But neither characterization nor storytelling made much of an impression, and though, in her Odile, they did, Ms. Copeland remains a pleasant but immature executant of that double role.
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Henry Flitcroft was the executant architect.Rudolf Wittkower, in Architectural Journal 102 1945, noted in Howard Colvin, A Biographical Dictionary of British Architects, 1600–1840, 3rd ed. 1995, s.v.
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Set up in the Tuileries Garden in 1717, where it remains (Geneviève Bresc-Bautier, Les Sculptures des jardins du Louvre, du Carrousel, et des Tuileries (Paris, 1986) vol. II:264-69). demonstrated his facility and fidelity as an executant.
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His diploma picture was Jacobites, 1745. Pettie was a hard and rapid worker, and, in his best days, a colourist of a high order and a brilliant executant. In his early days he produced a certain amount of book illustration. His connection with Good Words began in 1861, and was continued until 1864.
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The original RMI was designed by the English Architect James Gandon in the late Eighteenth Century. The executant architect for the building's construction was William Gibson, who did redesign some aspects of the building; the building's construction took place from 1786 to 1788. The original construction costs for the infirmary were recorded as £9000. Its design was seen as advanced and best in its class as a military hospital well after its inauguration.
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The lands of Kinmount were granted to the Carlyle family in the 13th century, and acquired by William Douglas, 1st Earl of Queensberry, in 1633. The 4th Duke of Queensberry carried out extensive planting on the estate in the late 18th century. On his death in 1810 Kinmount passed to the 6th Marquess of Queensberry, who commissioned a new house from the English architect Sir Robert Smirke. The Greek Revival house was built between 1813 and 1820, with Smirke's assistant William Burn acting as executant architect.
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Henry Forbes (1804–1859) was an English pianist, organist and composer. Forbes was a pupil of George Thomas Smart, Johann Nepomuk Hummel, Ignaz Moscheles, and Henri Herz, and had greater success as executant and teacher than as composer. While organist of St Luke's Church, Chelsea, a London church, he published (1843) National Psalmody, containing some original numbers. His opera The Fairy Oak was disliked by the critics, but had a run of a week or two after its production at Drury Lane, 18 October 1845.
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The new building was based on designs by Robert Adam dated 1776, with Birt's friend Thomas Roberts as executant architect. Most of the new building was of locally-quarried "blue stone", but Bath stone was brought via the port of Cardiff, probably for the quoins and corner stones. The foundations were almost complete by 29 April 1776, and the roof was on before the end of that year. The building was massive, with a large central rectangular block from which low wings extended from each side.
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His last performance was in London in 1895. Armanini's success in England was mixed; the journals of the time stated that his cadenzas and improvisations were little short of marvellous. However, it also called him a "maestro of the very highest order"—"an artist without an equal as an executant, he had no rival, and probably will have no successor, his scale passages, part playing, pizzicato, double stopping with left hand, and marvellous rapidity proclaimed him the Paganini of the mandolin." In 1895 he retired from public life and lived at Bordeaux.
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Copley himself complained, in a letter to Benjamin West, written November 12, 1766: "In this Country as You rightly observe there is no examples of Art, except what is to [be] met with in a few prints indifferently exicuted, from which it is not possable to learn much.""Copley-Pelham Letters", p. 51. Variants of this thesis are found almost everywhere in his earlier letters. They suggest that, while Copley was industrious and an able executant, he was physically unadventurous and temperamentally inclined toward brooding and self-pity.
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As a mandolinist, Cristofaro was important among those who wanted to elevate the science and art of mandolin playing; it was he who introduced the mandolin to the English public and brought about its popularity. As an executant, he was in many respects unsurpassed. His tone was remarkable for its exquisite tenderness and delicacy—his expression and nuances were unapproachable—and his tour de force were models of artistic excellence. He brought the higher mechanical attributes such as the shake, double stopping, the glissato and other effects peculiar to the instrument to perfection (which classed him among the virtuosi of the time).
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In 1799 he became attached to the theatre at Frankfurt as first cellist, where he occupied himself much with composition, and enjoyed a great reputation both as executant and teacher. The career however of this young and talented artist was speedily cut short, for he died of an affection of the lungs in 1806 at the early age of thirty-four. Besides compositions and 'transcriptions' for his own particular instrument, he wrote original pieces for the flute and piano, and made quartet arrangements of various operas, etc. Fétis ('Biographie') gives a list of his compositions, including five concertos for the violoncello; a symphonic concertante for two flutes and orchestra; airs with variations, op.
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Colvin's paper was published in the 2010 Georgian Group Journal During the seventeenth century it was impossible for a woman to pursue a profession and Lady Wilbraham is said to have used male executant architects to supervise construction in her place. She is believed to have designed more than a dozen houses for her family and, because of the inclusion of distinctive and unusual design details, has been put forward by Millar as the designer of 18 London churches (officially attributed to Christopher Wren). Because Wren came late to architecture, Elizabeth Wilbraham has been suggested by Millar as his most likely tutor. As many as 400 buildings have been suggested by Millar as possible works of Elizabeth Wilbraham.
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Walter Crane, a close political associate of Morris's, took an unsympathetic view of the division of labour on both moral and artistic grounds, and strongly advocated that designing and making should come from the same hand. Lewis Foreman Day, a friend and contemporary of Crane's, as unstinting as Crane in his admiration of Morris, disagreed strongly with Crane. He thought that the separation of design and execution was not only inevitable in the modern world, but also that only that sort of specialisation allowed the best in design and the best in making.Designer and Executant: An Argument Between Walter Crane and Lewis Foreman Day Few of the founders of the Arts and Crafts Exhibition Society insisted that the designer should also be the maker.
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A contemporary eyewitness described the potentiomètre d'espace in normal use: > One found one's self sitting in a small studio which was equipped with four > loudspeakers—two in front of one—right and left; one behind one and a fourth > suspended above. In the front center were four large loops and an > "executant" moving a small magnetic unit through the air. The four loops > controlled the four speakers, and while all four were giving off sounds all > the time, the distance of the unit from the loops determined the volume of > sound sent out from each. > The music thus came to one at varying intensity from various parts of the > room, and this "spatial projection" gave new sense to the rather abstract > sequence of sound originally recorded.
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The house was built in 1671 for Lady Elizabeth Wilbraham. Although it is often claimed that she was her own architect, there is no conclusive documentary evidence for this and it is most likely that the executant architect was William Taylor, who is known to have been at Weston Park in 1674. Lady Wilbraham was evidently an enthusiastic patron, however, and her heavily-annotated copy of Palladio’s book (I Quattro Libri dell'Architettura) remains in the collection at Weston Park. The three-storey, twelve-bayed south front of the house was originally the entrance front but alterations and improvements carried out in the latter 19th century for Orlando Bridgeman, 3rd Earl of Bradford of the second creation involved the movement of the main entrance to the east front.
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12 (Facsimile of the 1911 edition) William Arthur Smith Benson, on the other hand, had no qualms about adapting the Arts and Crafts style to metalwork produced under industrial conditions. (See quotation box.) Morris and his followers believed the division of labour on which modern industry depended was undesirable, but the extent to which every design should be carried out by the designer was a matter for debate and disagreement. Not all Arts and Crafts artists carried out every stage in the making of goods themselves, and it was only in the twentieth century that that became essential to the definition of craftsmanship. Although Morris was famous for getting hands-on experience himself of many crafts (including weaving, dying, printing, calligraphy and embroidery), he did not regard the separation of designer and executant in his factory as problematic.
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West Wycombe's east portico, with planting attempting to hide its asymmetrical alignment with the house (marked N on plan below) The principal façade is the great south front, a two-storey colonnade of Corinthian columns superimposed on Tuscan, the whole surmounted by a central pediment. The columns are not stone, but wood coated in stucco. It is possible this facade was inspired by work done in Paris on the church of S. Sulpice by Giovanni Niccolo Servandoni who was working in England from 1747 to 1751; some drawings made for Sir Francis Dashwood in emulation of his uncle's patronage of Palladian style, survive by him in the collection at West Wycombe. The executant architect for this elevation and for much of the work on the house appears to have been the minor architectural view painter John Donowell, who worked between 1761 and 1763 (although he had to wait until 1775 for paymentWallace p 12.).
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The Architects Act 1997 had resulted from the policy of allowing certain restrictions to apply (for well over 60 years, in the United Kingdom) to the use of the simple word "architect" in connection with a statutory Register of Architects operated under Westminster primary legislation by which the executant body was renamed as the Architects Registration Board from 1997 (previously the Architects' Registration Council of the United Kingdom). The amendment (under the European Communities Act 1972) has introduced pages of complicated text to a piece of legislation which was otherwise tolerably trim, neat and comprehensible in its consolidated form in the 1997 Act. But the amendment has been made pursuant to a European Directive made in 2005Directive 2005/36/EC of the European Parliament and of the Council and the treaty obligations binding upon the United Kingdom and other states of the European Union, and in that respect an amendment under the European Directive was inevitable.
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