1.
St Ives, Cornwall
–
St Ives is a seaside town, civil parish and port in Cornwall, England. The town lies north of Penzance and west of Camborne on the coast of the Celtic Sea, in former times it was commercially dependent on fishing. St Ives was incorporated by Royal Charter in 1639, St Ives has become renowned for its number of artists. It was named best seaside town of 2007 by The Guardian newspaper and it should not be confused with St Ive, a village and civil parish in southwest Cornwall. The origin of St Ives is attributed in legend to the arrival of the Irish saint Ia of Cornwall, the parish church bears her name, and St Ives derives from it. The Sloop Inn, which lies on the wharf was a pub for many centuries and is dated to circa 1312. The town was the site of a particularly notable atrocity during the Prayer Book Rebellion of 1549, the English provost marshal, Anthony Kingston, came to St Ives and invited the portreeve, John Payne, to lunch at an inn. He asked the portreeve to have the gallows erected during the course of the lunch, afterwards the portreeve and the Provost Marshal walked down to the gallows, the Provost Marshal then ordered the portreeve to mount the gallows. The portreeve was then hanged for being a busy rebel, the seal of St Ives is Argent, an ivy branch overspreading the whole field Vert, with the legend Sigillum Burgi St. Ives in Com. During the Spanish Armada of 1597 two Spanish ships, a bark and a pinnace had made their way to St Ives to seek shelter from the storm which had dispersed the Spanish fleet. They were captured by the English warship Warpsite of Sir Walter Raleigh leaking from the same storm, the information given by the prisoners was vital on learning the Armadas objectives. From medieval times fishing was important at St Ives, it was the most important fishing port on the north coast, the pier was built by John Smeaton in 1767–70 but has been lengthened at a later date. The octagonal lookout with a cupola belongs to Smeatons design, in the decade 1747–1756 the total number of pilchards dispatched from the four principal Cornish ports of Falmouth, Fowey, Penzance, and St Ives averaged 30,000 hogsheads annually. Much greater catches were achieved in 1790 and 1796, in 1847 the exports of pilchards from Cornwall amounted to 40,883 hogsheads or 122 million fish while the greatest number ever taken in one seine was 5,600 hogsheads at St Ives in 1868. A. K. Hamilton Jenkin describes how the St Ives fisherman strictly observed Sunday as a day of rest, St Ives was a very busy fishing port and seining was the usual method of fishing. Seining was carried out by a set of three boats of different sizes, the largest two carrying seine nets of different sizes, the total number of crew was seventeen or eighteen. However this came to an end in 1924, the bulk of the catch was exported to Italy, for example, in 1830,6400 hogsheads were sent to Mediterranean ports. From 1829 to 1838, the average for this trade was 9000 hogsheads
St Ives, Cornwall
–
St Ives
St Ives, Cornwall
–
April in St. Ives
St Ives, Cornwall
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John Payne memorial, St Ives
St Ives, Cornwall
–
Rocky landscape
2.
Cornwall
–
Cornwall is a ceremonial county and unitary authority area of England within the United Kingdom. It is bordered to the north and west by the Celtic Sea, to the south by the English Channel, Cornwall has a population of 551,700 and covers an area of 3,563 km2. Cornwall forms the westernmost part of the south-west peninsula of the island of Great Britain, and this area was first inhabited in the Palaeolithic and Mesolithic periods. It continued to be occupied by Neolithic and then Bronze Age peoples, there is little evidence that Roman rule was effective west of Exeter and few Roman remains have been found. In the mid-19th century, however, the tin and copper mines entered a period of decline, subsequently, china clay extraction became more important and metal mining had virtually ended by the 1990s. Traditionally, fishing and agriculture were the important sectors of the economy. Railways led to a growth of tourism in the 20th century, however, the area is noted for its wild moorland landscapes, its long and varied coastline, its attractive villages, its many place-names derived from the Cornish language, and its very mild climate. Extensive stretches of Cornwalls coastline, and Bodmin Moor, are protected as an Area of Outstanding Natural Beauty, Cornwall is the homeland of the Cornish people and is recognised as one of the Celtic nations, retaining a distinct cultural identity that reflects its history. Some people question the present constitutional status of Cornwall, and a nationalist movement seeks greater autonomy within the United Kingdom in the form of a devolved legislative Cornish Assembly. On 24 April 2014 it was announced that Cornish people will be granted minority status under the European Framework Convention for the Protection of National Minorities. The modern English name Cornwall derives from the concatenation of two ancient demonyms from different linguistic traditions, Corn- records the native Brythonic tribe, the Cornovii. The Celtic word kernou is cognate with the English word horn. -wall derives from the Old English exonym walh, the Ravenna Cosmography first mentions a city named Purocoronavis in the locality. This is thought to be a rendering of Duro-cornov-ium, meaning fort of the Cornovii. The exact location of Durocornovium is disputed, with Tintagel and Carn Brea suggested as possible sites, in later times, Cornwall was known to the Anglo-Saxons as West Wales to distinguish it from North Wales. The name appears in the Anglo-Saxon Chronicle in 891 as On Corn walum, in the Domesday Book it was referred to as Cornualia and in c.1198 as Cornwal. Other names for the county include a latinisation of the name as Cornubia, the present human history of Cornwall begins with the reoccupation of Britain after the last Ice Age. The area now known as Cornwall was first inhabited in the Palaeolithic and Mesolithic periods and it continued to be occupied by Neolithic and then Bronze Age people. The Common Brittonic spoken at the time developed into several distinct tongues
Cornwall
–
"Cornweallas" shown on an early 19th-century map of "Saxon England" (and Wales) based on the
Anglo-Saxon Chronicle.
Cornwall
–
Flag
Cornwall
–
Mên-an-Tol.
Cornwall
–
St German's Priory Church (Norman)
3.
Geographic coordinate system
–
A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
Geographic coordinate system
–
Longitude lines are perpendicular and latitude lines are parallel to the equator.
4.
Tate
–
Tate is an institution that houses the United Kingdoms national collection of British art, and international modern and contemporary art. It is a network of four art museums, Tate Britain, London, Tate Liverpool, Tate St Ives, Cornwall and Tate Modern, London, Tate is not a government institution, but its main sponsor is the UK Department for Culture, Media and Sport. The name Tate is used also as the name for the corporate body. The gallery was founded in 1897, as the National Gallery of British Art, the Tate Gallery was housed in the current building occupied by Tate Britain, which is situated in Millbank, London. Tate Liverpool has the purpose as Tate Modern but on a smaller scale. All four museums share the Tate Collection, one of the Tates most publicised art events is the awarding of the annual Turner Prize, which takes place at Tate Britain. The original Tate was called the National Gallery of British Art, situated on Millbank, Pimlico, the idea of a National Gallery of British Art was first proposed in the 1820s by Sir John Leicester, Baron de Tabley. It took a step nearer when Robert Vernon gave his collection to the National Gallery in 1847, a decade later John Sheepshanks gave his collection to the South Kensington Museum, known for years as the National Gallery of Art. Henry Tate also donated his own collection to the gallery and it was initially a collection solely of modern British art, concentrating on the works of modern—that is Victorian era—painters. It was controlled by the National Gallery until 1954, in 1926 and 1937, the art dealer and patron Joseph Duveen paid for two major expansions of the gallery building. His father had paid for an extension to house the major part of the Turner Bequest. Henry Courtauld also endowed Tate with a purchase fund, by the mid 20th century, it was fulfilling a dual function of showing the history of British art as well as international modern art. In 1954, the Tate Gallery was finally separated from the National Gallery, later, the Tate began organising its own temporary exhibition programme. In 1979 with funding from a Japanese bank a large extension was opened that would also house larger income generating exhibitions. In 1987, the Clore Wing opened to house the major part of the Turner bequest, in 1988, an outpost in north west England opened as Tate Liverpool. This shows various works of art from the Tate collection as well as mounting its own temporary exhibitions. In 2007, Tate Liverpool hosted the Turner Prize, the first time this has been held outside London and this was an overture to Liverpools being the European Capital of Culture 2008. In 1993, another offshoot opened, Tate St Ives and it exhibits work by modern British artists, particularly those of the St Ives School
Tate
–
The original Tate Gallery, now renamed
Tate Britain
Tate
–
The logo of Tate, used in several similar versions and colours, was designed by
Wolff Olins in 2000.
Tate
–
Tate Liverpool opened in 1988.
Tate
–
Tate St Ives opened in 1993.
5.
Tate Britain
–
Tate Britain is an art museum on Millbank in the City of Westminster in London. It is part of the Tate network of galleries in England, with Tate Modern, Tate Liverpool and it is the oldest gallery in the network, having opened in 1897. It is one of the largest museums in the country, the gallery is situated on Millbank, on the site of the former Millbank Prison. Construction, undertaken by Higgs and Hill, commenced in 1893, however, from the start it was commonly known as the Tate Gallery, after its founder Sir Henry Tate, and in 1932 it officially adopted that name. As a consequence, it was renamed Tate Britain in March 2000, the front part of the building was designed by Sidney R. J. Smith with a classical portico and dome behind, and the central sculpture gallery was designed by John Russell Pope. Tate Britain includes the Clore Gallery of 1987, designed by James Stirling, crises during its existence include flood damage to work from the River Thames, and bomb damage during World War II. However, most of the collection was in storage elsewhere during the war. In 1970, the building was given Grade II* listed status, the museum stayed open throughout the three phases of renovation. Completed in 2013, the newly designed sections were conceived by the architects Caruso St John and included a total of nine new galleries, with reinforced flooring to accommodate heavy sculptures. A second part was unveiled later that year, the centrepiece being the reopening of the buildings Thames-facing entrance as well as a new spiral staircase beneath its rotunda, the circular balcony of the rotundas domed atrium, closed to visitors since the 1920s, was reopened. The gallery also now has a dedicated entrance and reception beneath its entrance steps on Millbank. The front entrance is accessible by steps, a side entrance at a lower level has a ramp for wheelchair access. The gallery provides a restaurant and a café, as well as a Friends room and this membership is open to the public on payment of an annual subscription. As well as offices the building complex houses the Prints and Drawings Rooms, as well as the Library. The restaurant features a mural by Rex Whistler, Tate Britain and Tate Modern are now connected by a high speed boat along the River Thames, which runs from Millbank Millennium Pier immediately outside Tate Britain. The boat is decorated with spots, based on paintings of similar appearance by Damien Hirst, the lighting artwork incorporated in the piers structure is by Angela Bulloch. The main display spaces show the permanent collection of historic British art, the gallery also organises career retrospectives of British artists and temporary major exhibitions of British Art. Every three years the gallery stages a Triennial exhibition in which a guest curator provides an overview of contemporary British Art, the 2003 Tate Triennial was called Days Like These
Tate Britain
–
Tate Britain
Tate Britain
–
James Stirling: The Clore Gallery housing works by
J. M. W. Turner
Tate Britain
–
Millbank Millennium Pier outside Tate Britain, which is linked by a high-speed boat to Tate Modern.
Tate Britain
6.
Tate Liverpool
–
Tate Liverpool is an art gallery and museum in Liverpool, Merseyside, England, and part of Tate, along with Tate St Ives, Cornwall, Tate Britain, London, and Tate Modern, London. The museum was an initiative of the Merseyside Development Corporation, Tate Liverpool was created to display work from the Tate Collection which comprises the national collection of British art from the year 1500 to the present day, and international modern art. The gallery also has a programme of temporary exhibitions, until 2003, Tate Liverpool was the largest gallery of modern and contemporary art in the UK outside London. The gallery opened in 1988 and is housed in a converted warehouse within the Albert Dock on Liverpools waterfront, the original conversion was done by James Stirling but the building was given a major refurbishment in 1998 to create additional gallery space. In 2007, the area was redesigned by architects Arca to create an updated appearance and better proportions. A colour-changing wall acts as a backdrop to the brick volume. Behind the scenes, Arca also made alterations to the hospitality, cloakroom, events, the gallery has hosted numerous live events in the foyer, including Made Up Mix as part of Liverpools Biennial of Contemporary Art. This event featured Die Plankton performing a show which was recorded for their Yorkshires Answers To The Beatles live album, Tate Liverpool official site Arca Smoke and mirrors, The surreal life and work of René Magritte, The Independent,10 June 2011
Tate Liverpool
–
Tate Liverpool
Tate Liverpool
–
Skyscrapers and highrises (over 60m)
Tate Liverpool
Tate Liverpool
7.
Tate Modern
–
Tate Modern is a modern art gallery located in London. It is Britains national gallery of modern art and forms part of the Tate group. It is based in the former Bankside Power Station, in the Bankside area of the London Borough of Southwark, Tate holds the national collection of British art from 1900 to the present day and international modern and contemporary art. Tate Modern is one of the largest museums of modern and contemporary art in the world and it is directly across the river from St Pauls Cathedral. The power station closed in 1981, prior to redevelopment, the power station was a 200 m long, steel framed, brick clad building with a substantial central chimney standing 99 m. The structure was divided into three main areas each running east-west - the huge main turbine hall in the centre, with the boiler house to the north. For many years after closure Bankside Power station was at risk of being demolished by developers, many people campaigned for the building to be saved and put forward suggestions for possible new uses. An application to list the building was refused, in April 1994 the Tate Gallery announced that Bankside would be the home for the new Tate Modern. In July of the year, an international competition was launched to select an architect for the new gallery. Jacques Herzog and Pierre de Meuron of Herzog & de Meuron were announced as the architects in January 1995. The £134 million conversion to the Tate Modern started in June 1995, the most obvious external change was the two-story glass extension on one half of the roof. Much of the internal structure remained, including the cavernous main turbine hall. The history of the site as well as information about the conversion was the basis for a 2008 documentary Architects Herzog and de Meuron and this challenging conversion work was carried by Carillion. Tate Modern was opened by the Queen on 11 May 2000, Tate Modern received 5.25 million visitors in its first year. The previous year the three existing Tate galleries galleries had received 2.5 million visitors combined, Tate Modern had attracted more visitors than originally expected and plans to expand it had been in preparation since 2004. These plans focused on the south west of the building with the intention of providing 5, 000m2 of new display space, the southern third of the building was retained by the French power company EDF Energy as an electrical substation. In 2006, the released the western half of this holding and plans were made to replace the structure with a tower extension to the museum. The tower was to be built over the old oil storage tanks, structural, geotechnical, civil, and façade engineering and environmental consultancy was undertaken by Ramboll between 2008 and 2016
Tate Modern
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Tate Modern
Tate Modern
–
The Turbine Hall
Tate Modern
–
Stairs and windows
Tate Modern
–
Chimney of Tate Modern. The Swiss Light at its top was designed by
Michael Craig-Martin and the architects
Herzog & de Meuron and was sponsored by the Swiss government. It was dismantled in May 2008.
8.
Art gallery
–
An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection, the term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art, however, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere. In broad terms, in North American usage, the word gallery alone often implies a private gallery, the term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages. Contemporary art galleries are open to the general public without charge, however. They usually profit by taking a portion of art sales, from 25% to 50% is typical, there are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly, a gallerys definition can also include the artist cooperative or artist-run space, which often operates as a space with a more democratic mission and selection process. A vanity gallery is an art gallery that charges fees from artists in order to show their work, the shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artists resume, University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice, although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as a form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects often donated their collections to temples and it is unclear how easy it was in practice for the public to view these items. At the Palace of Versailles, entrance was restricted to wearing the proper apparel – the appropriate accessories could be hired from shops outside
Art gallery
–
The Louvre in
Paris,
France, is one of the world's largest museums and
the most visited art museum in the world.
Art gallery
–
The Gallery of
Cornelis van der Geest,
Willem van Haecht, 1628. A private picture gallery as an early precursor of the modern museum.
Art gallery
–
University of Tartu Art Museum is the oldest museum in
Estonia.
Art gallery
–
The art collection at the
Palace of Versailles in
France was periodically open for 'respectable' public viewing.
9.
Barbara Hepworth Museum
–
The Barbara Hepworth Museum and Sculpture Garden in St Ives, Cornwall preserves the 20th century sculptor Barbara Hepworths studio and garden much as they were when she lived and worked there. She purchased the site in 1949 and lived and worked there for 26 years until her death in a fire on the premises in 1975. The studio, known as Trewyn Studio, was purchased by Barbara Hepworth in 1949 and her living room is furnished as she left it, while the workshop remains full of her tools and equipment, materials, and part-worked pieces. The museum was opened by her family in 1976, after Barbara had left instructions to this effect in her will and it is the largest collection of her works that are on permanent display. The sculptures featured at the museum were some of her favourites and her workshop also includes a queue of uncut stones that one visitor has described as still waiting for their moment in the shadow of her workshop. In 1950 she acquired two blocks of Galway limestone which she carved into her Festival of Britain commission, the Contrapuntal Forms. A set of photographs in the shows the progress of this project. Wood carving was done in a room, and the bronze statues she started casting in 1956 had their origins in the plaster prototypes she worked on in the upper of the two outside studios. She was helped in the creation of the garden by her friend, Barbara Hepworth died in a fire at this site in 1975, when she was aged 72. The family passed the museum to the Tate gallery in 1980, the Barbara Hepworth Sculpture Garden by Miranda Phillips and Chris Stephens
Barbara Hepworth Museum
–
Sphere with Inner Form at the Barbara Hepworth Museum, with
Two Forms (Divided Circle) behind
Barbara Hepworth Museum
–
Hepworth's workshop left virtually untouched
Barbara Hepworth Museum
–
Close up of Hepworth's tools, in the workshop
10.
Henry Moore
–
Henry Spencer Moore OM CH FBA was an English artist. He is best known for his monumental bronze sculptures which are located around the world as public works of art. As well as sculpture, Moore produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War and his forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moores works are usually suggestive of the body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces, many interpreters liken the undulating form of his reclining figures to the landscape and hills of his birthplace, Yorkshire. Moore was born in Castleford, the son of a coal miner and he became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom. His ability in later life to fulfill large-scale commissions made him exceptionally wealthy, despite this, he lived frugally, most of the money he earned went towards endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. Henry Moore was born in Castleford, West Riding of Yorkshire, England, to Mary Baker and his father was of Irish origin and became pit deputy and then under-manager of the Wheldale colliery in Castleford. He was an autodidact with an interest in music and literature, determined that his sons would not work in the mines, he saw formal education as the route to their advancement. Henry was the seventh of eight children in a family often struggled with poverty. He attended infant and elementary schools in Castleford, where he began modelling in clay and he professed to have decided to become a sculptor when he was eleven after hearing of Michelangelos achievements at a Sunday School reading. On his second attempt he was accepted at Castleford Grammar School, which several of his siblings had attended, where his headmaster soon noticed his talent and interest in medieval sculpture. His art teacher broadened his knowledge of art and, with her encouragement, he determined to make art his career, despite his early promise, Moores parents had been against him training as a sculptor, a vocation they considered manual labour with few career prospects. After a brief introduction as a student teacher, Moore became a teacher at the school he had attended, upon turning eighteen, Moore volunteered for army service. He was the youngest man in the Prince of Wales Own Civil Service Rifles regiment and was injured in 1917 in a gas attack, on 30 November at Bourlon Wood, during the Battle of Cambrai. After recovering in hospital, he saw out the remainder of the war as a training instructor. He recalled later, for me the war passed in a haze of trying to be a hero. And I still have that feeling, after the Great War Moore received an ex-servicemans grant to continue his education and in 1919 he became a student at the Leeds School of Art, which set up a sculpture studio especially for him
Henry Moore
–
Moore in 1975
Henry Moore
–
A replica in Mexico City of the [Chac Mool] stone statue at
Chichen Itza,
Yucatan Peninsula, Mexico. This reclining
Toltec -
Maya figure influenced Moore's sculpture.
Henry Moore
–
West Wind, 1928–29; Moore's first public commission was carved from
Portland stone and shows the influence of
Michelangelo 's figures for the
Medici Chapel and the
Chac Mool figure.
Henry Moore
–
Women and Children in the Tube (1940) (Art.IWM ART LD 759)
11.
Rotunda (architecture)
–
A rotunda is any building with a circular ground plan, and sometimes covered by a dome. It can also refer to a room within a building. The Pantheon in Rome is a famous rotunda, a Band Rotunda is a circular bandstand, usually with a dome. The rotunda has historical and architectural value because it was widespread in medieval Central Europe, a great number of parochial churches were built in this form in the 9th to 11th centuries BCE in Central Europe. This type of circular shaped parochial building can be found in great number in Hungary, Poland, Slovakia, Croatia, Austria, Bavaria, Dalmatia, Germany, and it was thought of as a structure descending from the Roman Pantheon. However, it can be found mainly not on former Roman territories, generally its size was 6–9 meters inner diameter and the apsis was directed toward the east. Sometimes 3 or 4 apsides were glued to the central circle, several types of rotundas are found in the Carpathian Basin, within the former boundaries of Medieval Hungary. The role and form developed from gradual enlargements of ancient small village churches, many of them still stand today, e. g. in Nagytótlak, Kallósd and Kissikátor in Hungary or in Bíňa and Šivetice in Slovakia. In many places the ancient foundations have been excavated and conserved, the village church of Sárospatak is complete with a simple circular nave and an eastern apse. The church of Alagimajor at Dunakeszi was enlarged toward the apse in the 14th century, in many cases the rotunda was used as the apse of the villages new and larger church. Such semi-circle apses are preserved all over the Carpathian Basin, rotundas of six apses, a most interesting form, are found at Karcsa, Kiszombor in Hungary, at Horjany in Ukraine and several places in Armenia. There is a connection between Central European and Caucasian rotundas of the 9th to 11th centuries BCE. Several Armenian built rotunda churches have sixfold arched central apsis, i. e. at Aragatz, Bagaran, Bagnayr, Botshor, at the same time eightfold arched central buildings are also frequently occurring in Armenia, Ani, Irind, Varzhahan. It was a suggestion that there was not only western European, temple of Heaven construction completed on 1420 during Yongle Emperor who also constructed Forbidden City of China. Fujian Tulou is a traditional rural dwellings of the Hakka in Fujian region of China and they are built between the 12th and the 20th centuries. The Baptistery at the Piazza dei Miracoli, Pisa, Italy, the Church of the Rotonda in Thessaloniki, built as the Tomb of Galerius in 306 AD. The St George Rotunda in Sofia, Bulgaria, a 4th-century Early Christian church, St. George Cathedral Church at Zvartnots, Armenia. St. Martins Rotunda in Vyšehrad Castle, Prague, Czech Republic, the Rotunda of St Marija Assunta in Mosta, Malta
Rotunda (architecture)
–
The Rotunda at the
University of Virginia, famously designed by the third US president
Thomas Jefferson.
Rotunda (architecture)
–
The famous
Rotunda church in
Thessaloniki,
Greece.
Rotunda (architecture)
–
The Baptistery at the
Piazza dei Miracoli,
Pisa,
Italy
Rotunda (architecture)
–
The most well known Danish rotunda is the village parochial church at
Østerlars.
12.
Charles Holroyd
–
Sir Charles Holroyd was an English artist and curator. He was Keeper of the Tate from 1897 to 1906, Charles Holroyd was born in Leeds. He received his art education under Professor Legros at the Slade School, University College, London and he met his wife, the artist Fannie Fetherstonhaugh Macpherson, in Rome and they married in 1891. At his return, on the invitation of Legros, he became for two years assistant-master at the Slade School, and there devoted himself to painting and etching. Among his pictures may be mentioned The Death of Torrigiano, The Satyr King, The Supper at Emmaus and his portraits, such as that of GF Watts, RA, in the Legros manner, show much dignity and distinction. Holroyd made his reputation as an etcher of exceptional ability, combining strength with delicacy. His etched heads of Professor Legros, Lord Courtney and Night, are alike in knowledge. His principal dry-point is The Bather, in all his work Holroyd displays an impressive sincerity, with a fine sense of composition, and of style, allied to independent and modern feeling. He was appointed the first keeper of the National Gallery of British Art in 1897 and he was a member of the International Society of Sculptors, Painters and Gravers and was knighted in 1903. His Michael Angelo Buonarotti is a work of real value. He died on 19 November 1917 and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. article name needed. Dodgson, Campbell Sir Charles Holroyds Etchings The Print Collector’s Quarterly 1923 Oct Vol 10, dodgson, Campbell Etchings of Sir Charles Holroyd The Print Collector’s Quarterly 1923 Oct Vol 10, No. Dodgson, Campbell Etchings of Sir Charles Holroyd The Print Collector’s Quarterly 1923 Dec Vol 10, No. com
Charles Holroyd
–
Charles Holroyd in 1896. Drawing by
Alphonse Legros.
13.
Dugald Sutherland MacColl
–
Dugald Sutherland MacColl was a Scottish watercolour painter, art critic, lecturer and writer. He was keeper of the Tate gallery for five years, MacColl was born in Glasgow and educated at the University of London and the University of Oxford between 1876 and 1884. He also studied at the Westminster School of Art and the Slade School under Alphonse Legros between 1884 and 1892, although an accomplished watercolourist, he is best remembered as a writer and lecturer on art. From 1890 to 1895 he was art critic for The Spectator, MacColl became a member of the New English Art Club in 1896, and edited the Architectural Review from 1901 to 1905. He published the book, Nineteenth Century Art, in 1902. In his journalism and books he was an advocate of the French Impressionists. From 1906 to 1911 he was keeper of the Tate Gallery and, after the retirement of Sir Claude Phillips, Dugald Sutherland MacColl died in 1948 in London. A Memorial Exhibition of his work was held at the Tate Gallery in 1950, during his career, MacColl campaigned for a number of artistically controversial causes. After his subsequent book in 1904, Administration of the Chantrey Bequest and he also campaigned for the government to spend more on art, resulting in the founding in 1903 of the National Art Collections Fund. In the 1920s he campaigned, unsuccessfully, for the preservation of John Rennies Waterloo Bridge, herbert Morrison and London County Council were eventually successful in their advocacy for its demolition and replacement. Other causes included his opposition, as a member of the Royal Fine Art Commission and he was also a central figure in discussions of Gothic additions to Oxford colleges, and in efforts to preserve the Foundling Hospital. Biography at the Tate Gallery National Portrait Gallery Biography and works held in the NPG collection, retrieved 2 September 2006 Archival material relating to Dugald Sutherland MacColl
Dugald Sutherland MacColl
–
On the Terrace, 1922.
14.
Charles Aitken
–
Charles Aitken CB was a British art administrator and was the third Keeper of the Tate Gallery and the first Director. Charles Aitken was born at Bishophill, Bishophill Junior, York, England, the son of Henry Martin Aitken, an instrument manufacturer. Aitken studied at New College, Oxford and he was the first Director of the Whitechapel Art Gallery from 1901 to 1911, and became Keeper at the Tate Gallery in 1911. In 1917 he changed his title from Keeper to Director, Sir John Rothenstein described Aitken as an ordinary man, his intelligence was relatively pedestrian, his powers of self-expression scarcely adequate. However, Rothenstein considered that the job brought out qualities that made him a director, clarity. When one of the greatest collections of the works of William Blake came on the market, Aitken. He also introduced the sale of prints, photographs and catalogues of the Collection, after Aitken commissioned Rex Whistler to decorate the Tates Refreshment Room with a mural, he persuaded Sir Joseph Duveen, an influential art dealer, to finance a similar scheme. The three chosen students were Edward Bawden, Eric Ravilious and Cyril Mahoney, the mural took them a total of two years to complete. In 1909 Aitken co-founded the Modern Art Association, which in 1910 was renamed the Contemporary Art Society, following his retirement from the position of Director in 1930, he was appointed a Companion of the Order of the Bath in the 1931 Kings Birthday Honours. He died on 9 August 1936
Charles Aitken
–
Pencil drawing of Charles Aitken
Charles Aitken
–
The Tate Gallery, now
Tate Britain
15.
James Bolivar Manson
–
James Bolivar Manson was an artist and worked at the Tate gallery for 25 years, being its Director 1930–1938. In the Tates own evaluation he was the least successful of their Directors and his time there was frustrated by his stymied ambition as a painter and he declined into alcoholism, culminating in a drunken outburst at an official dinner in Paris. He retired on the grounds of ill health and resumed his career as a painter until his death. Mansons middle name was after Simón Bolívar and his grandfather was also named James Bolivar Manson. He had a sister, Margaret Esther Manson, a younger sister, Rhoda Mary Manson. In 1903, Manson left the job, hanging his silk hat on a pole. After a year, the Mansons returned to London and their daughter Mary was born, in 1908 they moved to a small house at 98 Hampstead Way, where they stayed for 30 years. In 1910 also, he became a member and Secretary of the Camden Town Group, lilian was a close friend of Tate director Charles Aitken and, in summer 1911, the Mansons stayed with him at a holiday home in Alfriston, Sussex. Manson achieved by far the best results out of the four applicants taking the civil service exam. His reluctance to take the job had been overcome by his wife, with the Keeper, he was jointly responsible for staff supervision, office administration and care of the collection. When a Sickert was offered to the Tate in 1915, Manson wrote, I think not, but as an old friend of the artist perhaps I am a prejudiced judge. In 1914, he joined the London Group, from 1915, he showed work with the New English Art Club. Because his work for the gallery was considered indispensable, he was exempt from service, in 1917. In 1923, at the Leicester Galleries, Manson held his first solo show of work, in 1927, he became a member of the NEAC. However, in 1930, he became Director of the Tate and he also wrote art criticism, as well as an introduction to the Tates collection, Hours in the Tate Gallery and books on Degas, Rembrandt, John Singer Sargent and Dutch painting. Manson had an accident, which delayed his taking up the post of Director of the Tate by a month. According to the Tate web site, he was the least successful of Tates Directors. His own artistic ambitions had not been fulfilled, he had a marriage and he drank to excess, he suffered from depression, blackouts and paranoia
James Bolivar Manson
–
James Bolivar Manson as
Tate Director
James Bolivar Manson
–
Still Life: Tulips in a Blue Jug by J.B. Manson, c.1912
James Bolivar Manson
–
Lucien Pissarro Reading by J.B. Manson, est. 1913
James Bolivar Manson
–
Self-Portrait by J.B. Manson, c.1912
16.
Norman Reid (museum director)
–
Sir Norman Robert Reid was an arts administrator and painter and was the Director of the Tate Gallery from 1964 to 1979 Norman Reid was born in Dulwich, London, and was the son of a shoemaker. He was educated at Wilsons Grammar School and won a scholarship to the Edinburgh College of Art, later, Reid received a degree in English at Edinburgh University. Reid enlisted in 1939 in the Argyll and Sutherland Highlanders at the start of Second World War and he was commissioned as a second lieutenant in the same regiment on 2 August 1941. He transferred to the Royal Artillery on 1 November 1941, Reid left the Army in 1946 with the rank of major. In 1941, Reid married Jean Lindsay Bertram, whom he met while they were students at the Edinburgh College of Art. Reid joined the Tate Gallery in 1946 having heard that it was under-staffed and he was appointed Director when Rothenstein retired in 1964. A much needed expansion of the Gallery, the North East Quadrant, was built in 1979 during Reids directorship, during Reids Directorship the Tate staged a number of ground-breaking exhibitions, including an early presentation of Gilbert and Georges Living Statues. In 1972, the Tate purchased Equivalent VIII, a 1966 work by American sculptor Carl Andre which consisted of a stack of 120 ready-made fire bricks, however, the case dogged Reid for the rest of his period as Director. Reid also increased the Tates earlier collections, launching a successful fund-raising drive in 1977 to acquire Haymakers and Reapers by George Stubbs, the strong personal relationships he forged with artists, also led to important works being donated to the Gallery. Mark Rothkos Seagram Mural, and work by Barbara Hepworth, Ben Nicholson, Naum Gabo, Reid is widely regarded as the foremost of the Tates Directors, having developed the gallery into an international museum of the first rank. Reid was an member of the conservation committees of the International Council of Museums. Reid served on advisory bodies and committees. He was Secretary-General of the International Institute for Conservation from 1963 to 1965 and he was also on the Contemporary Art Society Committee from 1965 to 1977, and served for 12 years on the British Council Fine Arts Committee, acting as its chairman from 1968 to 1975. He was a member of the Paul Mellon Centres advisory council and he was awarded various honorary degrees and orders, while his own paintings are exhibited in the Scottish Gallery of Modern Art. Reid was knighted in the 1970 Queens Birthday Honours, and died in London aged 91 and his publications include, Gabo Naum, 1890–1977 by Jorn Mekert and Sir Norman Reid, Annely Juda Fine Art,1990. ISBN 1-870280-22-9 Obituary—Sir Norman Reid—Brilliant director of the Tate Gallery who expanded the collections of modern and historic British art, The Guardian. Retrieved on 2008-10-08 Tate Gallery Press Release on Reids death Reid in the British Library Archival Sound Recordings Portraits of Reid at the National Portrait Gallery
Norman Reid (museum director)
–
Norman Reid
Norman Reid (museum director)
–
The Tate Gallery, now
Tate Britain
Norman Reid (museum director)
–
Reid's 1977 fund-raising acquired
George Stubbs ' Haymakers for the
Tate.
17.
Nicholas Serota
–
Sir Nicholas Andrew Serota, CH is director of the Tate art museums and galleries. He was director of The Museum of Modern Art, Oxford, and the Whitechapel Gallery, London, before becoming in 1988 director of the Tate and he has been announced as the new Chair of Arts Council England in September 2016. He has been the chairman of the Turner Prize jury, Nicholas Serota, the son of Stanley Serota, a Fellow, Institution of Civil Engineers, and Beatrice Serota, grew up in Hampstead, North London. His father was a engineer and his mother a civil servant, later a life peer and Labour Minister for Health in Harold Wilsons government. Serota was educated at Haberdashers Askes School and then read Economics at Christs College, Cambridge, before switching to History of Art. He completed a degree at the Courtauld Institute of Art, University of London, under the supervision of Michael Kitson and Anita Brookner. In 1969, Serota became Chairman of the new Young Friends of the Tate organisation with a membership of 750 and they took over a building in Pear Place, south of Waterloo Bridge, arranging lectures and Saturday painting classes for local children. Serota and his committee resigned, which caused the end of the Young Friends, in 1970, he joined the Arts Council of Great Britains Visual Arts Department as a regional exhibitions officer. In 1976, Serota was appointed Director of the Whitechapel Gallery in Londons East End, the Whitechapel was well regarded but had suffered from lack of resources. In 1976 he was a judge for an art competition run by the brewers Trumans, in 1980, assisted by Alexander Sandy Nairne, he organised a two-part exhibition of 20th-century British sculpture, on a scale which had not been seen in the United Kingdom before. In 1981, he curated The New Spirit in Painting, with Norman Rosenthal, thus Serota remained somewhat distanced from the English establishment, although developing a growing reputation internationally in the art world. In 1984-1985, Serota took the step of shutting down the Whitechapel for over 12 months for extensive refurbishment. A strip of land had been acquired, which allowed a design by architects Colquhoun and Miller for a gallery, restaurant, lecture theatre. Although receiving wide approbation, the scheme was in deficit by £250,000, the success of this was instrumental in Serotas appointment in 1988 as Director of the Tate Gallery. The short-listed candidates for the Tate Directorship, who included Norman Rosenthal, Serotas submission, on two sides of A4 paper, was titled Grasping the Nettle. He saw many areas of the Tates operations in need of overhaul, and concluded that the gallery was loved, Tate Chairman, Richard Rogers considered this by far the best proposal submitted. He is a man, and indeed is quite unusual in this country in his commitment to modern painting. In contrast, Peter Fuller made an attack in Modern Painters magazine, saying that Serota would be incapable, by temperament and ability
Nicholas Serota
–
Nicholas Serota
Nicholas Serota
–
Modern Art Oxford
Nicholas Serota
–
Whitechapel Gallery
Nicholas Serota
–
Tate Britain, previously the Tate Gallery
18.
Henry Tate
–
Sir Henry Tate, 1st Baronet was an English sugar merchant and philanthropist, noted for establishing the Tate Gallery, London. Tate was the son of a Unitarian clergyman, when he was 13, he became a grocers apprentice in Liverpool. After a seven-year apprenticeship, he was able to set up his own shop and his business was successful, and grew to a chain of six stores by the time he was 35. In 1859 Tate became a partner in John Wright & Co. sugar refinery, by 1869, he had gained complete control of the company, and renamed it as Henry Tate & Sons. In 1872, he purchased the patent from German Eugen Langen for making sugar cubes, in 1877 he opened a refinery at Silvertown, London, which remains in production. At the time, much of Silvertown was still marshland, Tate was a modest rather retiring man, well known for his concern with workers’ conditions. He built the Tate Institute opposite his Thames Refinery, a bar, Tate rapidly became a millionaire and donated generously to charity. The National Gallery of British Art, nowadays known as Tate Britain, was opened on 21 July 1897, Tate made many donations, often anonymously and always discreetly. He supported alternative and non-establishment causes, there was £10,000 for the library of Manchester College, founded in Manchester in 1786 as a Dissenting academy to provide religious nonconformists with higher education. He also gave the College, £5,000 to promote the ‘theory, in addition he gave £20,000 to the Hahnemann Hospital in Liverpool in 1885. He particularly supported health and education with his money and he also gave £8,000 to the Liverpool Royal Infirmary, and £5,000 to the Queen Victoria Jubilee Institute, which became the Queens Institute for District Nurses. Tate was made a baronet in 1898, the year before his death, in 1921, after Tates death, Henry Tate & Sons merged with Abram Lyle & Sons to form Tate & Lyle. In 2001, a plaque commemorating Sir Henry was unveiled on the site of his first shop at 42 Hamilton Street. In 2006 a Wetherspoons pub in his town of Chorley was named after the sugar magnate. His mother was Agnes Booth and his father was the Reverend William Tate and he lived at Park Hill by Streatham Common, South London, and is buried in nearby West Norwood Cemetery, the gates of which are opposite a public library that he endowed. Park Hill became a nunnery after his death until refurbishment as housing around 2004, Tate Gallery Tate & Lyle Sir Henry Tate The Sugar Girls blog, Happy Birthday, Henry Tate. http, //www. thepeerage. com/p59124. htm#i591238
Henry Tate
–
For other people named Henry Tate, see
Henry Tate (disambiguation).
Henry Tate
–
Vault of Sir Henry Tate, West Norwood cemetery
Henry Tate
–
Henry Tate Mausoleum
19.
Hugh Lane
–
Sir Hugh Percy Lane was an Irish art dealer, collector and gallery director. He is best known for establishing Dublins Municipal Gallery of Modern Art and for his contribution to the arts in Ireland. Hugh Lane died on board the RMS Lusitania, Hugh Percy Lane was born in County Cork, Ireland on 9 November 1875. He was brought up in Cornwall, England, and began his career as a painting restorer and later became a successful art dealer in London. Through regular visits to Coole, County Galway, the home of his aunt, Lady Gregory and he soon counted among his family, friends and social circle those who collectively formed the core of the Irish cultural renaissance in the early decades of the 20th century. The Municipal Gallery of Modern Art opened in January 1908 in temporary premises in Harcourt Street, Lane hoped that Dublin Corporation would run it, but the corporation was unsure if it would be financially viable. Lane did not live to see his gallery permanently located as he died in 1915 during the sinking of the RMS Lusitania, off the west coast of Cork, the gallery, extended in 2005, is now in Parnell Square in central Dublin. For his services to art in Ireland, Lane was knighted in June 1909 at the young age of 33. Following his death, his will bequeathed his collection to London, having possession, Londons National Gallery did not recognise the codicil. At the request of Lanes aunt, Lady Gregory, WT Cosgrave, in 1993 the agreement was varied so that 31 of the 39 paintings would stay in Ireland. The remaining 8 were divided into 2 groups, so that 4 would be lent for 6 years at a time to Dublin and these 8 include works by Manet, Monet, Pissarro, Renoir, Morisot, Vuillard and Degas. In 2008 The National Gallery in London arranged for the collection to be on display in Dublin together for the first time. There was a switch in May 2013 for a six-year period, ISBN 1-901866-55-6 HughLane. ie - Dublin City Gallery, The Hugh Lane
Hugh Lane
–
Sir Hugh Lane by
Antonio Mancini - Oil on canvas (1913)
20.
Joseph Duveen, 1st Baron Duveen
–
Joseph Duveen, 1st Baron Duveen, known as Sir Joseph Duveen, Bt, between 1927 and 1933, was a British art dealer, considered one of the most influential art dealers of all time. Joseph Duveen was British by birth, the eldest of thirteen children of Sir Joseph Joel Duveen, the Duveen Brothers firm became very successful and became involved in trading antiques. Duveen Senior died in 1908, Joseph took over the working in partnership with his late fathers brother Henry J. Duveen. He had received a thorough and stimulating education at University College School and his success is famously attributed to noticing that Europe has a great deal of art, and America has a great deal of money. He made his fortune by buying works of art from declining European aristocrats and selling them to the millionaires of the United States. Duveens clients included Henry Clay Frick, William Randolph Hearst, Henry E. Huntington, J. P. Morgan, Samuel H. Kress, Andrew Mellon, John D. Rockefeller, and a Canadian, Frank Porter Wood. The works that Duveen shipped across the Atlantic remain the core collections of many of the United States most famous museums, Duveen played an important role in selling to self-made industrialists on the notion that buying art was also buying upper-class status. Duveen quickly became wealthy, and made many philanthropic donations. He gave paintings to many British galleries and he donated considerable sums to repair and expand several galleries, amongst other things he built the Duveen Gallery of the British Museum to house the Elgin Marbles and a major extension to the Tate Gallery. Duveen married Elsie, daughter of Gustav Salomon, of New York and they had one daughter, Dorothy Rose. She married, firstly, Sir William Francis Cuthbert Garthwaite, DSC 2nd Bt. on 23 July 1931, orthopædic Surgeon to St. Georges Hospital, of Upper Wimpole Street, London. The court case took seven years to come to trial and after the first jury returned a verdict, Duveen agreed to settle. In recent years, Duveens reputation has suffered considerably, restorers working under his guidance damaged Old Master panel paintings by scraping off old varnish and giving the paintings a glossy finish. He was also responsible for the damaging restoration work done to the Elgin Marbles. A number of the paintings he sold have turned out to be fakes, Duveen greatly increased the trade in bringing great works of art from Europe to America. He eventually became the art dealer, through planning and his insight into human behavior. If a great painting came onto the market he had to have it no matter what and he always outbid the opposition and eventually acquired the finest collections. He went to lengths to purchase great works of art and his network went well beyond American millionaires, English Royalty
Joseph Duveen, 1st Baron Duveen
–
Joseph Duveen in the 1920s
Joseph Duveen, 1st Baron Duveen
–
The
Elgin Marbles on display in the Duveen Gallery of the British Museum
Joseph Duveen, 1st Baron Duveen
–
La belle ferronnière, by
Leonardo da Vinci; the authenticity of another version of this painting was questioned by Duveen.
Joseph Duveen, 1st Baron Duveen
–
The oldest Western panel portrait of a woman, now in the
National Gallery of Art, Washington. Photographs prove Duveen significantly altered the hair and headdress to make it look like a
Pisanello of the 1440s. [
citation needed] It is now catalogued as by an unknown "Franco-Flemish Master" of about 1410.
21.
Turner Prize
–
The Turner Prize, named after the English painter J. M. W. Turner, is an annual prize presented to a British visual artist under the age of 50. Awarding the prize is organised by the Tate gallery and staged at Tate Britain, since its beginnings in 1984 it has become the UKs most publicised art award. As of 2004, the award was established at £40,000. There have been different sponsors, including Channel 4 television and Gordons Gin, a prominent event in British culture, the prize has been awarded by various distinguished celebrities, in 2006 this was Yoko Ono, and in 2012 it was presented by Jude Law. The prize was named after Turner because while he is now considered one of the countrys greatest artist, while he was active his work was controversial. While he is now looked at as a traditionalist, his new approach to landscape painting changed the course of art history, each year after the announcement of the four nominees and during the build-up to the announcement of the winner, the Prize receives intense attention from the media. Much of this attention is critical and the question is often asked, artists are chosen based upon a showing of their work that they have staged in the preceding year. Nominations for the prize are invited from the public, although this was considered to have negligible effect—a suspicion confirmed in 2006 by Lynn Barber. The exhibition remains on view until January, the prize is officially not judged on the Tate show, however, but on the earlier exhibition for which the artist was nominated. The exhibition and prize rely on commercial sponsorship, by 1987, money for the prize was provided by Drexel Burnham Lambert, its withdrawal after its demise led to the cancellation of the prize for 1990. Channel 4, an independent television channel, stepped in for 1991, doubling the money to £20,000. In 2004, they were replaced as sponsors by Gordons Gin, doubling the money to £40,000, with £5,000 going to each of the shortlisted artists. Tate Director Sir Nicholas Serota has been the Chair of the jury since his tenure at the Tate, there are conflicting reports as to how much personal sway he has over the proceedings. Most of the artists nominated for the prize selection become known to the public for the first time as a consequence. Some have talked of the difficulty of the media exposure. Sale prices of the winners have generally increased, Chris Ofili, Anish Kapoor and Jeremy Deller later became trustees of the Tate. Some artists, notably Sarah Lucas, have declined the invitation to be nominated, the first Turner Prize was awarded to Malcolm Morley, an English artist living in the United States. Other nominees included sculptor Richard Deacon, graphic-styled collaborative duo Gilbert & George, abstract painter Howard Hodgkin, Howard Hodgkin is awarded the Turner Prize for A Small Thing But My Own
Turner Prize
–
Tate Britain: a venue for the Turner Prize.
Turner Prize
–
Tracey Emin, debate controversy in 1997, nominee in 1999.
Turner Prize
–
Wolfgang Tillmans, winner in 2000
Turner Prize
–
First
Stuckist demonstration, 2000
22.
2008 Turner Prize
–
The 2008 Turner Prize was awarded on 1 December 2008 to Mark Leckey. The £25,000 Turner Prize is awarded by the Tate to one of four nominees and is based on their work in the previous year. The other three 2008 nominees were Runa Islam, Goshka Macuga and Cathy Wilkes, for the first time since 1998, the chairman of the jury was Stephen Deuchar, director of Tate Britain. The artwork shown by the nominees at the exhibition was generally unpopular with critics. Nicholas Serota made a speech before the award was presented by Nick Cave. Leckey had not prepared an acceptance speech, in an interview with Channel 4 News directly following the announcement, Leckey said, The critics like middlebrow art. If you are working as an artist nowadays, the place to be. An exhibition of work by the nominees was shown at Tate Britain from 30 September 2008 to 18 January 2009, the Turner Prize is awarded for a show by the artist in the previous year. When nominees are told of their nomination, they then prepare exhibits for the Turner Prize exhibition, as such, the Turner Prize exhibition may not feature the works for which the artist was initially nominated by the judges. Cathy Wilkes - nominated for her exhibition at Milton Keynes Gallery. from Glasgow. It was the first time since 1998 that three of the four nominees had been women. Stephen Deuchar, who chaired the jury, said, The prize is not there to award the most competent artist at work today, Runa Islams exhibited works were three films, First Day of SpringA film shot in Dhaka, Bangladesh where Islam was born. It shows a group of drivers taking a rest beside a deserted avenue on the first day of spring. CinematographyA film shot using a mechanically controlled camera programmed, in its movement, the footage is of a film apparatus workshop used by JC Harry Harrison in New Zealand involved in the making of The Lord of the Rings. The camera moves around the location filming hardware and shelving to the sound of motor noises, artists comment, First Day of Spring I allowed the rickshaw pullers you see to take center stage, to counter the marginal roles they play within the socio-economic climate. Cinematography I found in my notebook the sentence writing with the camera, the word cinematography is basically writing with movement, or better, to record in movement, just as photography is writing in light. I wanted to write the word itself with the camera, to realize a sort of tattoo on a landscape where the starting and ending point coincide. Be The First To see What You see As You see It The meaning not prescribed I think my work allows you to use different prisms through which to read it
2008 Turner Prize
–
The 2008
Turner Prize nominees' exhibition was at
Tate Britain, London
23.
List of Turner Prize winners and nominees
–
The Turner Prize is an annual prize presented to a British visual artist, organised by the Tate Gallery. Named after the painter J. M. W. Turner, it was first presented in 1984, and is one of the United Kingdoms most prestigious, but controversial, art awards. The winner is chosen by a panel of four independent judges invited by the Tate, the prize is accompanied by a monetary award of £25,000, although the amount has varied depending on the sponsor. For example, between 2004 and 2007, while sponsored by Gordons, the prize fund was £40,000, £25,000 was awarded to the winner. Since its inception, the prize itself has received considerable criticism, considerable media pressure is applied to nominees and winners of the Turner Prize. The 2003 winner Grayson Perry stated that Such media storms can be traumatising for someone who has laboured away for years in a studio, some artists, including Sarah Lucas and Julian Opie, have decided not to participate in the event, regarding a nomination as a poisoned chalice. Stephen Deuchar, Director of Tate Britain suggested We want the artists to be comfortable with media pressure, several winners of the prize have won other notable awards such as the Venice Biennale, and continue to present their works at various international exhibitions. Winners reactions to the range from Damien Hirsts A media circus to raise money for the Tate and Channel 4 to Jeremy Dellers It blew me away. Auction prices for works by previous winners have generally increased, the award has also seen some unexpected results, Tracey Emins My Bed, was overlooked in 1999 despite drawing large crowds to the Tate. General The Turner Prize year by year, the Turner Prize, New Edition 2007. Specific The Turner Prize official website
List of Turner Prize winners and nominees
–
Tate Britain: the venue for the Turner Prize except in 2007, 2011 and 2013
List of Turner Prize winners and nominees
–
Nicholas Serota (pictured),
Matthew Collings and Robin Klassnik were all commended. Gilbert and George were nominees in 1984.
List of Turner Prize winners and nominees
–
Damien Hirst: his exhibit included a bisected cow and calf in formaldehyde in a vitrine – Mother and Child Divided. He was a nominee in 1992.
List of Turner Prize winners and nominees
–
Tracey Emin exhibited her bed, titled
My Bed
24.
Rachel Whiteread
–
Rachel Whiteread, CBE is an English artist who primarily produces sculptures, which typically take the form of casts. She was the first woman to win the annual Turner Prize in 1993, Whiteread was one of the Young British Artists who exhibited at the Royal Academys Sensation exhibition in 1997. Whiteread was born in 1963 in Ilford, Essex, and raised in the Essex countryside until age seven and her mother, Patricia Whiteread, who was also an artist, died in 2003 at the age of 72. Her father, Thomas Whiteread, was a teacher, polytechnic administrator and lifelong supporter of the Labour Party. She is the third of three sisters – the older two being identical twins, Whiteread studied at the Faculty of Arts and Architecture, Brighton Polytechnic from 1982 to 1985. Though she graduated with a BA in painting, she spent much of her time doing sculpture and she took a workshop on casting with the sculptor Richard Wilson and began to realize the possibilities in casting objects. She was briefly at the Cyprus College of Art, from 1985 to 1987 she studied sculpture at Slade School of Art, University College, London, graduating with an MA in 1987. For a time she worked in Highgate Cemetery fixing lids back onto time-damaged coffins and she began to exhibit in 1987, with her first solo exhibition coming in 1988. She lives and works in a synagogue in east London with long-term partner. Many of Whitereads works are casts of ordinary objects and, in numerous cases. For example, she is known for making casts of the open space in and around pieces of furniture such as tables and chairs, architectural details and even entire rooms. She says the casts carry the residue of years and years of use, Whiteread mainly focuses on the line and the form for her pieces. While still at the Slade, Whiteread cast domestic objects and created her first sculpture and she made a plaster cast of the interior of a wooden wardrobe and covered it with black felt. It was based on comforting childhood memories of hiding in a dark closet, after she graduated she rented space for a studio using the Enterprise Allowance Scheme. She created Shallow Breath, the cast of the underside of a bed, both sculptures were exhibited in her first solo show in 1988 along with casts of other domestic pieces. The work all sold and allowed her to apply for grants to find funding for larger sculptures, after her first solo exhibition, Whiteread decided to cast the space that her domestic objects could have inhabited. She applied for grants, describing the project as mummifying the air in a room and it was cast from a room in a house on Archway Road in north London, much like the house she grew up in. The road was being widened and the torn down
Rachel Whiteread
–
Untitled (Twenty Four Switches) by Rachel Whiteread, Tate Liverpool, England.
Rachel Whiteread
–
House (1993) London
Rachel Whiteread
–
Holocaust Monument (2000)
Judenplatz,
Vienna
Rachel Whiteread
–
Stuckist demonstration against the unveiling of "Untitled Monument", 4 June 2001.
25.
Test Site
–
Test Site was an art installation, that was displayed in the turbine hall of Tate Modern in London, UK, between October 2006 and 9 April 2007. Test Site was designed like Carsten Höller, and was the commission of the series of works in the turbine hall sponsored by Unilever known as The Unilever Series. The exhibit consisted of a series of metal slides, there were a total of five slides, two starting on the second floor, and one on each floor after that up to the 5th floor. The slides were composed of metal and fibreglass, and covered all the way around, visitors could slide down the slides of the installation free, but timed entry tickets were required for all but the second floor slides. The Unilever Series, Carsten Höller from Tate Online
Test Site
–
The 2nd, 3rd and 5th floor slides from the Test Site exhibit
26.
Shibboleth (artwork)
–
Shibboleth was the title of a temporary art installation placed by the Colombian artist Doris Salcedo in the Tate Modern in 2007. The work took the form of a crack in the floor. The crack was made by opening up the floor and then inserting a cast from a Colombian rock face, a Tate spokesperson said, She’s not specifying how it’s been done. What she wants is for people to think about what’s real, Salcedo said of the work Tate Director, Sir Nicholas Serota stated, There is a crack, there is a line, and eventually there will be a scar. It will remain as a memory of the work and also as a memorial to the issues Doris touches on, the exhibition took place from 9 October 2007 to 6 April 2008. Following the exhibition the crack was filled in, leaving a line in the floor. Engineer Stuart Smith, who was responsible for the realisation and installation of the artwork, has revealed that it was achieved by casting new concrete on top of the original floor slab. The work has gained the nickname Doriss crack, in some places it was wide enough for a small child to fall into. The Tate placed warning signs and designated staff to monitor the exhibit, in the first month of the display, fifteen people were injured, mostly minor, but four of the accidents were reported to the Health and Safety Executive. Shibboleth Shibboleth on the Tate web site, including video
Shibboleth (artwork)
–
View of "Shibboleth", a crack in the floor of the Turbine Hall in
Tate Modern in London.
27.
Frankfurt art theft (1994)
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Three famous paintings were stolen from the Kunsthalle Schirn in Frankfurt in 1994. This case of art theft is unique in that the paintings were recovered by buying them back from the thieves, the theft took place on 28 July 1994 in the Kunsthalle Schirn in Frankfurt. The thieves had themselves locked into the museum at night and then overpowered a security guard, two of the thieves and a dealer were apprehended quickly, but they refused to reveal the location of the paintings and the identity of the people who had ordered the theft. In 1999 they received sentences of up to 11 years, police were unable to recover the paintings. Insurance companies paid about 40 million euros to the paintings owners, the central suspect, a major figure of the Yugoslavian Mafia in Frankfurt known as Stevo, tried to sell the paintings to an underworld figure of Marbella. The two could not agree on a price, and undercover agents from the German police then joined the negotiations in 1995. A new deal for purchase of the paintings was set up, Stevo was arrested, but the evidence was deemed insufficient for prosecution, he was represented by the attorney Edgar Liebrucks who had defended several Mafia figures before. The German prosecutors then all but gave up on the case, an undercover agent from Scotland Yard contacted Edgar Liebrucks, and in late 1999 the lawyer began to negotiate with the Mafia on behalf of Tate. The two sides agreed on a price of 5 million Deutsche Marks per painting. Stevo again increased the demanded advance payment from 1 million to 2 million Marks, the deal for the first painting went through, Liebrucks received about 320,000 euros as compensation by Tate, and Shade and Darkness returned to London in July 2000. Further negotiations then halted, Stevo apparently had lost interest, in autumn 2002 two men contacted Liebrucks, they indicated that they had possession of the two remaining paintings and were willing to sell. Apparently, Stevo had stored the paintings with them, and possibly they were now acting on their own behalf, the Tate Gallery then bought the remaining Turner painting for 2 million euros, it returned to London around Christmas 2002. The two men took a holiday in Cuba. Considering that the Tate Gallery received more from the insurers than it paid to the thieves, it profited substantially. Sandy Nairne, as of 2012 the director of the National Portrait Gallery and former director at the Tate. His experience is chronicled in his 2011 book, Art Theft, the Kunsthalle Hamburg then authorized Liebrucks to recover the Friedrich painting. When the two men returned from their vacation, Liebrucks was able to lower the price from an initial 1.5 million euros to 250,000 euros. Confident that he would be compensated later, the lawyer paid with his own money, the two men left for Brazil
Frankfurt art theft (1994)
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Kunsthalle Schirn in Frankfurt
Frankfurt art theft (1994)
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Light and Colour (Goethe's Theory) by
J. M. W. Turner, 1843
Frankfurt art theft (1994)
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Shade and Darkness by
J. M. W. Turner, 1843
Frankfurt art theft (1994)
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Nebelschwaden by
Caspar David Friedrich, ca. 1820
