1.
Lucian Freud
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Lucian Michael Freud was a British painter and draftsman, specialising in figurative art, and is known as one of the foremost 20th-century portraitists. He was born in Berlin, the son of a Jewish architect and his family moved to Britain in 1933 to escape the rise of Nazism. From 1942-43 he attended Goldsmiths College, London and he enlisted in the Merchant Navy during the Second World War. His early career as a painter was influenced by surrealism, but by the early 1950s his often stark, Freud was an intensely private and guarded man, and his paintings, completed over a 60-year career, are mostly of friends and family. They are generally sombre and thickly impastoed, often set in unsettling interiors, the works are noted for their psychological penetration and often discomforting examination of the relationship between artist and model. Freud worked from life studies, and was known for asking for extended, born in Berlin, Freud was the son of a German Jewish mother, Lucie, and an Austrian Jewish father, Ernst L. Freud, an architect. He was a grandson of Sigmund Freud, and elder brother of the broadcaster, writer and politician Clement Freud, the family emigrated to St Johns Wood, London, in 1933 to escape the rise of Nazism. Lucian became a British subject in 1939, having attended Dartington Hall School in Totnes, Devon and he also attended Goldsmiths College, part of the University of London, in 1942–43. He served as a merchant seaman in an Atlantic convoy in 1941 before being invalided out of service in 1942, in 1943, the poet and editor Meary James Thurairajah Tambimuttu commissioned the young artist to illustrate a book of poems by Nicholas Moore entitled The Glass Tower. It was published the year by Editions Poetry London and comprised, among other drawings, a stuffed zebra. Both subjects reappeared in The Painters Room on display at Freuds first solo exhibition in 1944 at the Lefevre Gallery, in the summer of 1946, he travelled to Paris before continuing to Greece for several months to visit John Craxton. In the early fifties he was a frequent visitor to Dublin where he would share Patrick Swifts studio, in late 1952, Freud and Lady Caroline Blackwood eloped to Paris where they married in 1953. He remained a Londoner for the rest of his life, Freud was part of a group of figurative artists later named The School of London. This was more a collection of individual artists who knew each other, some intimately. The group was led by such as Francis Bacon and Freud. He was a tutor at the Slade School of Fine Art of University College London from 1949 to 1954. Freuds early paintings, which are very small, are often associated with German Expressionism and Surrealism in depicting people, plants. These were painted with tiny sable brushes and evoke Early Netherlandish painting and he would often clean his brush after each stroke when painting flesh, so that the colour remained constantly variable
Lucian Freud
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Lucian Freud
Lucian Freud
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Girl with a white dog, 1951–1952,
Tate Gallery. Portrait of Freud's first wife,
Kitty Garman, the daughter of
Jacob Epstein and
Kathleen Garman
Lucian Freud
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Benefits Supervisor Sleeping, 1995, a very large portrait of "Big Sue" Tilley (see below), showing his handling of flesh tones, and a typical high viewpoint
Lucian Freud
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After Cézanne, 1999–2000,
National Gallery of Australia
2.
Oil painting
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Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old
Oil painting
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Mona Lisa,
Leonardo da Vinci, c. 1503–06
Oil painting
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Self-portrait, at work,
Anders Zorn, 1897
Oil painting
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Self-portrait of
Rembrandt, 1630. An example of oil painting on copper.
Oil painting
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Flax seed is the source of linseed oil.
3.
Kitty Garman
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Portrait of Kitty is a painting by Lucian Freud of Kitty Garman, his wife and the eldest daughter of the sculptor Jacob Epstein and Kathleen Garman. Completed between 1948 and 1949, this oil on board measures 35 by 24 centimetres, Freud was married to Garman between 1948 and 1952, and the couple had two daughters together, Annie and Annabel. Kitty was the eldest daughter of the sculptor Jacob Epstein and his lover Kathleen Garman, Epstein and Garman were together for over thirty years before they married in 1955, after the death of Epsteins first wife Margaret. Kitty was their child to survive into old age. Her elder brother Theo was a painter, who suffered from schizophrenia and died suddenly aged only 29. Kitty was brought up by her grandmother in Herefordshire, with visits to her mothers house in Chelsea. Epsteins second familys arrangements were rather unconventional and bohemian and he would visit Kittys mother every evening between 6 and 7 pm, at which time no one else was allowed in the house. Kitty studied at The Central School of Arts and Crafts under the tuition of Bernard Meninsky and was taught book illustration by John Farleigh, once she was introduced to Lucian Freud at the Café Royal her own artistic studies took a back seat. Previously Freud had been the lover of Kittys aunt, Lorna Wishart, Kathleens sister and their five-year relationship was turbulent, and became increasingly unstable due to Freuds alleged infidelities and womanising, which took its toll on Kittys health. In 1952 Kitty left Freud and went to live with her parents, in 1955 Kitty married the musician and economist Wynne Godley, having another daughter, Eve, with him in 1967. Kitty has been the subject of portraits, including Freuds famous Girl with a White Dog as well as drawings. More recently she was depicted in a BP Portrait Award winning triptych by the artist Andrew Tift, Freud was known for his intense scrutiny of his subjects, revealing the intimate relationship between artist and sitter. Portrait of Kitty was one of several of his works in which she acted as a model. Kitty was known for her wide-eyed feline features which captivated the artist, most of Freuds sitters were not named, and in Freuds portraits of Garman she was often referred to as Girl, with the exception being this portrait. Utilising a prominent profile arrangement for the portrait, Freud depicts Garman in cool tones against a background of green shutters with areas of peeling paint. Typical of his early style, Freud paints Garmans hair. Freuds painting style began to change in the 1950s, when he moved towards the much freer painting technique he is best known for, Portrait of Kitty is in the Garman Ryan Collection at the New Art Gallery Walsall. This collection was gifted to Walsall in 1973 by Kittys mother Kathleen Garman, Kathleen Garman had been brought up just outside the town and wanted to leave the works to Walsall to improve the cultural life of her native Black Country
Kitty Garman
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Portrait of Kitty
4.
The New Art Gallery Walsall
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The New Art Gallery Walsall is a modern and contemporary art gallery sited in the centre of the West Midlands town of Walsall, England. It was built with £21 million of funding, including £15.75 million from the UK National Lottery and additional money from the European Regional Development Fund. The Gallery is funded by Walsall Council and Arts Council England and its first Director was Peter Jenkinson. In May 2005, former BALTIC director Stephen Snoddy was appointed as Director and it was officially opened by Queen Elizabeth II on 5 May 2000, during her visit to the West Midlands. The New Art Gallerys stark building won several awards and attracted over 237,000 visitors in its opening year. In 2000, the gallery was shortlisted for the prestigious Sterling Architecture Prize, the five-story building is clad in pale terracotta and has a floor area of 5,000 square metres. The interior of the Gallery features a heavy use of concrete, the public square surrounding the building was designed by Richard Wentworth and Catherine Yass. The Gallery has been seen as an attempt to encourage regeneration in the local area, there have been a number of minor alterations to the building since its opening, including changing of the ground floor retail area into a cafe, and addition of more windows around its entrance. In 2006, Floor 4 of the gallery was transformed from a restaurant area into a new gallery space, the gallery space with 8m high ceiling has enabled the Gallery to present a further programme of exhibitions, in addition to its main temporary exhibition galleries. This has included exhibitions by regional and internationally renowned artists including David Batchelor, Richard Billingham, the collection was donated to the people of Walsall in 1973 by Epsteins late wife Kathleen Garman and her friend Sally Ryan. In 2009 Bob and Roberta Smith was commissioned to work alongside Archive Curator Neil Lebeter to reveal the previously undocumented, the initiative forms part of New Ways of Curating, a project initiated by Arts Council England. The permanent collection of artworks at the Gallery incorporates the municipal holdings built up from 1892 and it ranges from Victorian paintings by Frank Holl and Briton Rivière, including some of local interest through to works by contemporary artists, such as Catherine Yass and Fiona Banner. The works that comprise this collection transfer ownership to Walsall Council from the Contemporary Art Society in 2014, in 2007, the New Art Gallery was awarded £1million through the Art Fund International to collect international contemporary art on the theme of the metropolis. This has included the acquisition of works by Jochem Hendricks, Grazia Toderi, Dynita Singh, Zhang Enli, Christiane Baumgartner, Barry McGee, the temporary exhibition galleries on the third and fourth floor are dedicated to exhibiting contemporary and historic art. Between 2012 and 2013, the Gallery is hosting the first year long display of works by artist Damien Hirst as part of the ARTIST ROOMS on Tour in partnership with Tate and it featured artists such as Song Dong, exhibiting here in the UK for the first time. In 2010, the New Art Gallery celebrated its birthday with the exhibition Party. In 2011, the Gallery hosted the exhibition The Life of The Mind, Love, Sorrow and Obsession, curated by artist Bob and this included key works by Sarah Lucas, Louise Bourgeois, Tracey Emin and Yayoi Kusama. The gallery has continually supported emerging and established artists from throughout the UK through their regular residency programs, the Discovery Gallery, now rebranded Disco, was the first interactive art space of its kind in the country, designed specifically for young visitors and families
The New Art Gallery Walsall
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The New Art Gallery Walsall
The New Art Gallery Walsall
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Vincent van Gogh -
Sorrow
The New Art Gallery Walsall
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The basement art store holds works that are not on display
The New Art Gallery Walsall
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The Art Library
5.
Walsall
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Walsall is an industrial town in the West Midlands of England. It is located 8 miles north-west of the City of Birmingham and 6 miles east of the City of Wolverhampton, historically a part of Staffordshire, Walsall is a component area of the West Midlands conurbation, and part of the Black Country. Walsall is the centre of the wider Metropolitan Borough of Walsall. At the 2011 census, the towns built-up area had a population of 67,594, neighbouring settlements in the borough include Darlaston, Brownhills, Willenhall, Bloxwich and Aldridge. The name Walsall is thought to have derived from the words Walh halh, Walsall is first referenced as Walesho in a document dated 1002. However, it is believed that a manor was held here by William FitzAnsculf, by the first part of the 13th century, Walsall was a small market town, with the weekly market being introduced in 1220 and held on Tuesdays. The mayor of Walsall was created as a position in the 14th century. The town was visited by Queen Elizabeth I, when it was known as Walshale and it was also visited by Henrietta Maria in 1643. She stayed in the town for one night at a building named the White Hart in the area of Caldmore, the Industrial Revolution changed Walsall from a village of 2,000 people in the 16th century to a town of over 86,000 in approximately 200 years. The town manufactured a range of products including saddles, chains, buckles. Nearby, limestone quarrying provided the town with much prosperity, in 1824, the Walsall Corporation received an Act of Parliament to improve the town by providing lighting and a gasworks. The gasworks was built in 1826 at a cost of £4,000, in 1825, the corporation built eleven tiled, brick almshouses for poor women. They were known to the area as Molesleys Almshouses, the Walsall Improvement and Market Act was passed in 1848 and amended in 1850. The Act provided facilities for the poor, improving and extending the sewerage system, on 10 October 1847, a gas explosion killed one person and destroyed the west window of St Matthews Church. Walsall finally received a line in 1847,48 years after canals reached the town. In 1855, Walsalls first newspaper, the Walsall Courier and South Staffordshire Gazette, was published, over 2000 men from Walsall were killed in fighting during the First World War. They are commemorated by the cenotaph, which is located on the site of a bomb which was dropped by Zeppelin L21 – killing the towns mayoress. Damage from the Zeppelin can still be seen on what is now a club on the corner of the main road, the town also has a memorial to two local VC recipients, John Henry Carless and Frederick Gibbs
Walsall
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From top left: Walsall waterfront project south;
The New Art Gallery Walsall; Walsall waterfront project north; The new Manor Hospital
Walsall
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Walsall in Medieval Times, 15th Century Watercolour by Henry Somerfield,
The New Art Gallery Walsall permanent collection, 1976.278.P
Walsall
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View of Walsall in 1785, Engraving after Shaw,
The New Art Gallery Walsall Permanent Collection 1976.102.P
Walsall
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19th-century painting of the racecourse, Bradford Street, Walsall, now in the collection of
The New Art Gallery Walsall
6.
Jacob Epstein
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Sir Jacob Epstein KBE was a British sculptor who helped pioneer modern sculpture. He was born in the United States, and moved to Europe in 1902 and he often produced controversial works which challenged taboos on what was appropriate subject matter for public artworks. He also made paintings and drawings, and often exhibited his work, Epsteins parents were Polish Jewish refugees, living on New Yorks Lower East Side. His family was middle-class, and he was the third of five children and his interest in drawing came from long periods of illness, as a child he suffered from pleurisy. He studied art in his native New York as a teenager, sketching the city, for his livelihood, he worked in a bronze foundry by day, studying drawing and sculptural modelling at night. Epsteins first major commission was to illustrate Hutchins Hapgoods Spirit of the Ghetto, the money from the commission was used by Epstein to move to Paris. Moving to Europe in 1902, he studied in Paris at the Académie Julian and he settled in London in 1905 and married Margaret Dunlop in 1906. In 1911 he became a British subject, many of Epsteins works were sculpted at his two cottages in Loughton, Essex, where he lived first at number 49 then 50, Baldwins Hill. He served briefly in the 38th Battalion of the Royal Fusiliers, in London, Epstein involved himself with a bohemian and artistic crowd. Revolting against ornate, pretty art, he made bold, often harsh and his sculpture is distinguished by its vigorous rough-hewn realism. Avant-garde in concept and style, his works often shocked his audience, people in Liverpool, however, nicknamed his nude male sculpture over the door of Lewiss department store Dickie Lewis. The female figures in particular may be seen deliberately to incorporate the posture and hand gestures of Buddhist, Jain, between 1913 and 1915, Epstein was associated with the short-lived Vorticism movement and produced one of his best known sculptures The Rock Drill. In 1915, John Quinn, wealthy American collector and patron to the modernists, in 1916, Epstein was commissioned by Viscount Tredegar to produce a bronze head of Newport poet W. H. Davies. A commission from Holden for the new building of the London Electric Railway generated another controversy in 1929. Eventually a compromise was reached to modify the smaller of the two represented on Day. But the controversy affected his commissions for work which dried up until World War II. Between the late 1930s and the mid-1950s, numerous works by Epstein were exhibited in Blackpool, adam, Consummatum Est, Jacob and the Angel and Genesis, and other works, were initially displayed in an old drapery shop surrounded by red velvet curtains. The crowds were ushered in at the cost of a shilling by a barker on the street, after a small tour of American fun fairs, the works were returned to Blackpool and were exhibited in the anatomical curiosities section of Louis Tussauds waxworks
Jacob Epstein
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Jacob Epstein, photographed in 1924 by
George Charles Beresford
Jacob Epstein
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Jan Smuts in
Parliament Square, London
Jacob Epstein
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Jacob Epstein in 1934, photograph by
Carl Van Vechten
Jacob Epstein
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Epstein's 1913 sculpture
The Rock Drill in its original form. It is now lost.
7.
Kathleen Garman
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She was the model and longtime mistress of British/American sculptor Jacob Epstein, and eventually his second wife. They met in 1921 and immediately began a relationship that lasted until Epsteins death and their daughter, Kitty Garman, was the first wife of Lucian Freud, their son was the artist Theodore Garman. Kathleen Garman was born on 15 May 1901 in Wednesbury, Staffordshire, the daughter of Dr Walter Chancellor Garman, a general practitioner, and his wife, Margaret Frances Magill. She was one of nine children, seven sisters and two brothers, Mary, Sylvia, Kathleen, Douglas, Rosalind, Helen, Mavin, Ruth, the family lived at Oakeswell Hall, Wednesbury. Kathleen took music lessons at the Birmingham and Midland Institute, in 1919 the sisters decided to run away to London. Kathleen was employed by Harrods, helping with the horses that pulled the delivery carriages, shocked by their behaviour, their father eventually decided to support them. They rented an apartment at 13 Regent Square, Camden. At night they frequented West End clubs such as The Gargoyle, The Harlequin and it was at the Harlequin that Kathleen met the 40-year-old Epstein, who invited her to his table and asked her to pose for him. Mary ended up marrying the South African poet Roy Campbell, Kathleen, Mary, and Lorna were all to become bohemian members of what became known as the Bloomsbury Group. In 1936 Kathleen was photographed by Gordon Anthony, in 1921, Kathleen began a relationship with the married sculptor Jacob Epstein, becoming his model and his mistress. Her father, who disapproved of the affair, cut her out of his will when he died in 1923. In 1923, Epsteins jealous wife Margaret invited Kathleen to her house, Epstein paid Kathleens hospital bills and persuaded her not to press charges against Margaret, lest it erupt into a public scandal. After this incident, Margaret encouraged Jacob into multiple affairs in the hope he would tire of Kathleen, while Epstein and his wife were childless, Margaret raised as their own his children from other liaisons, his daughter Peggy Jean, and his son Jackie. Kathleen and Epstein continued to see other, having three children together in 1924,1926, and 1929. They married in June 1955, in a ceremony at Fulham Register Office, London. Upon their marriage, Kathleen became Lady Epstein and his sole beneficiary, after his death in 1959, she donated his works of art to the Israel Museum. Kathleens three children with Jacob Epstein were, Theodore Garman was a successful artist, but suffered from mental instability and it was said on his death, shortly before his 30th birthday, that he had destroyed most of his canvasses in fits of depression. Kitty Garman was the first wife of the artist Lucian Freud and she became his muse after being introduced to him by her aunt Lorna
Kathleen Garman
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Kathleen Garman
Kathleen Garman
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Bronze sculpture of Kathleen Garman by Jacob Epstein, titled "Kathleen" and made in 1935, while she was his mistress, now at
Bristol City Museum and Art Gallery
8.
Bernard Meninsky
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Bernard Meninsky was a figurative artist, painter of figures and landscape in oils, watercolour and gouache, draughtsman and teacher. Meninsky was born in Konotop, in Ukraine and he attended the Liverpool School of Art from 1906 after initially attending evening classes in art. He won the King’s Medal in 1911 and went on to study briefly at Royal College of Art in London, after being awarded a scholarship Meninsky was able to study at the Slade School of Fine Art in 1912–13. During World War I, Meninsky served in the Royal Fusiliers, the Ministry of Information commissioned Meninsky in May 1918 to produce a series of paintings based around the arrival of a Leave Train from the Front at a London railway terminus. He was naturalised as a British Citizen in 1918 but had a breakdown and was discharged from service after six months as a Ministry of Information war artist. Bernard Meninsky held his first solo show at Goupil Gallery in 1919 along with The London Group, in 1920 he was appointed as a tutor of life drawing at the Westminster School of Art, where he was renowned as a superb figure draughtsman. In this period he was associated with the Bohemian Bloomsbury Group. He published Mother and Child,28 Drawings in 1928 and illustrated the 1946 volume of Miltons poems LAllegro, in 1935 he designed sets for the ballet David for the Markova-Dolin Company. In 1940 he moved to Oxford City School of Art, Meninsky suffered from mental illness for much of his life and committed suicide in 1950. A Meninsky memorial exhibition was organised by the Arts Council in 1951–52, bernard Meninsky by John Russell Taylor, Redcliffe Press,1990 List of Bloomsbury Group people Modern British Art Philip Meninsky
Bernard Meninsky
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The Arrival (1918) (Art.IWM ART 1186)
9.
John Farleigh
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He is also known for his illustrations of D. H. Lawrences work, The Man Who Died, and for the posters he designed for London County Council Tramways and London Transport. He was also a painter, lithographer, author and art tutor and he also attended drawing classes at the Bolt Court School. In 1918 he was drafted into the army and served until peace was declared in November of the same year and he resumed his apprenticeship and was awarded a government grant enabling him to enrol for three years at the London County Council Central School of Arts and Crafts. The teaching staff included Bernard Meninsky and Noel Rooke who trained him in wood-engraving, here he tutored some extremely talented wood-engravers, including Monica Poole. Farleigh was a member and chairman of the Crafts Centre of Great Britain. In 1941 the British Council commissioned him to design the page of the catalogue for the Exhibition of Modern British Crafts. The world-famous writer Judith Kerr said that he was the person who taught her most when she was doing evening classes at St Martins School of Art during the war. Farleighs work was widely exhibited - Leicester Galleries, Manchester City Art Gallery, Royal Society of Painter-Etchers and Engravers, Royal Scottish Academy and Cooling and Sons Gallery. His wood-engravings appeared in the 1925 Golden Cockerel Press edition of Selected Essays by The Reverend Jonathan Swift and he was elected an Associate of the Royal Society of Painter-Printmakers in 1937 and a full member in 1948. A comprehensive list falls outside the scope of article. Graven Image - It Never Dies - Monica Poole, The Wood Engravings of John Farleigh - Exploring 20th Century London - John Farleigh posters Biographical details for John Farleigh
John Farleigh
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John Farleigh
10.
Lady Caroline Blackwood
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Lady Caroline Maureen Hamilton-Temple-Blackwood was a writer, and the eldest child of the 4th Marquess of Dufferin and Ava and the brewery heiress Maureen Guinness. Her novels are known for their wit and intelligence, and one in particular is scathingly autobiographical in describing her unhappy childhood and she was born into an Anglo-Irish aristocratic family from Ulster at 4 Hans Crescent in Knightsbridge, her parents London home. She was, she admitted, scantily educated at, among schools, Rockport School. After a finishing school in Oxford she was presented as a debutante in 1949 at a ball held at Londonderry House, blackwood’s first job was with Hulton Press as a secretary, but she was soon given small reporting jobs by Claud Cockburn. Ann Fleming, the wife of James Bond author Ian Fleming, introduced Lady Caroline to Lucian Freud, and she married Freud on 9 December 1953 and became a striking figure in Londons bohemian circles, the Gargoyle Club and Colony Room replaced Belgravia drawing rooms as her haunts. She sat for several of Freuds finest portraits, including Girl In Bed and she was impressed by the ruthless vision of Freud and Francis Bacon and her later fiction was a literary version of their view of humanity. In the early 1960s, Blackwood began contributing to Encounter, London Magazine, although these articles were elegant, minutely observed and sometimes wickedly funny, they had, according to Christopher Isherwood, a persistent flaw, she is only capable of thinking negatively. Confronted by a phenomenon, she herself, what is wrong with it. During the mid-1960s, she had an affair with Robert Silvers and her third husband, Robert Lowell, was a crucial influence on her talents as a novelist. It won the David Higham Prize for best first novel, great Granny Webster followed in 1977 and was partly derived on her own miserable childhood, and depicted an austere and loveless old woman’s destructive impact on her daughter and granddaughter. It was short-listed for the Booker Prize, in 1980 came The Last of the Duchess, a study of the relations between the Duchess of Windsor and her cunning lawyer, Maître Suzanne Blum, it could not be published until after Blum’s death in 1995. Blackwoods marriage to Lucian Freud disintegrated soon after they married in 1953 and she also went to Hollywood and appeared in several films. Her marriage to Freud was finally dissolved in 1958 in Mexico, on 15 August 1959, she married the pianist Israel Citkowitz, a man who would have been the same age as her father. By the time of the birth of the youngest daughter, Ivana in 1966, Blackwoods marriage to Citkowitz was over, though Citkowitz continued to live nearby and served as a nanny-duenna until his death. During the mid-1960s, Blackwood had an affair with Robert Silvers, a founder and co-editor of The New York Review of Books, according to Ivana, both Silvers and Ivana suspected that Silvers was her biological father. However, an admission by Blackwood revealed that Ivanas biological father was another boyfriend, the screenwriter Ivan Moffat. In 1970, Blackwood returned to London and, in April, began a relationship with the poet Robert Lowell, Lowell was at the time a visiting professor at All Souls College, Oxford. Their son, Sheridan, was born on 28 September 1971 and they lived in London and Milgate House in Kent
Lady Caroline Blackwood
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Lucian Freud, Girl in bed, 1952
11.
Wynne Godley
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Wynne Godley was an economist famous for his pessimism toward the British economy and his criticism of the British government. Godley trained to become a musician, studying at the Paris Conservatoire for three years, and then becoming principal oboist at the BBC Welsh Orchestra. He was however continuously nervous about performing in public, and gave up this career, in 1955 he married Kitty Epstein, daughter of Jacob Epstein the sculptor, who used his head as the model for his statue of St Michael at the rebuilt Coventry Cathedral. He predicted that the 1973–74 economic boom would end, and that unemployment would hit 3 million in the 1980s, as one of his proteges noted, these dire warnings … earned him the title Cassandra of the Fens and were derided – until they came true. In 1992 he warned that without shared fiscal policy to replace currency movements there would be problems with monetary union in Europe. In 1998, he was one of the first to warn that the imbalance in the global economy. His book Monetary Economics, Integrated Approach to Money, Income, Production and Wealth, written with Marc Lavoie, economist Martin Wolf gave credit to Godleys sectoral financial balances analytical framework in a 2012 analysis of the Great Recession. These differences can also be described as “financial balances”, thus, if a sector is spending less than its income it must be accumulating claims on other sectors. The crucial point is that, since sectoral balances must sum to zero and it follows that if the fiscal deficit is increasing, the sum of the surpluses of the other sectors of the economy must be increasing in a precisely offsetting manner. Wolf explained that an increase in the private sector financial balance drove a large increase in government deficits. Dirk Bezemer argued that Godley was notable for being one of few economists to predict the nature of the recession well in advance. Wynne Godley and Marc Lavoie,2007, Monetary Economics, An Integrated Approach to Credit, Money, Income, Production and Wealth, Palgrave MacMillan
Wynne Godley
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St Michael's Victory over the Devil, by Sir
Jacob Epstein, the head of which was modelled on Wynne Godley
Wynne Godley
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Wynne Godley
12.
Garman Ryan Collection
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The Garman Ryan collection features many examples of works by key European artists of late 19th and early 20th Century, including Van Gogh, Picasso, Monet, Turner and Degas. There are a number of works on paper within the collection. It also includes a selection of sculpture, vessels and votive objects from cultures in Africa, Asia, there are a significant number of works by Jacob Epstein within the collection. The collection contains the largest single holding of works by Jacob Epstein anywhere, many of these works are bronze portrait busts, a mix of family members and commissioned portraits. There are also studies for key works, such as Study for Rock Drill and it is unclear at exactly what point Kathleen Garman and Sally Ryan conceived of making a collection of art. It has been suggested that the collection was, in part, in response to the death of Jacob Epstein whose work, the Collection was largely assembled between 1959 and 1973. Sally Ryan was able to fund the collection of due to a large inheritance received from her grandfather Thomas Fortune Ryan. A number of Sally Ryans own works also part of the Garman Ryan collection. Kathleen Garman also ran her own art gallery, The Little Gallery, operating in Kensington, London in the mid-1960s. It has been suggested that a number of works from the Garman Ryan collection were originally Little Gallery stock, a number of artists represented with the collection also had personal connections with Kathleen Garman and Sally Ryan. Jacob Epstein was Kathleens late husband, and artists Augustus John, Gaudier-Brzeska, the collection was donated to the people of Walsall in 1973 and opened to the public in July 1974. It was originally exhibited in what was the first floor room of Walsall Library. The collection was moved to its new purpose-built home over two floors of The New Art Gallery Walsall, and opened to the public in this new setting in 2000, the Garman Ryan collection is exhibited thematically, as was the intention of Kathleen Garman. The themes are, Children, Work and Leisure, Flowers and Still Life, Religion, Illustration and symbolism, Figure studies, Animals and Birds, Trees, Portraits and Landscapes
Garman Ryan Collection
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Amedeo Modigliani - Caryatid
Garman Ryan Collection
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Vincent van Gogh -
Sorrow
Garman Ryan Collection
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Paul Cézanne - Baigneurs (Grande planche)
Garman Ryan Collection
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William Etty - Standing Female Nude
13.
Caruso St John
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Caruso St John is an architectural firm established in 1990 by Adam Caruso and Peter St John. Caruso St John have gained a reputation for excellence in designing contemporary projects in the public realm. The practice came to attention with The New Art Gallery Walsall. Current and past clients include Tate Britain, the V&A, English Heritage and the Arts Council of England, as well as European housing developers Trudo, the SBB and the Gagosian Gallery. Caruso St John aims to have a range of work at a variety of scales and want to resist the trend of increased size. The practice is interested in the potential and physical qualities of construction. This attitude has developed out a fascination for materials, backed up with an involvement in academic, built projects incorporate this research and respond to their physical context and brief in unexpected ways. The projects stand out by resisting off the peg construction, both the New Art Gallery, Walsall and the Brick House, London have been short listed for the Stirling Prize, the UK’s most prestigious architecture award, in recognition of this ambition. The office of approximately 20 work in a studio in a 1930s factory building in East London which the practice converted to studio use for themselves in 2000. Both Adam Caruso and Peter St John have taught in architecture schools consistently throughout the lifetime of Caruso St John, Adam Caruso taught at the University of North London from 1990 to 2000, and was Professor of Architecture at the University of Bath from 2002 to 2005. In 2011 Adam Caruso was appointed Professor of Architecture and Construction at ETH Zürich, Peter St John taught at the University of North London from 1990 to 2000. In 2005 he was a critic at the Graduate School of Design at Harvard University. From 2007 to 2009 he was a professor at ETH Zürich
Caruso St John
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New Art Gallery Walsall
14.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
15.
The Daily Telegraph
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It was founded by Arthur B. Sleigh in 1855 as The Daily Telegraph and Courier, the papers motto, Was, is, and will be, appears in the editorial pages and has featured in every edition of the newspaper since April 19,1858. The paper had a circulation of 460,054 in December 2016 and its sister paper, The Sunday Telegraph, which started in 1961, had a circulation of 359,287 as of December 2016. The Daily Telegraph has the largest circulation for a newspaper in the UK. The two sister newspapers are run separately, with different editorial staff, but there is cross-usage of stories, articles published in either may be published on the Telegraph Media Groups www. telegraph. co. uk website, under the title of The Telegraph. However, critics, including an editor, accuse it of being unduly influenced by advertisers. The Daily Telegraph and Courier was founded by Colonel Arthur B, Sleigh in June 1855 to air a personal grievance against the future commander-in-chief of the British Army, Prince George, Duke of Cambridge. Joseph Moses Levy, the owner of The Sunday Times, agreed to print the newspaper, the paper cost 2d and was four pages long. Nevertheless, the first edition stressed the quality and independence of its articles and journalists, however, the paper was not a success, and Sleigh was unable to pay Levy the printing bill. Levy took over the newspaper, his aim being to produce a newspaper than his main competitors in London. The same principle should apply to all other events—to fashion, to new inventions, in 1876, Jules Verne published his novel Michael Strogoff, whose plot takes place during a fictional uprising and war in Siberia. In 1937, the newspaper absorbed The Morning Post, which espoused a conservative position. Originally William Ewart Berry, 1st Viscount Camrose, bought The Morning Post with the intention of publishing it alongside The Daily Telegraph, for some years the paper was retitled The Daily Telegraph and Morning Post before it reverted to just The Daily Telegraph. As an result, Gordon Lennox was monitored by MI5, in 1939, The Telegraph published Clare Hollingworths scoop that Germany was to invade Poland. In November 1940, with Fleet Street subjected to almost daily bombing raids by the Luftwaffe, The Telegraph started printing in Manchester at Kemsley House, Manchester quite often printed the entire run of The Telegraph when its Fleet Street offices were under threat. The name Kemsley House was changed to Thomson House in 1959, in 1986 printing of Northern editions of the Daily and Sunday Telegraph moved to Trafford Park and in 2008 to Newsprinters at Knowsley, Liverpool. During the Second World War, The Daily Telegraph covertly helped in the recruitment of code-breakers for Bletchley Park, the ability to solve The Telegraphs crossword in under 12 minutes was considered to be a recruitment test. The competition itself was won by F. H. W. Hawes of Dagenham who finished the crossword in less than eight minutes, both the Camrose and Burnham families remained involved in management until Conrad Black took control in 1986
The Daily Telegraph
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The Sunday Telegraph
The Daily Telegraph
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The Daily Telegraph front page on 29 June 2015
The Daily Telegraph
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In 1882 The Daily Telegraph moved to new
Fleet Street premises, which were pictured in the
Illustrated London News.
The Daily Telegraph
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The Daily Telegraph building in 1974
