1.
Walker Art Center
–
The Walker Art Center is a multidisciplinary contemporary art center in the Lowry Hill neighborhood of Minneapolis, Minnesota, United States. The museums permanent collection includes over 13,000 modern and contemporary art pieces including books, costumes, drawings, media works, paintings, photography, prints, the Walker Art Center began 1879 as a personal art gallery in the home of lumber baron Thomas Barlow Walker. Walker formally established his collection as the Walker Art Gallery in 1927, with the support of the Federal Art Project of the Works Progress Administration, the Walker Art Gallery became the Walker Art Center in January 1940. The Walker celebrated its 75th anniversary as an art center in 2015. The Walkers building, designed by Edward Larrabee Barnes and opened in May 1971, Swiss architects Herzog & de Meurons addition included an additional gallery space, a theater, restaurant, shop, and special events space. The Visual Arts program has been a part of the Walker Art Center since its founding, the program includes an ongoing cycle of exhibitions in the galleries as well as a permanent collection of acquired, donated, and commissioned works. The Walker’s collection represents works of modern and contemporary art, especially focused after 1960, the Walker’s holdings include more than 13,000 individual pieces including books, costumes, drawings, media works, paintings, photography, prints, and sculpture. In 2015, the Walker celebrated the 75th anniversary of its founding as an art center with a yearlong exhibition. In 1940, the Walker began presenting local dance, poetry, by 1963, this group had become Center Opera, the Walker’s performing arts program focused on exhibiting new works emphasizing visual design. In 1970, Center Opera disbanded from the Walker and became Minnesota Opera, the same year, Performing Arts was officially designated as a department of the Walker Art Center. Since the 1960s, Performing Arts at the Walker has commissioned 265 performance works, in addition, the department programs a 25-show season every year that includes performances ranging from performance art, theater, dance, spoken word and music. It is one of the largest performing arts programs of its kind found in a museum in the nation. As a longtime associate of the Merce Cunning ham Dance Company, the agreement included sculptures, sets, costumes and other works by artists like Robert Rauschenberg and Jasper Johns. The Walker Art Centers film and video programs feature both contemporary and historical works, in the 1940s, the Walker identified moving images as integral to contemporary life. Artists of that time were experimenting with film’s formal properties, such as light, motion, in 1973, the Film/Video Department was officially formed and the Edmond R. Ruben Film and Video Study Collection was established, along with an endowment to fund the development of the archive. Ruben, a figure in film exhibition in the Upper Midwest. Today, with more than eight hundred fifty titles, the Ruben Collection brings together classic and contemporary cinema as well as documentaries, avant-garde films, the Walker Art Center maintains a professional, in-house design and editorial department to fulfill its various communication needs. Additionally, the department organizes design-related projects and programs, such as lectures, exhibitions, during the 1940s, the Walker built two idea houses exhibiting the latest in building materials, furnishings and architectural design trends
Walker Art Center
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Walker Art Center
Walker Art Center
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Cover of the catalogue of the 1995 exhibition
Brilliant!
Walker Art Center
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Federal Art Project class at the Walker Art Center (1941)
Walker Art Center
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Cargill Lounge
2.
Liverpool City Centre
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Liverpool city centre is the commercial, cultural, financial and historical heart of Liverpool, England, and its surrounding region. The inner city districts of Vauxhall, Everton, Edge Hill, Kensington, the immediate city centre consists of the postal districts of L1, L2 and L3, although L6, L7 and L8 cover some parts of the outer city centre also. The resident population of the city centre has grown dramatically over the last decade and now stands at around 36,000 people and climbing. Liverpool was granted borough status in 1207, and the seven streets of the settlement can now be found within the commercial district of Liverpool city centre. Six areas within Liverpool city Centre form the Liverpool Maritime Mercantile City which is a UNESCO designated World Heritage Site, Liverpool city centre is one of the most architecturally significant locations in the country. Areas within Liverpool city centre consist of areas that define the centre of Liverpool. Not to be confused with trendy and modern business terms and definitions, canning is an alternative name for the elegant and mainly Georgian collection of terraced streets at the edge of the city centre, often referred to as the Georgian Quarter. Centred on Church Street and Lord Street, this contains many shops. The Chinatown in Liverpool city centre is home to the oldest Chinese community in Europe, Chinese are now the largest visible ethnic minority group in the city numbering up to 30,000. Numerous Chinese-owned supermarkets, restaurants and community groups are spread across Liverpools Chinatown, the Liverpool Chinese Gospel Church and the Liverpool Chinese Christian Disciples Church are also located within the area. The arch located at the gateway to Chinatown, Liverpool is also the largest of its kind outside of China, Liverpools commercial district is a term given by business to distinguish Liverpools business and commercial centre from the rest of the city centre. It is centred on Old Hall Street and is the heart of Liverpool. Many businesses and companies have a presence in the area. Since the mid-2000s many new building and redevelopment projects have taken place in the commercial district, some notable properties within the commercial district include the headquarters of the Post & Echo and offices of Unisys, HM Passport Office, BT and Maersk Line. The table below shows the tallest buildings within the commercial district, William Brown Street William Brown Street is adjacent to St Georges Hall and St Johns Garden, close to Lime Street Station. It is a pedestrianised street featuring several significant buildings constructed in the latter half of the 19th century. The Library and Museum was designed by John Weightman, to its east the Walker Art Gallery and Picton Reading Room built in the 1870s, in front of them stands the Nelson Column, erected 1861-1863. Hope Street and its vicinity is notable for a number of reasons
Liverpool City Centre
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Liverpool city centre
Liverpool City Centre
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Map of Liverpool City Centre.
Liverpool City Centre
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The Commercial District at night
Liverpool City Centre
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West Tower
3.
Liverpool
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Liverpool is a major city and metropolitan borough in North West England.24 million people in 2011. Liverpool historically lay within the ancient hundred of West Derby in the south west of the county of Lancashire and it became a borough from 1207 and a city from 1880. In 1889 it became a county borough independent of Lancashire, Liverpool sits on the eastern side of the Mersey Estuary and its growth as a major port is paralleled by the expansion of the city throughout the Industrial Revolution. Along with general cargo, freight, raw materials such as coal and cotton, the city was also directly involved in the Atlantic slave trade. Liverpool was home to both the Cunard and White Star Line, and was the port of registry of the ocean liner RMS Titanic and others such as the RMS Lusitania, Queen Mary, and Olympic. The city celebrated its 800th anniversary in 2007, and it held the European Capital of Culture title together with Stavanger, Norway, several areas of Liverpool city centre were granted World Heritage Site status by UNESCO in 2004. The Liverpool Maritime Mercantile City includes the Pier Head, Albert Dock, tourism forms a significant part of the citys economy. Liverpool is also the home of two Premier League football clubs, Liverpool and Everton, matches between the two being known as the Merseyside derby, the world-famous Grand National horse race takes place annually at Aintree Racecourse on the outskirts of the city. The city is home to the oldest Black African community in the country. Natives of Liverpool are referred to as Liverpudlians and colloquially as Scousers, a reference to scouse, the word Scouse has also become synonymous with the Liverpool accent and dialect. Pool is a place name element in England from the Brythonic word for a pond, inlet, or pit, cognate with the modern Welsh. The derivation of the first element remains uncertain, with the Welsh word Llif as the most plausible relative and this etymology is supported by its similarity to that of the archaic Welsh name for Liverpool Llynlleifiad. Other origins of the name have suggested, including elverpool. The name appeared in 1190 as Liuerpul, and it may be that the place appearing as Leyrpole, in a record of 1418. King Johns letters patent of 1207 announced the foundation of the borough of Liverpool, the original street plan of Liverpool is said to have been designed by King John near the same time it was granted a royal charter, making it a borough. The original seven streets were laid out in an H shape, Bank Street, Castle Street, Chapel Street, Dale Street, Juggler Street, Moor Street, in the 17th century there was slow progress in trade and population growth. Battles for the town were waged during the English Civil War, in 1699 Liverpool was made a parish by Act of Parliament, that same year its first slave ship, Liverpool Merchant, set sail for Africa. Since Roman times, the city of Chester on the River Dee had been the regions principal port on the Irish Sea
Liverpool
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From top left:
Pier Head and the
Mersey Ferry;
St George's Hall and the
Walker Art Gallery,
Liverpool Catholic Cathedral;
Liverpool Anglican Cathedral;
Georgian architecture in
Canning;
Princes Dock
Liverpool
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"Liverpool in 1680" the earliest known image of Liverpool
Liverpool
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A map of Liverpool's original seven streets (north to the left)
Liverpool
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Inaugural journey of the
Liverpool and Manchester Railway in 1830, the first ever commercial railway line.
4.
Geographic coordinate system
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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
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Longitude lines are perpendicular and latitude lines are parallel to the equator.
5.
Andrew Barclay Walker
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Sir Andrew Barclay Walker, 1st Baronet was a brewer and Liverpool Councillor. Walker was born the son of Peter Walker at Auchinflower, Ayrshire and he followed his father into brewing. In 1879, on the death of his father, he gained control of the business and in 1890 he turned it into a public company, several pubs in Liverpool and the northwest of England still carry the slogan Walkers Warrington Ale in their frosted glass. He was a Justice of the Peace for Ayrshire and a Deputy Lieutenant of Lancashire and he was elected Lord Mayor of Liverpool for 1873 and 1876 and appointed High Sheriff of Lancashire for 1886–87. He married Eliza, the eldest daughter of John Reid, of Limekilns and they had 6 sons and two daughters, including John Reid Walker and William Walker, 1st Baron Wavertree. His youngest daughter Ethel Lisette married on 3rd February 1897 the 9th, earl of Kingston in 1897, and they took up residence in Kilronan Castle, Co. Sir Andrew later married Maude Okeover, the daughter of Haughton Charles Okeover and he built the Walker Art Gallery which is named after him and donated it to the City of Liverpool. For this, and other works, he was knighted in 1877 and created Baronet Walker, of Gateacre. Sir Andrew Barclay Walker was a great yachtsman and he owned a number of yachts including the Cubona, a mermaid which he sailed at the North Shannon Yacht Club in Ireland. He presented a trophy known as the Barclay Walker Challenge Cup for Half Deckers, Colleens and Half raters Pictures of the Walker Grave in Childwall, Liverpool Walker, Andrew Barclay
Andrew Barclay Walker
–
Vanity Fair caricature by
Libero Prosperi
6.
National Rail
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The name and the accompanying double arrow symbol are the intellectual property of the Secretary of State for Transport. The National Rail logo was introduced by ATOC in 1999, and was used on the Great Britain public timetable for the first time in the edition valid from 26 September in that year. Rules for its use are set out in the Corporate Identity Style Guidelines published by the Rail Delivery Group, the NR title is sometimes described as a brand. As it was used by British Rail, the operator before franchising, its use also maintains continuity and public familiarity. National Rail should not be confused with Network Rail, the two networks are generally coincident where passenger services are run. Most major Network Rail lines carry traffic and some lines are freight only. About twenty privately owned operating companies, each franchised for a defined term by government. The Rail Delivery Group is the association representing the TOCs and provides core services. It also runs Rail Settlement Plan, which allocates ticket revenue to the various TOCs, and Rail Staff Travel and it does not compile the national timetable, which is the joint responsibility of the Office of Rail Regulation and Network Rail. Since the privatisation of British Rail there is no longer a single approach to design on railways in Great Britain, the look and feel of signage, liveries and marketing material is largely the preserve of the individual TOCs. However, National Rail continues to use BRs famous double-arrow symbol and it has been incorporated in the National Rail logotype and is displayed on tickets, the National Rail website and other publicity. The trademark rights to the arrow symbol remain state-owned, being vested in the Secretary of State for Transport. The double arrow was already prescribed for indicating a railway station, the lettering used in the National Rail logotype is a modified form of the typeface Sassoon Bold. It is a misconception that Rail Alphabet was also used for printed material. The British Rail typefaces of choice from 1965 were Helvetica and Univers, TOCs may use what they like, examples include Futura, Helvetica, Frutiger, Bliss, and a modified version of Precious by London Midland. Several conurbations have their own metro or tram systems, most of which are not part of National Rail, LO now also possesses some infrastructure in its own right, following the reopening of the former East London line of London Underground as the East London Railway of LO. Heathrow Express and Eurostar are also not part of the National Rail network despite sharing of stations, northern Ireland Railways were never part of British Rail, which was always confined to Great Britain, and therefore are not part of the National Rail network. National Rail services have a common ticketing structure inherited from British Rail, through tickets are available between any pair of stations on the network, and can be bought from any station ticket office
National Rail
–
Young Person railcard rail ticket from
Wellington to
Shrewsbury
National Rail
–
Child Return from East Kilbride
7.
Merseyrail
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Merseyrail is both a train operating company and a commuter rail network, in Liverpool City Region, England. It is a part of Serco-Abellio, and is formed of two electrified lines of the National Rail network known as the Northern Line and the Wirral Line which run underground in central Liverpool. The Merseyrail network has 67 stations and 75 miles of route, carrying approximately 110,000 passengers each weekday, or 34 million passenger journeys per year, it forms one of the most heavily used railway networks in the UK outside London. It is operated by a joint venture between Serco and Abellio, which took over the franchise from Arriva Trains Merseyside in 2003 and it operates a fleet of 59 trains and employs 1,200 people. Separate rail lines were integrated into one network in 1977 with the construction of new tunnels under Liverpool city centre and this created a large, comprehensive urban railway network. Although financial constraints have prevented some of the 1970s plans for the network being realised, the Merseyrail name became the official brand for the network in the days of British Rail, surviving several franchise holders, although the name was not used by Arriva when holding the franchise. Despite this, Merseytravel continued the Merseyrail branding at stations, allowing the name to be adopted colloquially, Merseyrail is referred to as Merseyrail Electrics by National Rail Enquiries, and as Serco/Abellio Merseyrail by Merseytravel. The City Line is operated primarily by Northern with funding from Merseytravel and it is mainly diesel operated with one branch electrified on the 25 kV overhead system. Two more City Line branches have been electrified and now operate Northern Electric services however work to complete the project is still ongoing. Trains on the Northern Line and Wirral Line cover the Liverpool suburban area and their total track length is 75 miles, with 67 stations. They connect Liverpool city centre with cities and towns on the reaches of the city region, such as Southport. Frequent intermediate stops serve other sections of the urban area, the three lines interchange as follows, Northern and City Line services interchange at Liverpool South Parkway and Hunts Cross in the south of the city. Wirral and City Lines interchange at Lime Street in the city centre, Northern and Wirral lines interchange at Liverpool Central and Moorfields in the city centre. The Northern Line is shown in blue on the Merseyrail map, each route operates a train every 15 minutes from Monday to Saturday, giving a frequent interval between trains on the central section. Some additional trains run at peak hours on the Southport line, on matchdays at the stadiums of Liverpool F. C. s Anfield and Everton F. C. s Goodison Park, Northern Line services connect with the SoccerBus service at Sandhills to transport fans to the stadiums. The buses depart at frequent intervals from Sandhills station and a ticket combining both methods of travel is available, Kirkdale station is within walking distance of Goodison Park. The Wirral Line is shown in green on the Merseyrail map, services operate from the four terminus stations of, Chester, Ellesmere Port, New Brighton and West Kirby. Trains head back into the Mersey Railway Tunnel back to one of the Wirrals terminus stations, monday-Saturday services are every 15 minutes from Liverpool to Chester, New Brighton and West Kirby, and every 30 minutes to Ellesmere Port
Merseyrail
Merseyrail
–
A
Wirral Line train at Liverpool Central
Merseyrail
–
Merseyrail's specially painted 507019 unit, celebrating
Liverpool 's
capital of culture year
8.
Liverpool Lime Street railway station
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Liverpool Lime Street is a terminus railway station, and the main station serving the city centre of Liverpool. Opened in August 1836, it is the oldest grand terminus mainline station still in use in the world, a large building constructed in the Renaissance Revival style fronts the station. A branch of the West Coast Main Line from London Euston terminates at the station, as well as TransPennine Express trains, the underground Lime Street Wirral Line station on the Merseyrail network is accessed via the main terminus. Lime Street is the largest and oldest railway station in Liverpool, the original terminus of the 1830 Liverpool and Manchester Railway was located at Crown Street, in Edge Hill, to the east of and outside the city centre. A new station in the city centre was needed, construction of a purpose-built station at Lime Street in the city centre began in October 1833, the land was purchased from Liverpool Corporation for £9,000. A twin track tunnel was constructed between Edge Hill and the new station before the station was built in 1832, it was used to building materials for the station. The architects were Cunningham and Holme, and John Foster Jr, the station opened to the public in August 1836, although construction was not completed until the following year. This building was designed with four gateways, two of which were intentionally nonfunctional. Due to the steep incline uphill from Lime Street to Edge Hill, locomotives were removed from the trains and the passenger carriages were taken down by gravity, with the descent controlled by brakemen in a brake van. The return journey was achieved by using a steam engine, located at Edge Hill. This system, constructed by Mather, Dixon and Company under the direction of John Grantham, within six years of opening, the rapid growth of the railways required expansion of the original station. A plan was formed to erect an iron roof similar to found at Euston station in London. However, Richard Turner and William Fairburn submitted a design for a curved roof. The work cost £15,000 and was completed in 1849 with the involvement of William Tite. Meanwhile, in 1845, the L&MR had been absorbed by its business partner, the Grand Junction Railway. A group of four columns, adjoining platform 1 and attributed to Edward Woods, by 1857, two granite columns had been erected outside the station entrance, and had become known as the Candlesticks. In 1867 further expansion was needed and included the present northern arched train shed, designed by William Baker and Francis Stevenson and with a span of 200 feet, it was the largest in the world at the time. It was also the first train shed in which iron was used throughout, a second parallel southern train shed was completed in 1879, designed by Stevenson and E. W. Ives, notably, it was of dry construction and each bay took only three days to build
Liverpool Lime Street railway station
–
The frontage at Liverpool Lime Street
Liverpool Lime Street railway station
–
The station is uniquely fronted by a building resembling a château
Liverpool Lime Street railway station
–
Statues of
Ken Dodd and
Bessie Braddock
Liverpool Lime Street railway station
–
The main concourse of Lime Street station
9.
London
–
London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
London
–
Palace of Westminster,
Buckingham Palace and
Central London skyline
London
London
London
–
The name London may derive from the
River Thames
10.
National Museums Liverpool
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National Museums Liverpool, previously known as National Museums and Galleries on Merseyside, comprises several museums and art galleries in and around Liverpool, England. All museums and galleries in this group have free admission, the museum is a non-departmental public body sponsored by the Department for Culture, Media and Sport and an exempt charity under English law. National Museums Liverpools origins go back to 1851 and the founding of what is now World Museum and it was established as a national museums group in 1986 and changed its name to National Museums Liverpool in 2003. Currently comprises eight different venues, one of which is outside Liverpool itself — the Lady Lever Art Gallery and it holds in trust multi-disciplinary collections of worldwide origin made up of more than one million objects and works of art. The organisation holds courses, lectures, activities and events and provides workshops and activities for school children, young people. Its venues are open to the seven days a week 361 days a year. National Museums Liverpool has charitable status and is England’s only national museums group based entirely outside London,20 Forthlin Road 59 Rodney Street 251 Menlove Avenue The Beatles Story Bluecoat Chambers Croxteth Hall Foundation for Art and Creative Technology The Oratory Speke Hall St
National Museums Liverpool
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World Museum
National Museums Liverpool
–
Walker Art Gallery
National Museums Liverpool
–
Merseyside Maritime Museum
National Museums Liverpool
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Lady Lever Art Gallery
11.
National Gallery, London
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The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery, London
National Gallery, London
–
Location within Central London
National Gallery, London
–
The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery, London
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
12.
Liverpool Royal Institution
–
The Liverpool Royal Institution was a learned society set up in 1814 for the Promotion of Literature, Science and the Arts. William Corrie, William Rathbone IV and William Roscoe were among the founders, a royal charter was granted in 1821. The institute purchased a building on Colquitt Street where a program was started. It also included an art gallery which hosted John James Audubons first European exhibition, a new building to host the gallery was built in 1841 and its director was William John Swainson. A grammar school for boys, the Royal Institution School, ran until 1892, the institute was dissolved in 1948. Archived from the original on 21 December 2010, a guide to the permanent gallery of art, and to the saloon of casts, at the Royal Institution, Liverpool, Liverpool, Whitty,1844
Liverpool Royal Institution
–
Liverpool Royal Institution
13.
William Roscoe
–
He was born in Liverpool, where his father, a market gardener, kept a public house called the Bowling Green at Mount Pleasant. Roscoe left school at the age of twelve, having learned all that his schoolmaster could teach and he assisted his father in the work of the garden, but spent his leisure time on reading and study. If I were now asked whom I consider to be the happiest of the race, I should answer. At fifteen he began to look for a suitable career, a months trial of bookselling was unsuccessful, and in 1769 he was articled to a solicitor. Although a diligent student of law, he continued to read the classics, in 1774 he went into business as a lawyer, and in 1781 married Jane, second daughter of William Griffies, a Liverpool tradesman, they had seven sons and three daughters. Roscoe had the courage to denounce the African slave trade in his town, where, at that time. Roscoe was a Unitarian and Presbyterian and his outspokenness against the slave trade meant that abolitionism and Presbyterianism were linked together in the public mind. In 1796 Roscoe gave up practice, and toyed with the idea of going to the bar. Between 1793 and 1800 he paid attention to agriculture, and helped to reclaim Chat Moss, near Eccles. He also succeeded in restoring to good order the affairs of a house in which his friend William Clark. This led to his introduction to the business, which proved disastrous. Roscoe was elected member of parliament for Liverpool in 1806, but the House of Commons was not for him, during his brief stay however, he was able to cast his vote in favour of the successful abolition of the slave trade. In the 1830s the garden was moved to Wavertree Botanic Gardens, the commercial troubles of 1816 brought into difficulties the banking house with which he was connected, and forced the sale of his collection of books and pictures. Spiker, the king of Prussias librarian, visited Roscoe at this difficult time, Roscoe said he still desired to write a biography of Erasmus but lacked both leisure and youth. The project was never carried out, around this time Roscoe was asked to investigate the claims of the blind girl Margaret MAvoy who was said to be able to read using her fingers at the request of Sir Joseph Banks. Roscoe concluded that her abilities were due to the fact that she was not blind. After five years struggling to discharge the liabilities of the bank, for a time Roscoe was in danger of arrest, but ultimately he received an honourable discharge. On the dispersal of his library, the volumes most useful to him were secured by friends, the sum of £2,500 was also invested for his benefit
William Roscoe
–
William Roscoe portrayed by
Martin Archer Shee, 1815–1817
William Roscoe
–
Statue of William Roscoe at
St. George's Hall, Liverpool by
Chantrey
14.
William Brown Library and Museum
–
The William Brown Library and Museum is a Grade II* listed building situated on the historic William Brown Street in Liverpool, England. The building currently houses part of the World Museum Liverpool and Liverpool Central Library, the William Brown Library and Museum building was conceived as a replacement for the Derby Museum which then shared two rooms on the citys Duke Street with a library. The new building opened its doors in 1860 with 400,000 people attending the opening ceremony. With Liverpool being one of the key ports, much of the city was badly damaged by German bombing during the Second World War and William Brown Library. Hit by firebombs during the blitz in 1941, the building was ravaged by fire, fortunately, key parts of the museums collection had been previously moved to less vulnerable locations. Plans have now brought forward to redevelop the library, replacing the post world war II additions with state-of-the-art facilities. Architecture of Liverpool History External night photo External night photo Images of England, William Brown Library and Museum
William Brown Library and Museum
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Main entrance to the building
William Brown Library and Museum
–
Main entrance to the building and, to the right, the ground-level entrance to the
Liverpool Central Library
15.
William Frederick Yeames
–
William Frederick Yeames RA was a British painter best known for his oil-on-canvas problem picture And When Did You Last See Your Father. Which depicts the son of a Royalist being questioned by Parliamentarians during the English Civil War, Yeames was born in Taganrog, Russia, the son of a British consul based in Russia. After the death of his father in 1842, Yeames was sent to school in Dresden where he began studying painting, after a change in the fortunes of his family, they moved to London in 1848. Yeames learnt anatomy and composition from George Scharf and took art lessons from F. A. Westmacott, in 1852 he journeyed to Florence where he studied with Enrico Pollastrini and Raphael Buonajuti. During his time there he painted at the Life School at the Grand Ducal Academy, drawing from frescoes by Andrea del Sarto, Ghirlandaio, continuing on to Rome, he painted landscape studies and copied Old Masters, including the frescoes of Raphael in the Vatican. The group concentrated on subjects of a nature and narrative paintings in which the story was revealed by close study of the actions and expressions of the subjects. In Yeamess work this technique evolved into the known as the problem picture. In 1905 he painted a mural for the Royal Exchange, London The Foundation of St Paul’s School,1509, Yeames married on 18 August 1865 Anne Winfield, daughter of Major James Stainbank Winfield of the East India Company. Yeames managed to overcome this problem and from 1859 exhibited at the Royal Academy and was made an Associate in 1866. Unlike other artist circles of the time, the St Johns Wood Clique did not lead a lifestyle, Yeames took holidays at Hever Castle. He and Goodall specialized in Tudor and Stuart subjects, but did not always portray the events they depicted with historical accuracy - instead using them as inspiration and he died in Teignmouth, Devon on 3 May 1918. In 2000, a plaque commemorating Yeames was installed at his former home,8 Campbell Road, Hanwell, London. The oil-on-canvas picture, painted in 1878, depicts a scene in an imaginary Royalist household during the English Civil War, the Parliamentarians have taken over the house and question the son about his Royalist father. Yeames was inspired to paint the picture to show the crises that could arise from the natural frankness of young children. Here, if the boy tells the truth he will endanger his father, the boy in the pictures is based on Thomas Gainsboroughs painting The Blue Boy. It was modelled by Yeames nephew, James Lambe Yeames, behind the boy, there is a girl, probably the daughter, waiting her turn to be questioned. The girl was based on Yeames niece, Mary Yeames, at the back of the hall the mother and elder daughter wait anxiously on the boys reply. The painting is at the Walker Art Gallery, Liverpool, having been bought in 1878, madame Tussauds in London has a life-size waxwork tableau of the scene, faithfully reproduced from the painting
William Frederick Yeames
–
Portrait by
David Wilkie Wynfield
William Frederick Yeames
–
Amy Robsart (1877) Yeames favoured Tudor and Stuart subjects and was fascinated by the events surrounding the death of
Amy Robsart.
William Frederick Yeames
–
"And When Did You Last See Your Father?" (1878)
16.
Dante Gabriel Rossetti
–
Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt, Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a precursor of the Aesthetic movement. Rossettis art was characterised by its sensuality and its medieval revivalism and his early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence, poetry and image are closely entwined in Rossettis work. Rossettis personal life was linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth. The son of émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Mary Lavinia Polidori, Rossetti was born in London, England and his family and friends called him Gabriel, but in publications he put the name Dante first in honour of Dante Alighieri. He was the brother of poet Christina Rossetti, critic William Michael Rossetti and his father was a Roman Catholic, at least prior to his marriage, and his mother was an Anglican, ostensibly Gabriel was baptized as and was a practicing Anglican. During his childhood, Rossetti was home educated and often read the Bible, along with the works of Shakespeare, Dickens, Sir Walter Scott, the youthful Rossetti is described as self-possessed, articulate, passionate and charismatic but also ardent, poetic and feckless. Like all his siblings, he aspired to be a poet and attended Kings College School and he also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass Drawing Academy from 1841 to 1845, when he enrolled in the Antique School of the Royal Academy, after leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he retained a close relationship throughout his life. Following the exhibition of William Holman Hunts painting The Eve of St. Agnes, the painting illustrated a poem by the little-known John Keats. Rossettis own poem, The Blessed Damozel, was an imitation of Keats, together they developed the philosophy of the Pre-Raphaelite Brotherhood which they founded along with John Everett Millais. Their approach was to return to the abundant detail, intense colours, the eminent critic John Ruskin wrote, Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a portrait of some living person. Rossettis first major paintings in oil display the realist qualities of the early Pre-Raphaelite movement and his Girlhood of Mary Virgin and Ecce Ancilla Domini portray Mary as a teenage girl. I saw at once that he was not an orthodox boy, the mixture of genius and dilettantism of both men shut me up for the moment, and whetted my curiosity. Although his work subsequently won support from John Ruskin, Rossetti only rarely exhibited thereafter, in 1850, Rossetti met Elizabeth Siddal, an important model for the Pre-Raphaelite painters
Dante Gabriel Rossetti
–
Portrait of Dante Gabriel Rossetti c. 1871, by
George Frederic Watts
Dante Gabriel Rossetti
–
Self-portrait, 1847
Dante Gabriel Rossetti
–
Portrait of Dante Gabriel Rossetti at 22 years of Age by
William Holman Hunt
Dante Gabriel Rossetti
–
The Girlhood of Mary Virgin (1849). (Models: the artist's mother for
St. Anne and his sister Christina for
the Virgin).
17.
Edward Henry Stanley, 15th Earl of Derby
–
Edward Henry Stanley, 15th Earl of Derby KG PC FRS, known as Lord Stanley from 1851 to 1869, was a British statesman. He served as Secretary of State for Foreign Affairs twice, from 1866 to 1868, the Stanleys were one of the richest landowning families in England. In March 1848 he unsuccessfully contested the borough of Lancaster, and then made a tour in the West Indies, Canada. During his absence he was elected member for Kings Lynn, which he represented till October 1869 and he took his place, as a matter of course, among the Conservatives, and delivered his maiden speech in May 1850 on the sugar duties. Just before, he had made a brief tour in Jamaica. In 1852 he went to India, and while travelling in that country he was appointed under-secretary for foreign affairs in his fathers first administration, on 11 March 1853, he was commissioned a captain in the 3rd Royal Lancashire Militia. He was much tempted by the proposal, and hurried down to Knowsley to consult his father, what brings you here. —Has Dizzy cut his throat, or are you going to be married. When the object of his appearance had been explained, the Conservative chief received the courteous suggestion of the prime minister with anything but favour. On 13 May 1856, he was appointed to the Royal Commission on the purchase of commissions in the British army. After the revolution in Greece and the disappearance of King Otto, Lord Stanley was the prime favourite as an occupant of this bed of thorns, and it has been said that he was actually offered the crown. That, however, is not true, the offer was never formally made, after the fall of the Russell government in 1866 he became Secretary of State for Foreign Affairs in his fathers third administration. He compared his conduct in that great post to that of a man floating down a river and fending off from his vessel, as well as he could, the various obstacles it encountered. He thought that that should be the attitude of an English foreign minister. In 1874 he again became Foreign Secretary in Disraelis government, disraeli usually gets the main credit for a series of achievements. In 1875 came the purchase of the shares in the Suez Canal company. By negotiations, Russia gave up substantial gains in the Balkans, Britain gains control of Cyprus from the Ottomans as a naval base covering the Eastern Mediterranean. In exchange, Britain guaranteed the Asiatic territories of the Ottoman Empire, Britain did not do well in conflicts in Afghanistan and South Africa. Derby acquiesced in Disraelis purchase of the Suez Canal shares, a measure then considered dangerous by many people and he accepted the Andrassy Note, but declined to accede to the Berlin Memorandum
Edward Henry Stanley, 15th Earl of Derby
–
The Right Honourable The Earl of Derby
KG PC FRS
18.
Brewing
–
Brewing is the production of beer by steeping a starch source in water and fermenting the resulting sweet liquid with yeast. It may be done in a brewery by a brewer, at home by a homebrewer. Brewing has taken place since around the 6th millennium BC, and archaeological evidence suggests that emerging civilizations including ancient Egypt, since the nineteenth century the brewing industry has been part of most western economies. The basic ingredients of beer are water and a starch source such as malted barley. Most beer is fermented with a brewers yeast and flavoured with hops, less widely used starch sources include millet, sorghum and cassava. Secondary sources, such as maize, rice, or sugar, may also be used, sometimes to reduce cost, or to add a feature, the proportion of each starch source in a beer recipe is collectively called the grain bill. Steps in the process include malting, milling, mashing, lautering, boiling, fermenting, conditioning, filtering. There are three main methods, warm, cool and spontaneous. Fermentation may take place in an open or closed fermenting vessel, there are several additional brewing methods, such as barrel aging, double dropping, and Yorkshire Square. Brewing has taken place since around the 6th millennium BC, and archaeological evidence suggests emerging civilizations including ancient Egypt, descriptions of various beer recipes can be found in cuneiform from ancient Mesopotamia. Ethnographic studies and archaeological records indicate that brewing alcohol was primary an activity engaged in by women, chemical tests of ancient pottery jars reveal that beer was produced as far back as about 7,000 years ago in what is today Iran. This discovery reveals one of the earliest known uses of fermentation and is the earliest evidence of brewing to date, in Mesopotamia, the oldest evidence of beer is believed to be a 6, 000-year-old Sumerian tablet depicting people drinking a beverage through reed straws from a communal bowl. A 3900-year-old Sumerian poem honouring Ninkasi, the goddess of brewing, contains the oldest surviving beer recipe. The invention of bread and beer has been argued to be responsible for humanitys ability to develop technology, Beer may have been known in Neolithic Europe as far back as 5,000 years ago, and was mainly brewed on a domestic scale. Ale produced before the Industrial Revolution continued to be made and sold on a scale, although by the 7th century AD beer was also being produced. During the Industrial Revolution, the production of beer moved from artisanal manufacture to industrial manufacture, the development of hydrometers and thermometers changed brewing by allowing the brewer more control of the process, and greater knowledge of the results. Today, the industry is a global business, consisting of several dominant multinational companies. More than 133 billion litres are sold per year—producing total global revenues of $294.5 billion in 2006
Brewing
–
Malted barley before kilning or roasting
Brewing
–
A 16th-century brewery
Brewing
–
Hop cone in a
Hallertau, Germany, hop yard
Brewing
–
A mash tun at the
Bass Museum in Burton-upon-Trent
19.
Ayrshire
–
Ayrshire is a historic county in south-west Scotland, located on the shores of the Firth of Clyde. It is also, under the name the County of Ayr and its principal towns include Ayr, Kilmarnock and Irvine. Like the other counties of Scotland, it currently has no function, instead being sub-divided into the council areas of North Ayrshire, South Ayrshire. It has a population of approximately 366,800, the three islands were part of the County of Bute until 1975 and are not always included when the term Ayrshire is applied to the region. The same area is known as Ayrshire and Arran in other contexts, Ayrshire is one of the most agriculturally fertile regions of Scotland. Ayrshire shares with Dumfries and Galloway some rugged hills country known as the Galloway Hills and these hill lie to the west of the A713 and they run south from the Loch Doon area almost to the Solway Firth. To the east of this route through the hills lie the Carsphairn and Scaur Hills which lie to the south east of Dalmellington, glen Afton runs deep into these hills. Glasgow Prestwick International Airport, serving Glasgow and the West of Scotland more generally, is located more than 30 miles away from Glasgow in Ayrshire. Moreover it has a niche in history as the only place in Britain visited by Elvis Presley. The area that today forms Ayrshire was part of the south of the Antonine Wall which was briefly occupied by the Romans during the reign of Emperor Antoninus Pius. It was inhabited by the Damnonii, who are presumed to have been Britons, later, it formed part of the British Kingdom of Strathclyde, which was incorporated into the Kingdom of Scotland during the 11th century. In 1263, the Scots successfully drove off of the Norwegian leidang-army in a known as the Battle of Largs. A notable historic building in Ayrshire is Turnberry Castle, which dates from the 13th century or earlier, the historic shire or sheriffdom of Ayr was divided into three districts or bailieries which later made up the county of Ayrshire. The three districts were, Carrick in the south and it was situated between the Doon and the wild district of Galloway in the adjoining Stewartries, an area that was little else than a vast tract of hills and mosses. Cunninghame in the north included the royal burgh of Irvine was that part of the county which lay north of the Irvine water. The area used to be heavily industrialised, with making, coal mining and in Kilmarnock numerous examples of production-line manufacturing. In more recent history, Digital Equipment had a manufacturing plant near Ayr from about 1976 until the company was taken over by Compaq in 1998. Some supplier companies grew up to service this site and the more distant IBM plant at Greenock in Renfrewshire, however, unemployment in the region is above the national average
Ayrshire
–
Ayrshire, with rivers and several towns.
Ayrshire
–
Ayrshire
20.
England
–
England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west, the Irish Sea lies northwest of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east, the country covers five-eighths of the island of Great Britain in its centre and south, and includes over 100 smaller islands such as the Isles of Scilly, and the Isle of Wight. England became a state in the 10th century, and since the Age of Discovery. The Industrial Revolution began in 18th-century England, transforming its society into the worlds first industrialised nation, Englands terrain mostly comprises low hills and plains, especially in central and southern England. However, there are uplands in the north and in the southwest, the capital is London, which is the largest metropolitan area in both the United Kingdom and the European Union. In 1801, Great Britain was united with the Kingdom of Ireland through another Act of Union to become the United Kingdom of Great Britain and Ireland. In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain, the name England is derived from the Old English name Englaland, which means land of the Angles. The Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages, the Angles came from the Angeln peninsula in the Bay of Kiel area of the Baltic Sea. The earliest recorded use of the term, as Engla londe, is in the ninth century translation into Old English of Bedes Ecclesiastical History of the English People. According to the Oxford English Dictionary, its spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, the etymology of the tribal name itself is disputed by scholars, it has been suggested that it derives from the shape of the Angeln peninsula, an angular shape. An alternative name for England is Albion, the name Albion originally referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus, specifically the 4th century BC De Mundo, in it are two very large islands called Britannia, these are Albion and Ierne. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, the word Albion or insula Albionum has two possible origins. Albion is now applied to England in a poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England, Lloegr, the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximately 780,000 years ago. The oldest proto-human bones discovered in England date from 500,000 years ago, Modern humans are known to have inhabited the area during the Upper Paleolithic period, though permanent settlements were only established within the last 6,000 years
England
–
Stonehenge, a
Neolithic monument
England
–
Flag
England
–
Boudica led an uprising against the
Roman Empire
England
–
Replica of a 7th-century ceremonial
helmet from the
Kingdom of East Anglia, found at
Sutton Hoo
21.
Gateacre
–
Gateacre is an affluent suburb of Liverpool, England, about 6 miles from the city centre. It is bordered by Childwall, Woolton and Belle Vale, Gateacre can trace its roots back to at least the 12th century, although it was not until the mid-seventeenth century that the name was first used to refer to the area. It remained a rural village until the nineteenth century, when it began to grow rapidly as new transport links. Gateacre was officially adsorbed into Liverpool in 1913, however it was not until the period that it became part of citys metropolitan area. In the 1950s and 1960s, large housing developments occurred in and around Gateacre, while a new comprehensive school. In 1969, in order to protect the historic buildings, Gateacre was declared a conservation area. The name Gateacre was first used in the century to refer to the area that had previously been part of the townships of Little. The origin of the name is not fully known, although there are two theories on where it may have come from. The first explanation suggests that the name may derive from gata - meaning path or the way in Middle English - to the field of Much Woolton. An alternative suggestion is that the name may have developed from the Anglo-Saxon term gāt-æcer, the origins of modern-day Gateacre date back to at least the 12th century, to the historic townships of Much Woolton and Little Woolton. Much Woolton was centred on the village of Woolton, with Little Woolton covering an almost entirely rural area adjacent to it. The area that would later become Gateacre was situated on the boundary between the two townships, the present day Halewood Road and Grange Lane approximately sit on the path of a former packhorse trail, which went from Hale to West Derby. The ownership of the land changed numerous times over the several hundred years. There are records of buildings and tenants on the land, although it wasnt until the mid 16th century that Gateacre was referred to. The oldest surviving buildings in Gateacre are Grange Lodge, which dates to the late 17th century, and the Unitarian Chapel, although Gateacre remained a mainly rural area until the nineteenth century, maps from the eighteenth century do show the crossroads in the centre of the Village. Numerous luxury villas and rural cottages were constructed during this time, using sandstone and brick from the quarry in Woolton. Gateacre only really began to grow as a village in the nineteenth century, employment opportunities in the area began to expand beyond agriculture, with the opening of the Gateacre Brewery in the mid-nineteenth century and a local telephone exchange in 1889. Gateacre railway station opened in 1879, on the Cheshire Lines Committees North Liverpool Extension Line
Gateacre
–
The 'Mock Tudor' style Black Bull pub in Gateacre Village
Gateacre
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The Jubilee Memorial is located on Gateacre's village green, in front of the Black Bull pub
Gateacre
–
The Church Cottages on Belle Vale Road are an example of mock-Tudor design that Gateacre is known for
Gateacre
–
The Church of St. Stephen
22.
Second World War
–
World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945, although related conflicts began earlier. It involved the vast majority of the worlds countries—including all of the great powers—eventually forming two opposing alliances, the Allies and the Axis. It was the most widespread war in history, and directly involved more than 100 million people from over 30 countries. Marked by mass deaths of civilians, including the Holocaust and the bombing of industrial and population centres. These made World War II the deadliest conflict in human history, from late 1939 to early 1941, in a series of campaigns and treaties, Germany conquered or controlled much of continental Europe, and formed the Axis alliance with Italy and Japan. Under the Molotov–Ribbentrop Pact of August 1939, Germany and the Soviet Union partitioned and annexed territories of their European neighbours, Poland, Finland, Romania and the Baltic states. In December 1941, Japan attacked the United States and European colonies in the Pacific Ocean, and quickly conquered much of the Western Pacific. The Axis advance halted in 1942 when Japan lost the critical Battle of Midway, near Hawaii, in 1944, the Western Allies invaded German-occupied France, while the Soviet Union regained all of its territorial losses and invaded Germany and its allies. During 1944 and 1945 the Japanese suffered major reverses in mainland Asia in South Central China and Burma, while the Allies crippled the Japanese Navy, thus ended the war in Asia, cementing the total victory of the Allies. World War II altered the political alignment and social structure of the world, the United Nations was established to foster international co-operation and prevent future conflicts. The victorious great powers—the United States, the Soviet Union, China, the United Kingdom, the Soviet Union and the United States emerged as rival superpowers, setting the stage for the Cold War, which lasted for the next 46 years. Meanwhile, the influence of European great powers waned, while the decolonisation of Asia, most countries whose industries had been damaged moved towards economic recovery. Political integration, especially in Europe, emerged as an effort to end pre-war enmities, the start of the war in Europe is generally held to be 1 September 1939, beginning with the German invasion of Poland, Britain and France declared war on Germany two days later. The dates for the beginning of war in the Pacific include the start of the Second Sino-Japanese War on 7 July 1937, or even the Japanese invasion of Manchuria on 19 September 1931. Others follow the British historian A. J. P. Taylor, who held that the Sino-Japanese War and war in Europe and its colonies occurred simultaneously and this article uses the conventional dating. Other starting dates sometimes used for World War II include the Italian invasion of Abyssinia on 3 October 1935. The British historian Antony Beevor views the beginning of World War II as the Battles of Khalkhin Gol fought between Japan and the forces of Mongolia and the Soviet Union from May to September 1939, the exact date of the wars end is also not universally agreed upon. It was generally accepted at the time that the war ended with the armistice of 14 August 1945, rather than the formal surrender of Japan
Second World War
–
Clockwise from top left: Chinese forces in the
Battle of Wanjialing, Australian
25-pounder guns during the
First Battle of El Alamein, German
Stuka dive bombers on the
Eastern Front in December 1943, a U.S. naval force in the
Lingayen Gulf,
Wilhelm Keitel signing the
German Instrument of Surrender, Soviet troops in the
Battle of Stalingrad
Second World War
–
The
League of Nations assembly, held in
Geneva,
Switzerland, 1930
Second World War
–
Adolf Hitler at a German
National Socialist political rally in
Weimar, October 1930
Second World War
–
Italian soldiers recruited in 1935, on their way to fight the
Second Italo-Abyssinian War
23.
Minister of Food (United Kingdom)
–
The Minister of Food Control and the Minister of Food were British government ministerial posts separated from that of the Minister of Agriculture. In the Great War the Ministry sponsored a network of canteens known as National Kitchens, in the Second World War a major task of the Ministry was to oversee rationing in the United Kingdom arising out of World War II. The Minister was assisted by a Parliamentary Secretary, the ministrys work was transferred in 1921 to the Board of Trade which had a small Food Department between the wars. This became its Food Department in 1937 and was constituted as the Ministry of Food on the outbreak of war in 1939. Jamies Ministry of Food was a 2008 UK TV programme featuring celebrity chef Jamie Oliver that aimed to recreate the successes of the Ministry of Food in encouraging healthy eating. In April 1940 Lord Woolton, a prominent businessman, was appointed Minister of Food by Neville Chamberlain, Woolton retained this position until 1943. He supervised 50,000 employees and over a thousand local offices where people could obtain ration cards and his ministry had a virtual monopoly of all food sold in Britain, whether imported or local. His mission was to guarantee adequate nutrition for everyone, with food supplies cut sharply because of enemy action and the needs of the services, rationing was essential. Woolton and his advisors had one scheme in mind but economists convinced them to try point rationing, everyone would have a certain number of points a month that they could allocate any way they wanted. They tried an experiment and it worked very well, indeed, food rationing was a major success story in Britains war. He said iron rations were stored for use only in great emergency, other rations were stored in the outskirts of cities liable to German bombing. When the Blitz began in late summer 1940 he was ready with more than 200 feeding stations in London, Woolton was faced with the task of overseeing rationing due to wartime shortages. He took the view that it was insufficient to merely impose restrictions and he warned that meat and cheese, as well as bacon and eggs, were in very short supply and would remain that way. Calling for a diet, he noted that there was plenty of bread, potatoes, vegetable oils, fats. By January 1941 the usual food supply had fallen to half what it had been. However, by 1942 ample food supplies were arriving through Lend Lease from the U. S. Lend Lease was a gift and there was no charge. The bad news was that his national loaf of mushy grey wholemeal bread replaced the white variety. Children were sad to learn that supplies of sweets were reduced to save shipping space on sugar, Woolton kept food prices down, eggs and other items were subsidised
Minister of Food (United Kingdom)
–
Women packing bottles of
cod liver oil into crates stamped with the words "Min. of Food Charged 10 shillings"
Minister of Food (United Kingdom)
–
W. S. Morrison
(subsequently Viscount Dunrossil)
24.
Picasso
–
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Picasso
–
Picasso in 1908
Picasso
–
Pablo Picasso with his sister Lola, 1889
Picasso
–
Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Picasso
–
Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
25.
Gauguin
–
Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
Gauguin
–
Aline Marie Chazal Tristán, La mère de l'artiste ("The Artist's Mother"), 1889,
Staatsgalerie Stuttgart.
Gauguin
–
Gauguin, c. 1891
Gauguin
–
Woman Sewing, 1880,
Ny Carlsberg Glyptotek
26.
Nicholas Hilliard
–
Nicholas Hilliard was an English goldsmith and limner best known for his portrait miniatures of members of the courts of Elizabeth I and James I of England. He mostly painted small oval miniatures, but also some larger cabinet miniatures, up to ten inches tall. He enjoyed continuing success as an artist, and continuing financial troubles and his paintings still exemplify the visual image of Elizabethan England, very different from that of most of Europe in the late sixteenth century. He was the son of Richard Hilliard of Exeter, Devon, England, a staunchly Protestant goldsmith who was Sheriff of Exeter in 1568, and Laurence, daughter of John Wall, a London goldsmith. Hilliard may have been a relative of Grace Hiller, first wife of Theophilus Eaton. He appears to have been attached at an age to the household of the leading Exeter Protestant John Bodley. Calvinism does not seem to have struck with Hilliard, but the fluent French he acquired abroad was later useful. Thomas Bodley, two older, continued an intensive classical education under leading scholars in Geneva, but it is not clear to what extent Hilliard was given similar studies. Hilliard painted a portrait of himself at the age of 13 in 1560 and is said to have executed one of Mary, Queen of Scots, when he was eighteen years old. She was the daughter of Simon Bening, the last great master of the Flemish manuscript illumination tradition, after his seven years apprenticeship, Hilliard was made a freeman of the Worshipful Company of Goldsmiths in 1569. He set up a workshop with his younger brother John, another brother was also a goldsmith, and he married Brandons daughter Alice in 1576 and they had seven children. Hilliard emerged from his apprenticeship at a time when a new royal portrait painter was desperately needed, Two panel portraits long attributed to him, the Phoenix and Pelican portraits, are dated c. Francis Bacon was attached to the embassy, and Hilliard did a miniature of him in Paris. He appears in the papers of the duc dAlençon, a suitor of Queen Elizabeth, under the name of Nicholas Belliart, peintre anglois, in 1577, money was a persistent problem for Hilliard. The typical price for a miniature seems to have been £3 — which compares well with prices charged by Cornelis Ketel in the 1570s of £1 for a head-and-shoulders portrait, a portrait of the Earl of Northumberland cost £3 in 1586. Nonetheless, he was imprisoned in Ludgate Prison that year, after standing surety for the debt of another. His father-in-law evidently had little trust in his financial acumen, his will of 1591 provided for his daughter by an allowance administered by the Goldsmiths Company. The same year the Queen gave him £400, an amount, after he made a second Great Seal
Nicholas Hilliard
–
Self-portrait, 1577
Nicholas Hilliard
–
Elizabeth I, the "Pelican" portrait, c. 1572
27.
Peter Paul Rubens
–
Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
Peter Paul Rubens
–
Self-portrait, 1623,
Royal Collection
Peter Paul Rubens
–
Rubens and
Isabella Brant, the
Honeysuckle Bower, c. 1609.
Alte Pinakothek
Peter Paul Rubens
–
The garden Rubens planned at
Rubenshuis, in
Antwerpen
Peter Paul Rubens
–
Portrait of a Young Scholar, from 1597
28.
Giambattista Pittoni
–
Giambattista Pittoni or Giovanni Battista Pittoni was an Italian painter of the late Baroque or Rococo period. He was among the founders of the Academy of Fine Arts of Venice, of which in 1758 he became the second president, Pittoni was born in Venice on 6 June 1687.383 The theory of Rodolfo Pallucchini that Pittoni studied under Antonio Balestra is now generally discounted. However, in 1720 he may have travelled to France with his uncle Francesco, together with Rosalba Carriera, Antonio Pellegrini and he was elected to the Accademia Clementina of Bologna in 1727.28 Pittoni died in Venice on 6 November 1767. His tomb is in the church of San Giacomo dellOrio, Venice.384 The catalogue raisonné by Franca Zava Boccazzi of Pittonis paintings lists 247 extant and 117 lost, missing or destroyed works. The catalogue raisonné by Alice Binion of his drawings includes 304 items.91 Pittoni had a reputation during his lifetime. He was a restorer of older paintings, he was often selected as restorer or inspector of the quadri pubblici. He sold nine paintings to the soldier-turned-collector Johann Matthias von der Schulenburg, Pittoni was successful, well liked and well respected. His reputation rapidly faded after his death, and by the end of the century he was totally forgotten. Interest in him was revived in the century by the publications of Laura Coggiola Pittoni, beginning with Dei Pittoni. Compendio delle vite de pittori veneziani istorici più rinomati del presente secolo con suoi ritratti tratti dal naturale, della pittura veneziana e delle opere pubbliche de veneziani maestri libri V. Venezia, Stamperia di G. Albrizzi. Pittoni Firenze, Istituto di edizioni artistiche, ——— Pseudo influenza francese nellarte di Giambattista Pittoni. Die Tätigkeit der Venezianer Maler Piazzetta und Pittoni für den Kurfürsten Clemens August von Köln, westfalen, Hefte für Geschichte, Kunst und Volkskunde 19, 364–72. Muzeum i twórca, Studia z historii sztuki i kultury ku czci Stanisława Lorentza, per il catalogo di Giambattista Pittoni, Proposte e inediti. Nota sulla grafica di Antonio Kern, pitture mitologiche di Giambattista Pittoni in rapporto a Sebastiano Ricci. Atti del Congresso internazionale di studi su Sebastiano Ricci e il suo tempo 1, la vicenda dei Tombeaux des princes, Matrici, storia e fortuna della serie Swiny tra Bologna e Venezia. Saggi e memorie di storia dellarte 10,79, 81-102, due nuove micropitture di Giambattista Pittoni. In. Per Maria Cionini Visani, Scritti di amici, münchner Jahrbuch der bildenden Kunst 32, 182–206. Three New Mythological Paintings by Giambattista Pittoni, Piazzetta, Pittoni and Tiepolo at Parma
Giambattista Pittoni
–
Portrait of Pittoni by
Alessandro Longhi, 1762
Giambattista Pittoni
–
Portrait of Pittoni by
Bartolomeo Nazari
Giambattista Pittoni
Giambattista Pittoni
29.
Rembrandt Harmenszoon van Rijn
–
Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month
Rembrandt Harmenszoon van Rijn
–
Self-Portrait with Beret and Turned-Up Collar (1659),
National Gallery of Art, Washington, D.C.
Rembrandt Harmenszoon van Rijn
–
The Prodigal Son in the Tavern, a self-portrait with Saskia, c. 1635
Rembrandt Harmenszoon van Rijn
–
Portrait of
Saskia van Uylenburgh, ca. 1635
Rembrandt Harmenszoon van Rijn
–
Rembrandt Memorial Marker Westerkerk Amsterdam
30.
Poussin
–
Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. He worked in Rome for a circle of leading collectors from there and elsewhere, most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. Early sketches attracted the notice of Quentin Varin, a painter, whose pupil Poussin became. There he entered the studios of the Flemish painter Ferdinand Elle and then of Georges Lallemand and he found French art in a stage of transition, the old apprenticeship system was disturbed, and the academic training destined to supplant it was not yet established by Simon Vouet. In Paris, Poussin was impressed by Italian art he viewed in the royal collection and he attempted to travel to Rome, but after reaching Florence he was forced, perhaps by ill health, to return to Paris. In 1622 he met Giambattista Marino, the poet to Marie de Medici. Marino employed him on illustrations for an edition of Ovids Metamorphoses. These Marino drawings preserved at Windsor Castle are among the few identifiable works of Poussin executed before his arrival in Rome. Marino took him into his household, and in 1624 enabled Poussin to rejoin him at Rome, Poussin was thirty when he arrived in Rome in 1624. At first he lodged with Simon Vouet, through Marino, he had been introduced to Marcello Sacchetti who in turn introduced him to another of his early patrons, Cardinal Francesco Barberini. However, their return from Spain in 1626 stabilized Poussin’s position, with renewed patronage by the Barberini and their circle. He fell ill at this time and was taken into the house of his compatriot Jacques Dughet, where he was nursed by Dughet’s daughter, Anna Maria and his two brothers-in-law were artists and Gaspard Dughet later took Poussin’s surname. During the late 1620s and 1630s, he experimented and formulated his own style and he studied the Antique as well as works such as Titian’s Bacchanals at the Casino Ludovisi and the paintings of Domenichino and Guido Reni. Peter’s, and an ingenious architectural imagination was emerging in works by Borromini, at the time the papacy was Rome’s foremost patron of the arts. Poussin’s Martyrdom of St. Erasmus for St and his subsequent career depended on private patronage. Louis XIII conferred on him the title of First Painter in Ordinary, in 1642, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for de Chantelou the second series of the Seven Sacraments and this painting shows the philosopher discarding his last worldly possession, his cup, after watching a man drink water by cupping his hands
Poussin
–
Self portrait by Nicolas Poussin, 1650
Poussin
–
Pastorale landscape, 1650
Poussin
–
Poussin's Death of Germanicus, 1628
Poussin
–
Poussin's
Tancred and
Erminia (early 1630s, oil on canvas, 98.5 x 146.5 cm,
Hermitage Museum) shows an evolution from Poussin's early emulation of
Caravaggio to a return to classicism.
31.
Degas
–
Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects. His portraits are notable for their complexity and for their portrayal of human isolation. At the beginning of his career, Degas wanted to be a history painter, in his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Degas was born in Paris, France, into a wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas and his maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand and his mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life, by the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artists studio. Upon graduating, he registered as a copyist in The Louvre Museum, Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In April of that year Degas was admitted to the École des Beaux-Arts and he studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the three years. In 1858, while staying with his aunts family in Naples and he also began work on several history paintings, Alexander and Bucephalus and The Daughter of Jephthah in 1859–60, Sémiramis Building Babylon in 1860, and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy and he exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. The change in his art was influenced primarily by the example of Édouard Manet, upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, after the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degass New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts
Degas
–
Self-portrait (Degas au porte-fusain), 1855
Degas
–
Edgar Degas c. 1850s
Degas
–
A Cotton Office in New Orleans, 1873
Degas
–
The Dance Class (La Classe de Danse), 1873–1876, oil on canvas, by Edgar Degas
32.
Victorian painting
–
Victorian painting refers to the distinctive styles of painting in the United Kingdom during the reign of Queen Victoria. Victorias early reign was characterised by industrial development and social and political change. Painting in the years of her reign was dominated by the Royal Academy of Arts and by the theories of its first president. This had proved an approach for artists in the pre-industrial period. By the time of Victorias accession to the throne this approach was coming to be seen as stale, in the late 1840s and early 1850s, a group of young art students formed the Pre-Raphaelite Brotherhood as a reaction against the teaching of the Royal Academy. They also felt that it was the role of the artist to tell moral lessons, although the Pre-Raphaelite Brotherhood was relatively short-lived, their ideas were highly influential. The Franco-Prussian War of 1870 led to a number of influential French Impressionist artists moving to London, the aesthetic movement concentrated on creating works depicting beauty and noble deeds, as a distraction from the unpleasantness of reality. The Victorian age ended in 1901, by which many of the most prominent Victorian artists had already died. In the early 20th century the Victorian attitudes and arts became extremely unpopular, the modernist movement, which came to dominate British art, was drawn from European traditions and had little connection with 19th-century British works. Because Victorian painters had generally been extremely hostile towards these European traditions, they were mocked or ignored by modernist painters, in the 1960s some Pre-Raphaelite works came back into fashion amongst elements of the 1960s counterculture, who saw them as a predecessor of 1960s trends. By the time of Victorias accession the Royal Academy dominated British art, the Royal Academy also controlled the prestigious Royal Academy art schools, which taught with a very narrow focus on approved techniques. From 1841 the new, and highly influential, satirical magazine Punch increasingly ridiculed the Royal Academy, Ruskin believed that only by representing nature as accurately as possible could the artist reflect the divine qualities within the natural world. In 1837 painter Richard Dadd and a group of friends formed The Clique, at the time of Victorias accession, the most significant living British artist was J. M. W. Turner. Turner had made his name in the late 18th century with a series of well-regarded landscape watercolours, a staunch ally of the Royal Academy throughout his life, he was elected a full Royal Academician in 1802 at the age of 27. In 1837 he resigned from his post as professor of perspective at the Royal Academy, by the 1840s, Turner was drifting out of fashion. In 1848 three young students at the Royal Academy art schools, William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, the PRB took their inspiration from scientific exhibitions, and felt this scientific approach was in itself an instrument of moral good. As well as this, they felt it was the duty of the artist to choose subjects which illustrated moral lessons of some kind, early PRB works were noted for their inclusion of flowers, which suited their purpose well. The Victorian age was characterised by rapid scientific advance, and by changing attitudes to religion as advances in geology, astronomy
Victorian painting
–
A Private View at the Royal Academy (1883) by
William Powell Frith
Victorian painting
Victorian painting
–
Charles Dickens by
Daniel Maclise (1839). Dickens's focus on reflecting the reality of modern life was highly influential on British artists.
Victorian painting
–
The Fighting Temeraire
33.
Pre-Raphaelite
–
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member brotherhood and their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones, the groups intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been an influence on the academic teaching of art. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, to the Pre-Raphaelites, according to William Michael Rossetti, sloshy meant anything lax or scamped in the process of painting. Any thing or person of a commonplace or conventional kind, the brotherhood sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background, the group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a movement, created a distinct name for their form of art. The groups debates were recorded in the Pre-Raphaelite Journal, the Pre-Raphaelite Brotherhood was founded in John Millaiss parents house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848, at that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting The Eve of St. Agnes based on Keatss poem of the same name, as an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism, other young painters and sculptors became close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. The PRB intended to keep the existence of the secret from members of the Royal Academy. The principles were deliberately non-dogmatic, since the brotherhood wished to emphasise the personal responsibility of artists to determine their own ideas. Influenced by Romanticism, the members thought freedom and responsibility were inseparable, nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. The emphasis on medieval culture clashed with principles of realism which stress the independent observation of nature, in its early stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in later years the movement divided and moved in two directions. The realists were led by Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris
Pre-Raphaelite
–
Proserpine, by
Dante Gabriel Rossetti
Pre-Raphaelite
–
Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850
Pre-Raphaelite
–
Christ in the House of His Parents, by John Everett Millais, 1850
Pre-Raphaelite
–
Ophelia, by
John Everett Millais
34.
Lucian Freud
–
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
–
Lucian Freud
Lucian Freud
–
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
–
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
–
After Cézanne, 1999–2000,
National Gallery of Australia
35.
David Hockney
–
David Hockney, OM, CH, RA is an English painter, draughtsman, printmaker, stage designer and photographer. An important contributor to the pop art movement of the 1960s, Hockney was born in Bradford, England, to Laura and Kenneth Hockney, the fourth of five children. He was educated at Wellington Primary School, Bradford Grammar School, Bradford College of Art and the Royal College of Art in London, while there, Hockney said he felt at home and took pride in his work. At the Royal College of Art, Hockney featured in the exhibition Young Contemporaries—alongside Peter Blake—that announced the arrival of British Pop art and he was associated with the movement, but his early works display expressionist elements, similar to some works by Francis Bacon. When the RCA said it would not let him graduate in 1962 and he had refused to write an essay required for the final examination, saying he should be assessed solely on his artworks. Recognising his talent and growing reputation, the RCA changed its regulations, after leaving the RCA, he taught at Maidstone College of Art for a short time. The artist moved to Los Angeles in 1964, returned to London in 1968, in 1974 he began a decade-long personal relationship with Gregory Evans who moved with him to the US in 1976 and as of 2017 remains a business partner. In 1978 he rented the house in which he lived when he moved to Los Angeles. He also owned a 1, 643-square-foot beach house at 21039 Pacific Coast Highway in Malibu, Hockney is openly gay, and unlike Andy Warhol, whom he befriended, he openly explored the nature of gay love in his portraiture. Sometimes, as in We Two Boys Together Clinging, named after a poem by Walt Whitman, already in 1963, he painted two men together in the painting Domestic Scene, Los Angeles, one showering while the other washes his back. In summer 1966, while teaching at UCLA he met Peter Schlesinger, an art student who posed for paintings and drawings, Elliott was a first- and second-team player for Bridlington rugby club. It was reported that Hockneys partner drove Elliott to Scarborough General Hospital where he later died, the inquest returned a verdict of death by misadventure and Hockney was never implicated. In November 2015 Hockney sold his house in Bridlington, a five-bedroomed former guesthouse, for £625,000 and he retains a studio in London and a house in Malibu, California. Hockney has smoked cigarettes for over 60 years but has been teetotal since 1990 when he had a heart-attack and he holds a California Medical Marijuana Verification Card, which enables him to buy cannabis for medical purposes. He has used hearing aids since 1979, but realised he was going deaf long before that and he swims for half an hour each day and can stand for six hours at the easel. Hockney made prints, portraits of friends, and stage designs for the Royal Court Theatre, Glyndebourne, La Scala, born with synaesthesia, he sees synesthetic colours in response to musical stimuli. Hockney painted portraits at different periods in his career, from 1968, and for the next few years he painted friends, lovers, and relatives just under lifesize and in pictures that depicted good likenesses of his subjects. Hockneys own presence is implied, since the lines of perspective converge to suggest the artists point of view
David Hockney
–
We Two Boys Together Clinging (1961)
David Hockney
–
Hockney depicted in The Threads That Bind Us, embroidered hanging, by Morwenna Catt and Lucas Stephens,
Bradford City Hall
David Hockney
–
A Bigger Splash (1967),
Tate Collection, London.
David Hockney
–
Mr and Mrs Clark and Percy (1970–71),
Tate Gallery, London
36.
Gilbert and George
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Gilbert Prousch, sometimes referred to as Gilbert Proesch and George Passmore are two artists who work together as a collaborative duo called Gilbert & George. They are known for their distinctive and highly formal appearance and manner, Prousch was born in San Martin de Tor in South Tyrol, northern Italy, his mother tongue being Ladin. He studied art at the Sëlva School of Art in Val Gardena and Hallein School of Art in Austria, Passmore was born in Plymouth in the United Kingdom, to a single mother in a poor household. He studied art at the Dartington College of Arts and the Oxford School of Art, the two first met on 25 September 1967 while studying sculpture at Saint Martins School of Art. The two claim they came together because George was the person who could understand Gilberts rather poor English. In a 2002 interview with the Daily Telegraph, they said of their meeting and they have claimed that they married in 2008. They are often together on walks through East London. Since 1968, Gilbert & George have been residents of Fournier Street, Spitalfields and they live in an 18th-century house that has been restored to its original decor. Their entire body of work has created in, and focused on, Londons East End. According to George, Nothing happens in the world that doesnt happen in the East End, Gilbert and Georges approach to art has always been anti-elitist. Adopting the slogan ‘Art for All’, they aimed to be relevant beyond the confines of the art world. Although they work in a variety of media, but have always referred to all works as sculpture, between 1970 and 1974 they made drawings and paintings to give a more tangible form to their identity as ‘living sculptures. Whilst still students, Gilbert & George made The Singing Sculpture, the suits they wore for this became a sort of uniform for them. They rarely appear in public without wearing them and it is also unusual for one of the pair to be seen without the other. The pair regard themselves as living sculptures and they refuse to disassociate their art from their everyday lives, insisting that everything they do is art. They were listed as among the fifty best-dressed over 50s by the Guardian in March 2013, the pair are perhaps best known for their large scale photo works, known as The Pictures. The early work in style is in black and white, later with hand-painted red. They proceeded to use a range of colours, sometimes backlit
Gilbert and George
–
Book cover showing George (left) and Gilbert
37.
The Stuckists Punk Victorian
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The Stuckists Punk Victorian was the first national gallery exhibition of Stuckist art. It was held at the Walker Art Gallery and Lady Lever Art Gallery in Liverpool from 18 September 2004 to 20 February 2005, and was part of the 2004 Liverpool Biennial. It comprised more than 250 paintings by 37 artists, mostly from the UK but also with a representation of international Stuckist artists from the US, Germany, there was also a smaller accompanying exhibition of the Stuckist Photographers. A book, The Stuckists Punk Victorian, was published to accompany the exhibition, six fringe shows took place internationally. Some of the work was compared with the work of YBAs, Jake. The gallery posted a notice of some sexual and violent subject matter. Daily Mail journalist, Jane Kelly, exhibited a painting of Myra Hindley and was dismissed from her job, critical reaction to the show ranged from dreadful to the next big thing in art. Sir Nicholas Serota, director of the Tate gallery, visited the show, the Walker deemed it a very successful show and extended the run. In 2005, the Stuckists offered 160 of the paintings as a donation to the Tate gallery and this was turned down by Serota on the grounds that the work was not of sufficient quality. The rejection stimulated a campaign by the group over purchases of trustee work by the Tate, the Stuckists were founded in 1999 by Charles Thomson and Billy Childish to promote figurative painting and oppose conceptual art. The name was derived from an insult by Tracey Emin, the original group of 13 artists has now grown to an international movement of over 160 groups in 40 countries. Childish left the group in 2001, the main show was in a large gallery at the Walker which normally houses works from the contemporary collection. The paintings were hung in a manner akin to the salon style, founder and featured artists were each given their own space, while representative works from other UK and international artists were grouped accordingly. There was also a display of work which satirised the Tate Gallery. The Gallery posted a notice, VISITOR NOTICE, THE STUCKISTS PUNK VICTORIAN Stuckist artists believe in honest and their wide range of subject matter includes themes of a sexual and violent nature. Some of the images in this exhibition may not be suitable for children, the show was extended from two to five months and the Walker called it a really, really popular show and very successful. The gallery also staged the first national exhibition by the Stuckist Photographers, a photograph from 1987 shows some of the group members in an earlier form as The Medway Poets, at which time Tracey Emin was associated with them. Other photographs are of demonstrations outside the Turner Prize, two artists getting married in drag, and Stella Vine in the Vote Stuckist show in 2001, the book was edited by Frank Milner and designed by March Design, Liverpool
The Stuckists Punk Victorian
–
The Stuckists Punk Victorian show at the
Walker Art Gallery,
Liverpool, 2004. Foreground: artists
Rachel Jordan and
Paul Harvey. Between them (back turned):
Bill Lewis. Background paintings, left to right:
Wolf Howard,
Mandy McCartin,
Charles Thomson,
Ella Guru.
The Stuckists Punk Victorian
–
Cover of the book The Stuckists Punk Victorian.
38.
Stuckism
–
Stuckism is an international art movement founded in 1999 by Billy Childish and Charles Thomson to promote figurative painting as opposed to conceptual art. By July 2012 the initial group of 13 British artists had expanded to 233 groups in 52 countries, Childish and Thomson have issued several manifestos. The first one was The Stuckists, consisting of 20 points starting with Stuckism is a quest for authenticity, in another manifesto they define themselves as anti-anti-art which is against anti-art and for art. After exhibiting in galleries in Shoreditch, London, the Stuckists first show in a major public museum was held in 2004 at the Walker Art Gallery. The group has demonstrated annually at Tate Britain against the Turner Prize since 2000 and they have also come out in opposition to the Charles Saatchi-patronised Young British Artists. The name Stuckism was coined in January 1999 by Charles Thomson in response to a poem read to him several times by Billy Childish, in it, Childish recites that his former girlfriend, Tracey Emin had said he was stuck. With his art, poetry and music, in 1979, Thomson, Childish, Bill Lewis and Ming were members of The Medway Poets performance group, to which Absolon and Sanchia Lewis had earlier contributed. Peter Waites Rochester Pottery staged a series of solo painting shows, in 1982, TVS broadcast a documentary on the poets. That year, Emin, then a student, and Childish started a relationship, her writing was edited by Bill Lewis, printed by Thomson. Group members published dozens of works, the poetry group dispersed after two years, reconvening in 1987 to record The Medway Poets LP. Clark, Howard and Machine became involved over the following years, Thomson got to know Williams, who was a local art student and whose girlfriend was a friend of Emin, Thomson also met Everall. During the foundation of the group, Ming brought in his girlfriend, Guru, the most contentious statement in the manifesto is, Artists who dont paint arent artists. The second and third manifestos, An Open Letter to Sir Nicholas Serota and Remodernism respectively, were sent to the director of the Tate and he sent a brief reply, Thank you for your open letter dated 6 March. You will not be surprised to learn that I have no comment to make on your letter, in the Remodernism manifesto, the Stuckists declared that they aimed to replace postmodernism with remodernism, a period of renewed spiritual values in art, culture and society. In Anti-anti-art, the Stuckists outlined their opposition to what is known as anti-art, Stuckists claim that conceptual art is justified by the work of Marcel Duchamp, but that Duchamps work is anti-art by intent and effect. Manifestos have been written by other Stuckists, including the Students for Stuckism group, an Underage Stuckists group was founded in 2006 with a manifesto for teenagers written by two 16-year-olds, Liv Soul and Rebekah Maybury, on MySpace. The first Stuckist show was Stuck, Stuck. in September 1999 in Joe Cromptons in Shoreditch Gallery 108, followed by The Resignation of Sir Nicholas Serota. In 2000 they staged The Real Turner Prize Show at the time as the Tate Gallerys Turner Prize exhibition
Stuckism
–
Sexton Ming,
Tracey Emin,
Charles Thomson,
Billy Childish and musician Russell Wilkinson at the Rochester Adult Education Centre to record
The Medway Poets LP, 11 December 1987.
Stuckism
–
Stuckism International
Stuckism
–
The first Stuckists group of 13 artists at the Real Turner Prize Show, Pure Gallery, Shoreditch, London, in October 2000
Stuckism
–
Stuck! Stuck! Stuck!, the first Stuckist show, 1999.
39.
Liverpool Biennial
–
Liverpool Biennial is the largest international contemporary art festival in the United Kingdom. Every two years, the city of Liverpool hosts a range of artworks, projects. The biennial commissions leading and emerging artists to make and present permanent and temporary public artworks and these newly commissioned and existing artworks are presented in diverse locations, including unusual public spaces, unused buildings, as well as the city’s galleries, museums, and cultural venues. Cultural organisations in Liverpool provide context for the presentation of contemporary art, since its launch in 1999, Liverpool Biennial has commissioned over 300 new artworks and presented work by over 444 artists from around the world. During the last 10 years, Liverpool Biennial has had an impact of £119.6 million. Liverpool Biennial 2014 attracted nearly 877,000 visits, Liverpool Biennial was established by James Moores in 1998 and has presented festivals in 1999,2002,2004,2006,2008,2010,2012,2014 and 2016. As of 2012, Sally Tallant is the Director of Liverpool Biennial, the Biennial exhibition is supported by FACT, Tate Liverpool, Bluecoat, and Open Eye Gallery. The annual Bloomberg New Contemporaries Exhibition showcases new work by graduates from Fine Art schools in the UK, in 2010, for the first time, the biennial offered a platform for exhibitions organised overseas and promoted under the title City States. Visitors to the Biennial spent £27 million total in 2010, Liverpool Biennial has an year-round programme of commissioning art for the public realm, such as Richard Wilson’s Turning the Place Over and Antony Gormley’s Another Place at Crosby Beach. The organizers also promote an ongoing educational programme, in 2004, the festival caused controversy by exhibiting a work by Yoko Ono entitled My mummy was beautiful. This was a series of colour photographs of a womans breast and crotch. Peter Johanssons Swedish red was a house at the Pier Head painted bright red. The Walker Art Gallery mounted The Stuckists Punk Victorian, the first major show of the Stuckist artists, the theme and title of the Biennial’s showpiece International 08 exhibition was Made Up. Throughout 2008 as part of Liverpools year as European Capital of Culture, new commissions for the public realm included Winter Lights, Visible Virals, again there was also the John Moores Painting Prize, the New Contemporaries and The Independents. The 6th biennial in Liverpool was launched with a one night exhibition by Filip Gilissen on 14 May 2010 and it contained six programmes of contemporary art including, Bloomberg New Contemporaries, City States, John Moores Painting Prize 2010, S. Q. U. A. T. Displays included works by Alfredo Jaar, Do-Ho Suh and the first UK presentation of any work by Tehching Hsieh, the visitor centre was located in the former Rapid Hardware shop on Renshaw Street. Z. Kami, Zbynek Sedlecky, Minerva Cuevas, Meschac Gaba, Clegg & Guttmann, Daniel Knorr, Lee Mingwei, Rob Pruitt, Anton Vidokle / Julieta Aranda, Tania Bruguera, Carlos Amorales. For its 7th edition, Liverpool Biennial explored the theme of hospitality, inviting artists and thinkers to bring forth new understandings for our increasingly globalised and complex times
Liverpool Biennial
–
Turning the place over by
Richard Wilson
Liverpool Biennial
–
One Year in Liverpool
40.
William Brown Library
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The William Brown Library and Museum is a Grade II* listed building situated on the historic William Brown Street in Liverpool, England. The building currently houses part of the World Museum Liverpool and Liverpool Central Library, the William Brown Library and Museum building was conceived as a replacement for the Derby Museum which then shared two rooms on the citys Duke Street with a library. The new building opened its doors in 1860 with 400,000 people attending the opening ceremony. With Liverpool being one of the key ports, much of the city was badly damaged by German bombing during the Second World War and William Brown Library. Hit by firebombs during the blitz in 1941, the building was ravaged by fire, fortunately, key parts of the museums collection had been previously moved to less vulnerable locations. Plans have now brought forward to redevelop the library, replacing the post world war II additions with state-of-the-art facilities. Architecture of Liverpool History External night photo External night photo Images of England, William Brown Library and Museum
William Brown Library
–
Main entrance to the building
William Brown Library
–
Main entrance to the building and, to the right, the ground-level entrance to the
Liverpool Central Library
41.
World Museum Liverpool
–
World Museum Liverpool and Liverpool Museum redirect here. For the similarly named museum, see Museum of Liverpool, World Museum is a large museum in Liverpool, England which has extensive collections covering archaeology, ethnology and the natural and physical sciences. Special attractions include the Natural History Centre and a planetarium, entry to the museum is free. The museum is part of National Museums Liverpool, the museum has recently undergone extensive refurbishment in order to double the size of the display spaces, making even more of the collections accessible for visitors. Major new galleries include World Cultures, the Bug House and the Weston Discovery Centre, a central entrance hall and six-storey atrium opened in 2005. The museum was started as the Derby Museum as it comprised the Earl of Derbys natural history collection. The museum opened originally in 1851, sharing two rooms on Duke Street with a library, however, the museum proved extremely popular and a new, purpose-built building was required. Around 400,000 people attended the opening of the new building in 1860, in the late 19th century, the museums collection was beginning to outgrow its building so a competition was launched to design a combined extension to the museum and college of technology. The competition was won by William Mountford and the College of Technology, Liverpool, being one of the UKs major ports, was heavily damaged by German bombing during the blitz. While much of the Museums collection was moved to less vulnerable locations during the war, parts of the museum only began to reopen fifteen years later. In the early first decade of the 21st century, the museum was again expanded, to better reflect its larger size, the museum was renamed World Museum Liverpool. The museum has been the site of three deaths since its 2005 reopening, on 15 May 2006, a 24-year-old man climbed over a balcony on the sixth floor and fell to his death. On 26 November 2006, a 17-year-old mother was stabbed to death by her 21-year-old former male partner, the coroner has since recorded verdicts of unlawful killing and suicide. The physical sciences collection of World Museum was built after the devastation caused by the fire of 1941. The collection has expanded, in part, due to transfers from the Decorative Arts Department, Regional History Department, Walker Art Gallery, as a consequence the collection is small but contains a number of significant items. The planetarium opened in 1970 and has 62 seats and it currently attracts about 90,000 people per year. Shows cover various aspects of science, including the Solar System. World Museum is home to a planetarium, the Egyptology collection contains approximately 15,000 objects from Egypt and Sudan and is the most important single component of the Antiquities departments collections
World Museum Liverpool
–
World Museum
World Museum Liverpool
–
World Museum and Library on the right
World Museum Liverpool
–
The
Black Knight BK02 is located in the Space & Time wing of the museum
World Museum Liverpool
–
The
Codex Fejérváry-Mayer which is located in the museum is an Aztec Codex and one of the few manuscripts to have survived the
Spanish conquest of Mexico
42.
Queensway Tunnel
–
The Queensway Tunnel is a road tunnel under the River Mersey, in the north west of England, between Liverpool and Birkenhead. It is often called the Birkenhead Tunnel, to distinguish it from the Kingsway Tunnel, which serves Wallasey, the first tunnel under the River Mersey was for the Mersey Railway in 1886. The first tunnel crossing was proposed in 1825 and, again in 1827, a report in 1830 rejected the road tunnel due to concerns about building damage. Mott supervised the construction in association with John Brodie, who, as City Engineer of Liverpool, had co-ordinated the feasibility studies made by consultant Engineers Mott, Hay, the main contractor was Edmund Nuttall. In 1928 the two tunnels met to within less than 25 millimetres. Their decoration is by Edmund Thompson and these are Grade II listed buildings. More than 1.2 million tons of rock, gravel, of the 1,700 men who worked on the tunnel during the nine years of its construction,17 were killed. The tunnel, which cost a total of £8 million, was opened on 18 July 1934 by King George V, by the 1960s, traffic volume had increased. In 1971 the Kingsway Tunnel opened to relieve congestion, the tunnel is 3.24 kilometres long. It contains a carriageway of four lanes, two in each direction. Different height restrictions apply to the nearside and offside lanes in each direction and these are 3.9 metres and 4.75 metres respectively, and there is a 3.5 t weight limit for goods vehicles. All buses are required to use the lane, regardless of their height. Lane signals are displayed at regular intervals, although in normal circumstances none of the lanes are currently used bidirectionally and this is in contrast to the Kingsway Tunnel, where lanes in toll concourse are alternated to prioritise higher traffic in one direction during peak hours. The tunnel has two branches leading off the tunnel to the dock areas on both sides of the river. The Birkenhead branch tunnel was closed in 1965, when travelling in the Birkenhead direction, the branch can still be seen inside the tunnel on the right just before the left hand bend towards the Birkenhead exit. The exit of this branch can also be seen on the outside from Rendell Street near the junction with Marcus Street and this branch also carried 2 way traffic, single lane each way. It was also controlled by traffic lights inside the tunnel and this branch mainly served Birkenhead docks and for people travelling to the Wirral resort of New Brighton. These are now best served by the Kingsway tunnel, the Liverpool branch tunnel remains in use, in the exit direction only
Queensway Tunnel
–
The Liverpool Entrance to the Queensway Tunnel
Queensway Tunnel
–
George's Dock Ventilation and Control Station, Pier Head
Queensway Tunnel
–
Toll booths at the Birkenhead entrance to the Queensway Tunnel
Queensway Tunnel
–
Skyscrapers and highrises (over 60m)
43.
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
44.
Albert Dock
–
The Albert Dock is a complex of dock buildings and warehouses in Liverpool, England. Designed by Jesse Hartley and Philip Hardwick, it was opened in 1846, as a result, it was the first non-combustible warehouse system in the world. At the time of its construction the Albert Dock was considered a revolutionary docking system because ships were loaded and unloaded directly from/to the warehouses, two years after it opened it was modified to feature the worlds first hydraulic cranes. Due to its open yet secure design, the Albert Dock became a store for valuable cargoes such as brandy, cotton, tea, silk, tobacco, ivory. During the Second World War, the Albert Dock was requisitioned by the Admiralty serving as a base for boats of the British Atlantic Fleet, the complex was damaged during air raids on Liverpool, notably during the May Blitz of 1941. In the aftermath of the war, the problems of the owners. Numerous plans were developed for the re-use of the buildings but none came to fruition, today the Albert Dock is a major tourist attraction in the city and the most visited multi-use attraction in the United Kingdom, outside London. The history of the Albert Dock dates back to 1837, when Jesse Hartley first began the development of plans for a combined dock, after testing several structural designs he settled on the combination of cast iron, brick, sandstone and granite. The site chosen for the dock to be built on was an area of land bordered by Salthouse Dock to the east, the entrance channel to Canning Dock to the north and by Dukes Dock to the south. The land earmarked for the site had to be cleared, with 59 tenants being evicted and numerous premises demolished including a pub, several houses and the Dock Trustees Dockyard. The dock basin was completed by February 1845, allowing the first ships to enter the Albert Dock, the dock complex was officially opened in 1846 by Albert, Prince Consort, husband of Queen Victoria and the man in honour of whom it was named. This event marked the first occasion in Liverpools history in which a member of the Royal Family had made a visit to the city. There was a most brilliant display of flags, banners & c, there are 200,000 strangers in town, and all the inhabitants are in the streets. The sight was really magnificent, all the ships in the docks were decked out in gayest colours, despite the official opening occurring in 1846, the construction of the Albert Dock was not fully completed until 1847. In 1848, a new office was built and the dock itself was upgraded to feature a hydraulic cargo handling hoist system. Over the next decade several buildings where added including houses for the piermaster, his assistant & the warehouse superintendent. Warehousing in the dock was expanded to meet the increasing demand by joining together the eastern and western ends of the Southern Stack. The enclosed design of the Albert Dock and the loading and unloading of goods from warehouses meant that the complex was more secure than other docks within Liverpool
Albert Dock
–
Albert Dock, Liverpool Waterfront
Albert Dock
–
The Albert Dock's design allowed ships to lay up and be loaded and unloaded directly from the large warehouses
Albert Dock
–
Jesse Hartley
Albert Dock
–
British Empire Dockyards and Ports, 1909
45.
Architecture of Liverpool
–
The architecture of Liverpool is rooted in the citys development into a major port of the British Empire. It encompasses a variety of styles of the past 300 years. Erected 1716-18, Bluecoat Chambers is supposed to be the oldest surviving building in central Liverpool, there are over 2,500 listed buildings in Liverpool of which 27 are Grade I and 85 Grade II* listed. It has been described by English Heritage as Englands finest Victorian city, however, due to neglect, some of Liverpools finest listed buildings are on English Heritages Heritage at Risk register. In accordance with Liverpools role as a port, many of its best buildings were erected as headquarters for shipping firms. The wealth thus generated led to the construction of civic buildings. The historical significance and value of Liverpools architecture and port layout was recognised when, in 2004, Liverpools origins date back as far as the 11th century, although today nothing remains of the citys medieval architecture. Probably the earliest building of note within Liverpool would have been Liverpool Castle, the oldest surviving building within the city is likely to be Stanlawe Grange in Aigburth, a Monastic grange dating from the 13th century. Frequent modifications throughout its history mean that little of the building remains. Like medieval architecture before it, little remains of Tudor and Elizabethan architecture in Liverpool today, speke Hall, which is located in the south of the city, is a Tudor manor house that dates from the 16th century. It was completed in 1598, although much of the dates from much earlier in the century. It is one of the few remaining timber framed Tudor houses in the North of England, another large manor house that dates from this period is Croxteth Hall, the ancestral home of the Molyneux family. Started in 1575, only one wing of the building dates from this period. As such the building mixes a variety of different architectural styles including Elizabethan, Queen Anne Style, several buildings from the Stuart era remain in Liverpool today, with the oldest of them, Tuebrook House, dating from 1615. The Ancient Chapel of Toxteth also dates from this period and was started around 1618. The building is today grade I listed and still serves its purpose as a Unitarian Chapel. One of the periods most notable remaining buildings is Woolton Hall, also built for the Molyneux family, the hall is conceived as a Palladian villa and constructed from red sandstone from the local quarry in Woolton. Mainly built in 1716–17, but with additions nearly immediately necessary, designed in the Queen Anne style, following in the tradition of Christopher Wren, it housed the Liverpool Blue Coat School
Architecture of Liverpool
–
Liverpool in 1650
Architecture of Liverpool
Architecture of Liverpool
–
Speke Hall (1530–98; Grade I)
Architecture of Liverpool
–
Croxteth Hall (1575; Grade II*)
46.
Albert Joseph Moore
–
Albert Joseph Moore was an English painter, known for his depictions of languorous female figures set against the luxury and decadence of the classical world. He was born at York on 4 September 1841, the son and fourteenth child of well known portrait-painter William Moore and his second wife. Several of his numerous brothers were educated as artists, including Henry Moore, albert Moore was educated at Archbishop Holgates School, and also at St. Peters School at York, receiving at the same time instruction in drawing and painting from his father. He made such progress that he gained a medal from the Department of Science and Art at Kensington in May 1853, after his fathers death in 1851, Moore owed much to the care and tuition of his brother, John Collingham Moore. In 1855, he came to London and attended the Kensington grammar school till 1858 and he had already exhibited there in 1857, when he sent A Goldfinch and A Woodcock. His early works shows the influence of Ruskin, in 1859 he was in France with the architect William Eden Nesfield. In 1861, he made a new venture with two sacred subjects, The Mother of Sisera looked out of a Window, and Elijah running to Jezreel before Ahabs Chariot, meanwhile, Moore had given signs of the remarkable skill which he afterwards displayed as a decorative artist. The 1860s saw Moore designing tiles, wallpaper and stained glass for Morris, Marshall, Faulkner and Co. and working as an ecclesiastic and domestic mural painter. During this period his works began to take on a markedly neo-classical character, Moore making a study of antique sculpture. His concern for decorative, color harmonies became apparent in his paintings of the mid 1860s onwards and his works, typically single female figures with formalized proportions, neo-classical drapery and floral accessories, established a major strand of the Aesthetic Movement. About 1860 he painted a ceiling at Shipley, followed by another at Croxteth Park and he spent the winter of 1862–3 in Rome with his brother John Collingham Moore. It was here that he painted Elijahs Sacrifice, which shows the influence of Ford Madox Brown, in 1863 he executed a wall painting for the kitchen of Combe Abbey for the Earl of Craven. Moore was an exhibitor at the Grosvenor Gallery from 1877 onwards. In 1864, he exhibited at the Royal Academy a group in fresco, entitled The Seasons, which attracted notice from the graceful pose of the limbs in the figures, and the delicate folds of the draperies. In 1865, Moore exhibited at the Royal Academy The Marble Seat, the chief charm of Moores pictures lay in the delicate low tones of the diaphanous, tissue-like garments in which the figures were draped. The names attached to the pictures were generally suggested by the completed work, among them were such titles as A Painters Tribute to Music, Shells, The Reader, Dreamers, Battledore, Shuttlecock, Azaleas. In so limited a sphere of art, Moore found his admirers among the few true connoisseurs of art rather than among the general public. His pictures were sold off the easel before completion
Albert Joseph Moore
–
Albert Joseph Moore, ca. 1870
Albert Joseph Moore
–
A Garden
Albert Joseph Moore
–
"Canaries"
Albert Joseph Moore
–
"Seagulls"
47.
Annie Louisa Swynnerton
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Annie Louisa Robinson Swynnerton ARA was an English painter of allegorical, figure and portrait paintings. She studied at Manchester School of Art, Académie Julian, Swynnerton was influenced by George Frederic Watts and Edward Burne-Jones. John Singer Sargent appreciated her work and helped her to become the first elected member at the Royal Academy of Arts in 1922. Swynnerton painted portraits of Henry James and Millicent Fawcett and her works are in collections in the England, Scotland, and abroad. She was married to sculptor Joseph Swynnerton, Swynnerton was a feminist and suffragette. Her middle name is sometimes spelled Louise and her surname is also spelled Swinnerton, Annie Louisa Robinson was born on 26 February 1844 in Hulme, Manchester. Her parents were Francis Robinson, a solicitor, and Ann Sanderson and she made and sold watercolor paintings to supplement the familys income during a difficult financial period. Emily, her sister, was also an artist, Swynnerton trained at the Manchester School of Art, beginning in 1871. She won a prize and a scholarship for an oil. From 1874 to 1876, she took art lessons in Rome along with her friend and fellow artist, Susan Isabel Dacre, the women then studied at the Académie Julian in Paris from 1877 to 1880. Swynnerton was influenced by the works of Jules Bastien-Lepage and she lived in Manchester in 1880 and by 1882 was living in London. Swynnerton painted portraits, figures and allegorical scenes, George Frederic Watts and Edward Burne-Jones were supporters of her career. According to Linda Murray, She was much influenced by Watts and her drawing was solid, and she had a sculptural grasp of form allied to fresh, broken colour displaying affinities with Impressionism. An example of one of her works is The Sense of Sight. The catalogue for the Tate exhibition Exposed, the Victorian Nude states that Rome based Annie Swynnerton was one of the most daring female painters of the nude, often shocking audiences with her robustly painted figures. George Frederic Watts, Edward Burne-Jones, and Annie Louisa Swynnertons works Swynnertons works incorporated aspects of Neoclassicism, Pre-Raphaelitism and Impressionism, the Magazine of Art described one of her works, highly imaginative design by is Mater Triumphalis. The limbs of the figure are somewhat heavy in outline, whilst there is a metallic appearance in the colouring that is quite apart from the idea of the flowing life-blood in a human body. She was also adept at painting children, Dacre and Swynnerton shared a studio
Annie Louisa Swynnerton
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George Frederic Watts, Paolo and Francesca
Annie Louisa Swynnerton
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Annie Louisa Swynnerton, Cupid and Psyche, 1890,
Gallery Oldham
Annie Louisa Swynnerton
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Annie Louisa Swynnerton, The Sense of Sight, oil on canvas, 1895,
National Museums Liverpool
Annie Louisa Swynnerton
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Edward Burne-Jones,
Sidonia von Borcke, 1860
Liverpool Lime Street
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