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Published 15/12/17
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below
Published in Garage Magazine, Aug 2014 | Photographed by Shaira Luna, styled by Eds Cabral, groomed by Chuchie Ledesma
Pooh live at Mediolanum Forum in Assago, Milano on November 11, 2016
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© Elena Di Vincenzo
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© 2016 ELENA DI VINCENZO ALL RIGHTS RESERVED
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©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 45.900+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on Thursday 13th July 2023
CREATIVE RF gty.im/1536269576 MOMENT ROYALTY FREE COLLECTION**
This photograph became my 6,156th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Five metres at 16:28pm on Tuesday 16th May 2023 off Grice Bay Road, looking inwards from the shoreline at Grice Bay in Tofino, British Columbia.
Nikon D850 Single-lens reflex digital camera F Mount with FX CMOS 35.9mm x 23.9mm Image sensor 46.89 Million total pixels Focal length: 50mm Shutter speed: 1/50s (Mechanical shutter) Aperture f/13.0 iso1000 Handheld with Nikkor VR Vibration reduction enabled Image area Full Frame FX (36 x 24) NEF RAW L 45.4Million pixels (8256 x 5504) 14 Bit uncompressed AF-C Priority Selection: Release Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual mode Metering mode: Matrix metering White balance on: Auto1, A1.00, M0.25 (4870k) Colour space: Adobe RGB Picture control: (A) Auto (Sharpening +1.00/Clarity +1.00)
Nikkor AF-S 24-120mm f/4G ED VR. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup. Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon EN-EL15a battery.
LATITUDE: N 49d 6m 35.20s
LONGITUDE: W 125d 47m 6.80s
ALTITUDE: 5.0m
RAW (TIFF) FILE: 130.00MB NEF: 94.0MB
PROCESSED (JPeg) FILE: 39.50MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.21 (8/12/2022) LD Distortion Data 2.018 (16/01/20) LF 1.00 Nikon Codec Full version 1.31.2 (09/11/2021)
HP 110-352na Desktop PC with Windows 10 Home edition AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. My Passport USB 3.0 2TB portable desktop hard drive. Nikon NX STUDIO 64bit Version 1.2.2 (08/12/2022). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.16.0 (08/12/2022). Adobe photoshop Elements 8 Version 8.0 64bit.
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Sabato 8 dicembre all’Alcatraz di Milano si terrà l’undicesimo Rock TV B-day Party, un evento unico nato per celebrare il compleanno di Rock TV.
A spegnere le 11 candeline dell’unica TV dedicata interamente alla musica rock (in onda solo su Sky canale 718) non ci sarà solo un headliner, ma più di 10 artisti che, tra canzoni del loro personale repertorio e grandi classici, infiammeranno la serata milanese in una straordinaria maratona rock.
ON STAGE:
AFRICA UNITE
ENRICO RUGGERI
FLUON
LACUNA COIL
MARTA SUI TUBI
MODENA CITY RAMBLERS
PINO SCOTTO
PUNKREAS
REZOPHONIC
STEF BURNS
THE FIRE
A presentare, un personaggio d’eccezione: ENRICO RUGGERI!
Sarà lui, con i vj di Rock TV ALTERIA (www.facebook.com/pages/Alteria/107467792622106) e il team di CRAZY, a introdurre le guest star del rock nostrano che si alterneranno sul palco dell’Alcatraz.
E in apertura si esibiranno le due band vincitrici del Rock TV Contest:
JASPERS e WHAT A FUNK
This photograph was published in the Illustrated Chronicle on the 17th of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
I've been working on a Kansas City article with Malto for about a year now. It's finally out in the newest Skateboarder. Go check it out!
My story and photographs about GYC (Generation of Youth for Christ) were published in the Southwestern Record February 2012 edition.
This photograph was published online in an article in HOMES & GARDENS on 27th December 2024 by Tenielle Jordison entitled:
'' How to stop foxes digging up bulbs – 5 methods to protect your blooms for spring - Keep your plants safe from the curious creatures that could ruin your display ''.
It had previously also been published in THE GUARDIAN in an online article by Rachel Dixon on June 26th 2024
It was selected for sale in the GETTY IMAGES COLLECTION on June 20th 2021
CREATIVE RF gty.im/1324337152 MOMENT ROYALTY FREE COLLECTION and became my 5,092nd frame to be represented by Getty, my sole worldwide agents. I now have 7,000+ images represented by them.
I'm standing in my kitchen on a cold, wet summer afternoon making a Tassimo Costa L'or double shot Latte whilst taking a quick break from watching Sweden versus Slovakia (I've seen more action in a chess match!), on TV in the Euros football tournament when a rain soaked fox enters my garden!
My camera is upstairs still with the Lee SW150 filter holder and circular polarizer attached, and round here, foxes normally do not surface much in daylight nor spend long before scampering away, so I rush up and grab it, hastily tampering with the settings, forgetting to set the vibration control to the on position....
I'm skulking in the corner of the kitchen, shooting through closed, rain splattered windows and the fox can sense my presence and every movement. Far from ideal, but such a joy to have a few brief moments in the presence of such a magnificent animal.
And they say any shot is better than NO shot, don't they......
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©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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.
I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 48.497+ Million visitors to my FLICKR site.
*****
©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of Fifty one metres at 15:36pm on a cold morning on Friday 18th June 2021, off Chessington Avenue in Bexleyheath, Kent.
Here we see a young Red fox (Vulpes vulpes), the largest of the true foxes (a genus of the sub-family Caninae which form a proper clade or monophyletic or natural group). Red foxes are the largest of the worldwide foxes, and also the most commonly widespread across the Northern hemisphere, Europe and North Africa.
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Nikon D850 Focal length 420mm Shutter speed: 1/400s Aperture f/6.3 iso1000 Hand held with no VC Image area FX (36 x 24) NEF RAW L (14 bit uncompressed) Size L (8256 x 5504) Focus mode: AF-C AF-Area mode: 3D-tracking Priority Selection: Release. Nikon Back button focusing enabled. 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual mode Metering mode: Matrix metering White balance on: Auto1 (5190k) Colour space: Adobe RGB Picture control: Neutral (Sharpening +2)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
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RAW (TIFF) FILE: 130.00MB NEF FILE: 90.9MB
PROCESSED (JPeg) FILE: 45.60MB
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PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
outtakes for the inside-out - be the change project in athens, greece. a subset was selected for the action, which will take place friday, june 21, 2013.
more information:
2018 Mermaid Parade
Saturday June 16th 2018
Coney Island, Brooklyn (NY)
© 2018 LEROE24FOTOS.COM
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BROADCAST, REWRITTEN OR REDISTRIBUTED.
THE BIG PICTURE
EARLY MELT
The fields southwest of Carman were already free of snow last week as the temperatures rose.
Mahonia Japonica ‘Bealei’, Leatherleaf Mahonia, in flower
© Anne Gilbert Photography - All Rights Reserved. The image may not be copied, downloaded, printed, published or reproduced in any manner without prior written permission.
It s a huge honor to see my photography back in CATCH Magazine for the January 2010 Issue!
Huge thanks for anglers Bryan Gregson and Scott Dickey for letting me snap some shots while we were out!
Published in Sticks & Stones | Photography: Shaira Luna, styling: Quayn Pedroso, grooming: Eddie Mar Cabiltes, with Cedric at Elite
I was very excited to have one of my afghans published in the "Little Box of Throws". For this collection, search for Jean Leinhauser and Rita Weiss at amazon.com
One of my photographs published in The Times Educational Supplement (TES) in 1975
See the original at www.flickr.com/photos/jakeyjb/4194641085/in/album-7215760...
This photograph was published in the Illustrated Chronicle August 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
This photograph was published in the Illustrated Chronicle on the 26th of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
This photograph was published in the Illustrated Chronicle on the 20th of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
Published in 2004/April EDN ASIA magazine. It told us that don't be stupid to pay the money which is worth a deer to buy a dog.
*** Please NOTE and RESPECT the Copyright ***
© Gary Prince - All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
James Hogg (1770 – 21 November 1835) was a Scottish poet, novelist and essayist who wrote in both Scots and English. As a young man he worked as a shepherd and farmhand, and was largely self-educated through reading. He was a friend of many of the great writers of his day, including Sir Walter Scott, of whom he later wrote an unauthorized biography. He became widely known as the "Ettrick Shepherd", a nickname under which some of his works were published
The Postcard
A postally unused postcard that was published by the Tate Gallery. The photography was by Roland Federn, and the card was printed in England.
Several other casts, mostly dating from the 1950's, of this work exist.
The Visitation
Jacob Epstein commented on the work:
"In 1926 in Epping Forest I modelled a life-size
figure which I intended for a group to be called
“The Visitation”. I can recall with pleasure how
this figure looked in my little hut which I used
as a studio.
I should have liked it to stand amongst trees on
a knoll overlooking Monk Wood.
This figure stands with folded hands, and
expresses a humility so profound as to shame
the beholder who comes to my sculpture
expecting rhetoric or splendour of gesture....
When I exhibited the work at the Leicester
Galleries, wishing to avoid controversy, I called
it “A Study”.
By this disguise I succeeded for once in evading
the critics, always ready to bay and snap at a work.
A subscription was raised to purchase it, and I
recall that Richard Wyndham gave the proceeds
of an exhibition he was holding of his own work
towards its purchase for the Tate Gallery."
Sir Jacob Epstein
Sir Jacob Epstein KBE, who was born on the 10th. November 1880, was an American-British sculptor who helped pioneer modern sculpture.
He was born in the United States, and moved to Europe in 1902, becoming a British subject in 1910.
Early in his career, in 1912, the Pall Mall Gazette described Epstein as:
"A sculptor in revolt, who is in
deadly conflict with the ideas
of current sculpture."
Revolting against ornate, pretty art, he made bold, often harsh and massive forms of bronze or stone. His sculpture is distinguished by its vigorous rough-hewn realism.
Avant-garde in concept and style, his works often shocked audiences. This was not only a result of their, often explicit, sexual content, but also because they abandoned the conventions of classical Greek sculpture favoured by European academic sculptors.
Jacob instead experimented with the aesthetics of art traditions as diverse as those of India, China, ancient Greece, West Africa and the Pacific Islands.
Such factors may have focused disproportionate attention on certain aspects of Epstein's long and productive career, throughout which he aroused hostility, especially challenging taboos surrounding the depiction of sexuality.
He often produced controversial works which challenged ideas on what was appropriate subject matter for public artworks. Epstein would often sculpt the images of friends, casual acquaintances, and even people dragged from the street into his studio almost at random.
He worked even on his dying day. He also painted; many of his watercolours and gouaches were of Epping Forest, where he lived for a time. These were often exhibited at the Leicester Galleries in London.
Bronze portrait sculpture formed one of Epstein's staple products, and is perhaps the best known. These sculptures were often executed with roughly textured surfaces, expressively manipulating small surface planes and facial details.
His larger sculptures were his most expressive and experimental, but also his most vulnerable.
Epstein was Jewish, and negative reviews of his work sometimes took on an anti-Semitic flavour, although he did not attribute the "average unfavourable criticism" of his work to anti-Semitism.
After Epstein died, Henry Moore wrote a tribute in The Sunday Times which included a recognition of Epstein's central role in the development of modern sculpture in Britain:
"He took the brickbats, he took the insults,
he faced the howls of derision with which
artists since Rembrandt have learned to
become familiar.
And as far as sculpture in this century is
concerned, he took them first.... We have
lost a great sculptor and a great man."
-- Jacob Epstein - The Early Years
Jacob Epstein was born at 102 Hester Street on the Lower East Side of New York City. His parents were Max Epstein, formerly Jarogenski, and Mary Epstein, née Solomon, both of whom were Orthodox Jews and whose families had emigrated from Augustów in Poland.
The family was middle-class, owning a number of businesses and tenements, and Jacob was the third of their eight surviving children.
As a child Jacob suffered from pleurisy, and he left school at the age of thirteen. Between 1893 and 1898 he attended classes at the Art Students League of New York.
In 1898 he organised an exhibition at the Hebrew Institute for a group of local Jewish artists, and in 1899 opted to stay at Hester Street when his family moved to Madison Avenue, supporting himself by working as a tenement inspector and, briefly, as a physical education instructor.
He also began selling his drawings, and provided illustrations for two articles by the journalist Hutchins Hapgood. Epstein spent the winter of 1899 working as an ice-cutter with his friend Bernard Gussrow at Greenwood Lake in New Jersey.
In 1900, the Hester Street tenement in which Jacob was living burnt down and, as well as losing all his sketches and drawings, he became homeless.
With the help of the local settlement movement, Epstein took a job as a farmhand in Southboro, Massachusetts.
Returning to Manhattan in June 1901, he worked in a bronze foundry while taking classes for sculptor's assistants at the Art Students League of New York.
Epstein's first major commission was to illustrate Hutchins Hapgood's 1902 book The Spirit of the Ghetto. Epstein used the money from the commission to leave New York City for Paris in September 1902.
-- Jacob Epstein in Paris 1902–1905
On his second full day in Paris, during October 1902, Epstein saw the funeral procession of Emile Zola, and witnessed some of the anti-Semitic abuse directed at the passing cortège.
Epstein studied at the École des Beaux-Arts from October 1902 until March 1903 and then, from April 1903 to 1904, at the Académie Julian where he was taught by Jean-Paul Laurens.
Jacob shared a studio in Montparnasse with Bernard Gussrow, and throughout 1904 and 1905 studied independently in various Paris museums. He regularly visited the Louvre to view its collection of non-European sculpture, studied Indian and Far Eastern art in the Musée Guimet, and artworks from China in the Musée Cernuschi.
Epstein visited Rodin in his studio, and met Margaret Dunlop, known as Peggy (1873-1947), who encouraged him to visit London, which he did in 1904. There he spent some time viewing sculptures from African and Polynesian cultures in the British Museum, all of which were to have a profound influence on his future work.
-- Jacob Epstein in London 1905-1907
After destroying the contents of his Paris studio, Epstein moved to London in 1905 with Dunlop, whom he married in November 1906. The couple lived at Stanhope Street near Regent's Park before moving to the Stamford Street Studios in Fulham.
With a reference from Rodin, Epstein gained access to a number of society figures, notably George Bernard Shaw and Robbie Ross, and to a circle of artists associated with the New English Art Club, NEAC, including Muirhead Bone and Augustus John.
Jacob had a wax model shown in a large exhibition of Jewish art at the Whitechapel Art Gallery during 1906, and an oil painting included in the NEAC's December 1906 show.
In 1907, Epstein moved his studio to 72 Cheyne Walk where he began working on his first major public commission, a series of statues for the new British Medical Association building in London.
-- The Strand sculptures, 1908
Throughout 1907 and 1908, Epstein created eighteen large sculptures for the second-floor façade of Charles Holden's new building for the British Medical Association, BMA, on The Strand (now Zimbabwe House) in central London.
Epstein created models of each figure in his studio, and these were then cast in plaster. The plaster models were taken to the Strand, where they were copied in stone by a firm of commercial architectural carvers, John Drymond of Westminster Bridge Road.
Epstein then made minor adjustments and changes to the stone figures. This process of using models, casts and commercial carvers was the norm for architectural sculpture at the time, and was one Epstein soon came to reject.
Although the six figures representing aspects of medicine and science attracted little attention, the twelve statues representing different stages of life were greatly criticised, notably by the National Vigilance Association, whose offices were opposite the building.
Their view that the figures, particularly that of the heavily pregnant Maternity and the male nudes, were sexually explicit and insulting to Edwardian sensibilities was taken up by various newspapers.
In June 1908 the London Evening Standard described the sculptures as:
"Statuary which no careful father
would wish his daughter, or no
discriminating young man his
fiancée to see."
A police officer was called to climb the scaffolding to inspect the statues as was the Bishop of Stepney, Cosmo Gordon Lang, who approved of them. Several other public figures and artists defended the works and, at a meeting of its governing council in July 1908, the BMA agreed to keep them.
In art-historical terms, the Strand sculptures represented Epstein's first thoroughgoing attempt to break away from traditional European iconography in favour of elements derived from classical Indian sculpture.
The female figures in particular incorporated the posture and hand gestures of Buddhist, Jain and Hindu art from the subcontinent.
While working on the Strand statues, Epstein was asked by Augustus John to create a portrait of his two-year-old son, Romilly. The 1907 bronze Romilly John became the first of a series of such portraits of the child. In 1909, Epstein carved a stone version which he retained for the rest of his life.
The 1908 controversy over the Strand statues left Epstein depressed and short of money. For the rest of 1908 he worked on portraits and small pieces, notably busts of Euphemia Lamb and his first portrait bust of Mary McEvoy.
-- The Tomb of Oscar Wilde, 1908–1912
Near the end of 1908, without any prior discussion or advance warning, Robbie Ross announced that Epstein was the chosen sculptor for a new tomb of Oscar Wilde in the Père Lachaise Cemetery, Paris.
After a period spent studying Wilde's writings, Epstein designed a monument featuring a large statue of Narcissus. After several months, he changed his mind and destroyed that, almost-complete, monument in favour of a new design carved directly in stone.
The decision to carve directly in stone, then a new and radical departure for contemporary sculptors, may reflect the influence of Epstein's then friend and collaborator Eric Gill.
Throughout the second half of 1910, Epstein and Gill met on an almost daily basis, but eventually they fell out. Earlier that year they had held long discussions with other artists, including Augustus John and Ambrose McEvoy, about the formation of a religious brotherhood.
They also planned the construction on the Sussex Downs of a colossal monument to art, which Gill referred to "as a sort of twentieth-century Stonehenge."
During the time they worked together, both Epstein and Gill produced significant works on similar themes, notably Epstein's Sun God and Gill's Cocky Kid, and they both carved portrait heads of Romilly John.
Epstein's third Romilly John head, entitled Rom, was carved from a rectangular limestone block which he retained, complete with chisel-marks, as a base for the child's head, so that it appeared as if the figure had emerged from the rock.
Both Rom, and another carving called Sun Goddess, show the influence of oriental and Egyptian art on Epstein, and how far he was moving away from more classical and accepted traditions of sculpture.
Epstein spent nine months in Gill's studio at Ditchling carving, from a block of Hopton Wood stone, the new design for Wilde's tomb and for which Gill designed the inscription. This design was clearly influenced by the massive Assyrian sculptures Epstein knew from the British Museum and featured, in his words "a vast, winged figure ... the conception of poet as messenger" with smaller figures representing Fame, Intellectual Pride and Luxury.
In June 1912, Epstein had the completed tomb displayed in his London studio for public viewing. The work received positive reviews, and was highly praised in the British press, including by publications that had been critical of the Strand statues.
Following an introduction from Augustus John in 1910, John Quinn, a wealthy American collector and patron to the modernists, visited Epstein's studio to view the Wilde tomb, and quickly became the artist's major patron and collector of his work.
After his death in 1924, several of Quinn's Epsteins were acquired by public collections in the United States.
By September 1912, after a prolonged dispute with the French customs authorities over the import duty payable, Wilde's tomb was installed in the Père Lachaise Cemetery.
The Paris authorities deemed the monument offensive due to the flying creature's testicles, and had it covered with a tarpaulin. They demanded that Epstein remove the offending parts or cover them up. He refused, and on several occasions visited the cemetery and, with the help of friends, removed the tarpaulin only for the cemetery authorities to replace it later.
This standoff, with Epstein travelling between London and Paris on a frequent basis, continued until August 1914 when Robbie Ross, against Epstein's wishes, had a butterfly-shaped plaque made as a fig-leaf to cover the creature's testicles.
Epstein refused to attend the official unveiling which was performed by Aleister Crowley. Crowley subsequently presented Epstein with the fig-leaf from the tomb one evening at the Café Royal in London.
During his time in Paris defending the Wilde tomb, Epstein met and befriended Modigliani and Picasso, each of whom influenced his future work.
In May and June 1912, Epstein was among the artists hired to produce artworks for a new London nightclub, The Cave of the Golden Calf, which brought him into contact with a number of younger artists, notably Wyndham Lewis and the poet T. E. Hulme.
This led to Epstein becoming associated with the short-lived Vorticism movement and contributing two illustrations to the first edition of the Vorticist magazine BLAST.
-- Pett Level 1913–1916
Early in 1913, after living in rented rooms in Montparnasse for three months, the Epsteins moved to a secluded bungalow in the village of Pett Level in East Sussex. Using the garden shed there as a studio, over the next three years Epstein produced a number of notable works.
At Pett Level, Epstein became aware of the dark green mineral Serpentinite, which he called Flenite, and used it for sculptures, including Flenite Women and Flenite Relief which showed an infant emerging from the womb.
He carved two figures of pregnant women, one of which was eventually acquired by the Tate.
Cursed Be the Day wherein I was Born was a plaster figure of a child, painted red, apparently crying or screaming.
Jacob also created three marble sculptures of pairs of doves mating, the first two of which were shown in group exhibitions during 1913 and at his solo exhibition at the Twenty-One Gallery in December 1913. The reviews of all these works, in both the popular press and the art journals, were almost universally hostile and insulting to Epstein.
In London, Epstein rented a room above a bookshop in Devonshire Street and used a garage in the adjacent mews to began work on Rock Drill, which was too large for the Pett Level shed. By the summer of 1914 he was close to completing the work, but could not afford to have it cast in steel so he made the upper figure in plaster instead.
-- Jacob Epstein and The Great War
The start of World War I in 1914 saw the closure of a number of London art galleries and this left Epstein in financial difficulties, unable to sell any work and with a large number of unfinished pieces.
In March 1915, at a London Group exhibition at the Goupil Gallery, Epstein exhibited several works, including the Flenite pieces and Doves, plus, for the first and only time in public, Rock Drill.
By making an actual, unaltered, industrial drill an integral part of the sculpture, Epstein must have expected criticism. The menacing body mounted on the drill appeared to be assembled from machine parts, including a head on a shaft with the only organic feature the foetus within the creature's open rib-cage.
The critic's response was almost universally hostile and abusive. P. G. Konody described Rock Drill as "unutterably loathsome," and Augustus John persuaded John Quinn not to buy it.
Even the supportive reviewer for The Guardian concluded that the 'incongruity' of the work was 'too difficult for the mind to grasp'.
In May 1916, Epstein, apparently mortified at the continuing slaughter of the war, made the decision to break up the sculpture. He removed the drill entirely and reduced the upper figure to a legless one-armed torso, which he had cast in gunmetal. When shown at the London Group in the summer of 1916, the torso appeared more of a victim than the menacing figure of the original sculpture.
At this point Epstein began to concentrate less on avant-garde sculpture and embrace more figurative forms of working.
Later in 1915 Epstein showed a number of portrait busts, including those of Iris Beerbohm-Tree and Lilian Shelley, at a National Portrait Society exhibition, all of which received positive reviews and sold well.
Jacob subsequently produced a notable portrait bust of Admiral Lord Fisher.
During 1916, the Epsteins left Pett Level and moved to Guildford Street in the Bloomsbury area of central London.
As Epstein had become a naturalized British subject in December 1910, he was eligible for conscription into the British armed forces. After lobbying by Margaret Epstein, John Quinn and others, a three-month exemption from conscription was granted which allowed Epstein to prepare for a major solo exhibition at the Leicester Galleries in February and March 1917.
The exhibition drew large crowds, and was a critical and commercial success. A further three-month exemption from conscription was granted, but after a press campaign, featuring objections from, among others, G. K. Chesterton and the sculptor Adrian Jones, plus a question in the House of Commons, the concession was withdrawn.
By September 1917 Epstein was a private in the 38th. Battalion of the Royal Fusiliers, known as the Jewish Legion, stationed at the Crownhill barracks, Plymouth.
Several attempts were made to have Epstein created an official war artist. His release from active service and secondment to the newly formed Imperial War Museum was approved by Field Marshal Haig in December 1917, but promptly withdrawn after the sculptor George Frampton raised objections.
The scheduled departure of his regiment to the Middle East precipitated a breakdown in Epstein. After he was found wandering on Dartmoor, and had spent a period in hospital, he was discharged from the army in July 1918 without having left England.
After the war ended, Muirhead Bone purchased, for the Imperial War Museum, three portrait busts of military subjects by Epstein including The Tin Hat and Sergeant D. F. Hunter, VC.
-- The Risen Christ
Epstein spent most of 1919 making portrait sculptures, but also returned to work on a large bronze, The Risen Christ, which he had abandoned when called up.
When exhibited at the Leicester Galleries in February 1920, the seven-foot figure of a gaunt, accusing Christ figure provoked a torrent of abuse towards Epstein, some of which was racist in nature.
The controversy brought over a thousand people a day through the turnstiles of the Leicester Galleries for the exhibition. The Risen Christ was bought by the explorer Apsley Cherry-Garrard, and was eventually acquired by the National Galleries of Scotland.
-- The Hudson Memorial
In 1922, Epstein secured a commission from the Royal Society for the Protection of Birds, RSPB, for a memorial in Hyde Park, London to the author and naturalist W. H. Hudson.
By early 1923, he had produced a model of Hudson beside a tree, looking at a bird. The RSPB approved the design, but the park authorities objected, and requested a new design.
Epstein's new design focused on the character, Rima, from Hudson's novel Green Mansions and, after submitting numerous treatments of the figure, a final design was approved in February 1924.
When Prime Minister Stanley Baldwin unveiled the memorial on the 19th. May 1925, there were gasps of horror at the sight of the bare-breasted figure Epstein had created.
Arthur Conan Doyle organised a petition to have the memorial removed. The Daily Mail ran the headline:
"Take this horror
out of the Park."
The Morning Post described Rima as:
"Hideous, unnatural, un-English."
A question was even asked in the House of Commons about:
"This specimen of Bolshevik art".
The abuse aimed at Rima and Epstein lasted for years. The memorial was vandalised with paint in November 1925 and during the 1930's was defaced with swastikas and fascist slogans.
In January 1924 the Leicester Galleries held their third exhibition of Epstein's works. The exhibition attracted few sales, but did elicit a critical and damaging review in the New Statesman by Roger Fry, as well as an unsigned and overtly racist article in The New Age.
Through Muirhead Bone, Epstein was commissioned by the government of Poland to create a portrait bust of Joseph Conrad.
Conrad wrote:
"Epstein has produced a wonderful
piece of work of a somewhat
monumental dignity, and yet —
everybody agrees—the likeness is
striking."
The Polish government however refused to accept the work, completed a few months before Conrad died, and it was eventually, in 1960, acquired by the National Portrait Gallery in London.
-- Jacob Epstein in America 1927
In 1927 Epstein agreed to hold an exhibition in New York at the Ferargil Gallery on West 47th. Street, and spent most of that year preparing fifty works for the show. The exhibition was a success, with several pieces selling, including two bought by public collections.
During his four months in America, Epstein made three portrait busts, most notably one of the singer Paul Robeson.
-- The Move to Hyde Park Gate, 1928
In early 1928 the Epstein family moved to 18, Hyde Park Gate, a five-storey house with a ballroom that became Epstein's studio, and allowed him to start gathering together his unsold and unfinished works from various sheds and garages around London.
He also retained Deerhurst, a cottage and studio at Loughton in Epping Forest.
-- Day and Night, 1929
A commission from Charles Holden for two sculptures for the new headquarters building of the London Electric Railway generated further controversy in 1929.
Epstein's sculptures Day and Night above the entrances of 55 Broadway were criticised as indecent, ugly and primitive, although some critics, notably R. H. Wilenski, regarded them as a major achievement.
Starting in October 1928, Epstein carved the two figures in-situ as the upper floors of the building were being built above him. Aware of the potential for controversy, he was not identified, in public at least, as the sculptor until May 1929 when Night was completed to a storm of criticism.
A debate raged for some time over demands to remove the statues. To placate the railway board, Holden persuaded Epstein to modify the penis of the smaller of the two figures represented on Day.
An attempt to vandalise Night was made in October 1929, a few days before the Hudson memorial was defaced. The controversy affected Epstein's ability to gain commissions for large public works which largely dried up for twenty years.
-- Jacob Epstein in the Early 1930's
Without any commissions for large public monuments throughout the 1930's, Epstein worked on a number of large sculptures on religious subjects of personal significance to himself, while supporting himself and his family with commissions for portrait busts and by selling paintings of flowers and landscapes.
In 1929, Epstein carved Genesis, a massive, marble, three-ton figure of a pregnant women with a swollen belly and a face based on an African mask.
When shown as part of Epstein's February 1930 exhibition at the Leicester Galleries, the response to Genesis was vicious, not just from the popular press, but also from more serious journals.
Epstein took particular exception to an insulting review by the artist Paul Nash. After a break of almost twenty years, Epstein returned to the sculpture Sun God. He began, in 1932, to carve a new relief on the rear side of the block, a hunched male figure with two infant forms across his body, titled Primeval Gods.
Epstein spent the summer of 1933 at his cottage in Epping Forest and, in the space of two months, painted over a hundred landscapes and flower compositions. These were shown at Tooth's Gallery that Christmas, and his Christmas exhibition of paintings became a popular annual event.
During September 1933, on his way to America, Albert Einstein spent some weeks at Roughton Heath, Norfolk, and agreed to sit for Epstein over seven days. Epstein remembered his meeting with Einstein as follows:
"His glance contained a mixture of
the humane, the humorous and the
profound. This was a combination
which delighted me. He resembled
the ageing Rembrandt."
-- Ecce Homo, 1935
Throughout 1934 Epstein struggled with carving a huge block of marble that proved so tough it regularly broke his tools until he had a new set of instruments made for the work.
Behold the Man (Ecce Homo) depicted a squat Christ with a huge head that, in Epstein's words, was:
"A symbol of man, bound, crowned
with thorns and facing with a relentless
and over-mastering gaze of pity and
prescience of our unhappy world'.
First shown, unfinished, at the Leicester Galleries in March 1935, Ecce Homo led to a storm of criticism, including accusations of blasphemy.
Some newspapers considered the work so grotesque that they refused to publish photographs of it.
Anthony Blunt however wrote a positive review for The Spectator, stating that the scale of the work was more suitable for a large church rather than an art gallery.
Epstein never sold the work, and it remained in his studio throughout his life. In 1958 he was approached by the rector of Selby Abbey in Yorkshire, who asked if Epstein would leave Ecce Homo to the abbey in his will.
Jacob agreed, but local church members raised a petition that persuaded the church authorities to overrule the rector and refuse the gift.
It was not until 1969, that Ecce Homo, donated by Epstein's widow, was finally installed in the ruins of Coventry Cathedral.
-- The Strand sculptures, 1935–1937
By 1926, the British Medical Association had vacated their Strand headquarters, and the building was sold to the government of New Zealand which, in 1928, commissioned a structural survey of Epstein's 1908 statues.
The survey found extensive signs of erosion, weathering and other damage. No further action was taken at that time, but in 1935 the building was sold to the government of Southern Rhodesia, and the new owners soon announced their intention to remove Epstein's statues from the building.
A vigorous campaign was again launched to preserve the figures. The leaders of nine of Britain's leading art organisations, but notably not the Royal Academy, signed a letter supporting the preservation of the statues.
The campaign was a success until 1937 when, as some bunting, erected for the coronation of George VI, was being removed from the building, a piece of one figure was knocked off and fell to the pavement below.
The London County Council instructed the owners to make the building safe. The owners declared all the projecting features of the statues to be unsafe, and were to be removed.
Attempts to find an alternative solution, such as removing and re-carving elements of the statues, were hindered when Epstein insulted the Southern Rhodesian High Commissioner in a press interview.
The parts hacked off included the heads and hands of all eighteen figures, the feet of most of them and other key defining elements, such as the foetus from the Matter statue and the figure of a new-born baby from Infancy.
Several of these pieces were eventually acquired by the National Gallery of Canada, and one of the heads was later found at a school in Bulawayo.
-- Jacob Epstein in the Late 1930's
In the second half of the 1930's, alongside his sculpture work, Epstein took on other projects in different media. With the artist Bernard Meninsky, he designed and painted the stage curtain for the ballet David at the Duke of York's Theatre in central London. The curtain, now lost, was considered a great success.
Considerably less appreciated was Epstein's illustrations for an edition of Les Fleurs du Mal by Baudelaire. Commissioned to produce twenty drawings, Epstein created sixty illustrations which he considered among his best work in any medium but, when shown at Tooth's Gallery in December 1936, met with near universal disapproval.
During 1936, Epstein started carving a large block of alabaster in his Hyde Park Gate studio. Inspired by Bach's Mass in B minor, he carved Consummatum Est, a horizontal figure of the crucified Christ with the stigmata wounds on his hands and feet visible.
Epstein began, in 1938, to sculpt Adam, a seven foot high figure carved from a three-ton block of alabaster. The directors of the Leicester Galleries were reluctant to include the naked giant figure with his oversized genitals and muscles in Epstein's June 1939 exhibition, but feared he would withdraw all his work from the gallery if they didn't accept it.
Adam was of great personal significance to Epstein who had, throughout the first half of 1939, worked day and night on the figure. Alongside the usual outrage that greeted much of Epstein's work, Oswald Mosley's fascist group threatened to attack it.
A photograph of the unfinished Adam formed the frontispiece of the first edition of Epstein's autobiography Let There Be Sculpture which was published in 1940.
Forty pages, a fifth of the book, was devoted to Epstein's account of the Strand sculptures controversy.
-- Jacob Epstein in World War II
During the Second World War, Epstein was asked to undertake six commissions for the War Artists' Advisory Committee. After completing bronze busts of Admiral of the Fleet Sir Andrew Cunningham, General Sir Alan Cunningham, Air Marshal Sir Charles Portal and Ernest Bevin, Epstein accepted a commission to create busts of John Anderson and Winston Churchill.
Jacob completed a bust of Winston Churchill in early 1947. By then, Churchill was living in Hyde Park Gate across the road from Epstein and the two became friendly. Epstein had numerous casts of the Churchill bust made, and it was among his most popular works.
-- Jacob and the Angel, 1942
Throughout the war, Epstein continued to paint flowers and woodland scenes of Epping Forest and hold commercially successful Christmas exhibitions of those works.
Jacob also worked on two large private projects, Jacob and the Angel, and Lucifer. First exhibited in February 1942, Jacob and the Angel, based on a Bible story, depicts two figures, one winged, locked in an embrace carved from a four-ton block of alabaster, streaked with veins of pink and brown.
Epstein imagined the fallen angel Lucifer as a tall, winged, androgynous figure with male genitals and a female face, that of the Kashmiri model Sunita Devi, all cast in a golden patinated bronze.
The front of the Leicester Galleries had to be removed in order to get the statue inside for its first public showing in October 1945. Despite positive reviews, Lucifer remained unsold until 1946 when A. W. Lawrence, the brother of T. E. Lawrence, and the Seven Pillars of Wisdom Trust purchased it with the intention of donating it to the Fitzwilliam Museum in Cambridge.
The Fitzwilliam refused the donation, as did both the Victoria and Albert Museum and the Tate, but several other museums did show interest, and Epstein was pleased when the statue entered the collection of the Birmingham Museum and Art Gallery.
Jacob and the Angel was bought by a businessman, Charles Stafford, who already owned Epstein's Adam which he had been exhibiting in local fairs and fetes for its shock value.
In Blackpool, he installed Jacob and the Angel in an old song booth on the promenade behind an 'Adults Only' sign.
Eventually Stafford sold both Jacob and the Angel and Adam, plus Consummatum Est which he also owned, to Louis Tussaud.
Tussaud returned the works to Blackpool where, along with Genesis, they were exhibited in the anatomical curiosities section of his waxworks.
The works were displayed alongside dancing marionettes, diseased body parts, and conjoined twin babies in jars. Placing Epstein within the context of freakish curiosity was a constant source of anguish to him.
-- Jacob Epstein in the 1950's
After the Second World War there was a notable change in attitudes to Epstein and, nearing seventy, he was about to enjoy a sustained period of recognition and one of the busiest periods of his artistic life.
Early in 1950, he received his first commission in twenty years for a public monument, the statue Youth Advancing, for the 1951 Festival of Britain.
Epstein's 1947 carving of Lazarus was bought by New College, Oxford and installed in the chapel there in January 1952.
In 1947, the architect Louis Osman was employed by the nuns of the Convent of the Holy Child to rebuild their bomb-damaged buildings on Cavendish Square in central London. Osman's design featured a bridge that linked two parts of the complex and would support a large sculpture.
The nuns were keen to have a sculpture of the Madonna and Child and planned to employ a Catholic sculptor for the work. Osman was determined to have a work by Epstein and, without consulting the nuns, had him produce a maquette.
When the convent rejected Epstein's design on cost grounds, he and Osman, with help from Kenneth Clark and the Arts Council, agreed to cover the cost themselves. The convent agreed to Epstein's design, provided that he would listen to any suggestions they made.
After Epstein accepted their concerns about the face of the Madonna and changed the head, from one based on Kathleen Garman to one modelled on her friend Marcella Bazrtti, the convent began working hard to raise funds for the sculpture to be cast in lead.
Unveiled on the 14th. May 1953 by Rab Butler, the Chancellor of the Exchequer, the Cavendish Square Madonna and Child met with near universal praise.
While working on Madonna and Child during 1951 and 1952, Epstein undertook other major projects. In August 1951 he travelled to the United States to view the site in Fairmount Park, Philadelphia where the Philadelphia Museum of Art had commissioned him to create a large sculpture group, Social Consciousness.
Jacob was one of 250 sculptors who exhibited in the 3rd. Sculpture International held there in the summer of 1949. In London, the Tate hosted a large retrospective exhibition of his work in September 1952, with fifty-nine sculptures and twenty drawings.
-- Jacob Epstein's Final Works
The success of Madonna and Child in 1953 led to a dramatic reappraisal of Epstein's work in general, and to more public commissions.
That year he received commissions, from Llandaff Cathedral and from the British Government, which was for a statue of Field Marshall Jan Smuts to be placed in Parliament Square.
Such was the scale and quantity of work that Epstein took on, he was given the use of an extra large studio in the Royal College of Art. There he worked on the three large figure groups comprising Social Consciousness during 1953, the Liverpool Resurgent figure and parts of the giant Christ in Majesty for Llandaff Cathedral in Cardiff.
The cathedral had originally commissioned the figure to be made in gilded plaster but, after Epstein offered to pay for it to be cast in metal, the church authorities agreed to cover the cost of an aluminium casting.
It was not until April 1957 that Christ in Majesty was unveiled, suspended above the nave of the cathedral on a concrete arch designed by George Pace.
Epstein was knighted in the 1954 New Year Honours. Epstein strongly suspected that Winston Churchill had nominated him for the honour.
In 1955, he received a request from Basil Spence, the architect building the new Coventry Cathedral, to produce a small maquette for a giant sculpture of St Michael's Victory over the Devil.
Jacob also received a commission from the Trade Union Congress, for a war memorial for their new headquarters building.
The following year, Westminster Abbey commissioned a memorial to William Blake for Poet's Corner.
As soon as he finished the maquette for Coventry Cathedral, Epstein began making the head and wings of the full-size figure without waiting for the cathedral authorities to approve the project.
When reports of the work appeared in the press, Spence made it clear to Epstein that the cathedral was under no obligation to accept it. Epstein said he would do it for his own benefit.
However when the bishop and cathedral officials visited Epstein's studio to view the work they were greatly impressed and quickly approved the contract for the work.
In a 1956 letter to a friend, Epstein wrote:
"I am inundated with requests for work on
buildings, large works which I don't know I
will ever be able to accomplish.
I was for so long without any commissions,
I don't feel like turning down anything that
comes my way, but it is all coming too late
I'm afraid."
During 1958, Epstein was too ill to attend the unveiling of the war memorial he had carved at the centre of the TUC Headquarters in London, being in hospital with pleurisy and a thrombosis.
While the TUC leadership made no secret of their hatred of the carving, several Labour MPs were greatly impressed, and the critic Terence Mulally praised it as:
"A tragic monument on a grand scale."
After spending time convalescing in Italy and France, Epstein resumed working, creating a portrait sculpture of Princess Margaret and starting work on the large Bowater House Group sculpture.
Epstein's final works included a posthumous portrait of David Lloyd George for the Houses of Parliament, and the Bowater House Group which he completed on the day he died on the 21st, August 1959.
-- Jacob Epstein's Personal Life
Despite being married to and continuing to live with Margaret, Epstein had a number of relationships with other women that brought him his five children: Peggy Jean (1918–2010), Theo (1924–1954), Kathleen (1926–2011), Esther (1929–1954) and Jackie (1934–2009).
Margaret generally tolerated these relationships – even to the extent of bringing up his first and last children.
In 1921, Epstein began the longest of these relationships, with Kathleen Garman, one of the Garman sisters, mother of his three middle children, which continued until his death.
Margaret tolerated Epstein's infidelities. She allowed his models and lovers to live in the family home, and raised Epstein's first child, Peggy Jean, who was the daughter of Meum Lindsell, one of Epstein's previous lovers, and his last, Jackie, whose mother was the painter Isabel Nicholas.
Evidently, Margaret's tolerance did not extend to Epstein's relationship with Kathleen Garman, as in 1922 Margaret shot and wounded Kathleen in the shoulder.
Margaret Epstein died in 1947, and he married Kathleen Garman in 1955. Their eldest daughter, also named Kathleen but known as "Kitty", married painter Lucian Freud in 1948, and was mother of his daughters Annie and Annabel.
She is the subject of the painting Portrait of Kitty. In 1953 they divorced.
-- Death and Legacy of Jacob Epstein
Jacob Epstein died in August 1959 at his Hyde Park Gate home, and was laid to rest in Putney Vale Cemetery on the 24th. August 1959 with a service conducted by Dr. Hewlett Johnson, Dean of Canterbury.
A memorial service was held on the 10th. November 1959 at St. Paul's Cathedral with a plaster cast of Christ in Majesty hung in the cathedral for the event.
A memorial exhibition of 170 sculptures by Epstein was held during the Edinburgh Festival in 1961. The exhibition included the four works that had been at Blackpool in Louis Tussaud's shows.
After Epstein died the four works, Jacob and the Angel, Adam, Consummatum Est and Genesis, were bought by a group led by Lord Harewood and Jack Lyons.
Adam is now in the entrance hall of Harewood House, Consummatum Est is in the Scottish National Gallery of Modern Art, and Genesis is at The Whitworth in Manchester.
Since 1996, Jacob and the Angel has been part of the Tate collection alongside several other works by Epstein, including Sun God / Primeval Gods, a version of Doves and Torso in Metal.
In 1961, two hundred plaster casts by Epstein were donated by Kathleen Garman to the Israel Museum in Jerusalem.
With Epstein's former pupil Sally Ryan, Garman created the Garman Ryan Collection, a collection of works by Epstein and other artists which she donated, in 1973, to the people of Walsall and is exhibited at The New Art Gallery Walsall.
Ryan also donated Epstein's 1927 seated bronze Madonna and Child, which she had bought in the 1930's, to the Riverside Church, New York City in 1960.
By 1912, Epstein had begun collecting west African, ancient Egyptian, pre-Columbian American, Oceanic and other non-western artworks, having purchased pieces of Fang work, including a reliquary figure, in Paris that year.
By 1931 he owned over 200 pieces of ethnographic art and, eventually, built up one of the largest such private collections in existence, with over a thousand objects.
After Jacob's death, when the collection was broken up and sold at auction, the British Museum purchased several substantial pieces.
Epstein's art is to be found all over the world. Highly original for its time, it substantially influenced the younger generation of sculptors such as Henry Moore and Barbara Hepworth.
According to June Rose's biography, during the early 1920's Moore visited Epstein in his studio and was befriended by the older sculptor.
-- Final Thoughts From Jacob Epstein
"There are infinite modes of expression in the
world of art, and to insist that only by one road
can the artist attain his ends is to limit him."
"When I was doing Professor Albert Einstein's
bust he had many a jibe at the Nazi professors,
one hundred of whom had condemned his theory
of relativity in a book. 'Were I wrong,' he said,
'one professor would have been enough'."
"A sculptor is supposed to be a dull dog
anyway, so why should he not break out
in colour sometimes, and in my case I'd
as soon be hanged for a sheep as a lamb."
"The artist is the world's scapegoat."
"The artist who imagines that he puts his best
into a portrait in order to produce something
good, which will be a pleasure to the sitter and
to himself, will have some bitter experiences."
"A wife, a lover, can perhaps never see what
the artist sees. They rarely ever do. Perhaps
a really mediocre artist has more chance of
success."
"To think of abstraction as an end in itself
is undoubtedly letting oneself be led into
a cul-de-sac and can only lead to exhaustion
and impotence."
"I cannot recall a period when I did not draw;
and at school, the studies that were distasteful
to me, mathematics and grammar, were retarded
by the indulgence of teachers who were proud
of my drawing faculties, and passed over my
neglect of uncongenial subjects."
"Why dont they stick to murder and leave
art to us?"
(Telegram sent to the Warden of New College,
Oxford, on hearing of Kruschev's derogatory
remarks on his 'Lazarus' in the College chapel).
"To accuse me of making sensations is the
easiest way of attacking me, and in reality
leaves the question of sculpture untouched."
Source: livinghistories.newcastle.edu.au/nodes/view/34896
This photograph was taken by Brian R Andrews of Killingworth NSW. Brian worked for 20 years as a Draftsman for Coal and Allied Industries Limited. This photograph is part of Brian's private collection. Brian has kindly given Cultural Collections at the University of Newcastle, NSW, Australia, access to his collection and allowed us to publish the images.
Please contact Cultural Collections at the University of Newcastle Library, NSW, Australia if you are the subject of the image, or know the subject of the image, and have cultural or other reservations about the image being displayed on this website and would like to discuss this with us.
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This photograph was published in the Illustrated Chronicle August 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.