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Books on the topic 'Sheffield City Art Galleries'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Gallery, Manchester City Art. Pre-Raphaelite paintings from Manchester City Art Galleries. 2nd ed. [Manchester, Eng.]: Manchester City Art Gallery, 1993.

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2

Treuherz, Julian. Pre-Raphaelite paintings from the Manchester City Art Galleries. 2nd ed. [Manchester, Eng.]: Manchester City Art Gallery, 1993.

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3

Gallery, FerensArt. Hull maritime paintings: From Ferens Art Gallery, Hull City Museums & Art Galleries. Hull: Ferens Art Gallery, 1985.

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4

City of Edinburgh Museums and Art Galleries. Museums and galleries month [May] 2004. Edinburgh: The City of Edinburgh Council, Culture and Leisure, 2004.

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5

Singer, &. Friedlander/Sunday Times Watercolour Compettition Exhibition (6th 1993 London Leeds and Birmingham). Sixth Watercolour Competition Exhibition: ...Leeds City Art Gallery, The Headrow, Leeds, 1-30 October 1993.... [London?]: Singer & Friedlander, 1993.

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6

Galleries, Leeds Art. Watercolours from Leeds City Art Gallery: One hundred watercolours from the collections of Leeds City Art Galleries. Leeds: Leeds City Art Galleries, 1995.

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7

Spalding, Julian. Modern art: A picture book based on the collections of Manchester City Art Galleries. [Manchester]: Manchester City Art Galleries, 1986.

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8

Spalding, Julian. Modern art: A picture book based on the collections of Manchester City Art Galleries. Manchester: Manchester City Art Galleries, 1986.

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9

Britain, Great. Sheffield City Polytechnic: Art and design provision : a report by HMI. [London]: Department of Education and Science, 1991.

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10

Oliveras, Jaume Vidal. Galerismo en Barcelona: 1877-2013 : el sistema, el arte, la ciudad = The gallery world in Barcelona : 1877-2013 : the system, the art, the city. [Spain?]: Gobierno de España, Ministerio de Educación, Cultura y Deporte, 2013.

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11

Mr. Bennett's Pictures (Exhibition) (1994-1995 Leeds City Art Gallery). Mr Bennett's Pictures: A selection from the collection of Leeds City Art Gallery. Leeds: Leeds City Art Gallery, 1994.

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12

Terry, Friedman, and Henry Moore Centre for the Study of Sculpture., eds. Four centuries of sculptors' drawings from the collection of Leeds City Art Galleries. Leeds, Yorkshire, England: Henry Moore Centre for the Study of Sculpture, 1993.

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13

Filsinger, Cheryl. Locus: [a guide to New York City art dealers with their historical and contemporary artists and photographers in cross-reference]. 5th ed. New York: Filsinger & Co., 1985.

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14

Calvesi, Maurizio. Treasures of the Vatican: St. Peter's Basilica, the Vatican museums and galleries, the treasure of St. Peter's, the Vatican grottoes and necropolis, the Vatican palaces. New York: Portland House, 1987.

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15

Giambologna. Giambologna: An exhibition of sculpture by the master and his followers, from the collection of Michael Hall, Esq. : Salander-O'Reilly Galleries, New York City. [New York: The Galleries], 1998.

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16

Biennale, British International Print. Fourth British International Print Biennale: July - September 1974 : City of Bradford Metropolitan Council Art Galleries and Museums, Cartwright Hall, Bradford, Yorkshire. [Bradford]: City of Bradford Metropolitan Council, 1988.

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17

Ross, Betty, and Ross Betty. New York City museums: A Ross guide : museums, historic houses, art galleries, libraries, and other special places open to the public in the New York metropolitan area. Washington, D.C: Americana Press, 1991.

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18

City of Bristol Museum and Art Gallery., Durham Light Infantry Museum and Arts Centre., and Graves Art Gallery (Sheffield, England), eds. Under the cover of darkness: Night prints : Bristol City Museum and Art Gallery, 4 October to 8 November 1986, Durham, DLI Museum and Arts Centre, 15 November to 24 December 1986, Sheffield, Graves Art Gallery, 10 January to 15 February 1987. London: Arts Council, 1986.

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19

Treuherz, Julian. Pre-Raphaelite Paintings from Manchester City Art Galleries. Manchester City Art Gallery, 1993.

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20

Galleries, Leeds Art, ed. Watercolours from Leeds City Art Gallery: One hundred watercolours from the collections of Leeds City Art Galleries. Leeds: Leeds City Art Galleries, 1995.

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21

Stephen, Reichard, Livet Anne 1941-, and American Foundation for AIDS Research., eds. Art against AIDS: An art sale in New York City, June through December, 1987, for the benefit of the American Foundation for AIDS Research (AmFAR). New York, N.Y. (40 W. 57th St., Suite 406, New York 10019-4001): The Foundation, 1987.

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22

Gallery, Manchester City Art, ed. Porcelain from Europe: A catalogue of the collections at Manchester City Art Galleries. [Manchester]: Manchester City Art Galleries, 1986.

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23

Gumpert, Lynn, writer of introduction, Klüver Billy 1927-2004 interviewer, Martin Julie 1938 interviewer, Grey Art Gallery, and Kunstmuseum Luzern, eds. Inventing downtown: Artist-run galleries in New York City, 1952-1965. Prestel Publishing, 2017.

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24

People's Galleries: Art Museums and Exhibitions in Britain, 1800-1914. Yale University Press, 2015.

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25

Gallery, Manchester City Art, and Norwich Castle Museum, eds. The art of watercolour: An exhibition organised by Manchester City Art Galleries in association with Arts Council/South Bank Centre Exhibitions. Manchester: Manchester City Art Galleries, 1987.

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26

Alex, Dorfsman, and Okon Yoshua, eds. La panadería, 1994-2002. México, D.F: Editorial Turner de México, 2005.

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27

Gallery, Manchester City Art, ed. Development of 19th century French art: From the collections of the Manchester City Art Galleries and other museums in the U.K. and theHugh Lane Municipal Gallery of Modern Art, Dublin, Ireland. bCommittee For the Exhibition, 1994.

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28

Guido, Cornini, ed. Raphael in the apartments of Julius II and Leo X: Papal monuments, museums, galleries. Milano: Electa, 1993.

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29

Tauranac, Ltd. Museum Mile and then some, Manhattan's museums: From MoMA to Cooper-Hewitt, ICP, and the city of New York, plus art galleries, shops ... and subways. Tauranac, Ltd, 1993.

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30

Zukin, Sharon. Naked City. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195382853.001.0001.

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As cities have gentrified, educated urbanites have come to prize what they regard as "authentic" urban life: aging buildings, art galleries, small boutiques, upscale food markets, neighborhood old-timers, funky ethnic restaurants, and old, family-owned shops. These signify a place's authenticity, in contrast to the bland standardization of the suburbs and exurbs. But as Sharon Zukin shows in Naked City, the rapid and pervasive demand for authenticity--evident in escalating real estate prices, expensive stores, and closely monitored urban streetscapes--has helped drive out the very people who first lent a neighborhood its authentic aura: immigrants, the working class, and artists. Zukin traces this economic and social evolution in six archetypal New York areas--Williamsburg, Harlem, the East Village, Union Square, Red Hook, and the city's community gardens--and travels to both the city's first IKEA store and the World Trade Center site. She shows that for followers of Jane Jacobs, this transformation is a perversion of what was supposed to happen. Indeed, Naked City is a sobering update of Jacobs' legendary 1961 book, The Death and Life of Great American Cities. Like Jacobs, Zukin looks at what gives neighborhoods a sense of place, but argues that over time, the emphasis on neighborhood distinctiveness has become a tool of economic elites to drive up real estate values and effectively force out the neighborhood "characters" that Jacobs so evocatively idealized.

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31

Clark, Justin T. City of Second Sight. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638737.001.0001.

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In the decades before the U.S. Civil War, the city of Boston evolved from a dilapidated, haphazardly planned, and architecturally stagnant provincial town into a booming and visually impressive metropolis. In an effort to remake Boston into the "Athens of America," neighborhoods were leveled, streets straightened, and an ambitious set of architectural ordinances enacted. However, even as residents reveled in a vibrant new landscape of landmark buildings, art galleries, parks, and bustling streets, the social and sensory upheaval of city life also gave rise to a widespread fascination with the unseen. Focusing his analysis between 1820 and 1860, Justin T. Clark traces how the effort to impose moral and social order on the city also inspired many—from Transcendentalists to clairvoyants and amateur artists—to seek out more ethereal visions of the infinite and ideal beyond the gilded paintings and glimmering storefronts. By elucidating the reciprocal influence of two of the most important developments in nineteenth-century American culture—the spectacular city and visionary culture—Clark demonstrates how the nineteenth-century city is not only the birthplace of modern spectacle but also a battleground for the freedom and autonomy of the spectator.

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32

Menezes, Alexandre Monteiro de. Horizontes: Pinturas e desenhos de Belo Horizonte. Brazil Publishing, 2021. http://dx.doi.org/10.31012/978-65-5861-531-6.

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HORIZONTES is a tribute to the city Belo Horizonte. The drawings and paintings that make up this tribute were presented in individual and collective exhibitions in art galleries and cultural spaces in the capital of Minas Gerais. The peaces bring scenes from the daily life of the city, its mountains seen in the distance, as well as representing some of its buildings. The creative process begins with drawings and sketches developed on the spot, using graphite pencils, colored pencils, ballpoint pens, a pad of paper and a good shade to protect from the sun. The buildings are drafted on the spot on small sheets of paper, allowing you to choose the best viewing angles and seeking to experience the space, smell the scents, hear the sounds, perceive the warmth and life of each place. The drawings made in the place offer important and necessary information to help organize the perception and better understanding of the object in space. The observation drawing activity involved in this creative process is of great importance, as it is a conventional, personal and individual activity, involving the discovery of forms and their communication. The observation drawings developed at the site are more than just a passive container of the author's eye. They are a powerful medium that influence thinking just as they are influenced by the thinking of the designer. The result seems to represent, more and more, the will and the attempt to paint not only the visible world, but the memory, the history, the winds, the sounds, the smells, the city and the life, with all the symbolic aspect.

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