well, until he read the journals. Vaughan’s VO on getting his CBE (1965). Photograph (1968) of Vaughan in his studio. Paintings; Assembly of Figures VII (1964). Ross on Vaughan’s cancer and other illnesses, his need to adjust to a new reality, and his suicide. Paintings. Vaughan’s VO on the suddenness of death and the need to arrange things so that there is as little "disorder" as possible. Photograph of Vaughan seated in his studio with a painting; painting – of a suicide – shown. Vaughan’s words on his own suicide. The last entry in the journal: "… It wasn’t a complete failure. I did some work." Credits
Keith Vaughan - ACE147.2
No full textPaintings by Keith Vaughan – Harvest Assembly (1956) and others. Vaughan’s words on figures and their environment read over. Caption: "Keith Vaughan had no formal art training. He was a figurative painter at a time when Abstract Art became fashionable. He taught art briefly but made his living selling his paintings. He kept a journal for most of his life." Vaughan’s words on the reason for writing his journal read over. Photograph (1960) of Vaughan and one of his paintings. VO continues on the human body and Vaughan’s relationships over other paintings. Bryan Robertson, Art Critic, on Vaughan’s classical education. Boys at Christ’s Hospital (Bluecoats) School. Vaughan’s words VO talking about revisiting the school. Boys singing in chapel. Robertson’s VO on Vaughan’s affection for the work of Frank Brangwyn; views of his murals in the school chapel (1912-1923). Vaughan’s VO on his feelings on seeing them again. Robertson describes Vaughan as typical of his period, brought up in the 1920s and 1930s, rejecting any kind of bohemianism. Photograph of Vaughan. Sketches by Vaughan in advertisements for Lintas products (1931-1938). Painting of a miner. Photographs of young naked men on the beach. Vaughan’s words over. Sketches of male nudes. Christ’s Hospital boys’ band marching. Army band marching. Marching soldiers. Christ’s Hospital band. Images intercut. Vaughan VO on his call-up for military service. Sketches of wartime subjects
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A letter from Roy Vaughan to Dr. Hector P. Garcia.
No full textA letter from Roy Vaughan to Dr. Hector P. Garcia regarding a color photograph to be sent
Vaughan, David A. - An inaugural dissertation on cancer
No full textHandwritten inaugural dissertation on cancer by D. A. Vaughan, of Tennessee.Inaugural dissertation; no. 284
Keith Vaughan - ACE147.4
No full textFigure paintings such as Small Assembly of Figures (1951). Vaughan’s VO on "space" in paintings: "As far as I can see, all space in painting is an illusion… the important thing is what has been painted there". Photograph of Vaughan with one of his paintings. His house in Essex and paintings of it. Ross VO on Vaughan’s relationships or lack of them. Photograph of Vaughan at home. Vaughan’s VO on being alone. Ross on Vaughan’s later journals. Paintings of young men intercut with film of men in similar poses – on a beach, in the sea, etc. Vaughan’s VO on the need for maturity. More beach scenes. Catalogue of exhibition at the Whitechapel Art Gallery, London, 1962. Robertson’s VO over paintings including Landscape with Figure, Morellos (1959); people talking about the exhibition and its critical reception. Vaughan’s words VO. Ross says that he had no idea of the loneliness, frustration and misery endured by Vaughan, though he thought he knew him well, until he read the journals. Vaughan’s VO on getting his CBE (1965). Photograph (1968) of Vaughan in his studio. Paintings; Assembly of Figures VII (1964). Ross on Vaughan’s cancer and other illnesses, his need to adjust to a new reality, and his suicide. Paintings. Vaughan’s VO on the suddenness of death and the need to arrange things so that there is as little "disorder" as possible. Photograph of Vaughan seated in his studio with a painting; painting – of a suicide – shown. Vaughan’s words on his own suicide. The last entry in the journal: "… It wasn’t a complete failure. I did some work." Credits
Oral History Interview: Richard Vaughan
No full textThis interview is one of a series conducted concerning the experiences of West Virginian war veterans. Born in Hot Springs, Virginia, Mr. Vaughan was living in Charleston, West Virginia when America entered World War II. After serving in the Navy he returned to Charleston where in 1979, he resided. Mr. Vaughan discusses his experiences in the Navy during World War II. He focuses on the sinking of his ship and his years in Germany as a prisoner of war.https://mds.marshall.edu/oral_history/1202/thumbnail.jp
Vaughan, Colleen
No full textcurrentColleen Vaughan, Vice-President, Academic, is passionate about excellence in training and education informed by applied research to keep our communities safe. She served as JIBC’s Dean, School of Public Safety for four years and for seven months also filled the role of Interim, Vice-President, Academic. She was appointed Vice-President, Academic in January 2017. Colleen has been involved in emergency and disaster responses throughout British Columbia and the state of Georgia. She has been honoured as JIBC Instructor of the Year, and she received a NISOD Excellence Award for teaching from the University of Texas
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A letter from Roy Vaughan to Recipients of the Distinguished Alumnus Award.
No full textA letter from Roy Vaughan, Executive Director of the Ex-Students' Association, to recipients of the Distingushed Alumnus Award, inviting them to nominate an outstanding alumnus
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