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Relevant bibliographies by topics / Henry Art Gallery

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Academic literature on the topic 'Henry Art Gallery'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2024

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Journal articles on the topic "Henry Art Gallery"

1

Sippel, Annika. "A forgotten collector: Archdeacon Smythe and his collection of British watercolours in New Zealand." Tuhinga 34 (November 14, 2023): 105–23. http://dx.doi.org/10.3897/tuhinga.34.106803.

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Francis Henry Dumville Smythe (1873–1966), a humble clergyman from England, spent a lifetime amassing his private collection of British watercolours. During the 1950s, he decided to gift the bulk of them to two art institutions in New Zealand – Dunedin Public Art Gallery and the National Art Gallery in Wellington. They were welcomed with open arms and celebrated as “the finest collection of water colour pictures in the Southern Hemisphere.” However, they soon fell out of favour as shifting aesthetic tastes and calls for a new national identity dominated the art scene in New Zealand during the latter half of the twentieth century. This paper will examine Smythe’s collecting habits and tastes in art, as well as the formation, gifting and reception of the collection in Wellington and Dunedin. It is based on two chapters from the author’s PhD thesis “A Matter of Taste: The Fate of the Archdeacon Smythe Collection of British Watercolours in New Zealand” (2021).

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Warts, Cybèle Elaine. "Interview with Tamara Moats, Speaker on Visual Thinking and Use of Art Data." Education Libraries 31, no. 2 (2017): 39. http://dx.doi.org/10.26443/el.v31i2.249.

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Tamara Moats was curator of education at the University of Washington's Henry Art Gallery for nineteen years where she organized programs for all ages, developed the museum’s teaching methods, and wrote extensive curricula. She now teaches art history at the Bush School Upper School and the Cornish College of the Arts, and visual thinking at the University of Washington Medical School. Moats holds a BA degree in art history from the University of Puget Sound and an MA in Asian Studies from the Claremont Graduate School.

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Smith, Charles Saumarez. "THE INSTITUTIONALISATION OF ART IN EARLY VICTORIAN ENGLAND." Transactions of the Royal Historical Society 20 (November 5, 2010): 113–25. http://dx.doi.org/10.1017/s0080440110000071.

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ABSTRACTThis article explores the political and intellectual circumstances which led to the efflorescence of cultural institutions between the foundation of the National Gallery in 1824 and the National Portrait Gallery in 1856: the transformation of institutions of public culture from haphazard and rather amateurish institutions to ones which were well organised, with a strong sense of social mission, and professionally managed. This transformation was in part owing to a group of exceptionally talented individuals, including Charles Eastlake, Henry Cole and George Scharf, accepting appointment in institutions to foster the public understanding of art. But it was not simply a matter of individual agency, but also of coordinated action by parliament, led by a group of MPs, including the Philosophical Radicals. It was much influenced by the example of Germany, filtered through extensive translation of German art historical writings and visits by writers and politicians to Berlin and Munich. It was also closely related to the philosophy of the utilitarians, who had a strong belief in the political and social benefits of the study of art. Only the Royal Academy refused the embrace of state control.

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Ellis, Elizabeth Garrity. "The “Intellectual and Moral Made Visible”: The 1839 Washington Allston Exhibition and Unitarian Taste in Boston." Prospects 10 (October 1985): 39–75. http://dx.doi.org/10.1017/s0361233300004063.

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“I have Just come from the Gallery—my third visit,” announced a correspondent to the Boston Daily Advertiser on the second day of the Washington Allston retrospective at Harding's Gallery (Figures 1 and 2), “where I stood in the very midst… of the glowing colors and glorious subjects [of] the artist who stands alone in this his age, in this his art.” He was part of a chorus of dazzled spectators who crowded the exhibition, “filled with enthusiastic admiration” in “surveying forty-five pictures, many of which only the golden time of art could equal.” For the young Henry T. Tuckerman, who would recall it vividly in his influential Book of the Artists, the show “proved an epoch in the history of Art in the United States.” It was also the signal event of the artist's old age: a benefit exhibition that recalled the fifty-nine-year-old Allston from “a life of great seclusion” in suburban Cambridgeport, was extended from six to eleven weeks by popular demand, and fascinated some of the most critical minds in Boston.

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Sim, Jiaying. "Embodiment, Curation, Exhibition." Screen Bodies 1, no. 1 (2016): 87–91. http://dx.doi.org/10.3167/screen.2016.010106.

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As part of the 2014 GENERATION project celebrating the past twenty-five years of contemporary art in Scotland, Douglas Gordon’s exhibition, “Pretty much every film and video work from about 1992 until now,” took centerstage at the Gallery of Modern Art in Glasgow. Gordon contributed to the dialogue with a unique installation showcasing his twenty-two years of artistic endeavors through 101 different-sized old television sets elevated on old plastic beer crates, simultaneously screening 82 video and film works. The screens flickered and lit the dark main gallery as the visual works played on loop—some with sound, some without, some in slow motion. The exhibition included such works as 24 Hour Psycho (1993), Between Darkness and Light (After William Blake) (1997), Play Dead; Real Time (2003), Henry Rebel (2011), Silence, Exile, Deceit: An Industrial Pantomime (2013) and emphasized how Gordon’s collection has grown since its first exhibition from 1999 in Poland and will continue to do so, as he updates the videos and films.

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Cronquist, Carol. "An Ohio librarian makes a ‘find’." Art Libraries Journal 18, no. 4 (1993): 24–27. http://dx.doi.org/10.1017/s030747220000852x.

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In the course of researching the life and work of a 19th century British artist, Henry Courtney Selous, several London museums and libraries were visited during 1993. The Royal Academy and the National Portrait Gallery yielded some information, but at the Guildhall Library the author’s attention was drawn to a diary held at the National Art Library which on perusal seemed undoubtedly to have been compiled by Selous. The Library has subsequently revised the diary’s catalogue entry to incorporate this attribution.

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Tipper, Josephine. "Reconstructing men from the operating table to the gallery." Groundings Undergraduate 10 (November 1, 2017): 131–47. http://dx.doi.org/10.36399/groundingsug.10.193.

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This study explores the changing interpretations of Henry Tonks' pastel drawings of disfigured soldiers from the aftermath of World War I. As the context evolved from a clinical environment to art historical, concerns developed not only regarding the reconstruction of the male body, but also the restoration of manhood after the First World War. The pre-War construction of masculinity, which turned man to machine, must also be evaluated in order to understand how Tonks’ images might reinstate the wounded men’s identities. The study examines the collective identity of British men during the First World War, focusing on those who were injured in battle. It compares Tonks’ pastels with other sources, in order to understand the changing and fragile definition of masculinity from the aftermath of war, and the reconstruction of manhood and identity of disfigured soldiers.

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Hancock, Geoff. "Lost & Found: 150. William Henry Fitton F.R.S. (1780-1861) and 151 William Roby Barr F.G.S." Geological Curator 4, no. 3 (1985): 176–77. http://dx.doi.org/10.55468/gc764.

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Geoff Hancock (Department of Natural History, Glasgow Museums and Galleries, Kelvingrove, Glasgow; formerly of Bolton Museum and Art Gallery, Le Mans Crescent, Bolton BLl ISA), writes: 'To have a good run of the published organs of the Geological Society of London is an asset for any museum hut to have some of the earliest volumes which once belonged to WUliam Henry Fitton FRS (1780-1861) and possibly annotated by him adds considerable interest. Part of the set in Bolton Museum hears Fitton's bookplate (Fig.2) showing arms and crest in volumes one to five of the Journal. These are bound in exactly the same way as the twelve volumes of the Transactions (quarter hound in leather with...

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Horowitz, W., and W. G. Lambert. "A new exemplar of Ludlul bēl nēmeqi Tablet I from Birmingham." Iraq 64 (2002): 237–45. http://dx.doi.org/10.1017/s0021088900003715.

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In the early 1980s a group of cuneiform tablets formerly in the collection of Sir Henry Wellcome housed at the Wellcome Historical Medical Museum arrived at the Birmingham City Museum and Art Gallery. The majority of these tablets were Ur III administrative texts that were published in Birmingham Cuneiform Tablets I–II. Other tablets in the collection included Old Akkadian, Old Babylonian and Late Babylonian documents, a Shulgi plaque, clay cones, inscribed bricks, a small group of astronomical texts, and a few unidentified miscellaneous tablets and fragments. One of these unidentified fragments turned out to be a hitherto unknown exemplar of Ludlul Bēl Nēmeqi Tablet I, and is the occasion of the current study.

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Giasson, Steve. "Grant Arnold et Karen Henry, dir., Trafic : l’art conceptuel au Canada 1965–1980, catalogue d’exposition, trad. Natalie de Blois, Eduardo Ralickas, et al., [Edmonton] : Art Gallery of Alberta; [Montréal] : Leonard & Bina Ellen Art Gallery; [Halifax] : Halifax INK; [Toronto] : Justina M. Barnicke Gallery; [Vancouver] : Vancouver Art Gallery, 2012, 174 p., 55,95 $, ISBN : 978-1-895442-89-2." RACAR : Revue d'art canadienne 40, no. 1 (2015): 100. http://dx.doi.org/10.7202/1032760ar.

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Dissertations / Theses on the topic "Henry Art Gallery"

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Morrison, Leah. "Liber alphabeti super cantu plano, a fifteenth-century carthusian plainchant treatise in Huntington Library manuscript FI 5096 : an edition, translation and commentary /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb40063548t.

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Wahlert, Blake Jorgensen. "The Poetry of Reality: Frederick Wiseman and the Theme of Time." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505236/.

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Employing a textual analysis within an auteur theory framework, this thesis examines Frederick Wiseman's films At Berkeley (2013), National Gallery (2014), and Ex Libris (2017) and the different ways in which they reflect on the theme of time. The National Gallery, University of California at Berkeley, and the New York Public Library all share a fundamental common purpose: the preservation and circulation of "truth" through time. Whether it be artistic, scientific, or historical truth, these institutions act as cultural and historical safe-keepers for future generations. Wiseman explores these themes related to time and truth by juxtaposing oppositional binary motifs such as time/timelessness, progress/repetition, and reality/fiction. These are also Wiseman's most self-reflexive films, acting as a reflection on his past filmmaking career as well as a meditation on the value these films might have for future generations. Finally, Wiseman's reflection on the nature of time through these films are connected to the ideas of French philosopher Henri Bergson.

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Books on the topic "Henry Art Gallery"

1

Oscar, Riera Ojeda, ed. Henry Art Gallery: Gwathmey Siegel. Rockport, 1999.

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Oscar, Riera Ojeda, Andrews Richard, Gwathmey Charles 1938-, Siegel Robert 1939-, and Gwathmey Siegel & Associates Architects, eds. Henry Art Gallery: Gwathmey Siegel. Rockport Publishers, 1999.

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3

Gallery, Henry Art, ed. Henry Art Gallery, University of Washington, 1927-1986. Henry Art Gallery, University of Washington, 1986.

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Mazaroff, Stanley. Henry Walters and Bernard Berenson: Collector and connoisseur. Johns Hopkins University Press, 2010.

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Fuseli, Henry. The drawings of Henry Fuseli from the Auckland City Art Gallery. American Federation of Arts, 1990.

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6

Carolyn, Sargentson, ed. French art of the eighteenth century at the Huntington. Yale University Press, 2008.

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7

Ontario, Art Gallery of. Henry Moore: Sculpture, drawings, and prints from the collection of the Art Gallery of Ontario. The Gallery, 1985.

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Ontario, Art Gallery of. Henry Moore's animals: Prints from the permanent collection of the Art Gallery of Ontario. Art Gallery of Ontario = Musée des beaux-arts de l'Ontario, 1990.

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9

Gallery, Henry Art. The Celebration of tradition: The Grace, Hord and Larsen collections, the Henry Art Gallery collection : November 14, 1986-January 4, 1987. Henry Art Gallery, University of Washington, 1986.

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Ontario, Art Gallery of. Henry Moore remembered: The collection in the Art Gallery of Ontario in Toronto. Art Gallery of Toronto, 1987.

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Book chapters on the topic "Henry Art Gallery"

1

"A Green Riding Coat Fragment in the Henry Art Gallery, Seattle." In Riding Costume in Egypt. BRILL, 2004. http://dx.doi.org/10.1163/9789047402381_011.

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Kennedy, Róisín. "Promotion." In Art and the Nation State. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789622355.003.0004.

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This chapter focuses on two major art controversies of the 1950s – the rejection by the Dublin Municipal Gallery of Modern Art of the painting, A Family, by the young London based artist, Louis le Brocquy and of Reclining Figure II, by the renowned British sculptor, Henry Moore. These disputes were central to the wider debate about the relevance of modern art to Ireland amid the post-war emphasis on the promotion of eminent modern artists or ‘art stars’. After the establishment of the Republic in 1949, the setting up of the Cultural Relations Committee (1948) and the Arts Council of Ireland (1951) saw increasing official involvement in visual art. Modernism was favoured in Ireland’s participation at international exhibitions, most notably the Venice Biennale, while academic realist art was marginalised. The new elite, reacting against the isolationism of the pre-war era now associated with academic realism, promoted a cosmopolitan image of Irish culture internationally. Ultimately the censorious attitude taken towards the work of Moore and le Brocquy in Dublin reflected wider concerns about control of the art field in Ireland.

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Stamy, Cynthia. "Precision, Perspective, and the Harnessing of Silence." In Marianne Moore and China. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184607.003.0006.

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Abstract Marianne Moore, like William Carlos Williams and Henry James, wanted in her youth to become a painter. Her poems display a penetrating and attentive visual sense augmented by a sensitivity to colour and the proximal relations and interactions of the various subjects in her compositions. Painterly verbiage appears repeatedly throughout her poetry and prose, with particular references alluding to matters of style and execution in Chinese art and art generally. Books on oriental rugs and carpets, Chinese bronzes, Chinese theories of art, museum bulletins on Chinese stele and prints, as well as gallery and auction catalogues on Chinese porcelains, jades, bronzes, textiles, fans, pottery, and sculpture make up a significant portion of Moore’s library holdings.

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Pappas-Kelley, Jared. "The destruction of art." In Solvent Form. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526129246.003.0001.

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Chapter one surveys examples from news articles, books, and exhibitions that take the destruction of art as their starting point, and attempts to gather these approaches and accounts as a framework for the book. Solvent form looks to recent examples such as critic Jonathan Jones’s concept of a Museum of Lost Art—a place where all the destroyed and lost artworks might hang—poet Henri Lefebvre’s book The Missing Pieces, the Tate Modern’s recent virtual exhibition Gallery of Lost Art, as well as literary parallels taken from Tom McCarthy’s Remainder and Georges Perec’s character Bartlebooth in Life A User’s Manual. From here, it considers Georges Bataille’s concept of the negative miracle from The Accursed Share in relation to thoughts from Giorgio Agamben and Paul Virilio, while providing examples such as Rachel Whiteread’s House, Robert Rauschenberg’s Erased de Kooning Drawing, and Jean Tinguely’s Homage to New York.

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Rankine, James. "Henry Glasby: Atypical Pirate or a Typical Pirate?" In The Problem of Piracy in the Early Modern World. Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789463720960_ch07.

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The pirates of the early eighteenth century fascinated their contemporaries and continue to enthral generations. Historical studies of pirates have prioritised the same influential rogues’ gallery, but we rarely examine the lived experience of the thousands of pirates who avoided notoriety. This chapter seeks to reassess the “Golden Age” of piracy (1716–1726) through the career of Henry Glasby. Glasby’s tenure as a pirate saw him progress from captive prisoner, to elected officer, to turncoat who served King’s evidence. Although men like his commander, Bartholomew Roberts, are seen as emblematic of pirate life, Glasby’s trajectory offers a contrasting portrait. Glasby’s time aboard reveals a crew riven by division, ambivalence, and hierarchy. His dramatic exit from piracy illustrates that his experience was common.

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Wall, Stephen. "Introduction." In Reluctant European. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198840671.003.0001.

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I stand in the Frick gallery in New York, staring at the two sixteenth-century Holbein portraits on the wall in front of me. On the left is Thomas More, on the right, Thomas Cromwell. They look as they must have been. Both lost their heads to the tyrant Henry VIII, whom they both served. But their portraits are timeless, modern in their precision, acute in their revelation of character. No way can the piggy-eyed, clever thug that Holbein saw in Cromwell be reconciled with the sympathetic version created by Hilary Mantel in ...

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"A “Barbarian” in the Gallery: Southeast Asian Art and Performance in the Portrait of Henri Michaux." In Jean Dubuffet, Bricoleur. Bloomsbury Visual Arts, 2022. http://dx.doi.org/10.5040/9781501349447.ch-004.

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Savage, Roger. "Calling Up Genius: Purcell, Roger North, and Charlotte Butler." In Performing the Music of Henry Purcell. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164425.003.0014.

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Abstract How did Dioclesian go down at its premiereã ‘It gratify’d the Expectation of Court and City.’ And King Arthurã ‘The Play and Musick pleas’d the Court and City.’ What about The Fairy-Queenã ‘The Court and Town were wonderfully satisfy’d with it.’ If we can believe John Downes, who was Dorset Garden Theatre prompter at the time, patrons in pit, box and, quite possibly, gallery as well hugely enjoyed the new ‘semi-operas’ of the early 1690s for which Purcell provided the music. That is good to know; but we know next to nothing about what it was those courtiers and citizens specifically and especially relished, or how they ‘read’ what they saw and heard. How illuminating it would be if just a dozen relevant letters, diary jottings, and memos survived to supplement the evidence of playbook, press-puff, theatre score, songsheet, act-tune collection, and the recollections of Downes himself when one is trying to call up the particular genius of those shows. One joins the band of mourners lamenting that Samuel Pepys had given up writing his shorthand diary so long before; after all, he was still alive, well, and living in Westminster in Purcell’s last years.

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Sawday, Jonathan. "Introduction." In Blanks, Print, Space, and Void in English Renaissance Literature. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192845641.003.0001.

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Abstract In 1911 Leonardo’s Mona Lisa was stolen from the Louvre, resulting in a gap in the gallery which became an object of fascination. This empty space can be imagined as a foretaste of minimalist or conceptual art in the twentieth century (Kazimir Malevich, Yves Klein) as well as the marketing device of blank space (the White Album of the Beatles), together with works of both commemoration and memory. Archaeologists, too, have begun to inquire into seemingly empty or blank spaces in landscapes. These examples introduce the book’s main themes, which are outlined in this chapter. The introduction describes each subsequent chapter of the book, while also discussing (e.g.) “blank books” devoid of print or illustration; the palimpsest; the fear of absence (horror vacui or kenophobia); silence; the poetics and production of space (Michel Foucault, Gaston Bachelard, Henri Lefebvre); and the idea of instantaneous recovery of information.

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