Vladimir Yevgrafovich Tatlin, Ukrainian painter, sculptor, and architect remembered for his visionary “Monument to the Third International” in Moscow, 1920.

 

Tatlin was educated at the Moscow Academy of Fine Arts, graduating in 1910. Late in 1913 he went to Paris, where he visited Pablo Picasso, whose reliefs in sheet iron, wood, and cardboard made a deep impression on him. Returning to Moscow, Tatlin created constructions that he called “painting reliefs,” which he exhibited at a Futurist exhibition held in Petrograd (now St. Petersburg) in February 1915. He became the leader of a group of Moscow artists who tried to apply engineering techniques to the construction of sculpture. This developed into a movement known as Constructivism.

 

This type of avant-garde art continued for a brief period after the Russian Revolution of 1917, during which time Tatlin created his most famous work—the “Monument to the Third International,” which was one of the first buildings conceived entirely in abstract terms. It was commissioned in 1919 by the department of fine arts and exhibited in the form of a model 22 feet (6.7 m) high at the exhibition of the VIII Congress of the Soviets in December 1920. A striking design, it consisted of a leaning spiral iron framework supporting a glass cylinder, a glass cone, and a glass cube, each of which could be rotated at different speeds. The monument’s interior would have contained halls for lectures, conferences, and other activities. The monument was to be the world’s tallest structure—more than 1,300 feet (396 m) tall—but it was never built owing to the Soviet government’s disapproval of non-figurative art.

 

About 1927 Tatlin began experimentation with a glider that resembled a giant insect. The glider, which he called Letatlin, never flew, but it engaged his interest throughout his later life. After 1933 he worked largely as a stage designer.

Giovanni Paolo Pannini or Panini was an Italian painter and architect, mainly known as one of the vedutisti or (veduta, or "view painters").

 

As a young man, Pannini trained in his native town of Piacenza as a stage designer. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1718–1725) and the Palazzo de Carolis (1720). As a painter, Pannini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute — paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.

 

In 1719, Pannini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Académie de France, where he influenced Jean-Honoré Fragonard. His studio included Hubert Robert and his son Francesco Panini. His style would influence a number of other vedutisti, such as his pupil Antonio Joli, as well as Canaletto and Bernardo Bellotto, who sought to appease the need by visitors for painted "postcards" depicting the Italian environs.

Watercolor and gouache on paper on board; 158 x 140 cm.

 

Rosenberg Lev Samoylovich called Bakst was a painter and a stage designer of Belorussian birth. Born into a middle class Jewish family, Bakst was educated in St Peterburg, attending the Academy of Arts. Bakst traveled regularly to Europe and North Africa and studied in Paris with a number of notable artists at the Academie Julian. With Alexander Benois and Serge Diaghlev he was a founder of the WORLD OF ART group in 1898. In 1906 he became a drawing teacher at the Yelizaveta Zvantseva's private school in St Peterburg.

 

Bakst realized his greatest artistic success in the theatre. In 1909 he collaborated with Diaghilev in the founding of Ballets Russes, where he acted as artistic director, and his stages designs rapidly brought him international fame. Between 1909 and 1921 his name became inseparable from the Ballets Russes. He also designed for other celebrities, included the artist producers Vera Komissarzhervskaya in 1906, Ida Rubinstein between 1911 to 1924. He settled in Paris in 1912, having being exiled from St Peterburg where, as a Jew he was unable to obtain a residence permit.

 

Bakst was arguably the most accomplish painter, as well as designer, in the World of Art group. His early preferences were for Realist painters and Old Masters, such as Rembrandt and Velazquez. The animated line and relaxed postures in his portraiture also suggest the influence of his close friend Valentin Serov. Through Benois and his circle Bakst was attracted to "retrospectivism" and Orientalism, and motifs from ancient Greece and Egypt became signatures in his easel paintings and theoretical work. The Benois circle also introduced him to Symbolism and Art Nouveau.

Boris Mikhailovich Kustodiev (March 7, 1878 - May 28, 1927) was a Russian painter and stage designer. Kustodiev was born in Astrakhan into the family of a professor of philosophy, history of literature, and logic at the local theological seminary. His father died young, and all financial and material burdens fell on his mother's shoulders. In 1923, Kustodiev joined the Association of Artists of Revolutionary Russia. He continued to paint, make engravings, illustrate books, and design for the theater up until his death in Leningrad.

 

[Oil on canvas, 80.5 x 169 cm]

 

gandalfsgallery.blogspot.com/2010/12/boris-mikhailovich-k...

Russian painter, mainly in watercolour, art historian and stage designer. Born in St Petersburg of French and Italian descent, son of Nikolai Benois, architect to the Imperial Palaces in Peterhof. Briefly attended a part-time course in stage design at the Academy of Arts 1887, but otherwise self-taught as an artist. Studied law at the University of St Petersburg 1890-4, and while still a student formed a circle with a number of friends, including Diaghilev, Somov and Bakst, for the purpose of studying art. This later developed into the World of Art (Mir Iskusstva), which held exhibitions and published a journal of the same name, 1898-1904. Travelled widely in Europe and was influenced by the art of the eighteenth century. Became very active and influential as a stage designer, including sets and costumes for Le Pavillon d'Armide 1907 and (for Diaghilev) Petrushka 1911 and Le Rossignol 1914. Edited the periodical Khudozhestvennye sokrovishcha Rossii (Art Treasures of Russia) 1901-3, and wrote several books on art and volumes of memoirs. Curator of Painting at the Hermitage 1918-25, then moved in 1926 to Paris, where he continued to paint and design for the theatre. Died in Paris.

 

Published in:

Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.48

Giovanni Paolo Pannini or Panini was an Italian painter and architect, mainly known as one of the vedutisti or (veduta, or "view painters").

 

As a young man, Pannini trained in his native town of Piacenza as a stage designer. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti and became famous as a decorator of palaces, including the Villa Patrizi (1718–1725) and the Palazzo de Carolis (1720). As a painter, Pannini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are the interior of the Pantheon, and his vedute — paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins have a substantial fanciful and unreal embellishment characteristic of capriccio themes.

 

In 1719, Pannini was admitted to the Congregazione dei Virtuosi al Pantheon. He taught in Rome at the Accademia di San Luca and the Académie de France, where he influenced Jean-Honoré Fragonard. His studio included Hubert Robert and his son Francesco Panini. His style would influence a number of other vedutisti, such as his pupil Antonio Joli, as well as Canaletto and Bernardo Bellotto, who sought to appease the need by visitors for painted "postcards" depicting the Italian environs.

Etching, mirror cylinder; 55 x 39 cm.

 

Hungarian painter, printmaker, graphic designer and animated film director, is known for his mathematically inspired works, impossible objects, optical illusions, double-meaning images and anamorphoses. The geometric art of István Orosz, with forced perspectives and optical illusions, has been compared to works by M. C. Escher.

 

Studied at the Hungarian University of Arts and Design (now Moholy-Nagy University of Art and Design) in Budapest as pupil of István Balogh and Ernő Rubik. After graduating in 1975 he began to deal with theatre as stage designer and animated film as animator and film director. He is known as painter, printmaker, poster designer, and illustrator as well. He likes to use visual paradox, double meaning images and illusionistic approaches while following traditional printing techniques such as woodcutting and etching. He also tries to renew the technique of anamorphosis. He is a regular participant in the major international biennials of posters and graphic art and his works has been shown in individual and group exhibitions in Hungary and abroad. Film director at the PannóniaFilm Studio in Budapest, Habil. professor at University of West Hungary in Sopron, co-founder of Hungarian Poster Association, member of Alliance Graphique International (AGI) and Hungarian Art Academie. He often uses OYTIΣ, or Utisz, (pronounced: outis) (No one) as artist's pseudonym.

 

During the last two decades - when most of the works shown here were made – the activities of the poster designer, the printmaker, the illustrator, and the film director have completed each other. Many motive, stylistic features, technical solutions appeared in all of the media and for Orosz it seemingly did not cause any problem to cross the borders of the different genres. When he was drawing a poster usually he did it with the preciseness of illustrators, when he was illustrating a book, he did it with the narrative mood of filmmakers, if he was animating films, sometimes he used the several layers approach of etchers and engravers and for prints he often chose the emblematic simplifying way of depiction of posters. If we call him only a poster designer based on his functional prints, we narrow down his field of activity, we go closer to the truth if we associate him with „postering" as a way of thinking, or if we call his many sided image depicting ourselves and our age as the poster-mirror of István Orosz. (Guy d'Obonner: Transfiguration of Poster - detail)

 

István Orosz was known as poster designer in the first part of his career. He made mainly cultural posters for theatres, movies, galleries, museums and publishing houses. At the time of the revolutions of 1989 in Eastern Europe he drew some political posters too. His "Tovarishi Adieu" (also used with text "Tovarishi Koniec" – that means Comrades it is over) appeared in many countries and it was known as symbolic image of changes in the area.

 

Artists who design anamorphosis (anamorphosis is Greek for "re-transformation") play with perspective to create a distorted image that appears normal only when viewed from the correct angle or with the aid of curved mirrors. The technique was often used by Renaissance-era artists. Orosz tries to renew the technique of anamorphosis and his aim is to develop it as well when he gives a meaning to the distorted image, too. It is not an amorph picture any more, but a meaningful depiction that is independent from the result that appears in the mirror or viewed from a special point of view. This approach of anamorphoses is suitable for expressing more sophisticated messages.

Blood Swept Lands and Seas of Red

The evolving installation by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, will be unveiled on 5 August 2014; one hundred years since the first full day of Britain’s involvement in the First World War.

 

Entitled ‘Blood Swept Lands and Seas of Red’, the installation is being created in the Tower’s famous dry moat. It will continue to grow throughout the summer until the moat is filled with 888,246 ceramic poppies, each poppy representing a British or Colonial military fatality during the war.

- See more at: www.hrp.org.uk/TowerOfLondon/stories/firstworldwar/TheTow...

Old Swedish maps, issued in 1991.

 

Czesław Słania (1921-2005) engraved the three stamps in the top row. He was the fantastic engraver who made over 1.000 stamp engravings in addition to many other works.

 

Piotr Naszarkowski did the three stamps in the bottom row.

 

Piotr Jerzy Naszarkowski is a Polish engraver. He has been living in Sweden since 1989. He has engraved on many supports: book illustrations, banknotes, postage stamps, etc.

 

Born in 1952 in Warsaw, Poland, he graduated in 1980 from the Fine Art school of Warsaw. From 1978 to 1980, he worked as stage designer for the Guliwer puppet theatre. In 1980 he started working for the Polish television. He quit it next year with another artists to protest the proclamation of the martial law after Solidarność union's strike.

 

Naszarkowski found a place at the Polish Banknote Printing House where he was taught the art of engraving on copper and steel. He became well-known when his ex-libris Lucas Cranach was printed in Belgium.

 

His first engraved postage stamp was issued in 1985. His 99th and 100th stamps were issued in September 2005 for the Greta Garbo joint issue between Sweden and the United States.

 

Catalog numbers:

Facit # 1672-1677

Scott # 1866a

Indian ink, watercolor on paper; 13.3 x 15.9 cm.

 

Rosenberg Lev Samoylovich called Bakst was a painter and a stage designer of Belorussian birth. Born into a middle class Jewish family, Bakst was educated in St Peterburg, attending the Academy of Arts. Bakst traveled regularly to Europe and North Africa and studied in Paris with a number of notable artists at the Academie Julian. With Alexander Benois and Serge Diaghlev he was a founder of the WORLD OF ART group in 1898. In 1906 he became a drawing teacher at the Yelizaveta Zvantseva's private school in St Peterburg.

 

Bakst realized his greatest artistic success in the theatre. In 1909 he collaborated with Diaghilev in the founding of Ballets Russes, where he acted as artistic director, and his stages designs rapidly brought him international fame. Between 1909 and 1921 his name became inseparable from the Ballets Russes. He also designed for other celebrities, included the artist producers Vera Komissarzhervskaya in 1906, Ida Rubinstein between 1911 to 1924. He settled in Paris in 1912, having being exiled from St Peterburg where, as a Jew he was unable to obtain a residence permit.

 

Bakst was arguably the most accomplish painter, as well as designer, in the World of Art group. His early preferences were for Realist painters and Old Masters, such as Rembrandt and Velazquez. The animated line and relaxed postures in his portraiture also suggest the influence of his close friend Valentin Serov. Through Benois and his circle Bakst was attracted to "retrospectivism" and Orientalism, and motifs from ancient Greece and Egypt became signatures in his easel paintings and theoretical work. The Benois circle also introduced him to Symbolism and Art Nouveau.

     

A glimpse of the great sea of ceramic poppies now growing in the moat at the Tower of London as a memorial to the 888,246 British military deaths during WWI. Entitled 'Blood Swept Lands and Seas of Red' the installation will continue to grow until the finishing date of November 11th 2014.

 

The creation of ceramicist Paul Cummins of Derby and made by a dedicated team of workers, each poppy is individual. Tom Piper, stage designer, is also involved with the overall presentation of this spectacular art work.

Gouache on paper; 17.1 x 9.7 cm.

 

Arthur Szyk was a graphic artist, book illustrator, stage designer and caricaturist. He was born into a Jewish family in Łódź, in the part of Poland which was under Russian rule in the 19th century. He always regarded himself both as a Pole and a Jew. From 1921, he lived and created his works mainly in France and Poland, and in 1937 he moved to the United Kingdom. In 1940 he settled permanently in the United States, where he was granted American citizenship in 1948.

 

Arthur Szyk became a renowned graphic artist and book illustrator as early as the interwar period – his works were exhibited and published not only in Poland, but also in France, the United Kingdom, Israel, and the United States. However, he gained real popularity through his war caricatures, in which, after the outbreak of World War II, he depicted the leaders of the Axis powers – mainly Adolf Hitler, Benito Mussolini and Emperor Hirohito. After the war, he also devoted himself to political issues, this time supporting the creation of Israel.

 

Szyk's work is characterized in its material content by social and political commitment, and in its formal aspect by its rejection of modernism and drawing on the traditions of medieval and renaissance painting, especially illuminated manuscripts from those periods. Unlike most caricaturists, Szyk always showed great attention to the coloristic effects and details in his works.

 

Today, Szyk is a well-known and often exhibited artist only in his last home country – the United States. In Europe, since the late 1990s exhibitions of his art has been mounted in the Polish cities of Kraków, Warsaw, and Łódź as well as in Berlin, Germany. The recent publication of a Polish-language edition Szyk's biography and public broadcasts of the documentary film "Arthur Szyk - Illuminator" (Marta Tv & Film, Telewizja Polska (Łódź), 2005) also have improved Szyk's stature in his mother country, Poland.

 

www.youtube.com/watch?v=fhJmRWQc6Yg

R. & O. N. Co. Toronto Montreal Line -

Rapids King by artist Henry Hinder (1870-1952).

It was one of the ferry boats on the line from Toronto to Montreal before the St. Lawrence Seaway was completed.

 

Francis Henry Critchley Hinder (1906–1992) was an Australian painter, sculptor and art teacher who is also known for his camouflage designs in World War II. Wiki info.

 

Education:

 

Hinder was the fourth child of Dr. Henry Vincent Critchley Hinder and Enid Marguerite (née Pockley). He was born at the family home, a grand Italianate Victorian mansion named "Carleton", in Summer Hill, New South Wales. He attended his father's alma mater, Newington College (1916–1918),[1] and then completed his education at Sydney Church of England Grammar School, when his widowed mother, who had remarried, moved to the North Shore. As an art student he was tutored by Antonio Dattilo Rubbo at the Royal Art Society of New South Wales and at the East Sydney Technical College. Rubbo had also been his art master at Newington. While travelling he pursued his training at the Art Institute of Chicago, New York School of Fine and Applied Art and at the Taos summer school.[2]

 

Early career:

 

In the mid-1930s he worked as a commercial artist in the United States and taught at the Child-Walker School of Fine Art, Boston. In 1930 he married artist Margel Harris and both returned to Sydney in 1934, working in theatre design, advertising and graphic art.

 

World War II:

 

Working with William Dakin and the Sydney Camouflage Group, Hinder was seconded to the Camouflage Wing of the Royal Australian Engineers during World War II where he designed the Hinder Spider, a garnished conical frame for concealing a man, and dummy aircraft such as the Hindup.[3]

 

Postwar career:

 

After the war he took a teaching position at the East Sydney Technical College and then became head of the Art Department of Sydney Teachers' College (now part of the University of Sydney) from 1958 to 1964. In 1952 he was awarded the Blake Prize for Religious Art for his painting Flight into Egypt.[4][5] As an artist he is best known for his abstract paintings, yet he also produced work across a diverse range of materials, including drawings and electric-light sculptures. He was a trustee of the Art Gallery of New South Wales and appointed as a Member of the Order of Australia. His work is held in many publics galleries including the Art Gallery of New South Wales, the Art Gallery of South Australia, the Australian National Gallery, the Australian War Memorial and the National Gallery of Victoria. He died at the age of 86 in 1992.

 

References:

 

Newington College Register of Past Students 1863-1998 (Syd, 1999) pp85

^ "Bloomfield Galleries – Frank Hinder". Archived from the original on 14 January 2014. Retrieved 27 November 2013.

^ Ann Elias (April 2003). "The organisation of camouflage in Australia in the Second World War". Journal of the Australian War Memorial (38).

^ "The Blake Prize Winners". The Blake Prize. The Blake Society Limited. Retrieved 2 August 2007.

^ Rebecca Somerville (November 2005). "Feature: Blake Prize". Contemporary. Australian Art Review. Archived from the original on 30 August 2007. Retrieved 2 August 2007.

 

External links:

 

Frank Hinder at the Art Gallery of New South Wales

Art Nomad: Francis (Frank) H. C. Hinder

Frank Hinder: Official website of the estate, all artworks

 

oldbrockvillephotographs.wordpress.com/2008/09/

 

Hinder, Henry Francis (Frank) (1906–1992)

by Eileen Chanin

 

This article was published online in 2016

 

This is a shared entry with Margel Ina Hinder

 

Henry Francis Critchley Hinder (1906–1992), artist and teacher, and Margel Ina Hinder (1906–1995), sculptor and teacher, were husband and wife. Frank was born on 26 June 1906 at Summer Hill, Sydney, fourth child of New South Wales-born parents Henry Vincent Critchley Hinder, medical practitioner, and his wife Enid Marguerite, née Pockley. He was educated at Newington College and Sydney Church of England Grammar School (Shore), and took art classes from Dattilo Rubbo, first at Newington and then at the school of the Royal Art Society of New South Wales in 1924. Rubbo’s injunction to draw rather than copy left a lasting impression. In 1925 he toured Europe with the Young Australia League. Returning to Sydney, having decided to become a commercial artist, he enrolled at East Sydney Technical College, where he worked under Rayner Hoff.

 

In September 1927 Hinder went to the United States of America seeking to improve his graphic skills. Over the next seven years he supported himself designing for advertising agencies and book and magazine publishers while studying and later teaching. He attended the School of the Art Institute of Chicago before moving to New York, where teachers at the New York School of Fine and Applied Art invigorated him. Howard Giles and Emil Bisttram advocated Jay Hambidge’s system of pictorial composition, dynamic symmetry, from which Hinder developed a theoretical approach that focused on geometric ways of organising and relating the parts of a work.

 

Attending Bisttram’s summer school at Moriah, Lake Champlain, New York State, Hinder met Margel Ina Harris, a fellow student. She was born on 4 January 1906 at Brooklyn, New York, second child of Wilson Parke Harris, journalist, and his wife Helen, née Haist. The family had moved to Buffalo in 1909. Margel’s talent for sculpture was recognised early. As a small child she modelled rather than drew, and at the age of five she attended children’s classes at the Albright Art Gallery. She received a progressive education at Buffalo Seminary.

 

Studies followed in 1925 at the Buffalo Fine Arts Academy, under Florence Bach. Moving to Boston in 1926, she spent three years at the School of the Museum of Fine Arts, learning traditional modelling in clay and plaster from Charles Grafly and Frederick Allen. She preferred carving. On 17 May 1930 at the registry office, Wellesly, Massachusetts, she married Frank. From 1931 to 1934 Frank taught design and drawing at the Child-Walker School of Fine Art, Boston, where Margel attended his classes and those of Giles. In 1933 he held his first solo show, at Boston.

 

With the Depression biting, the Hinders moved to Sydney in August 1934, where they promoted modern art. For the next five years, they scratched a living as commercial artists. Margel experimented with carving Australian timbers. Interested in the contemporary movement and influenced by Eleonore Lange, they befriended like-minded artists, including Rah Fizelle, Grace Crowley, Ralph Balson, and Gerald Lewers and his wife Margo. In May 1937 Frank held his first exhibition in Australia, at the Grosvenor Galleries.

 

Margel was naturalised in 1939. That year, with Lange, Frank organised Exhibition 1 at David Jones Art Gallery. Margel exhibited her carving and Frank exhibited the painting Dog Gymkhana (1939), perhaps his best-known work. His attempts to draw unity from complex modern-life subjects involving movement were received negatively by critics such as Howard Ashton. During 1939 Frank also helped Peter Bellew to establish the Sydney branch of the Contemporary Art Society (president, 1956).

 

Both Hinders contributed to Australia’s effort in World War II. As a lieutenant (1941–43) in the Citizen Military Forces and a member (1942–44) of William Dakin’s directorate of camouflage in the Department of Home Security, Frank researched and developed methods of disguising and concealing equipment and structures. Margel made wooden models for use in this work. Frank received a war invention award for his ‘Hinder Spider,’ an improved frame for draping a camouflage net over a gun.

 

With the war over, Frank returned to commercial art, and began teaching at the National Art School in 1946; he would continue until 1958. Margel lectured at the Art Gallery of New South Wales (AGNSW) (1948–50), taught sculpture at the National Art School (1949–50), and ran sculpture classes in her home studio (1950–51). In 1949 the couple had moved into a purpose-designed Sydney Ancher house at Gordon. That year the AGNSW bought Margel’s Garden Sculpture (1945); it was her first work acquired by an Australian public gallery. It prefigured her increasing preoccupation with movement, and her ambition to progress from the classicism of a solid shape with a central axis. The spontaneity she sought was difficult to achieve in wood or stone, and in 1953 she began working with metal. Taking her inspiration mostly from nature, such as birds in flight, she made delicate constructions of thin wire and transparent perspex. Asymmetry, and the necessity to move around sculpture to comprehend its form, became central to her approach, and led to the revolving constructions she began in 1954.

 

The Hinders’ work was increasingly recognised during the 1950s. Frank controversially won the second Blake prize for religious art in 1952, although traditionalists derided his painting Flight into Egypt. He was awarded Queen Elizabeth II’s coronation medal in 1953, and won the Perth prize for contemporary art (watercolour) in 1954. His paintings were included in the exhibition Twelve Australian Artists, presented in Britain by the Arts Council of Great Britain in 1953 and 1954. In 1953 Margel was placed among the first twelve sculptors in more than three thousand entries for the international Unknown Political Prisoner competition. She was awarded the Madach (1955) and Clint (1957) prizes by the Contemporary Art Society, Sydney.

 

Frank’s interest in theatrical design blossomed when, between 1957 and 1965, he created seventeen sets and eleven costume designs, with assistance from Margel. His design for the Australian Elizabethan Theatre Trust’s The Shifting Heart (1957) won the Irene Mitchell award for set design. In 1963 he helped found the Australian Stage Designers’ Association (president, 1964). His work was exhibited at the 1962 Festival of Performing Arts: Theatre Design, Athens, and the 1967 Prague Quadrennial of Theatre Design and Architecture. He was appointed to the board of studies, National Institute of Dramatic Art in 1958.

 

Aware of what he had gained from his teachers in New York, Frank became an advocate for art education. From 1958 to 1964 he was head of the art department at Sydney Teachers’ College, and, in 1968, he resumed teaching at the National Art School. Artistic recognition also continued. His work was exhibited at the 1957 Synthesis of Plastic Arts, Association Internationale des Arts Plastiques, Paris; in Fifteen Contemporary Australian Painters, New Vision Centre Gallery, London, 1960; and at the VI Bienal de Sao Paolo, Brazil, 1961. In 1962 the War Memorial Gallery of Fine Arts, University of Sydney, staged a survey of forty of his works from 1925 to 1961.

 

Meanwhile, Margel had become one of the few women artists in Australia involved in large public commissions. She won the Blake prize for religious sculpture in 1961. The same year, her work was included in the Second International Sculpture Exhibition, Paris. She insisted her large public sculptures should be related to their setting, and reached a wide audience through many commissions that became part of Australia’s environment. Her desire to express movement would ultimately lead her to work with water. After winning a design competition, she was assisted by Frank to construct the fountain for Civic Park, Newcastle; it was completed in 1966. This water sculpture, later renamed Captain James Cook Memorial Fountain, is acknowledged as her masterpiece.

 

While Margel articulated movement with sculptural space in the round, Frank searched for objective order using light. Lengthy experimentation with colour organisation in his own painting, beside stage lighting, design, and rear projection, led him in 1967 to make luminal kinetics, sculpture in which coloured lights and designs interact upon each other.

 

In 1973 the Newcastle City Art Gallery held a retrospective exhibition of the Hinders’ work, their first joint exhibition and the first time that a body of Margel’s work was exhibited. For their services to art, both were appointed AM in 1979. Another joint retrospective exhibition was held at the AGNSW in 1980. Economy of form, spatial mastery, and imaginative innovation were hallmarks of their work. Their dedication to the visual arts was showcased in 1983 in the exhibition Frank and Margel Hinder—A Selected Survey, at the Bathurst Regional Art Gallery.

 

Opposite personalities, the Hinders complemented each other. They were frequently inspired by similar thoughts and attitudes, yet displayed great individuality in their work. As a friend observed, ‘Frank is the cliff, and Margel is the ocean’ (McGrath 1980, 12). Frank was tall, good-humoured, and self-deprecating, with a honeyed voice and avuncular manner. Margel was short, direct, and ardent, a perfectionist with a keen intellect who could be outspoken but also warm. His sharp sense of the comic and the absurd was a foil to her intensity and passion. He died on 31 December 1992 at Killara, and was cremated. Survived by their daughter, she died on 29 May 1995 at Roseville; she was cremated. For more than fifty years, they had formed an artistic partnership, influencing each other in the exchange of ideas and exploration of media, and in focus and style.

 

Research edited by Karen Fox

Select Bibliography

Art Gallery of New South Wales Research Library and Archive. MS1995.1, Papers of Frank Hinder

 

Art Gallery of New South Wales Research Library and Archive. MS1995.2, Papers of Margel Hinder

 

Cornford, Ian. The Sculpture of Margel Hinder. Willoughby, NSW: Phillip Mathews Book Publishers, 2013

Free, Renee. Frank and Margel Hinder 1930-1980. Sydney: Trustees of the Art Gallery of New South Wales, 1980

Free, Renee and John Henshaw, with Frank Hinder. The Art of Frank Hinder. Willoughby, NSW: Phillip Mathews Book Publishers, 2011

McGrath, Sandra. ‘Marriage of Minds—50 Years On.’ Australian, 21-22 June 1980, 12

National Archives of Australia. B884, N279580

State Library of New South Wales. Frank Hinder Aggregated Collection of Papers, Pictorial Material and Cassette Tapes, ca.1745-1992

State Library of New South Wales. MLMSS 6088, Margel Hinder—Papers, ca.1900-1995

Watercolor, gouache, and graphite on paper, mounted on canvas; 128.3 x 69.2 cm.

 

Rosenberg Lev Samoylovich called Bakst was a painter and a stage designer of Belorussian birth. Born into a middle class Jewish family, Bakst was educated in St Peterburg, attending the Academy of Arts. Bakst traveled regularly to Europe and North Africa and studied in Paris with a number of notable artists at the Academie Julian. With Alexander Benois and Serge Diaghlev he was a founder of the WORLD OF ART group in 1898. In 1906 he became a drawing teacher at the Yelizaveta Zvantseva's private school in St Peterburg.

 

Bakst realized his greatest artistic success in the theatre. In 1909 he collaborated with Diaghilev in the founding of Ballets Russes, where he acted as artistic director, and his stages designs rapidly brought him international fame. Between 1909 and 1921 his name became inseparable from the Ballets Russes. He also designed for other celebrities, included the artist producers Vera Komissarzhervskaya in 1906, Ida Rubinstein between 1911 to 1924. He settled in Paris in 1912, having being exiled from St Peterburg where, as a Jew he was unable to obtain a residence permit.

 

Bakst was arguably the most accomplish painter, as well as designer, in the World of Art group. His early preferences were for Realist painters and Old Masters, such as Rembrandt and Velazquez. The animated line and relaxed postures in his portraiture also suggest the influence of his close friend Valentin Serov. Through Benois and his circle Bakst was attracted to "retrospectivism" and Orientalism, and motifs from ancient Greece and Egypt became signatures in his easel paintings and theoretical work. The Benois circle also introduced him to Symbolism and Art Nouveau.

 

Giovanni Battista Gisleni (Jan Baptysta Gisleni, Gislenius, Ghisleni) (1600 – 3 May 1672) was an Italian Baroque architect, stage designer, theater director, singer, and musician at the Polish royal court.

 

Gisleni was born and died in Rome. He served three Polish kings of the Vasa dynasty: Zygmunt III Waza, Władysław IV Waza and Jan II Kazimierz, during the years 1630-1668. Gisleni's grave in the church of Santa Maria del Popolo in Rome, is in the form of a memento mori, showing an intricately carved skeleton figure of Death.

He designed his own tomb, a couple of years before he died in 1672.

322/365 Blood Swept Lands and Seas of Red, marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower’s famous moat.

  

At Dungeness, Kent UK which has the largest shingle beach in Europe March 2016

Prospect Cottage Home of the late Derek Jarman, an English film director, stage designer, diarist, artist, gardener and author.

Major art installation Blood Swept Lands and Seas of Red at the Tower of London, marking one hundred years since the first full day of Britain's involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower's famous moat over the summer. Each poppy represents a British military fatality during the war.

www,grahamcustance.com

Eugene Berman Biography

 

(b St Petersburg, 4 Nov 1899; d Rome, 14 Dec 1972). Russian painter and stage designer. His family moved to Western Europe in 1908 and his basic training was in Germany, Switzerland and France (apart from a brief residence in St Petersburg in 1914–18, when he received lessons in art from the painter Pavel Naumov and the architect Sergey Gruzenberg). In 1919 he enrolled at the Académie Ranson in Paris, attending courses under Edouard Vuillard and Maurice Denis, and two years later he exhibited at the Galerie Druet, Paris. From the late 1930s Berman worked increasingly in the USA, creating designs for ballet and other musical productions, for example for the Music Festival in Hartford, CT, in 1936. In spite of his cosmopolitan background, Berman maintained close connections with Russian artists, critics and dancers, collaborating, for example, with Serge Lifar on the production of Icare in Monte Carlo in 1938.

Young Art in the German Reich

The exhibition Young Art in the German Reich was commissioned by the Reichsstatthalter (The "Reichsstatthalter" ("Reich Lieutenant", "Reich Governor") was a title used in the German Empire and later the Third Reich) and Reichsleiter (Reich leader) Baldur von Schirach in 1943 at the Künstlerhaus (House of Art) in Vienna. Schirach's general cultural advisor, Walter Thomas in Vienna, commissioned Wilhelm Rüdiger from Munich to compile the exhibition. Shown were 582 works by 175 artists.

History

Wilhelm Rüdiger organized an exhibition of contemporary art in Weimar in the summer of 1942 on the occasion of a German-Italian youth meeting under the title "Young Creations". Schirach was enthusiastic about this exhibition and ordered the delivery of the exhibition to Vienna. In Vienna, the exhibition was supplemented by several Austrian artists.

Although the title said it was about "Young Art", many artists were already quite old. For example, Karl Albiker was already 65 years old. In the Völkischer Beobachter, Heinrich Neumayer wrote: "If we speak of young German art here, we already speak of purified wine, we do not experience fermentation processes, storm or cider in the art shown here." "Young" should be interpreted in the context of "old" art in the House of German Art. With the Exhibition Young Art in the German Reich, Schirach made a cautious attempt to reestablish the importance of Vienna as a cultural center.

Simultaneously with the exhibition Young Art in the German Reich, a Klimt exhibition was held in the exhibition house on Friedrichs street, also on the initiative of Schirach. This exhibition attracted the visitors: it counted 24,096 admissions, and the exhibition duration was extended by a week, while the exhibition young art in the German Reich reached only 9,084 visitors.

At the same time, works by Käthe Kollwitz and Egon Schiele were on display in the Albertina. All these exhibitions together were a protest against the official policy of the Berlin Reich Chamber of Culture and the Munich House of German Art. In addition, were in the exhibition Young Art in the German Reich also artists presented whose works were previously confiscated in German museums, including Josef Hegenbarth, Josef Henselmann, Hanna Nagel, Carl Moritz Schreiner, Milly Steger and Friedrich Vordemberge.

Adolf Ziegler described the exhibition in a report as a representation of "moderate form of decay art". Joseph Goebbels sent Karl Kolb, Director of the German House of Art, and Benno von Arent, Reichsbühnenbildner (Reich stage designer), to Vienna for an inspection. Their verdict was: nothing less than a "liberalist mess". The exhibition, scheduled from 7 February to 28 March, aroused the displeasure of Joseph Goebbels and Adolf Hitler. According to Schirach's memoirs, Baldur von Schirach was referred as the person responsible to Adolf Hitler: in the catalog of the exhibition this one had shown a picture and said "Look at this picture - a green dog!" (Work by Josef Hegenbarth). The exhibition was prematurely closed on March 7, 1943, allegedly because of overloading the Reichsbahn (German National Railway), as the Vienna Press reported.

In addition to the 1933 exhibition organized by the National Socialist German Student Union in Berlin "30 German Artists", it was was one of the few official Nazi exhibitions that was closed because of the "alleged suspicion of art degeneration". The exhibition was one intended provocation, not as a resistance to the Nazi regime per se. Schirach wanted to try an escape from the "sterility of the official exhibitions" to reopen the 1933/34 violent Expressionism debate in Germany. It was also an action against his inner party enemies, Goebbels and Alfred Rosenberg.

This exhibition has hurt the participating artists very much. Only two years later, these artists were seen as so-called followers and minions.

 

Junge Kunst im Deutschen Reich

Die Ausstellung Junge Kunst im Deutschen Reich wurde im Auftrag des Reichsstatthalters und Reichsleiters Baldur von Schirach 1943 im Wiener Künstlerhaus durchgeführt. Schirachs Generalkulturreferent, Walter Thomas in Wien, beauftragte Wilhelm Rüdiger aus München, die Ausstellung zusammenzustellen. Gezeigt wurden 582 Werke von 175 Künstlern.

Geschichte

Wilhelm Rüdiger organisierte bereits im Sommer 1942 in Weimar anlässlich eines deutsch-italienischen Jugendtreffens eine Ausstellung zeitgenössischer Kunst unter dem Titel „Junges Schaffen“. Schirach war von dieser Ausstellung begeistert und verfügte die Übergabe der Ausstellung nach Wien. In Wien wurde die Ausstellung um einige österreichische Künstler ergänzt.

Obwohl es im Titel hieß, es gehe um „Junge Kunst“, waren viele Künstler bereits recht betagt. Karl Albiker war zum Beispiel bereits 65 Jahre alt. Im Völkischen Beobachter schrieb Heinrich Neumayer dazu: „Wenn hier von junger deutscher Kunst die Rede ist, so ist durchaus schon von geläutertem Wein die Rede, nicht Gärungsprozesse, Sturm oder Most erleben wir in der hier gezeigten Kunst“. „Jung“ sollte im Kontext der „alten“ Kunst im Haus der Deutschen Kunst gedeutet werden. Mit der Ausstellung Junge Kunst im Deutschen Reich unternahm Schirach einen vorsichtigen Versuch, die Bedeutung Wiens als Kulturzentrum wieder zu etablieren.

Gleichzeitig mit der Ausstellung Junge Kunst im Deutschen Reich fand im Ausstellungshaus an der Friedrichsstraße, ebenfalls auf Anregung Schirachs, eine Klimtausstellung statt. Diese Ausstellung zog die Besucher an: sie zählte 24.096 Eintritte, und die Ausstellungsdauer wurde um eine Woche verlängert, während die Ausstellung Junge Kunst im Deutschen Reich lediglich 9.084 Besucher erreichte.

Ebenfalls zur selben Zeit waren in der Albertina Werke von Käthe Kollwitz und Egon Schiele zu sehen. Alle diese Ausstellungen zusammen kamen einem Protest gegen die offizielle Politik der Berliner Reichskulturkammer und des Münchner Hauses der Deutschen Kunst gleich. Außerdem wurden in der Ausstellung Junge Kunst im Deutschen Reich auch Künstler präsentiert, deren Werke zuvor in deutschen Museen beschlagnahmt wurden, darunter Josef Hegenbarth, Josef Henselmann, Hanna Nagel, Carl Moritz Schreiner, Milly Steger und Friedrich Vordemberge.

Adolf Ziegler bezeichnete die Ausstellung in einem Bericht als eine Darstellung von „gemäßigter Form der Verfallskunst“. Joseph Goebbels entsandte Karl Kolb, Direktor des Deutschen Haus der Kunst, und Benno von Arent, Reichsbühnenbildner, zu einer Inspektion nach Wien. Deren Urteil lautete: Eine einzige „liberalistische Schweinerei“. Die Ausstellung, geplant vom 7. Februar bis 28. März, erregte das Missfallen von Joseph Goebbels und Adolf Hitler. Baldur von Schirach wurde, gemäß Schirachs Memoiren, als Verantwortlicher vor Adolf Hilter zitiert: Dieser habe im Katalog der Ausstellung auf eine Abbildung gezeigt und gesagt „Schauen Sie sich dieses Bild an – ein grüner Hund!“ (Werk von Josef Hegenbarth). Die Ausstellung wurde vorzeitig am 7. März 1943 geschlossen, angeblich wegen Überlastung der Reichsbahn, wie die Wiener Presse vermeldete.

Sie war neben der 1933 vom Nationalsozialistischen Deutschen Studentenbund in Berlin organisierten Ausstellung „30 Deutsche Künstler“ eine der wenigen offiziellen NS-Ausstellungen, die wegen des „angeblichen Verdachts der Kunst-Entartung“ geschlossen wurde. Die Ausstellung war eine, nicht als Widerstand gegen das NS-Regime an sich, beabsichtigte Provokation. Schirach wollte einen Ausbruch aus der „Sterilität der offiziellen Ausstellungen“ versuchen, um die 1933/34 in Deutschland heftig geführte Expressionismusdebatte wieder zu eröffnen. Es war auch eine Aktion gegen seine innerparteilichen Feinde, Goebbels und Alfred Rosenberg.

Den teilnehmenden Künstlern hat diese Ausstellung sehr geschadet. Nur zwei Jahre später sah man diese Künstler als sogenannte Mitläufer und Günstlinge an.

de.wikipedia.org/wiki/Junge_Kunst_im_Deutschen_Reich

莎士比亞的妹妹們的劇團

Shakespeare's Wild Sisters Group

愛與死的完美交媾‧情色與暴力的極致美學

《海納穆勒‧四重奏》

Quartett von Heiner Müller

 

拒絕痛苦，就無法愛

我們既是共犯，亦是對手；我們曾經渴望過彼此

 

如果情慾是一種罪，那你我將是最無可赦免的罪人

愛情懷疑論者最尖銳戲謔的諷嘲和質疑

 

這是一把刀，狠狠地劃開愛情殘酷與暴力的本質

在絕望中，我們終將深刻理解，愛何以存在……

 

To reject pain is to avoid love.

We are accomplices and opponents; we once desired each other

 

Should lust be crime, you and I are no doubt the most sinful……

The most intensive bantering mockery and query of a skeptic of love

 

This is a scalpel that cuts this thing named Love wide open

To reveal the most ferocious and brutal of all essences

Then, in this despair of all despairs

We come to realize the very reason for Love

 

劇 作：海納穆勒│Playwright: Heiner Müller

演 員：徐堰鈴、陳恭銘│Cast: Yen-ling Hsu & Alejandro Chen

法文人聲演員：馬照琪、Valentin Lechat│Voice in French: Chao-chi Ma & Valentin Lechat

現場鋼琴：Andreas Kern│Pianist: Andreas Kern

導 演：BABOO│Director: Baboo

 

製作人：陳汗青│Producer: Yukio Nitta

舞台設計：梁若珊│Stage Designer: Ruo-shan Liang

燈光設計：黃諾行│Lighting Designer: Nuo-hsing Huang

音樂設計：林芳宜│Composer：Fang-yi Lin

服裝設計：李育昇 │Costume Designer: Yu-shen Li

動作設計：周書毅│Movement Director: Shu-yi Chou

影像創作：周東彥│Multi-media Designer: Tung-yen Chou

導演助理：許哲彬│Direction Assistant: Tora Hsu

 

平面美術：聶永真│Graphic & Art Designer: Aaron Nieh

攝影：編號223、林建文│Photographer: Zhi-peng Lin (No. 223), Chien-wen Lin

場景：姚國禎│Scene Designer: Kuo-chen Yao

梳化：謝夢遷│Stylist：Meng-Chian Hsieh

協力：藍祺聖、吳仲倫│Associate: Chih-shang Lan, Chun-lun Wu

英文翻譯：葉炫伽│Translator: Hsuang-chieh Yeh

  

10／14-17

國立台北藝術大學戲劇廳

Experimental Theatre, Taipei National University of the Arts

 

10／29-31

台南誠品B2藝文空間

Eslite Book Store Tainan City Branch B2 Arts Space

 

quartett2010.blogspot.com/

地點： Taipei/Tainan

Altman was born in Vinnytsia, Imperial Russia. From 1902 to 1907 he studied painting and sculpture at the Art College in Odessa. In 1906 he had his first exhibition in Odessa. In 1910 he went to Paris, where he studied at the Free Russian Academy, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, and David Shterenberg. In 1910 he became a member of the group Union of Youth. His famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. After 1916 he started to work as a stage designer.

 

In 1918 he was the member of the Board for Artistic Matters within the Department of Fine Arts of the People's Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In 1920 he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin and others. In the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. From 1920 to 1928 he worked on stage designs for the Habimah Theatre and the Jewish State Theatre in Moscow. In 1923 a volume of his Jewish graphic art was published in Berlin. In 1925 he participated in Exposition Internationale des Arts Decoratifs et Industriels Moderns (Art Deco) in Paris. His first solo exhibition in Leningrad was in 1926.

Oil on canvas; 81.5 x 65.5 cm.

 

Swedish painter, draughtsman, tapestry and stage designer. After studying under various artists in Tumba and elsewhere, in 1922–3 he attended the Konsthögskolan in Stockholm and in 1922 visited Berne, Nuremberg and Berlin. His early works, such as Jeårj (1923; Stockholm, Mod. Mus.), were loosely painted and naive in appearance and drew on vernacular art. In 1924 he visited Paris and Italy, and in 1924–5 he helped decorate the cinema in Malmö, one of numerous early decorative projects. In 1925 he was a founder-member of the Fri Konst group of artists, which included Carl Alexandersson (1897–1941), Sven Hempel (1896–1944) and others. The following year the membership was expanded to nine by the addition of such artists as Gustav Alexanderson (b 1901) to form the Nio Unga (Nine Young Men) group. Erixson travelled extensively around Europe in the late 1920s, and in 1932, after the dissolution of Nio Unga, he was a founder-member of Färg och Form (Colour and Form) with whom he exhibited thereafter. His painting of this period retained the earlier naivety but became more expressive, as in Dance Hall at Telemarken (1931; Stockholm, Mod. Mus.). After travels in Spain and Morocco in 1935–6 Erixson designed two large tapestry cartoons for the Konserthus in Göteborg, which were executed by the Gobelins. In 1938–40 he executed two large frescoes for the chapel at Skogskyrkogardens crematorium in Stockholm. From 1942–3 he produced painted glass windows for the St Gertrud chapel at Malmö crematorium, and in 1943 he became a professor at the Konstakademi in Stockholm. Erixson produced numerous theatrical set designs in the 1940s and 1950s, such as those for Federico García Lorca’s Blood Wedding (1944), and Shakespeare’s Richard III (1946) and Romeo and Juliet (1953), which were performed at the Dramaten theatre in Stockholm. He continued to paint interior scenes, townscapes and landscapes in this period, such as Autumn in Tattby (1944; Göteborg, Kstmus.), which still showed the influence of folk art. His later work was of much the same style though the details were pared away as in the powerful Memory of Nacka Hospital (1965; see 1969–70 exh. cat.). He was also involved in further decorative projects, producing cartoons, painted windows and theatre designs. Together with Bror Hjorth, Erixson was influential in revitalizing the folk art tradition in Sweden.

 

Grove Art excerpts - Electronic ©2003, Oxford Art Online

Brush and Indian ink over traces of graphite, corrected in white bodycolor on fine-textured off-white paper; Sheet: 48.9 x 33.3 cm.

 

Rosenberg Lev Samoylovich called Bakst was a painter and a stage designer of Belorussian birth. Born into a middle class Jewish family, Bakst was educated in St Peterburg, attending the Academy of Arts. Bakst traveled regularly to Europe and North Africa and studied in Paris with a number of notable artists at the Academie Julian. With Alexander Benois and Serge Diaghlev he was a founder of the WORLD OF ART group in 1898. In 1906 he became a drawing teacher at the Yelizaveta Zvantseva's private school in St Peterburg.

 

Bakst realized his greatest artistic success in the theatre. In 1909 he collaborated with Diaghilev in the founding of Ballets Russes, where he acted as artistic director, and his stages designs rapidly brought him international fame. Between 1909 and 1921 his name became inseparable from the Ballets Russes. He also designed for other celebrities, included the artist producers Vera Komissarzhervskaya in 1906, Ida Rubinstein between 1911 to 1924. He settled in Paris in 1912, having being exiled from St Peterburg where, as a Jew he was unable to obtain a residence permit.

 

Bakst was arguably the most accomplish painter, as well as designer, in the World of Art group. His early preferences were for Realist painters and Old Masters, such as Rembrandt and Velazquez. The animated line and relaxed postures in his portraiture also suggest the influence of his close friend Valentin Serov. Through Benois and his circle Bakst was attracted to "retrospectivism" and Orientalism, and motifs from ancient Greece and Egypt became signatures in his easel paintings and theoretical work. The Benois circle also introduced him to Symbolism and Art Nouveau.

  

Ann, theatre stage designer.

The Tower Of London remembers the First World War 1914-1918

 

The major art installation Blood Swept Lands and Seas of Red at the Tower of London, marked one hundred years since the first full day of Britain's involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies progressively filled the Tower's famous moat between 17 July and 11 November 2014. Each poppy represented a British military fatality during the war.

 

The poppies encircled the iconic landmark, creating not only a spectacular display visible from all around the Tower but also a location for personal reflection. The scale of the installation was intended to reflect the magnitude of such an important centenary and create a powerful visual commemoration.

 

All of the poppies that made up the installation were sold, raising millions of pounds which were shared equally amongst six service charities.

German postcard. Collection: Geoffrey Donaldson Institute.

 

Vera Tschechowa (1940) is a film and television actress and director of German-Russian descent. Her grandfather was Oscar-nominated actor Michael Chekhov who was the nephew of author Anton Chekhov. Her grandmother was legendary film star Olga Tschechowa. The elegant, green-eyed actress has appeared in over 50 films since 1957.

 

Vera Tschechowa - also written as Vera Cecova and Vera Tschechova - was born as Vera Rust in Berlin, Germany in 1940. Her father was Dr. Wilhelm Rust, and her mother was actress and agent Ada Tschechowa. Young Vera was brought up in Germany by her Russian-German grandmother Olga Tschechowa. Her early childhood was affected by the Second World War. During the late 1940s and early 1950s, she spent much time with her grandfather, Michael Chekhov in California, and also traveled in the United States. She started her education as an artist and stage designer, then studied acting at the Munich Drama School. Eventually, she followed in the footsteps of her mother and grandmother and became an actress. Her film debut was as one of the daughters of Heinz Erhardt in the comedy Witwer mit funf Tochtern/Widower with 5 Daughters (Erich Engels, 1956). It was followed by a co-starring role in the drama Noch minderjährig/Under 18 (Georg Tressler, 1957) opposite Paula Wessely. Soon followed roles in the war drama Der Arzt von Stalingrad/The Doctor of Stalingrad (Géza von Radványi, 1958) featuring O.E. Hasse, the romance Meine 99 Bräute/My 99 Brides (Alfred Vohrer, 1958) with Claus Wilcke, and the Italian fantasy Ballerina e Buon Dio/Angel in a Taxi (Antonio Leonviola, 1958) with Gabriele Ferzetti. In 1959, when Elvis Presley was stationed as a soldier in Europe he dated Vera a few times. That year she appeared in the comedy Und das am Montagmorgen/ And That on Monday Morning (Luigi Comencini, 1959) starring O.W. Fischer, and the Freddy Quinn musical Freddy unter fremden Sternen/Freddy under foreign stars (Wolfgang Schleif, 1959). In 1959 she also made her stage debut at Berlin Theater. Later she worked on stage at Deutsche Schauspielhaus Hamburg, and also at Dusseldorfer Schauspielhaus and Theater Basel.

 

In 1962 Vera Tschechowa received the German National Film Award, the Filmband in Gold, for her work in Das Brot der Fruhen Jahre/The Bread of Those Early Years (Herbert Vesely, 1962) with Christian Doermer. Since then she has been enjoying a formidable film career, including such diverse films as L'amour à vingt ans/Love at Twenty (François Truffaut a.o., 1962), the Edgar Wallace Krimi Die Gruft mit dem Rätselschloß/Curse of the Hidden Vault (Franz Josef Gottlieb, 1964), and the romance Liebe und so weiter/Love and so on (George Moorse, 1968), with Vadim Glowna, whom she had married in 1967. She also made numerous appearances on television in several European countries. In 1977 she received the Goldene Camera Award for her role in the TV production Zeit der Empfindsamkeit/Age of Sensitivity (Wilma Kottusch, 1977). In 1980 she founded together with Vadim Glowna the film production Atossa. The company produced Desperado City (Vadim Glowna, 1980), which won the 1981 Camera d'Or for Best Debut Film at the Cannes Film Festival. She was also directed by Glowna in Dies rigorose Leben/Nothing Left to Loose (Vadim Glowna, 1983) with Angela Molina, and in the documentary Tschechow in meinem Leben/Chekhov in My Life (Vadim Glowna, 1984) about the Chekhov dynasty. In the 1990s and 2000s, Vera Tschechowa became known as a writer/director/producer of film portraits. First, she worked for TV on portraits of the actors Klaus Maria Brandauer (1994), Anthony Quinn (1997), and Robert Redford. IMDb credits Der Filmemacher Ang Lee/Filmmaker Ang Lee (Vera Tschechowa, 2003) as her first film as a director. In 2006 she presented her film Salam Cinema: Die iranische Familie Makhmalbaf und ihre Filme/Salaam Cinema - Iran's Makhmalbaf family and their films (Vera Tschechowa, 2006) at the Munchner Filmfest. It is a portrait of the Makhmalbaf family of filmmakers. Her most recent film is Michael Ballhaus - Eine Reise durch mein Leben/Michael Ballhaus - A Journey through My Life (Vera Tschechowa, 2008) about the famous German cinematographer. Vera Tschechowa speaks four languages: German, English, French and Russian. After she divorced Vadim Glowna, she married manager Peter Paschek, who produced her two latest documentaries. She has a son from a relationship with actor Hartmut Reck.

 

Sources: Steve Shelokhonov (IMDb), Wikipedia (English and German).

 

And, please check out our blog European Film Star Postcards.

Watercolor; 30 x 29 cm.

 

(b Faenza, 4 Aug 1909; d Rome, 5 April 1981). Italian painter, illustrator and stage designer. He began his training in Faenza in the workshop of the Italian painter and ceramicist Mario Ortolani (1901-55). After living briefly in Bologna (1927) and Paris (1928) he settled in Rome in 1929, first exhibiting his work at the Venice Biennale in the following year. His paintings at this time, such as Nude (Susanna after her Bath) (1929; Faenza, Pin. Com.), were characterized by an emphasis on tonal relationships and on the influence of the Scuola Romana. In 1934 he began to work with growing success as an illustrator for the journals Quadrivio and Italia letteraria. The contacts he established with Paris were intensified with his move there in 1947, resulting in three one-man shows at the Galerie Rive Gauche (in 1950, 1953 and 1957), and in his paintings he evolved a cautious balance between the representation and the disassembling of the image. Some of his best-known series of paintings date from this time, including his Cathedrals (e.g. Cathedral with Still-life and Dog, 1960; Rome, Vatican, Col. A. Relig. Mod.), pictures of town squares populated by acrobats and musicians, and later female nudes and a series entitled Mermaids.

Tempera on Pavatex; 28 x 36 cm

 

Swiss painter, draughtsman, sculptor and stage designer. He took an apprenticeship as a draughtsman-architect (1924–7) and then studied at the Ecole des Arts et Métiers in Lucerne (1927–8). Between 1928 and 1929 he stayed for the first time in Paris, where he attended the Académie Julian. He continued his training at the Vereinigte Staatschulen für freie und angewandte Kunst, Berlin (1929–30). The works of this period are signed François Grècque, a pseudonym that shows his admiration for ancient Greek art, traces of which are found in his works. In the course of many visits to Paris between 1932 and 1934, he had contacts with many artists, including Brancusi, Alexander Calder, Kandinsky, Mondrian and Henry Moore, and he was strongly influenced by the works of Braque and Picasso. In October 1933 he joined the Abstraction–Création group. In 1935 he collaborated in the exhibition Thèse, antithèse, synthèse at the Kunstmuseum in Lucerne, and in the same year he won a competition organized by that city, which involved the creation of a fresco, The Three Graces of Lucerne, to decorate the railway station. Many official commissions for frescoes or mural reliefs followed.

 

Arthur Szyk was a graphic artist, book illustrator, stage designer and caricaturist. He was born into a Jewish family in Łódź, in the part of Poland which was under Russian rule in the 19th century. He always regarded himself both as a Pole and a Jew. From 1921, he lived and created his works mainly in France and Poland, and in 1937 he moved to the United Kingdom. In 1940 he settled permanently in the United States, where he was granted American citizenship in 1948.

 

Arthur Szyk became a renowned graphic artist and book illustrator as early as the interwar period – his works were exhibited and published not only in Poland, but also in France, the United Kingdom, Israel, and the United States. However, he gained real popularity through his war caricatures, in which, after the outbreak of World War II, he depicted the leaders of the Axis powers – mainly Adolf Hitler, Benito Mussolini and Emperor Hirohito. After the war, he also devoted himself to political issues, this time supporting the creation of Israel.

 

Szyk's work is characterized in its material content by social and political commitment, and in its formal aspect by its rejection of modernism and drawing on the traditions of medieval and renaissance painting, especially illuminated manuscripts from those periods. Unlike most caricaturists, Szyk always showed great attention to the coloristic effects and details in his works.

 

Today, Szyk is a well-known and often exhibited artist only in his last home country – the United States. In Europe, since the late 1990s exhibitions of his art has been mounted in the Polish cities of Kraków, Warsaw, and Łódź as well as in Berlin, Germany. The recent publication of a Polish-language edition Szyk's biography and public broadcasts of the documentary film "Arthur Szyk - Illuminator" (Marta Tv & Film, Telewizja Polska (Łódź), 2005) also have improved Szyk's stature in his mother country, Poland.

Oil on canvas; 77.7 x 98 cm.

 

By the time László Moholy-Nagy turned towards painting after graduating from law school and developed his own abstract style influenced by Malewitsch and El Lissitzky, it was inevitable that he would become one of the most important artists of Constructivism. He soon exposed himself in Hungary as the founder of the artist group "Ma", but left his home country after the failure of the revolution.

He moved to Berlin In 1920 where Gropius noticed him and invited him to join the "Bauhaus" in 1923. There Moholy-Nagy ran the metal class but also worked in all other areas of design in which he was equally influential. The artist published his ideas in the series of Bauhaus books, for example "Malerei, Fotografie, Film" (1925). Moholy-Nagy wanted an "experimental, functional artist […] who considers art as a laboratory for new forms of expression which were then supposed to be employed in all areas of modern life" (Karin Thomas).

 

The expectations of the age of technology and his new media led Moholy-Nagy to a functional use of Abstraction, which he managed to show in all areas of design and which guided him through different phases of experimenting. His varied oeuvre ranges from painting, photography, film, design and stage design to experiments with photograms which considerably influenced the development of light art and kinetic art. László Moholy-Nagy left the "Bauhaus" in 1928 together with Gropius and worked in Berlin as a stage designer, exhibition organiser, typographer and film producer. He emigrated to the USA in 1937 and ran the "New Bauhaus" in Chicago. Moholy-Nagy opened his own art institute, the "School of Design", in Chicago in 1938 and enlarged it in the following years by adding the faculties economics, psychology and information theory.

 

László Moholy-Nagy became severely ill and died one year later, in 1946.

Russian painter, mainly in watercolour, art historian and stage designer. Born in St Petersburg of French and Italian descent, son of Nikolai Benois, architect to the Imperial Palaces in Peterhof. Briefly attended a part-time course in stage design at the Academy of Arts 1887, but otherwise self-taught as an artist. Studied law at the University of St Petersburg 1890-4, and while still a student formed a circle with a number of friends, including Diaghilev, Somov and Bakst, for the purpose of studying art. This later developed into the World of Art (Mir Iskusstva), which held exhibitions and published a journal of the same name, 1898-1904. Travelled widely in Europe and was influenced by the art of the eighteenth century. Became very active and influential as a stage designer, including sets and costumes for Le Pavillon d'Armide 1907 and (for Diaghilev) Petrushka 1911 and Le Rossignol 1914. Edited the periodical Khudozhestvennye sokrovishcha Rossii (Art Treasures of Russia) 1901-3, and wrote several books on art and volumes of memoirs. Curator of Painting at the Hermitage 1918-25, then moved in 1926 to Paris, where he continued to paint and design for the theatre. Died in Paris.

 

Published in:

Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.48

Studley Royal Park including the ruins of Fountains Abbey is a designated World Heritage Site in North Yorkshire, England. The site, which has an area of 800 acres (323 ha), features an 18th-century landscaped garden, some of the largest Cistercian abbey ruins in Europe, ruins of a Jacobean mansion and a Victorian church designed by William Burges.

 

Originally separate estates, after the Dissolution of the Monasteries, the Fountains estate was owned by the Gresham, Proctor, and Messenger families. At the same time, the Studley estate was separately held by the Mallorie (or Mallory) and then Aislabie families, after the marriage of Mary Mallory and George Aislabie. The estates were combined on 22 December 1767, when William Aislabie purchased the Fountains estate from John Messenger. In 1966, the property came into public ownership after its purchase by West Riding County Council. In 1983, it was acquired by the National Trust.

 

The gardens and park reflect every stage in the evolution of English garden fashion, from the late 17th century to the 1780s and beyond. Most unusually, both John and William embraced new garden fashions by extending their designed landscape rather than replacing and remaking outmoded parts. As a result, the cumulative whole is a catalogue of significant landscaping styles.

 

Studley Royal Park is an estate in North Yorkshire, England. The land broadly slopes and east-facing views are a feature of its landscape. The River Skell runs through the site, cutting through layers of Upper Carboniferous sandstone and Permian Magnesian limestone. The park was formed through the aggregation of the former land-holdings of Fountains Abbey, which were purchased by the Gresham family after the Dissolution, and the estate of Studley Royal.

 

Whilst the prehistoric origins of the land upon which Studley Royal Park now stands are under-researched, there is evidence for settlement in the area. An excavated flint assemblage from the park demonstrates the presence of people working flint on the site. There is evidence of farming activity dated to 4,500 years ago.

 

Material from the Iron Age is also associated with the site, including a lost gold torc. Iron Age enclosures at Mackershaw date from the sixth to fifth centuries BC. In the later phases of that enclosure, Romano-British material, including an Egyptian glass bangle, has also been discovered. The presence of Romano-British communities is also attested by the excavation of four skeletons by the vicar of Wath in 1881.

 

Documentary sources and place-name evidence, rather than archaeological excavation, provide insight into the early medieval period in the area. The Venerable Bede recorded that king Alhfrith of Deira granted land for a monastery near Ripon to Eata.

 

Fountains Abbey was founded in 1132 by Benedictine monks who left St Mary's Abbey, York to follow the Cistercian order. During the medieval period, monastic landholding steadily increased. For example, in the 1220s, Cassandra de Aleman donated land at Swanley to become part of the monastic grange.

 

After the dissolution of the monasteries in 1539 by Henry VIII, the Abbey buildings and over 40% of the former monastic estate was sold by the Crown to Sir Richard Gresham, a merchant. The Greshams, as new owners of a formerly monastic site had a responsibility to render it incapable of future religious use. This was done through a programme of demolition and sale of goods, which included the stripping of lead from the buildings, the removal of glass and Nidderdale 'marble' from the church. 

 

The property was passed down through several generations of Sir Richard's family, then sold to Stephen Proctor in 1596. This included the precinct, Fountains Park and Swanley Grange. It was Proctor who built Fountains Hall probably between 1598 and 1604. The hall is a Jacobean mansion, built partly with stone from the Abbey ruins. Proctor was subsequently imprisoned and sold Fountains Park to pay his legal fees.  In April 1622 the Fountains estate was re-combined by Timothy Whittingham, who re-mortgaged it the same year to Humphrey Wharton. Over the subsequent two years, parts of the estate were ceded to several creditors, but ultimately Wharton regained control. The 1627 estate sale includes details for a lead casting workshop in the Warming House; the estate was bought by Richard Ewens and his son-in-law John Messenger.  During the English Civil War Messenger reputedly fought at the Battles of Marston Moor and at Naseby. In 1655 Ewens' grandson, William Messenger, inherited the estate. 

 

The Messengers were never wealthy, and in 1676 William Messenger had to arrange mortgages on the estate in order to pay for his daughters marriages. Other financial troubles led William to leave his family, and he died in Paris in 1680, leaving his three-year-old son, John Messenger, to inherit.  He married Margaret Scrope in 1698, a year after he came of age, and around this time he began re-building works on Fountain Hall. He rented out areas of the former abbey, including the mill; however these leases excluded mineral extraction, which were kept by Messenger. The family were also keenly interested in the ruins of the abbey itself, and allowed people to visit from as early as 1655. 

 

In 1736, William's son Michael James married Elizabeth Sayer and took responsibility for the estate. He commissioned the first measured survey of the abbey in 1758. The family's financial position was declining and by 1765 Michael was selling oaks from the estate. Michael James died in 1766 and his son John Michael inherited. On 22 December 1767, John Michael sold the Fountains estate to William Aislabie for £18,000. 

 

From 1452 onwards, Studley Royal was inhabited by the Mallory family, most notably by MPs John Mallory and William Mallory. A depiction of the enclosed park first appeared on Christopher Saxton's 1577 map of Yorkshire. In 1607 John Mallory commissioned the first surviving survey of the estate. This listed land-holdings and it demonstrated that the estate formerly extended beyond the park.  During the English Civil War, William Mallory and his son John, were loyal to the Crown; John commanded a force that defended Skipton Castle. They only surrendered in December 1645. William died in 1646 and John was fined by Parliament for half the value of the estate. Paying off the fine was attempted by selling off his wife's family estate, as well as other property, including a mill at Galphay and a farm at Nunwick. However, despite this, when John died in January 1656, and his son William inherited, aged only eight years old, debts had mounted up to £10,000. During this time it was John's widow, Mary, who managed the estate and managed to bring it within its means once more. However, in 1667, William died aged nineteen and the estate passed to his sisters: the eldest Mary, who was married to George Aislabie, as well as Jane and Elizabeth. 

 

Aislabie was the son of a farmer from Osgodby in North Yorkshire. He worked as a clerk for William Turbutt in the church courts at York. As part of Turbutt's household, Aislabie inherited £200 at his death in November 1648. After Turbutt's death Aislabie remained as part of the household, working for the widowed Elizabeth Turbutt. There is a suggestion made by John Richard Walbran that the pair may have had a romantic attachment, but this is unproven. Nevertheless he was the primary beneficiary of Turbutt's will when she died in 1662 – a result of which he purchased Treasurer's House in York. It was around this time that he married Mary Mallorie. George was killed in a duel in 1676.  It was George who began plans for the re-establishment of an enlarged park with Studley Royal in its centre. Studley Great Gate, now more commonly known as East Gate, the largest probable remnant of his plans.

 

George Aislabie's wife, Mary, preserved the estate, but by the time of her death in 1683 was in debt. Trustees to the estate were appointed until the heir, Mallorie Aislabie, came of age: William Robinson, husband of the eldest daughter Mary and Arthur Ingram.  Mallorie died in 1685 and was succeeded as heir by his brother George, who inherited but then died in 1693. The third brother, John Aislabie inherited the Studley estate.  A survey in 1694 describes both an 'old park' and a 'new park' which invites consideration of expansion under his father.

 

By 1695 John Aislabie was the Tory Member of Parliament for Ripon, and in 1718 became Chancellor of the Exchequer.  This enabled some of the family's perhaps long held plans, to landscape the park, to begin. This included the construction of a tower on How Hill, and the canal and cascade that became the foundation of the Water Garden. Aislabie was a principal sponsor of the South Sea Company scheme, the bill for which was promoted by him personally. In 1720 this vast financial operation collapsed, and in 1721 he was expelled from Parliament and disqualified for life from public office. Stocks from the South Sea Company were grafted to the East India Company, of which his brother William was a director.

 

Aislabie returned to Yorkshire and from 1723 devoted himself to the landscaping of the estate. This included the construction of a boundary wall along the western side of the valley between the Fountains Abbey and Studley Royal estates. This wall had at least one viewing platform and connected to the path known as High Walk. Boundaries including ha-has were also constructed at this time.  It is possible the design was influenced by his kinsman William Benson's knowledge of neo-Palladian design. Other early features included The Upper Canal and Drum Falls. Flooding subsequently damaged these early developments, and by 1726 approximately 100 men were working to create water features, which included canals and ponds.  The design of the cascade and the fishing lodges is attributed to Roger Morris, who worked with Colen Campbell. The cascade and the canal was described in 1729 by Stephen Switzer in his volume of engineering, Hydrostatics. Aislabie and Morris's works did not just extend to the water gardens, but also to other areas of the estate. By 1728 work was also underway on the High Stables, which can still be seen in the deer park. 

 

During the 1730s and 1740s, there were a number of head gardeners employed by Aislabie. William Fisher worked on the estate from at least 1717 to 1732, when he was paid off. He was followed by John Hossack (left 1738), Mathias Mitchell (dismissed 1742) and then James Lockey (died 1744). Another significant employee was Robert Doe, who was a builder, mason and later head gardener too. Doe later worked on building projects for Castle Howard and for Swinton Castle.  This was also a period of expansion, during which Aislabie changed the lease on Mackershaw – making it permanent, rather than leased for agriculture. During this phase, the Grotto was constructed and changes were made to footpaths around its location; the Temple of Piety was also built.

 

In 1738 the first known plan of the gardens was made by Sir John Clerk of Penicuik, who was visiting them as part of a northern tour. At the same time the Octagon Tower was also constructed and it was glazed and decorated during 1735; subsequently stuccowork was added by Francesco Vassalli.  Other buildings constructed at this time include the Bathing House and the Boathouse. The planting at this time was perhaps sparser than that of the estate in the early twenty-first century: eighteenth-century visitors reported seeing bare rock between the trees.  The late 1730s also saw a revision of the statuary scheme in the gardens, which included the introduction of a statue of Neptune, centrally located in the Moon Pond. 

 

After Aislabie's death on 18 June 1742, his son William inherited, and whilst little is known about William's life, it is known that he set out on a Grand Tour in 1720, which was thwarted by political turmoil in France. In 1724 he married Lady Elizabeth Cecil, with whom he had six children: two sons and four daughters. Elizabeth and two of their daughters died in a smallpox outbreak in 1733. William's first scheme for the gardens was the construction of a funerary pyramid, modelled on the one at Stowe Gardens. He also extended the designed landscape further down the Skell Valley and introduced in 1745 a 'Chinese house', inspired by fashion at the time. 

 

In 1745 William re-married, to Elizabeth Vernon, who was the niece of his step-mother.  Perhaps, as a result, Studley Hall was renovated, which included the decoration of two rooms in a chinoiserie style. In the 1750s a gardeners house was built near the Kitchen Garden and two ice houses were constructed. A private garden with aviary was also created next to Studley Hall during this period. William also added new architectural features to the park: an obelisk at the western end of the main avenue and the Belvedere, which was a Gothic garden room. In addition to new buildings, existing ones had a change of character: for example the Temple of Venus had family portraits installed in it and its name changes to that of 'Banqueting House'.  In the 1750s the network of footpaths around the gardens were also much greater than the modern-day lay-out. Overall, William extended the landscaped area in the picturesque romantic style, contrasting with the formality of his father's work. Between them, the two created what is arguably England's most important 18th-century landscape gardens.

 

On 22 December 1767, William Aislabie purchased the Fountains estate from John Messenger, combining the Studley and Fountains estates. 

 

In February 1768, the gardens were flooded, which resulted in repairs and renovations. Subsequently the reservoir was expanded from a two acre, to a three and a half acre capacity. This period also included the insertion of new garden buildings, such as the Green Arch and the White Seat. In addition, new water features were added to the south-east of the gardens.  1768 also saw Robert Doe, on the instruction of Aislabie, begin to clear and stabilise the abbey ruins; work which continued until at least 1773.  Part of this scheme of work included the demolition of the Lay Brothers' Cloister. It also included construction: the Gazebo was built under the east Window, which provided visitors with an elevated view of the nave.

 

Anne Boleyn's Hill is first named as part of the gardens in 1771, where an antiquarian headless statue looked out on the valley. The statue moved and was restored to its location in 2004. The last mention of the Rotondo and the Coffin Lawn date to 1775, and it is likely the former was used to infill the latter. The canalisation of the Skell near the Abbey was undertaken in 1773, which used the river as a framing device for the view of the abbey from Anne Boleyn's Seat (constructed c.1789–91).

 

William also added ornamentation to parts of the ruins, adding detailing, but most significantly recreating the location of the high alter through the repositioning of medieval tiles found throughout the site. He also added planting to the cloister, in the form of shrubs and flowers. Greater security was also introduced to the abbey, with lockable doors and gates. However there was contemporary criticism of these changes, in particular from William Gilpin, who visited Studley on a tour of the north of England. 

 

William died on 17 May 1781 in London. The estate passed to his elder daughter, Elizabeth Allanson, after his two sons predeceased him.  Whilst she spent the majority of her time as owner at her home in Twickenham, Elizabeth did continue her family's civic work in Ripon – donating to the poor, funding streetlighting and building Ripon Town Hall.  However, although she appointed Christopher Hall as agent, during her ownership, and her lack of presence at the estate, many areas of the designed landscape became neglected.

 

Elizabeth died on 8 March 1808 and was succeeded by her niece, Elizabeth Sophia Lawrence, who lived at Studley from 1808 until her death in 1845.  An influential woman in the area, she used her position to influence (and punish) voters.[10] Under her ownership, she made further additions to the grounds, which included the stone Obelisk, as well as Robin Hood's Well, which enclosed a small spring. She also made repairs to the abbey, including to Huby's Tower. It was under her ownership that John Richard Walbran first undertook excavations in 1840.  In her will she left bequests totalling £237,000, including £1000 to fund a dispensary in Ripon.

 

The estate then devolved to Thomas Philip, 2nd Earl de Grey, a distant relative. Under de Grey, Walbran undertook further excavation.  These excavations in the 1850s also piqued public interest further in the site. This was furthered by the opening of curative springs nearby in Harrogate bringing a large tourism audience with it.  Management of the huge increases in the numbers of tourists entailed the creation of new routes, including the De Grey Walk and the Well Walk. In 1847 a new one shilling entrance fee was introduced.  The first record of a school trip to the site was from St Peter's School, Dallowgill, in September 1851. In 1858 the first museum for the site was opened in the Muniments Room, above the Warming House.  The 1850s also saw major events held at the estate for the first time. These raised funds for a variety of causes, such as the Ripon Mechanics Institute, to celebrate peace in Crimea, and a 'Great Musical Celebration' in 1868. In 1869 the third-earliest bicycle race to be held in England ran through the estate. 

 

On de Grey's death in 1859, the estate passed to his nephew, George Frederick Samuel Robinson, the Marquess of Ripon, and later the Viceroy of India. He redeveloped areas of Studley Hall, as well as renovating the gardens near the house. He also constructed the Pheasantry at the edge of the estate, as well as building a golf course, whose first professional was Harry Vardon. He also built St Mary's church in the park.  During his ownership of the estate, three structures were added: Studley tea room, an oval island in the lake, and the High Seat in the west of the gardens. During this period, more exotic trees were introduced as part of the planting scheme – for example a Wellingtonia gigantea was planted by the Prince of Wales in 1863.  In 1886 a pageant was held on the estate, celebrating Ripon's millennium; a similar event was repeated in 1896 for the Diamond Jubilee of Queen Victoria.

 

George Frederick Samuel Robinson, the Marquess of Ripon died in 1909 and his son Frederick Oliver inherited the estate. On the death of Frederick Robinson, 2nd Marquess of Ripon in 1923, the estate was acquired by his cousin Clare George Vyner. Visitor income became more significant for the Vyner family, than it had been for the Robinsons, yet the family had a strong sense of social responsibility and in the 1930s established the Fountains Abbey Settlers Society, which provided work and skills to unemployed families. This also included a work scheme that dredged the river.  In addition to the scheme on the estate, Vyner also funded the construction of a model village in Swarland, Northumberland. The Settlers Society ended at the outbreak of the Second World War, but its accommodation was repurposed to house German and Polish refugees.  During the war much of the estate's land was cultivated for the first time in 600 years, as part of the 'Dig For Victory' campaign.  Studley Hall after doing war service as the home of Queen Ethelburga's School, was destroyed by fire in April 1946. After the war, the upkeep of the estate became too expensive for the Vyner family, who sold it to Broadlands Properties for £1,250,000. They subsequently also sold Fountains Hall to West Riding County Council in 1969.

 

In 1966 much of the estate was purchased by West Riding County Council from Broadlands Properties, and the property was reopened to the public in 1967. However resource pressures meant that the local authority was keen to find another owner for the estate. There had been previous appeals to the National Trust to undertake running the site, including in 1923. In 1983 the property was acquired by the National Trust.

 

English Heritage is responsible for conservation of the abbey under a guardianship agreement, but managed on a day to day basis by the National Trust. St Mary’s Church is owned by the State and managed by the National Trust under a local management agreement. In 1986 the entire estate was designated a World Heritage Site by UNESCO. It gained recognition as it fulfils the criteria of “being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history”.  The initial proposal for World Heritage Status only extended to Fountains Abbey and St Mary's Church; it was on the recommendation of the International Council on Monuments and Sites (ICOMOS) that the listing extended to include Studley Royal. In 1992, a new visitor centre and car parks were designed by Ted Cullinan to accommodate growing visitor numbers. Lying north-west of the Abbey above the valley floor, the new visitor centre incorporated a shop, large restaurant, lecture theatre and exhibition space (currently office space) arranged around an open courtyard.

 

In 2015 stage designer Gary McCann was commissioned to produce work in response to the buildings on the property; the resulting exhibition, entitled Folly!, installed works in spaces such as the Banqueting House. In 2016, Mat Collishaw created Seria Ludo and The Pineal Eye in the Temple of Piety. In 2018, Charles Holland, Lucy Orta and Flea Folly Architects created artworks to reimagine lost follies in the landscape. In 2021, Steve Messam created three artworks in an exhibition entitled These Passing Things and in 2022 Joe Cornish created a photographic exhibition Still Time to Wonder in various buildings on the property.

 

Studley Royal, under National Trust ownership, is the preserved core of a once much more substantial Aislabie project, which incorporated the surrounding agrarian landscape that they owned, long distance views to Ripon and beyond, and rides extending to other designed landscapes including Laver Banks and Hackfall (seven miles from Studley), 177–184 The gardens and park reflect every stage in the evolution of English garden fashion, from the late seventeenth-century to the 1780s and beyond. Most unusually both John and William embraced new garden fashions by extending their designed landscape rather than replacing and remaking outmoded parts. As a result, the cumulative whole is a catalogue of significant landscaping styles. This includes John Aislabie's ground-breaking appreciation of natural topographical landforms, for him it was not necessary to level ground and create a garden, the garden could be made to accommodate and display the underlying landscape.

 

The park incorporates Fountains Abbey, Fountains Hall, and a number of other notable historic features.

 

The water garden at Studley Royal created by John Aislabie in 1718 is one of the best surviving examples of a Georgian water garden in England. It was expanded by his son, William who purchased the adjacent Fountains Estate. The garden's elegant ornamental lakes, canals, temples and cascades provide a succession of dramatic eye-catching vistas. It is also studded with a number of follies including a neo-Gothic tower and a palladian-style banqueting house.

 

St Mary's Church was built by the architect William Burges and commissioned by the family of the First Marquess of Ripon. It has been suggested that the construction of this place of worship was prompted by the death of Frederick Grantham Vyner, who was kidnapped and killed in Greece in 1870.

 

Burges' appointment as architect was most likely due to the connection between his greatest patron, John Crichton-Stuart, 3rd Marquess of Bute and Vyner, who had been friends at Oxford. St Mary's, on Lady Ripon's estate at Studley Royal, was commissioned in 1870 and work began in 1871. The church was consecrated in 1878. As at Skelton, Burges' design demonstrates a move from his favoured Early-French, to an English style. Pevsner writes of "a Victorian shrine, a dream of Early English glory." The interior is spectacular, exceeding Skelton in richness and majesty. The stained glass is of particularly high quality. St Mary's is Burges' "ecclesiastical masterpiece."

 

Both marquesses and their wives are buried there.

 

How Hill Tower

Prior to 1346, a chapel dedicated to St Michael the Archangel was built on How Hill. This became a minor medieval pilgrimage site. Visitors to the site could see both York Minster and Ripon Cathedral from its summit. The flooring was made of mosaic tiles, similar to those attributed to a painted pavement dating to between 1236 and 1247. The chapel was repaired by Marmaduke Huby between 1494 and 1526. Post-reformation the chapel continued to be used between 1551–54 for the churching of women, until falling into ruin.

 

A tower was constructed next to the ruins, and re-using some of their masonry by, John Aislabie. Likely designed by Sir John Vanburgh, the view from the tower extended across the Studley estates, and York could even be seen twenty-six miles away.

 

In 1810 an estate survey recorded a farmhouse on the site, but by 1822 the description had changed to 'How Hill House & Tower'. Presumably the site had lost its significance as a garden building in a designed landscape and was commissioned to a more functional use. Whilst its role as a home stopped in the 1930s, there was another use-change: during the Second World War the Home Guard used it as an observation post.

 

Deer park

The deer park, where the church stands, is home to deer, and a wealth of other flora and fauna. At Studley there are three types of deer: Red Deer, Fallow Deer and Sika Deer. John Clerk, visiting in 1738, described how the buck deer moved in a group, so that they "resemble a moving forrest [sic]".

 

Buildings and structures

Studley Royal House (or Hall) stood in the north-west corner of the park. Originally a medieval manor house, there is a record from the 1220s of an extensive garden created by Cassandra de Aleman. It consisted of a main block with forward projecting wings, it burned down in 1716 and was rebuilt by John Aislabie. He filled in the centre, to which his son William added a portico in 1762 to complete its Palladian appearance.

 

It was altered and developed by the First Marquess of Ripon, who created a new entrance hall, a royal suite, and the reorganisation of the domestic service areas. He also added a Catholic chapel at the western side of the house in 1878.

 

The house burnt down in 1946, and its remains were demolished by the Vyner family, who could not afford repairs to it. Instead the splendid Georgian stable block, built for John Aislabie’s racehorses between 1728 and 1732, was converted into an elegant Palladian country house set in 2½ acres of private formal gardens on high ground overlooking the deer park towards Ripon Cathedral in the distance.

 

Built of stone under a slate roof with distinctive pavilion towers in each of the four corners, the pristine, 11,708sq ft house surrounds a central square courtyard overlooked by all the main rooms and dominated by the working clock tower.

 

Studley Magna

The deserted medieval village of Studley Magna mainly lies within the boundaries of the park. Excavation demonstrated that the village was aligned with the important road to Aldfield. The earliest ceramics from the site date to c.1180–1220, whilst the latest finds date from c.1300. The site included a large two-storey miller's house with a stone fireplace that was rare for the period. The house was sold in 1362 by Widow Horner to Richard Tempest.

 

The Banqueting House

Documentary evidence suggests that the Banqueting House was being completed in 1731, and is described in the estate accounts as 'the new building'. The structure had several phases of alteration after construction, and other documents refer to it as 'the Greenhouse'. In front of the façade a deep coffin-shaped lawn was introduced, who sightlines connected the building and the Rotondo. Above the Banqueting House, amongst the trees, is an oval platform, which is likely to be the Dial Lawn, which is described in accounts in 1730s.

 

The Temple of Piety

The building was constructed based on a sketch by Palladio owned by Lord Burlington, and was initially known as the Temple of Hercules. Documentary evidence shows that it was constructed and named by April 1736.

 

Mackershaw Lodges

These buildings were constructed after 1731, with the change in terms of the loan (to acquisition) of the Mackershaw area. They compromise two small lodges with classical pediments either side of a central arch, constructed from rough, undressed stone, with Venetian windows.

 

Lost buildings

Wattle Hall

One of the buildings most frequently attested in the early eighteenth-century is the Wattle Hall. Surviving records suggest that it was made of bent branches rather than brick or stone, and it was repaired in 1732.

 

Rotondo

Close to Kendall's Walk and in the north-east corner of Coffin Lawn, evidence for the Rotondo first appears in a painting dating to 1734–41. It was demolished in the 1770s. A close comparison to this would have been the Temple of Venus in Stowe Gardens. 

 

Pyramid

William's first building work for the gardens was ordering the construction of a funerary pyramid, modelled on the one at Stowe Gardens. Whilst designs for this building exist, its location is unknown. It is possible that the stone was cut, but it was never constructed.

 

Chinese house

The Chinese house was constructed in 1745 and a 1751 visitor described it as having blue columns, gilded decoration, a white ceiling, a variety of Chinese ornaments and stuccowork by Giuseppe Cortese. It also had a balustrade seat running inside the columns.  There is a surviving sketch of the building, but only the plinth for its survives. It was located beyond the southern limit of National Trust estate.  The area around the house was known as the Chinese Wood, to which two chinoiserie-style bridges provided access.

(further information and pictures you can see by clicking on the link at the end of page!)

Volkstheater - People's Theatre

The Volkstheater (2008)

The Volkstheater is one of the most important Schauspielbühnen (drama stages) of Vienna. It was founded in 1889 by the poet Ludwig Anzengruber and the industrialist Felix Fischer by the Association of the German folk theater (Volkstheater), to create an alternative to the Imperial Hofburg Theatre, the latter one the representation of everyday life, the folksy and comedic elements keeping away from its stage boards. The first president of the club was the famous stool manufacturer Franz Thonet. The founders intended in addition to folk plays mainly classical and modern dramas being performed and to provide a broad class of population access to the theater. Therefore the famous Theaterarchitektenduo (duo of theater architects) Ferdinand Fellner and Hermann Helmer the neo-Renaissance building with the representative column loggia have given a large auditorium with little boxes and many exits to the outside, by which this building in the style of historicism became a model for the entire monarchy. The auditorium with the ceiling painting by Eduard Veith, showing the coronation of the Austrian poets Ferdinand Raimund, Johann Nepomuk Nestroy and Ludwig Anzengruber, is one of the last in its original state preserved audiences in Vienna and was with 1900 seats formerly the largest in the entire German-speaking world. Today, the capacity of the theater is 970 places and it is the second largest theater stage in Vienna. According to safety regulations, which were adopted after the Ring Theatre fire in Vienna in 1881, the Volkstheater was the first exclusively electrically lit theater house.

History

On 14 September 1889 opened the theater its doors with Ludwig Anzengruber's drama "The stain on the honor". The bourgeoisie and the aristocracy of money (Geldadel) called the new theater "their house" and thus defied the exclusively reserved for the aristocracy Court Theatre, whose artistic director initially even harbored takeover plans. When the popular theater was run down and broke, he then wanted to buy it cheap. But the people theater celebrated one success after another. Just one year after the opening had to be enlarged the stage area. In 1907 were added a further extension with additional foyer and 1911 more stage side rooms.

In the 1920s, the Volkstheater experienced under the theater directors Alfred Bernau and Rudolf Beer artistic highlights. Spectacular repertoires, prominent actors, directors and stage designers of that time continued the success story of the theater. From 1938 to 1945, the theater became part of the Nazi leisure program "Strength through Joy" of the German Labor Front under Walter Bruno Iltz. In the years 1938/1939 was rebuilt the theater and removed the sculptural decoration on the facade. For a visit of Adolf Hitler even a reception and break room was extra set up, the so-called leaders room (Führerzimmer). In 1944 the dome and foyers were destroyed in an attack, a year later the building was restored but for the time being it was decided not to reconstruct the dome and the facade decoration. Only in the course of a general renovation in the early 1980s the dome was restored. On 10 May 1945, the theater was reopened. After the war, the director and actor Günther Haenel became director of the theater. His game plan focused mainly socio-critical issues.

In the following two decades (1950s and 1960s) dominated on the initiative Leon Epps' contemporary plays and bold interpretations of classics the theater program and the popular theater became famous with Raimund and Nestroy interpretations under the direction of Gustav Manker. Manker became at the beginnings of the 1970s director of the theater and celebrated breakthroughs with the discovery of modern Austrian dramatic literature.

In 1954, the play series "People's Theatre in the districts" was launched. Individual productions of popular theater are presented in external venues in the districts of Vienna. Among these secondary venues since 2005 the "Hundsturm (dogs tower)" as a smaller stage is included in which experimental theater works are staged. But also in the main building of the popular theater are additional venues located, like the "Red Bar" (in the buffet room on the first floor), the "Black Salon", the "White Salon" and the "Reception Room" (formerly "Führerzimmer"). Since 2009/10 in Bellaria Cinema at Museum Street behind the People's Theatre the production "Go West ? - Young authors write for the popular theater" has its home.

The auditorium (2009)

On both sides of the main house in the Neustiftgasse watch "the good spirits of the Viennese popular theater". In the nearby small Weghuberpark sits theater buffoonery poet Ferdinand Raimund suspended in reverie on a marble bench, surrounded by the feminine genius of fantasy. This sculpture was created by the Austrian sculptor Franz Vogl 1898. At the corner of Burggasse/Museum Street a bust of the famous Austrian actress Johanna "Hansi" Niese (by Josef Müllner, 1952) reminds of the triumph of comedic presentation at the beginning of the century.

Source: Wiener Zeitung

 

Statua ( In rete metallica ) di Edoardo Tresoldi

Statue (made of wire mesh) by Edoardo Tresoldi

 

Siponto ,Manfredonia, Foggia ,Puglia, Italia © 2016 All rights reserved by Michele Masiero

 

FotoSketcher: lively

Nikon coolpix p 7100

 

Il Parco archeologico di Siponto, è situato a pochi chilometri dalla città di Manfredonia in Puglia.

Nell’area archeologica accanto alla chiesa di Santa Maria Maggiore di origine medievale, sono presenti i resti di una basilica paleocristiana del IV sec. d.C. a tre navate con abside centrale e pavimento a mosaico. Al fine di valorizzare tutta l’area archeologica, che comprende anche il restauro del complesso della chiesa di San Leonardo posto nelle vicinanze, e preservare i resti archeologici della basilica paleocristiana, il ministero dei beni culturali e la sopraintendenza archeologica della Puglia utilizzando fondi europei , ha approvato e finanziato il progetto dello scultore lombardo Edoardo Tresoldi.

L’opera d’arte a carattere permanente di Edoardo Tresoldi, ricostruisce sui resti archeologici della basilica

paleocristiana , i volumi in scala reale della basilica stessa sino ad una altezza di 14 metri ,utilizzando reti in metallo galvanizzato trasparenti. L’Opera d’arte,unica al mondo, ha richiesto l’utilizzo di sette tonnellate di rete metallica leggera e trasparente , e un lavoro protrattosi per circa tre mesi di una equipe di una trentina di persone tra cui archeologi, ingegneri e architetti e il gruppo di giovani creativi che collaborano con Tresoldi da diversi anni.

 

Edoardo Tresoldi

 

Scultore, pittore e scenografo, Edoardo Tresoldi ha un approccio artistico e di ricerca creativa e libera. Studia design e arti visive all'istituto d'arte di Monza. Nel 2009 si trasferisce a Roma e inizia a lavorare come pittore di scena per vari progetti cinematografici. La scenografia diventa un laboratorio di sperimentazione. Dal 2013 realizza sculture ed installazioni in rete metallica. Edoardo ha 28 anni, è di Cambiago, in provincia di Milano ed è considerato uno dei talenti della street art italiana. Si fa aiutare da una squadra in cui l’età media è 25 anni e anche i responsabili di Sovrintendenze ed Ente Paesaggistici, hanno riconosciuto il valore delle sue opere. A lui sono state affidati luoghi importanti, come le installazioni alla Vigna di Leonardo a Milano e alla Basilica di Siponto a Manfredonia.

  

.The Archaeological Park of Siponto, is located a few kilometers from the town of Manfredonia in the Puglia region. In the archaeological site next to the church of Santa Maria Maggiore of medieval origin, there are the remains of a paleoChristian basilica of the fourth century. after Christ, with three naves and central apse and mosaic floor. In order to enhance the whole archaeological area, which also includes the restoration of the complex of the church of San Leonardo nearby, and preserve the archaeological remains of an early Christian basilica, the Ministry of Cultural Heritage and the archaeological superintendence of Puglia using European funds, have approved and funded the project the Lombard sculptor Edoardo Tresoldi. The work of art, unique in the world, a permanent nature by Edoardo Tresoldi, reconstructs on the archaeological ruins of the paleoChristian basilica, the full-scale real volumes of the basilica itself up to a height of 14 meters, using wire mesh galvanized transparent.

The Art work required the use of seven tons of transparent metal mesh, and a job that lasted for about three months in a team of thirty people including archaeologists, engineers and architects and the group of young creatives that cooperate with Tresoldi from several years.

  

Edoardo Tresoldi

 

Sculptor, painter and stage designer, Edoardo Tresoldi has an artistic and creative research approach and free. He has studied design and visual arts at the Institute of Art of Monza. In 2009 he moved to Rome and began working as a scene painter for various film projects. The scenery becomes a testing laboratory. From 2013 makes sculptures and installations made of wire mesh. Edoardo is 28 years old, is born at Cambasio, in the province of Milan and is considered one of the talents of the Italian street art. It was helped by a team where the average age is 25 years. To him they were

  

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Part of: "Cemetery à la Christo". Restauration of gravestones at the old jewish section - Central Cemetery Vienna.

Grabverpackung Architekt, Bühnenbildner Oskar Strnad.

Restaurationsarbeiten in der alten jüdischen Abteilung des Zentralfriedhofes Wien. DMC-G2 - P1030654

Gouache and watercolor; 34 x 60 cm.

 

Russian painter, mainly in watercolour, art historian and stage designer. Born in St Petersburg of French and Italian descent, son of Nikolai Benois, architect to the Imperial Palaces in Peterhof. Briefly attended a part-time course in stage design at the Academy of Arts 1887, but otherwise self-taught as an artist. Studied law at the University of St Petersburg 1890-4, and while still a student formed a circle with a number of friends, including Diaghilev, Somov and Bakst, for the purpose of studying art. This later developed into the World of Art (Mir Iskusstva), which held exhibitions and published a journal of the same name, 1898-1904. Travelled widely in Europe and was influenced by the art of the eighteenth century. Became very active and influential as a stage designer, including sets and costumes for Le Pavillon d'Armide 1907 and (for Diaghilev) Petrushka 1911 and Le Rossignol 1914. Edited the periodical Khudozhestvennye sokrovishcha Rossii (Art Treasures of Russia) 1901-3, and wrote several books on art and volumes of memoirs. Curator of Painting at the Hermitage 1918-25, then moved in 1926 to Paris, where he continued to paint and design for the theatre. Died in Paris.

 

Published in:

Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.48

Oil on canvas; 85 x 110 cm.

 

(b Faenza, 4 Aug 1909; d Rome, 5 April 1981). Italian painter, illustrator and stage designer. He began his training in Faenza in the workshop of the Italian painter and ceramicist Mario Ortolani (1901-55). After living briefly in Bologna (1927) and Paris (1928) he settled in Rome in 1929, first exhibiting his work at the Venice Biennale in the following year. His paintings at this time, such as Nude (Susanna after her Bath) (1929; Faenza, Pin. Com.), were characterized by an emphasis on tonal relationships and on the influence of the Scuola Romana. In 1934 he began to work with growing success as an illustrator for the journals Quadrivio and Italia letteraria. The contacts he established with Paris were intensified with his move there in 1947, resulting in three one-man shows at the Galerie Rive Gauche (in 1950, 1953 and 1957), and in his paintings he evolved a cautious balance between the representation and the disassembling of the image. Some of his best-known series of paintings date from this time, including his Cathedrals (e.g. Cathedral with Still-life and Dog, 1960; Rome, Vatican, Col. A. Relig. Mod.), pictures of town squares populated by acrobats and musicians, and later female nudes and a series entitled Mermaids.

  

Bloodswept Lands and Seas of Red, marking the centenary of the outbreak of the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower’s famous moat.

Oil on panel.

 

Swedish painter, draughtsman, tapestry and stage designer. After studying under various artists in Tumba and elsewhere, in 1922–3 he attended the Konsthögskolan in Stockholm and in 1922 visited Berne, Nuremberg and Berlin. His early works, such as Jeårj (1923; Stockholm, Mod. Mus.), were loosely painted and naive in appearance and drew on vernacular art. In 1924 he visited Paris and Italy, and in 1924–5 he helped decorate the cinema in Malmö, one of numerous early decorative projects. In 1925 he was a founder-member of the Fri Konst group of artists, which included Carl Alexandersson (1897–1941), Sven Hempel (1896–1944) and others. The following year the membership was expanded to nine by the addition of such artists as Gustav Alexanderson (b 1901) to form the Nio Unga (Nine Young Men) group. Erixson travelled extensively around Europe in the late 1920s, and in 1932, after the dissolution of Nio Unga, he was a founder-member of Färg och Form (Colour and Form) with whom he exhibited thereafter. His painting of this period retained the earlier naivety but became more expressive, as in Dance Hall at Telemarken (1931; Stockholm, Mod. Mus.). After travels in Spain and Morocco in 1935–6 Erixson designed two large tapestry cartoons for the Konserthus in Göteborg, which were executed by the Gobelins. In 1938–40 he executed two large frescoes for the chapel at Skogskyrkogardens crematorium in Stockholm. From 1942–3 he produced painted glass windows for the St Gertrud chapel at Malmö crematorium, and in 1943 he became a professor at the Konstakademi in Stockholm. Erixson produced numerous theatrical set designs in the 1940s and 1950s, such as those for Federico García Lorca’s Blood Wedding (1944), and Shakespeare’s Richard III (1946) and Romeo and Juliet (1953), which were performed at the Dramaten theatre in Stockholm. He continued to paint interior scenes, townscapes and landscapes in this period, such as Autumn in Tattby (1944; Göteborg, Kstmus.), which still showed the influence of folk art. His later work was of much the same style though the details were pared away as in the powerful Memory of Nacka Hospital (1965; see 1969–70 exh. cat.). He was also involved in further decorative projects, producing cartoons, painted windows and theatre designs. Together with Bror Hjorth, Erixson was influential in revitalizing the folk art tradition in Sweden.

 

Grove Art excerpts - Electronic ©2003, Oxford Art Online

'Blood Swept Lands and Seas of Red' is an installation by ceramic artist Paul Cummins, with setting by stage designer Tom Piper.

 

Fully unveiled on 5 August 2014, 100 years since the first full day of Britain's involvement in the war, the last poppy will be installed on 11 November.

 

By then there will be 888,246 poppies, each representing a British or Colonial military fatality during the war.

From 5 August 2014 to 11 November 2014, a major artistic installation entitled 'Blood Swept Lands and Seas of Red' sees the Tower of London's famous dry moat filled with over 800,000 ceramic poppies to create a powerful visual commemoration for the First World War Centenary The installation, in collaboration with ceramic artist Paul Cummins and theatre stage designer Tom Piper, was unveiled on 5 August 2014, one hundred years since the first full day of Britain's involvement in the First World War.

 

The poppies, a symbol of Remembrance in the UK, will encircle the iconic landmark, creating not only a spectacular display visible from all around the Tower, but also an inspiring setting for performance and learning activities, as well as providing a location for personal reflection. The scale of the installation intends to reflect the magnitude of such an important centenary.

A random Polaroid trip around the world

 

Dungeness, a mood of abandonment at the english coast

 

Dungeness was the place where controversial english film director, stage designer, artist, author & gardner Derek Jarman spent the last years of his life till he died from aids in 1994

www.youtube.com/watch?v=YoNjTLfSAM8&feature=related

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The Tower Of London remembers the First World War 1914-1918

 

The major art installation Blood Swept Lands and Seas of Red at the Tower of London, marked one hundred years since the first full day of Britain's involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies progressively filled the Tower's famous moat between 17 July and 11 November 2014. Each poppy represented a British military fatality during the war.

 

The poppies encircled the iconic landmark, creating not only a spectacular display visible from all around the Tower but also a location for personal reflection. The scale of the installation was intended to reflect the magnitude of such an important centenary and create a powerful visual commemoration.

 

All of the poppies that made up the installation were sold, raising millions of pounds which were shared equally amongst six service charities.

73 x 60 cm.

 

Italian painter and stage designer, born in Udine. Full name Afro Balsadella, but is usually known as Afro; brother of the sculptor Mirko Balsadella (Mirko). Father a leading decorator. Studied at secondary schools specialising in art subjects in Florence and Venice, and had his first one-man exhibition at the Galleria del Milione, Milan, in 1932. Began by painting still lifes, landscapes, portraits and murals. Moved in 1938 to Rome. War service and in the Resistance 1940-4. Developed a near-abstract style in 1947-8 under the influence of Klee and late Cubism. Held regular exhibitions at the Catherine Viviano Gallery, New York, from 1950-68 and made frequent visits to the USA, developing a looser, more improvisatory abstract style partly under the influence of Gorky, Kline and de Kooning. Joined the group Otto with Birolli, Corpora, Moreni, Morlotti, Santomaso, Turcato and Vedova in 1952. Painted a mural for the UNESCO headquarters in Paris 1958. Awarded the City of Venice painting prize at the 1956 Venice Biennale and Second Prize at the 1959 Pittsburgh International; also designed sets and costumes for the ballet and the opera. His late works, from c.1970, had more precise shapes. Died in Zurich.

 

Published in:

Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.2

The palace was commissioned by Sultan Abd-ul-Mejid I (1823–1861), and designed by the architects Garabet Amira Balyan and his son Nigogayos Balyan in the neo-baroque style. Completed in 1857, the structure took the place of a two storey timber palace built during the reign of Mahmud I (1696–1754) by his Grand Vizier Divittar Mehmed Pasha, then successively used by Selim III (1761–1808) and Mahmud II (1785–1839).

Entrance to the palace grounds from land

 

The building consists of two main stories and a basement on a footprint of 15 x 27 m. Unlike other palace gardens with high walls; its garden is surrounded by cast iron railings with one gate at each of the four sides. The basement was appointed with kitchen, larder, and servant's quarters, with the floors above reflecting the design of a traditional Turkish house - four corner rooms surrounding a central hall. The rooms at the waterfront have two fireplaces while the others have one each, all fashioned from colorful Italian marble. The rooms boast crystal chandeliers from Bohemia, with curtains, furniture upholstery, and carpets woven in Hereke. The halls and the rooms exhibit paintings and arts objects; Sechan, stage designer at Vienna State Opera, was charged for the decoration of the interior.

 

During the reign of Sultan Abd-ul-Aziz (1830–1876), more elaborate decoration was added to the façade; some of the original garden outbuildings were demolished at that time. In the beginning of the Republican era, the site was used as a state guesthouse for some years. Since a thorough restoration in 1944, the palace has been open to the public as a museum.

 

The palace appeared in the James Bond film "The World Is Not Enough" as the mansion of a woman in Baku. The palace also appeared in popular Bollywood film Ek Tha Tiger.

The art installation "Blood Swept Lands and Seas of Red" at the Tower of London, marks one hundred years since the first full day of Britain's involvement in the First World War. Created by ceramic artist Paul Cummins, with setting by stage designer Tom Piper, 888,246 ceramic poppies will progressively fill the Tower's famous moat over the summer. Each poppy represents a British military fatality during the war.

 

The poppies will encircle the iconic landmark, creating not only a spectacular display visible from all around the Tower but also a location for personal reflection. The scale of the installation intends to reflect the magnitude of such an important centenary creating a powerful visual commemoration.

Oil on canvas; 86 x 74 cm.

 

Altman was born in Vinnytsia, Imperial Russia. From 1902 to 1907 he studied painting and sculpture at the Art College in Odessa. In 1906 he had his first exhibition in Odessa. In 1910 he went to Paris, where he studied at the Free Russian Academy, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, and David Shterenberg. In 1910 he became a member of the group Union of Youth. His famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. After 1916 he started to work as a stage designer.

 

In 1918 he was the member of the Board for Artistic Matters within the Department of Fine Arts of the People's Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In 1920 he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin and others. In the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. From 1920 to 1928 he worked on stage designs for the Habimah Theatre and the Jewish State Theatre in Moscow. In 1923 a volume of his Jewish graphic art was published in Berlin. In 1925 he participated in Exposition Internationale des Arts Decoratifs et Industriels Moderns (Art Deco) in Paris. His first solo exhibition in Leningrad was in 1926.

 

Oil on canvas; 270 x 180 cm.

 

Jörg Immendorff was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor. He studied at the Kunstakademie Düsseldorf under Joseph Beuys. The academy expelled him because of some of his left-wing political activities and neo-dadaist actions. From 1969 to 1980 he worked as an art teacher at a public school, and then as a free artist, holding visiting professorships all over Europe. In 1989 he became professor at the Städelschule in Frankfurt am Main and in 1996 he became professor at the Art Academy in Düsseldorf -- the same school that had dismissed him as a student.

 

His paintings are sometimes reminiscent of surrealism and often use irony and heavy symbolism to convey political ideas. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!"). He was a member of the German art movement Neue Wilde. Best known is his Cafe Deutschland series of sixteen large paintings (1977-1984) that were inspired by Renato Guttuso’s Caffè Greco; in these crowded colorful pictures, Immendorff had disco-goers symbolize the conflict between East and West Germany. Since the 1970s, he worked closely with the painter A. R. Penck from Dresden in East Germany. He created several stage designs, including two for the Salzburg Festival. In 1984 he opened the bar La Paloma in Hamburg St. Pauli and created a large bronze sculpture of Hans Albers there. He also contributed to the design of André Heller's avant-garde amusement park "Luna, Luna" in 1987. Immendorff created various sculptures; one spectacular example is a 25 m tall iron sculpture in the form of an oak tree trunk, erected in Riesa in 1999.

 

In 1997 he won the best endowed art prize in the world, the MARCO prize of the Museum of Contemporary Art in Monterrey, Mexico. In the following year he received the merit medal (Bundesverdienstkreuz) of the Federal Republic of Germany. He was a friend and the favorite painter of former German Chancellor Gerhard Schröder, who chose Immendorff to paint the official portrait of Schröder for the Bundeskanzlerleramt. The portrait, which was completed by Immendorff's assistants, was revealed to the public in January 2007; the massive work has ironic character, showing the former Chancellor in stern heroic pose, in the colors of the German flag, painted in the style of an icon, surrounded by little monkeys. These "painter monkeys" were a recurring theme in Immendorff's work, serving as an ironic commentary on the artist's business.

 

Immendorff was diagnosed with Lou Gehrig's disease in 1998. When he could not paint with his left hand any more, he switched to the right. As of 2006, he used a wheelchair full-time and did not paint anymore; instead he directed his assistants to paint following his instructions. On May 27, 2007, at age 61, he succumbed to the disease.

Our stage designers, Ron and Tiger Waterman made this 7' Audrey II plant. It took 8 months to construct. It was able to swallow actors with ease. Six puppeteers were needed to operate it.

From our production of, "Little Shop of Horrors."

 

According to legend, Johannes Faustus, a German astrologer in the early 1500s, sold his soul to the Devil in exchange for knowledge. Christopher Marlowe, a contemporary of Shakespeare, wrote The History of the Damnable Life, and Deserved Death of Doctor John Faustus in 1592. Johann Goethe first published his version of Faust in 1808. Damn Yankees was a musical produced on Broadway in 1955. The plot concerned a fan of the Washington Senators baseball team who sold his soul to the devil in order to help the Senators win against the New York Yankees.

Little Shop was first presented as a black and white film in 1960. It was a low-budget production filmed in only a few days on a small rental set that was scheduled to be demolished. It became a cult classic at a time when low-budget science fiction was all the rage. Jack Nicholson played a masochistic dental patient in the film. In 1982 it was produced as a major musical and played for 2,209 performances on Broadway. In 1986 the movie version was produced starring Rich Moranis, Steve Martin and Ellen Greene. It was directed by Frank Oz.

- Doc

 

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