View allAll Photos Tagged davidhockney
A composite image made up from two photos taken from the same spot, each using a different film camera. The individual photos have been collaged in photoshop.
In this case the cameras were: Olympus XA4 and Minolta Riva Zoom 150.
A composite image made up from two photos taken from the same spot, each using a different film camera. The individual photos have been collaged in photoshop.
In this case the cameras were: Olympus XA4 and Minolta Riva Zoom 150.
Haworth sculptor Craig Dyson's 'Perspective' bespoke public art installation at Knowles Park, Tong, Bradford. The faces on the fence are locals, many of them community heroes. Others include One Direction singer Zayn Malik, a former Tong High School pupil, and Bradford-born artist David Hockney. Dyson worked in conjunction with community members and Bradford Metropolitan District Council. Viewed in the other direction, the sculpture reads 'Welcome to Tong' and 'Time is Precious, Use it Wisely'. The piece was unveiled in September 2014.
Heading to the Walker Art Gallery in Liverpool.
It is free to enter.
From 11th October 2013 to 16th March 2014, they have an exhibition of David Hockney's early art.
Grade II* listed building.
SJ 3490 NE WILLIAM BROWN STREET
L1
44/1358 Walker Art Gallery
28.6.52
G.V. II*
Art Gallery. 1874-7. H. H. Vale. Stone, 2 storeys and 13
bays. Rusticated ground floor with Greek key band, windows
with balustraded aprons and sashes without glazing bars.
End bays break forward with flanking flat Corinthian
pilasters. Centre 5 bays project with giant hexastyle
Corinthian portico behind which 3 bays are recessed with 3
entrances, centre one with architrave and entablature, with
brackets and windows above. 1st floor has no windows,
fielded panels in end bays and entablature, with brackets
and windows above. 1st floor has no windows, fielded panels
in end bays and long relief friezes. Entablature and
balustrade, central raised block with seated statue of
Liverpool. Steps to portico flanked by statues of Raphael
and Michelangelo by Warrington Wood and balustraded wall.
Listing NGR: SJ3497390811
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Second wife of writer and mathematician Sir Samuel Morland (1625-95) who is buried at Hammersmith in London. He was the inventor of the speaking trumpet and improver of the fire engine among other things and assistant to Thurloe (secretary to Oliver Cromwell). At the Restoration of Charles II in 1660 he was knighted and created a Baronet and Gentleman of the Privy Chamber. Samuel married Carola in the Abbey on 26 October 1670. The monument is of black and white marbles by sculptor William Stanton and was erected by Sir Samuel with inscriptions in English, Hebrew and Greek, to show off his learning in these languages. The English reads:
Carola daughter of Roger Harsnett Esqr. and of Carola his wife, ye truly loving (and as truly beloved) wife of Samuel Morland Kt. & Bart.[Baronet], bare a second son Oct. 4th, died October 10th in the year of our Lord 1674 aged 23
The Hebrew part can be translated:
Blessed be thou of the Lord, my honoured wife! Thy memory shall be a blessing, O virtuous woman
The Greek can be translated:
When I think of thy mildness, patience, and charity, modesty and piety, I lament thee, O most excellent creature! and grieve accordingly: but not like those who have no hope; for I believe and expect the Resurrection of them that sleep in Christ.
[Westminster Abbey]
Taken inside Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
This is as close as I got to taking photos of the David Hockney exhibit of 82 portraits in Ca'Pesaro, International gallery of Modern Art. Photos were not allowed in this very special exhibit. Luckily the catalogue is excellent.
-- Page 2 - 3
art and artists
Volume Two Number Seven December 1967
EDITED BY MARIO AMAYA
ASSISTANT EDITOR - ANTHONY LIVESEY
PARIS EDITOR - OTTO HAHN
GERMAN EDITOR - JURGEN CLAUS
NEW YORK EDITOR - BRIAN O'DEHERTY
TOKYO EDITOR - YOSHIAKI TONE
EDITORIAL ASSISTANT - PATRICIA WHITE
DESIGN - GWYN LEWIS
EDITORIAL ADVISERS - KEINSINGTON DAVISON, SIMON WATSON TAYLOR, CHRISTPHER FINCH
FEATURES
Games Without Rules Nicholas Calas 13
Talking Games Otto Halm
Grégoire Müller 14
London Winter Orgasm Game Yoko Ono 18
Surrealism at Play Simon Watson Tylor 20
The King of the Wild Beasts: Henri Matisse Ralph Pomeroy 24
The Moebius Trip Patrick Hughes 26
Name of the Game Christopher Finch 28
Colour In Patrick Procktor David Hockney 30
Quatschikon Laurence Whitfield 32
Scrap-heap Samaritan Palma Bucarelli 34
Early Renaissance Michael Levey 38
Picasso's Vollard Suite Hans Bollinger 46
REVIEWS
Briefly 4
Private View Kensington Davison 6
Art Politic: Jamming on the Brakes Anthoney Livessey 8
Letters Yoko Ono 10
London: The Extinct Eye or U.F.O. Eddie Wolfram 42
New York: Prost and Hope Mario Amaya 50
Paris: The object Game Grégoire Müller 52
Books Simon Watson Taylor 54
Kenneth Coutts-Smith 56
Anthony Livesey
Switched On E. Tam 57
Gallery Guide 58
COVER Specially designed for Art and Artists by Laurence Whitfield
CONTRIBUTORS:
RALPH POMEROY is a painter as well as a writer, and has ad exhibitions of
his work in Denmark, Belgium and San Francisco. His poems have appeared in
the New Yorker, Harper's Bazaar, Poetry, Bottegh Oscure, Paris Review, New
Statesman, The Times Library Supplement, The Observer, Transatlantic Review,
etc. He has published two books of poems, and a third, In the Financial Districts,
is soon to be brought out by Macmillian. At present, he lives in New York and is
on the editorial staff of Art News.
PATRICK HUGHES was born in 1939, and lives in Leeds. His first one-man
exhibition was held at the Portal Gallery in London in 1961. He was shown
again at the Portal in 1963, then at the Hanover Gallery in 1965. He is a lecturer
and has also written on his own work for Studio Interview. He has done
some designing for The Observer and the Egg Market Board, and illustrations
for two books.
LAURENCE WHITFIELD was born in Manchester in 1938. He served an
apprenticeship as a joiner, and then won a scholarship to the Slade School of
Art in 1960. He later went to France, where he lived for about two years
(1962 - 64) supporting himself by making coffins for the local funeral parlour.
Since returning to England, he has made his studio an abandoned school-house
in Cotswold. His work has been seen at the Young Contemporaries Shows
(1961 and 1962); at the Paris Biennale (1963); at the Marlborough New London
Gallery and at the Premio Internationale Biellaper Incissione in Italy. His most
recent show was at the I.C.A. Galleries.
ADVERTISEMENT DIRECTOR - ALFRED FISHBURN, ADVERTISEMENT MANAGER - COLIN NYLOR,SUBSCRIPTION MANAGER - STANLEY NORMAN, CIRCULATION DIRECTOR - BARRIE THOMPSON, overseas advertisement representatives: U.S.A.: PAUL STANLEY, 663 FIFTH AVENUE, NEW YORK; FRANCE: AGENCE FRANCO EUROPEENNE, 69 RUE D'AMSTERDAM. PARIS, vitte; ITALY: S.J, ALLEN, 12 VICOLO DEL CEDRO, ROME
Published by Hansom Books monthly on the first Friday of each moth. By
post to any address: single copies 6s 6d; one year 78s ($12); 2 years 144s
($22); 3 years 234s ($35). Loose leaf binder (value 15s) to hold 12 copies
given with three-year subscription. Foreign pay in sterling or International
Money Order. Binders for purchase are 15s by post. hansom Books also
publishes monthly Dance and Dancers, Films and Filming, Plays and Players,
Records and Recording, Books and Bookmen, Music and Musicians, and Seven
Arts.
Second Class Postage paid at New York, N.Y. U.S.A. office; 155 West 15th
St., New York, N.Y. 10011. For information regarding advertising, newsstand
sales written to Eastern News Distributors Inc. 155 west 15th st., New York,
N.Y. 10011. Printed in England by Shenval Press, London, Hertford
and Harlow. (c)Copyright Hansom Books Ltd., 1966. 16 Buckingham Palace
Road. London S.W.1. VICtoria 3571.
Art and Artists
Volume Two, Number Nine
December 1967
Edited by Mario Amaya
London: Hansom Books, 1967
Private Collection of Mikihiko Hori
Are you stuck in a rut? Are you trying to find new challenges to get you out of your comfort zone? Are you willing to meet new people and be open to them suggesting a new photography technique, concept or style? Then the group Get Pushed! [www.flickr.com/groups/getpushed] is the group for you! Already a participating member? Then recruit more folks to get more eyes and ideas going in the group - I have never had such fun…!
____________________
This round (Round 37 to be precise) I was paired up with Paul, a.k.a. Mr. Noelene Mr. Noelene, who is art aficionado and a fellow engineer from Surrey who has also recently embarked on his 100 strangers challenge. We have both been around the Get Pushed group for a while, but had never been paired with each other until now.
After looking over my photo stream, Paul suggested several options for me for this round:
______________________
Option 1
As you liked my fake IR [http://www.flickr.com/photos/pjc-photography/6889187160/in/set-72157627957257432], why not have a go. There are loads of tutorials out there, I followed one of them but added a pink hue to make it look more IR. Give it a go and see how you get on.
Option 2
I\'m a fan of art, and in particular modern art. So your next challenge is to take a photo in the style of David Hockney - a famous artist/ photographer who is well known on both sides of the Atlantic. I had a go with my Hockney Pano shot . . .
www.flickr.com/photos/pjc-photography/6202769759/in/set-7...
Option 3
The other way I produced a Hockney style photo was from a Get Pushed challenge trying to take a Ryan Brenizer style picture which I failed at but still made a nice shot. Have a look on his website and see what he does, it\'s really interesting.
www.flickr.com/photos/pjc-photography/7904806280/
_________________________
These suggestions had great examples and inspired me. With the tutorial found at the second link, I was ready to go, trying ALL Three options. I took a few landscape photos and worked the Infrared PS filter with them, but they did not seem to work as well as the photo I had already taken previously, so I went ahead and applied everything to these two photos. The original color photo and the Infrared treatment (VERY bold and awesome improvement) can be found in the comments below.
I also tried the colorizing it to simulate a colored IR image by copying the original color photo, using the Hue/Saturation adjustment (command U) to increase saturation to 40-50 and change the hue by 180°. Then the B&W IR image is reduced in opacity to 80-95%, allowing some of the color through. I have posted some other versions in my photo stream.
Oh, and I also learned how to set guides, run an action in PS to do a batch of mouse clicks at once, and getting comfortable with layers and the blending modes!
This was a fun challenge, Paul. Thanks for suggesting the options above - I hope this meets with your approval!
As always, thanks for your views, comments and faves.
David Hockney (1937-....)
Peintre anglais portraitiste mais aussi paysagiste, dessinateur, graveur, décorateur, photographe.
Vit et travaille depuis 2019 en Normandie.
Huile sur toile.
Exposition ayant eu lieu de juin à octobre 2017.
Back in the 1960s David Hockney was the bleached-blond rebel who electrified the art scene. He was Britain's answer to Andy Warhol. Today, at 73, David Hockney is one of the pre-eminent artists living in the UK and is anything but retired. In the past years he has become a prolific landscape painter.
Five years ago he returned from sunny California to settle down in Yorkshire. While he used to paint Californian landscapes by the dozens his current subject is the English landscape of his childhood, but on an American scale.
-- Page 3
art and artists
Volume Two Number Seven December 1967
EDITED BY MARIO AMAYA
ASSISTANT EDITOR - ANTHONY LIVESEY
PARIS EDITOR - OTTO HAHN
GERMAN EDITOR - JURGEN CLAUS
NEW YORK EDITOR - BRIAN O'DEHERTY
TOKYO EDITOR - YOSHIAKI TONE
EDITORIAL ASSISTANT - PATRICIA WHITE
DESIGN - GWYN LEWIS
EDITORIAL ADVISERS - KEINSINGTON DAVISON, SIMON WATSON TAYLOR, CHRISTPHER FINCH
FEATURES
Games Without Rules Nicholas Calas 13
Talking Games Otto Halm
Grégoire Müller 14
London Winter Orgasm Game Yoko Ono 18
Surrealism at Play Simon Watson Tylor 20
The King of the Wild Beasts: Henri Matisse Ralph Pomeroy 24
The Moebius Trip Patrick Hughes 26
Name of the Game Christopher Finch 28
Colour In Patrick Procktor David Hockney 30
Quatschikon Laurence Whitfield 32
Scrap-heap Samaritan Palma Bucarelli 34
Early Renaissance Michael Levey 38
Picasso's Vollard Suite Hans Bollinger 46
REVIEWS
Briefly 4
Private View Kensington Davison 6
Art Politic: Jamming on the Brakes Anthoney Livessey 8
Letters Yoko Ono 10
London: The Extinct Eye or U.F.O. Eddie Wolfram 42
New York: Prost and Hope Mario Amaya 50
Paris: The object Game Grégoire Müller 52
Books Simon Watson Taylor 54
Kenneth Coutts-Smith 56
Anthony Livesey
Switched On E. Tam 57
Gallery Guide 58
COVER Specially designed for Art and Artists by Laurence Whitfield
CONTRIBUTORS:
RALPH POMEROY is a painter as well as a writer, and has ad exhibitions of
his work in Denmark, Belgium and San Francisco. His poems have appeared in
the New Yorker, Harper's Bazaar, Poetry, Bottegh Oscure, Paris Review, New
Statesman, The Times Library Supplement, The Observer, Transatlantic Review,
etc. He has published two books of poems, and a third, In the Financial Districts,
is soon to be brought out by Macmillian. At present, he lives in New York and is
on the editorial staff of Art News.
PATRICK HUGHES was born in 1939, and lives in Leeds. His first one-man
exhibition was held at the Portal Gallery in London in 1961. He was shown
again at the Portal in 1963, then at the Hanover Gallery in 1965. He is a lecturer
and has also written on his own work for Studio Interview. He has done
some designing for The Observer and the Egg Market Board, and illustrations
for two books.
LAURENCE WHITFIELD was born in Manchester in 1938. He served an
apprenticeship as a joiner, and then won a scholarship to the Slade School of
Art in 1960. He later went to France, where he lived for about two years
(1962 - 64) supporting himself by making coffins for the local funeral parlour.
Since returning to England, he has made his studio an abandoned school-house
in Cotswold. His work has been seen at the Young Contemporaries Shows
(1961 and 1962); at the Paris Biennale (1963); at the Marlborough New London
Gallery and at the Premio Internationale Biellaper Incissione in Italy. His most
recent show was at the I.C.A. Galleries.
ADVERTISEMENT DIRECTOR - ALFRED FISHBURN, ADVERTISEMENT MANAGER - COLIN NYLOR,SUBSCRIPTION MANAGER - STANLEY NORMAN, CIRCULATION DIRECTOR - BARRIE THOMPSON, overseas advertisement representatives: U.S.A.: PAUL STANLEY, 663 FIFTH AVENUE, NEW YORK; FRANCE: AGENCE FRANCO EUROPEENNE, 69 RUE D'AMSTERDAM. PARIS, vitte; ITALY: S.J, ALLEN, 12 VICOLO DEL CEDRO, ROME
Published by Hansom Books monthly on the first Friday of each moth. By
post to any address: single copies 6s 6d; one year 78s ($12); 2 years 144s
($22); 3 years 234s ($35). Loose leaf binder (value 15s) to hold 12 copies
given with three-year subscription. Foreign pay in sterling or International
Money Order. Binders for purchase are 15s by post. hansom Books also
publishes monthly Dance and Dancers, Films and Filming, Plays and Players,
Records and Recording, Books and Bookmen, Music and Musicians, and Seven
Arts.
Second Class Postage paid at New York, N.Y. U.S.A. office; 155 West 15th
St., New York, N.Y. 10011. For information regarding advertising, newsstand
sales written to Eastern News Distributors Inc. 155 west 15th st., New York,
N.Y. 10011. Printed in England by Shenval Press, London, Hertford
and Harlow. (c)Copyright Hansom Books Ltd., 1966. 16 Buckingham Palace
Road. London S.W.1. VICtoria 3571.
Art and Artists
Volume Two, Number Nine
December 1967
Edited by Mario Amaya
London: Hansom Books, 1967
Private Collection of Mikihiko Hori
Jaren terug vond ik dit boekje bij het vuil. Nu opnieuw ontdekt in mijn boekenkast. Wat zouden de raadselachtige notities betekenen ? En wie heeft dit gedaan ?
Giving my splitzer another go...
Lomo LCA (modifed with DIY MX button and LCA+ faceplate) & Splitzer & Lomography Chrome 100 & xpro
In The Chapter House, Westminster Abbey
The Chapter House in the East Cloister was a meeting place where the monks gathered with the abbot to ‘hold chapter’: to pray, read from the rule of St Benedict, discuss the day’s business and when the abbot decided on punishments.
It was probably begun in 1246 and completed around 1255 as part of Henry III's re-building of the Abbey and is one of the largest of its kind (internally 18 metres or 60 feet). It is octagonal in shape with tiered seating for up to eighty monks and an imposing central pillar, fanning out to a vaulted ceiling. Henry of Reyns was the supervising master mason, probably with Master Aubrey.
Wall paintings still remain in many of the arches and depict scenes from the Apocalypse in the Book of Revelation. The Last Judgement, dating from about 1390, is shown on the east wall. Large figures of the Annunciation (the Virgin Mary and Archangel Gabriel) stand inside above the doorway. Around this doorway are small seated figures representing a 'Tree of Jesse'. The floor has one of the finest medieval tile pavements in England. it includes a Latin inscription translated as "As the rose is the flower of flowers, so is this the house of houses".
The Chapter House was also the place where the King's Great Council assembled in 1257. This was effectively the beginning of the English Parliament. Later on the House of Commons met here for a few years in the 14th century before using the Abbey Refectory for meetings. After the monks left in 1540 it was used until 1863 as a repository for State records.
Chapter House Interior
The room was rescued and restored by the Abbey's Surveyor Sir George Gilbert Scott Between 1866-1872 he reconstructed the stone vault and roof and re-instated and re-glazed the windows. Much of this stained glass was damaged during air raids in the Second World War but some was salvaged and re-used in the post war glazing scheme. An inscription underneath the windows recalls the work of the original masons "In the handiwork of their craft is their prayer".
[Westminster Abbey]
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
The Dean of Westminster, The Very Reverend Dr John Hall, wanted to commission something to celebrate the reign of Queen Elizabeth II, the United Kingdom's longest-reigning monarch. David Hockney, one of the most influential British artists of this reign, was asked if he would undertake the commission to design a stained glass window in a space which was then of 19th-century blank glass.
David Hockney is a Royal Academician, and has been recognized with an Order of Merit and as a Companion of Honour but had never worked in stained glass.
The Dean's brief to Hockney was to provide something symbolic or representational of the subject, rather than a heraldic or figurative design, and for it to be recognisable as his work. Within a day of being offered the commission, Hockney sent the Dean a first-draft design.
Hockney's design depicts a country scene featuring hawthorn blossom and using his distinct colour palette of yellow, red, blue, pink, orange and greens. It follows on from his acclaimed Royal Academy exhibition A Bigger Picture (2012), a major exhibition of landscape paintings, collages and electronically-produced art depicting the landscape and flora of the East Riding of Yorkshire, near Hockney's birthplace, Bradford.
A Bigger Picture was notable for the inclusion of a number of works produced by Hockney on his iPad, and Hockney again used an iPad to design The Queen's Window. Hockney considered the iPad a natural design tool for this project because, like a stained-glass window, it’s back-lit.
Hockney was also inspired by the work of Henri Matisse and Marc Chagall, painters who also worked in stained glass.
The window reflects Queen Elizabeth II's interest and delight in the countryside, and is described by Hockney as "a celebration".
The Queen's Window depicts the Yorkshire countryside in Spring
Stained glass artists and craftspeople at Barley Studio created the window using traditional techniques, working with the artist to translate his vision into glass. Barley Studio is a leading stained glass studio of over forty years based in York.
Helen Whittaker was primarily responsible for translating Hockney’s design to stained glass, and she made sure to preserve the natural, non-uniform lines of nature, captured by the artist in his design, in the final piece.
The vividly-coloured glass in the window was made by Glashütte Lamberts, Bavaria, who manufacture glass using traditional, hand-blowing techniques.
Barley Studio installed the window in the north transept of the Abbey in September 2018, and the window was dedicated by The Dean at a service on 2nd October 2018.
Taken inside Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
My photography teacher has been encouraging me to try to make my photos more ~meaningful~. So here I am, hopefully jumping through all of the right hoops (artist inspired, meaningful etc). Am I making a point about our society that retains its shape on the outside but is a complete mess on the inside? I don't know. I do know, homwever, that I will try to get the examiner to believe that I am.