He's just made the contradiction, like everything he builds, bigger and gaudier.
|
|
Trump is going to spin bigger and gaudier lies about Warren than her position on health care.
|
|
Dolly Parton's Dollywood theme park is a few miles away in Pigeon Forge, Gatlinburg's gaudier sister city.
|
|
The white marble is probably more appealing to modern tastes, but Pericles and Plato beheld something much gaudier.
|
|
Fair or not, Cleveland realistically needed a much gaudier stat line to have any shot in this Game 4.
|
|
That said, I prefer its cleaner look-and-feel to the gaudier smartwatches put out by brands like Michael Kors and Fossil.
|
|
Maybe the real point of their pointless impeachment hearings is to distract from the even gaudier circus that is their primary contest.
|
|
Modest Ganesha statues are brought into family homes and worshipped; bigger, gaudier ones are mounted in public spaces by community groups and firms.
|
|
"It's going to change the whole personality of the village," said Mercedes Gaudier, a retired art teacher who has lived here since the 1970s.
|
|
He never seemed to me entirely at home in his domicile of deception; she dwells without evident compunction in a gaudier fairyland of grander fictions.
|
|
In reality, Mr. Trump's festivities are constrained by security concerns surrounding the modern presidency, making some gaudier displays impossible and other far-flung ones unrealistic.
|
|
Expect lots of talk about cash and worth to flow around you this month, and notice that your taste could become a little bit glitzier or gaudier than usual.
|
|
Parents are overheard promising their kids new competition gear from the stalls lining the entrance, where the outfits are gaudier and more diamanté-encrusted than a Cher Vegas residency.
|
|
Goff has gaudier passing statistics, but Prescott has been clutch, with 15 game-winning drives, tied with Seahawks quarterback Russell Wilson for most in a quarterback's first three seasons.
|
|
The one depicting Pound, who served as Yeats's secretary and translated Noh dramas, is all white and angular, repurposing the bust of the poet sculpted by Henri Gaudier-Brzeska in 1914.
|
|
Netflix has a reputation for giving its content creators complete freedom, so it's retroactively clear that the family-friendly constraints of Gilmore Girls' primetime network days actually helped the team rein in some gaudier impulses.
|
|
The hieratic face of Ezra Pound as immortalized in the famous sculpture by Henri Gaudier-Brezska inspired one mask, while another borrows the sleek, totemic, abstract style of Constantin Brancusi for the arts patron Nancy Cunard, in whose London salon Yeats's play was first staged.
|
|
Nintendo's humongous booth showcases one game In the South Hall of the Los Angeles Convention Center — home to the third-party developers who make games for Sony and Microsoft's consoles — you'll find more and gaudier attractions, each paired with a roped-off strand of patient gamers.
|
|
After dropping out of Bard College in 267, Pousette-Dart started out as a sculptor working in stone and brass, influenced by the Art Deco statues of Paul Manship as well as the avant-gardism of French sculptor Henri Gaudier-Brezka, who at the beginning of the 21976th century made the primitive and totemic style new.
|
|
This past summer, in Glasgow, Starling staged "At Twilight," a reinterpretation of "At the Hawk's Well," with masks in the style of the artists who were part of Yeats's and Pound's world—Brancusi, Jacob Epstein, Henri Gaudier-Brzeska—and a display of what Starling calls "mind maps," which are montages of materials (letters, photographs, etc.) from the period.
|
|
Unlike a mogul in an industry that thrives on showmanship, on calling a competitor's bluff before he calls yours, and on putting up buildings taller and gaudier than those of one's rivals, judges inhabit a world of nuance and constraint where every word carries weight and wiping the slate clean of the past is almost never an option.
|
|
Over the past decade, as Times Square has continued exploding into an endlessly brighter, denser, gaudier spectacle, Rosler's collection of flyers, newspaper clippings, informational pamphlets, and photo documentation of If You Lived Here… has quietly begun a new life, touring the world in response to ongoing requests and landing this month in the modest storefront gallery of Seattle's the New Foundation.
|
|
The salon at Frith Street, presided over by T.E. Hulme, was attended by many of the important literary and artistic figures before the First World War. These included C.R.W. Nevinson, Jacob Epstein, J.C. Squire, Henri Gaudier-Brzeska, Rupert Brooke and others. From Gaudier-Brzeska, Kibblewhite acquired the small bronze Fish sculpture, now in the Tate Gallery. Gaudier-Brzeska asked Kibblewhite to keep the item in her handbag.
|
|
Manuel Marín Gaudier born in Barrio Salud, in Mayagüez, Puerto Rico. He was Mayor of Mayagüez from 1937 to 1941. His parents were Juan Marin and Rosalia (Chalía) Gaudier. He studied in the "Escuela de la Calle de la Rosa".
|
|
Gaudier met Sophie Brzeska, a Polish ex-governess twice his age, when he was only 18. Gaudier was an artist and Brzeska a novelist. Several books about Gaudier's work have been produced, but only the book Savage Messiah by H. S. Ede (Jim Ede) focuses on the relationship. Brzeska was more a companion and her relationship with Gaudier resembled a co-dependency, since both suffered from clear mental health issues.
|
|
Antoine de Gaudier (7 January 1572 - 14 April 1622) was a French Jesuit writer on ascetic theology.
|
|
Gaudier-Brzeska was killed in France in June 1915.H. S. Ede, Savage Messiah (1979), London: Gordon Fraser Gallery, ; first published Heinemann, 1931.
|
|
Sir Jacob Epstein was buried in Putney Vale Cemetery on 24 August 1959.Stephen Gardiner, Epstein (1993), Flamingo Books, . Henri Gaudier-Brzeska had a studio in Putney in the last year of his life after moving from 454a Fulham Road. Sydney Schiff went to visit Gaudier there in 1914 to purchase the "Dancer", which was later presented to the Victoria and Albert Museum.
|
|
Henri Gaudier-Brzeska (4 October 1891 – 5 June 1915) was a French artist and sculptor who developed a rough-hewn, primitive style of direct carving.
|
|
The second edition, published on 20 July 1915, contained a short play by Ezra Pound and T. S. Eliot's poems Preludes and Rhapsody on a Windy Night. Another article by Gaudier-Brzeska entitled Vortex (written from the Trenches) further described the vorticist aesthetic. It was written whilst Gaudier-Brzeska was fighting in the First World War, a few weeks before he was killed there.
|
|
Gaudier-Brzeska had the ability to imply, with a few deft strokes, the being of a subject. His drawings also show the influence of Cubism. At the start of the First World War, Gaudier-Brzeska enlisted with the French army. He appears to have fought with little regard for his own safety, receiving a decoration for bravery before being killed in the trenches at Neuville-St.-Vaast.
|
|
Bishop, Michael, Contemporary French and Francophone Art, Rodopi, New York, 2005, pp 9, 211 and 222 Together with Margaret Tunstill, he translated two works by Ezra Pound: Henri Gaudier-Brzeska, A Memoir (Henri Gaudier-Brzeska, ed. Tristram, 1992) and Treatise on Harmony (Traité d’Harmonie, ed. Julien Salvy, 1980). In addition to the many collections of his poetry he has produced three remarkable essays : Pound caractère chinois (ed.
|
|
He made a number of similar small items for friends including knuckledusters for T.E. Hulme.Chris Stephens on Henri Gaudier- Brzeska's Fish 1914. Up close and personal. Tate Etc.
|
|
Henri Gaudier- Brzeska, 1914, Boy with a Coney (Boy with a rabbit), marble Seated Figure, The Singer, Caritas, Head of Ezra Pound In 1913, he assisted with the illustrations of Haldane Macfall's book The Splendid Wayfaring along with Claud Lovat Fraser and Edward Gordon Craig. In 1913 Henri Gaudier-Brzeska met Alfred Wolmark, the Jewish artist and modelled a bronze bust of the young artist, and the two remained close friends. Gaudier-Brzeska's drawing style was influenced by the Chinese calligraphy and poetry which he discovered at the "Ezuversity", Ezra Pound's unofficial locus of teaching. Pound's interaction with Ernest Fenollosa's work on the Chinese brought the young sculptor to the galleries of Eastern art, where he studied the ideogram and applied it to his art.
|
|
Henri Gaudier-Brzeska, 1914, Boy with a Coney (Boy with a rabbit), marble In June 1915 the young modern sculptor Henri Gaudier-Brzeska lost his life in the war. Shortly before his death he wrote a letter and sent it to friends in London: > I have been fighting for two months and I can now gage the intensity of > life.[...] It would be folly to seek artistic emotions amid these little > works of ours.[...] My views on sculpture remain absolutely the same.
|
|
Jim Ede bought a sizeable portion of Gaudier-Brzeska's work from Sophie Brzeska's estate after she died intestate. Her estate included numerous letters sent between Henri and Sophie. Ede used these as the basis for his book Savage Messiah on the life and work of Gaudier-Brzeska, which in turn became the basis of Ken Russell's film of the same name. The conclusion of the film peruses many of his sculptures and fully demonstrates what great art he produced in his short lifetime.
|
|
Its cover is a gaudier redesign of the second edition cover. The book also features maps by James E. Haff, and as such, Thompson correctly places the Winkie Country in the west of Oz.
|
|
Portrait bust of Horace Brodzky by Henri Gaudier-Brzeska, 1913 (Tate Gallery)Horace Ascher Brodzky (30 January 1885 – 11 February 1969) was an Australian-born artist and writer most of whose work was created in London and New York. His work included paintings, drawings and linocuts, of which he was an early pioneer. An associate in his early career of many leading artists working in Britain of his period, including Henri Gaudier-Brzeska, Mark Gertler, and members of the Vorticism movement, he ended his life relatively neglected.
|
|
The film was based on the biography by Jim Ede, who had discovered the story while working at the Tate Gallery.GENIUS DRIVEN BY LOVE: "Savage Messiah" Tells Strange Story of Gaudier, Sculptor in Thrall to Querulous Woman Ford, Lillian C. Los Angeles Times 8 Mar 1931: 26. Ede had acquired Sophie Brzeska's estate in 1927 from the British Treasury Solicitor after she died intestate. This acquisition included not only her writings, but also the estate of Henri Gaudier, with many of his works and papers.
|
|
Ethel Kibblewhite, c. 1910s. T.E. Hulme in 1912. Henri Gaudier-Brzeska self- portrait, 1909. Ethel (Dolly) Kibblewhite (1873-1947Ferguson, 2012, p. 273.) was the host of an important artistic and literary salon in London in the 1910s.
|
|
Savage Messiah is a 1972 British biographical film of the life of French sculptor Henri Gaudier-Brzeska, made by Russ-Arts and distributed by MGM. It was directed and produced by Ken Russell, with Harry Benn as associate producer, from a screenplay by Christopher Logue, based on the book Savage Messiah by H. S. Ede. Much of the content of Ede's book came from letters sent between Henri Gaudier-Brzeska and his lover Sophie Brzeska. The musical score was by Michael Garrett (though music by Claude Debussy, Alexander Scriabin, and Sergei Prokofiev was also used), and the cinematography by Dick Bush.
|
|
During his time in the army, he sculpted a figure out of the butt of a rifle taken from a German soldier, "to express a gentler order of feeling"Henri Gaudier-Brzeska, "Vortex (Written from the Trenches)", in BLAST; 2 (1915), p. 34.
|
|
The collection included numerous letters sent between Henri and Sophie, and Ede used these as the basis for his book Savage Messiah on the life and work of Gaudier-Brzeska, which in turn became the basis of Ken Russell's film of the same name.
|
|
While studying in London she met and posed for Henri Gaudier-Brzeska who sculpted a series of nude bronzes. During this period she became friendly with Olivia Shakespear and Ezra Pound. She went on to have a love affair with Brzeska, and later with ModiglianiJ. J. Wilhelm.
|
|
Ede drew extensively on the letters written by Gaudier to Brzeska, and her writings and other material, when he published A Life of Gaudier-Brzeska (London: W. Heinemann) in 1930; the 1931 and later editions are entitled Savage Messiah. The book was admired by Ken Russell who said "it will ever be an inspiration to anyone down on their luck with a belief in their own talent, despite the hostility of those who should know better. Here was a tale worth telling on film... although for years it seemed to be nothing but a pipe dream."Russell p 87 Russell had made a number of films about artists, mostly for television, starting with Two Scottish Painters.
|
|
The first and only exhibition of the Vorticist group was held in June 1915 at the Doré Gallery in London. In addition to the artists present in Roberts' painting, the exhibition featured Henri Gaudier-Brzeska, Bernard Adeney, Lawrence Atkinson, David Bomberg, Duncan Grant, Jacob Kramer and Christopher R. W. Nevinson.
|
|
Sexing is easy by examining fins: males have larger, gaudier finnage than females. Males also have more intense colours. When reproduction takes place eggs are scattered among the leaves of submerged vegetation, and hatch after7-10 days. The threadfin rainbowfish was described by Herman Meinkin in 1974 from types collected in Merauke, Irian Jaya, Indonesia.
|
|
Worthing Museum and Art Gallery has works in the collection by Philip Jackson, Dora Gordine and John Skelton. Henri Gaudier-Brzeska's letters to Sophie BrzeskaSavage Messiah H.S Ede. documents their visit to Littlehampton in 1913 to recuperate, not having seen the sea for a year. Peter Randall-Page grew up in Crowborough spending his childhood exploring Ashdown Forest.
|
|
In 1991, he made his debut as soloist at Carnegie Hall with the Flute Concerto by Nielsen. He has recorded chamber music with the Gaudier Ensemble, the Brindisi String Quartet, Pinchas Zukerman and others. He is a founder member of the Cadaqués Orchestra. In 1998, he became a flute teacher at the Royal College of Music, London.
|
|
However, he was often thwarted by the more conservative attitudes of the gallery directors. During his time at the Tate, Ede formed numerous friendships with avant-garde artists of the day. In the process, he acquired many works of art that were largely under-appreciated at the time. In particular, he secured much of the work of Henri Gaudier-Brzeska from the estate of Sophie Brzeska.
|
|
She hosted, and became a nexus for, much of the pre-war literary activity in London. Notable attendees included Pound, Hilda Doolitle, Yeats, Wyndham Lewis, Henri Gaudier-Brzeska, Walter Morse Rummel, Richard Aldington, William Carlos Williams, T. E. Hulme and John Cournos.Harwood (1989), pp. 130–37 The gatherings were held in her drawing room, a place Pound described in a letter as "full of white magic".
|
|
In 1908, Brodzky went to London where he studied during 1911 at the City and Guilds South London Technical Art School. He became an acquaintance and follower of Walter Sickert. Amongst his friends was Henri Gaudier-Brzeska who created in 1913 a portrait bust of Brodzky (now in the Tate Gallery, London), and whose biography he wrote in 1933."Brodzky", Tate Gallery website, accessed 28 September 2015.
|
|
It would have been so easy to go into my father's business and opted for the easy life but Gaudier taught me there was a life outside commerce and it was well worth fighting for." Russell said the project "was austere and simple... my least glamorous film. I was satiated with flamboyance." He said "I wanted to show artists as workers not people who live in ivory towers.
|
|
There was a smaller section area titled "Those Invited To Show" that included several other artists. Jacob Epstein was notably not represented, although did have his drawings reproduced in BLAST. After this, the movement broke up, largely due to the onset of World War I and public apathy towards the work. Gaudier-Brzeska was killed in military service, while leading figures such as Epstein distanced themselves stylistically from Lewis.
|
|
The sixbar wrasse is diurnal and has a home range that exceeds . It forms small groups and feeds on planktonic and benthic crustaceans, foraminiferans, small fish, fish eggs and fish larvae. Males and females form pairs during the breeding season, and at this time males develop a gaudier colour and a black spot in the centre of the caudal fin. An aquarium fish of this species was observed to use a rock as an anvil.
|
|
This ended with Currie shooting her dead at her Chelsea apartment; he then turned the gun on himself, and died in hospital a few days later. A fictionalized account of this event appears in Gilbert Cannan's 1916 novel Mendel. Currie's colleague, the French sculptor Henri Gaudier-Brzeska, remarked, 'He was a great painter, and a magnificent fellow.' His work is to be found in the Tate Collection and Stoke-on-Trent Museums.
|
|
The album received generally mixed reviews and criticism because it was a remix album and not a true follow-up. Allmusic called the album "trashier, flashier, gaudier, and altogether more disposable" than its predecessor So Real. The album was a commercial success, debuting and peaking at number 21 on the U.S. Billboard 200 chart. It later received a Gold certification from the RIAA, for sales exceeding 500,000 copies in the U.S. alone.
|
|
The film is a biopic of the painter and sculptor Henri Gaudier-Brzeska, who died fighting for France at age 23, in 1915, in the trenches during the First World War. The film stars Dorothy Tutin, Scott Antony, and Helen Mirren. Russell announced a biopic of Sarah Bernhardt with Barbra Streisand but it was not made."The Oscar of His Dreams Is Wilde" Haber, Joyce. Los Angeles Times 30 April 1972: d15.
|
|
Gaudier was born at Château-Thierry. About the age of twenty he entered the Society of Jesus at Tournay. Later on he was rector at Liège, professor of Holy Scripture at Pont-à-Mousson, and of moral theology at La Flèche. In these two last-named posts he was also charged with the spiritual direction of his brethren, and showed such an aptitude for this branch of the ministry that he was named master of novices and tertians.
|
|
Hamilton left the workshops with other artists William Roberts, Frederick Etchells, Edward Wadsworth, and Henri Gaudier-Brzeska. They all supported Wyndham Lewis and united with him in March 1914, when he started the Rebel Art Centre. The artists were later on associated with the Vorticist art movement.Tate Gallery on Cuthbert Hamilton Hamilton was one of the names signing the Vorticist manifesto and he also contributed material to the first issue of the Vorticist magazine Blast, (illus xviii Group).
|
|
I found that I did not like it. I broke the butt off and with my knife I > carved in it a design, through which I tried to express a gentler order of > feeling, which I preferred. But I will emphasize that my design got its > effect (just as the gun had) from a very simple composition of lines and > planes. (Gaudier-Brzeska, 1915) Experimentation in three-dimensional art had brought sculpture into the world of painting, with unique pictorial solutions.
|
|
Juan (Juanin) Rullán Rivera (born 1884) was Puerto Rican politician who served as the Mayor of the city of Mayagüez, Puerto Rico. Juan Rullán was born on November 19, 1884 in the Juan Alonso Barrio of Mayagüez; his parents were Juan Rullán and Ramona Rivera."Genealogias Biografias e Historia del Mayagüez de Ayer y Hoy y Antologia de Puerto Rico"; by Martin Gaudier (Author); Pages: 382–383; Publisher: Imprenta "El Aguila", San German (1959); Language: Spanish He had his primary education in "El Liceo de Mayagüez".
|
|
103 In 1913, Olivia introduced Pound to vorticist sculptor Henri Gaudier-Brzeska at an art exhibition at the Albert Hall. At the same exhibition the sculptor met Nina Hamnett, whom he subsequently used as a model for a series of nudes bronzes, one of which Olivia bought.Wilhelm (2008), pp. 127, 150 In 1914, Olivia translated a grimoire for Yeats and Pound, who spent November 1913 to January 1914 in the countryside at Stone Cottage in Ashdown Forest—Pound acting as secretary to Yeats—researching the occult.
|
|
He went on the run, sheltering with the poet R. C. Trevelyan, before being arrested in April 1917, imprisoned, and then transferred to the Home Office Work Centre, Princetown, in the former Dartmoor Prison. He describes this in his book Memoirs of Other Fronts. In 1919 Rodker started the Ovid Press, a small press which lasted about a year. It published T. S. Eliot and Ezra Pound (the first edition of Hugh Selwyn Mauberley) and portfolios of drawings by Wyndham Lewis, Henri Gaudier-Brzeska and Edward Wadsworth.
|
|
Hulme's ideas had a major effect on Wyndham Lewis (quite literally when they came to blows over Kate Lechmere; Lewis ended the worse for it, hung upside down by the cuffs of his trousers from the railings of Great Ormond Street).McGuinness, Patrick (1998), Ed. T. E. Hulme: Selected Writings. Manchester: Fyfield Books, p. xvi. He championed the art of Jacob Epstein and David Bomberg, was a friend of Gaudier-Brzeska, and was in on the debut of Lewis's literary magazine BLAST and vorticism.
|
|
Silver's work includes sculpture, painting, drawing and installation. His work draws from ancient sculptural archetypes and modernist sculptors, like Jacob Epstein and Henri Gaudier-Brzeska. Despite its references to figurative sculptural traditions, the former director of the Museu Nacional de Belas Artes (Rio de Janeiro) Paulo Herkenhoff described Daniel Silver’s sculpture as a “dyslexic body” which “refuses to follow a canon, or an established grammar which builds meanings, or work in pre-mapped territory”. Silver explores and manipulates the sculptural figure in his work.
|
|
In 1982 he joined the Chamber Orchestra of Europe as principal horn, and in 1984 was invited by Nicholas Busch to join the London Philharmonic Orchestra as co-principal horn. He was a founder of The Gaudier Ensemble and has recorded most of the central chamber music repertoire which includes the horn. He was co-principal horn of the BBC Symphony Orchestra between 1992 and 1997. In 1986 Williams recorded Mozart's four horn concertos accompanied by Alexander Schneider and the Chamber Orchestra of Europe.
|
|
Brodzky is said to have been so engrossed in talk when he visited Gaudier-Brzeska's studio in the King's Road, that he missed the last bus to Herne Hill where he lived. Brodzky travelled to Italy with the poet John Gould Fletcher and this led to his first London exhibition, "Paintings and Sketches of Italian and Sicilian Scenes" (c. 1911), of which one painting was selected for the 1912 Venice Biennale. He was in fact the first Australian to be exhibited at the Biennale.
|
|
The poem then moves to recollections of World War I, and of Pound's writer and artist friends who fought in it. These include Richard Aldington, T. E. Hulme, Henri Gaudier-Brzeska, Wyndham Lewis, Ernest Hemingway and Fernand Léger, whose war memories the poem includes a passage from (in French). Finally, there is a transcript of Lincoln Steffens' account of the Russian Revolution. These two events, the war and revolution, mark a decisive break with the historic past, including the early modernist period when these writers and artists formed a more-or-less coherent movement.
|
|
Its beautiful facade is of the neoclassical style, worthy to observe for its Corinthian capitals and its grecoroman columns. The architect was Carmoega and the Ing. Font Jiménez, it was built by Ignacio Flowers Lorenzo; and Adriano González was the contractor of the work The Mayor that ordered the new city hall was Juan Rullán Rivera."Genealogias Biografias e Historia del Mayagüez de Ayer y Hoy y Antologia de Puerto Rico"; by Martin Gaudier (Author); Pages: 382–383; Publisher: Imprenta "El Aguila", San German (1959); Language: Spanish It has great interior space.
|
|
Thomas Scott-Ellis, 8th Baron Howard de Walden, was a financial backer for the Crab Tree. Harold Gilman painted by Walter Sickert, 1912. Both visited the club. The clientele and members included Jacob Epstein, Augustus John, William Marchant (Director of the Goupil Gallery), Walter Sickert, Euphemia Lamb, Harold Gilman, Paul Nash, Carlo Norway, Henri Gaudier-Brzeska, Compton Mackenzie, a young Jean Rhys who almost lived there, journalists including "Mr Gossip" who wrote for The Sketch, shopkeepers, students from the nearby Slade School of Art and assorted artists and artist's models.
|
|
Gian Lorenzo Bernini, Ernst Barlach, Le Corbusier, Gustave Courbet, Richard Dadd, Jacques-Louis David, Edgar Degas, Otto Dix, Cristoforo Foppa (possibly Ambrogio Foppa), Henri Gaudier-Brzeska, Paul Gauguin, Francisco Goya, Jules Hardouin Mansart, Wassily Kandinsky, Angelica Kauffman, Paul Klee, Oskar Kokoschka, Mikhail Larionov, René Magritte, Kazimir Malevich, Henri Matisse, Anton Raphael Mengs, Adolph Menzel, Piet Mondrian, Claude Monet, William Morris, Edvard Munch, Nadar (photographer), Emil Nolde, Camille Pissarro, Odilon Redon, Pierre-Auguste Renoir, Salvator Rosa, Egon Schiele, Charles Perrault, Henri de Toulouse- Lautrec, Tristan Tzara, Giorgio Vasari, Paolo Veronese, John Butler Yeats.
|
|
Her works were inspired by the traditions of Asian and European sculptures. Madigan focused mainly on the human torso; according to the Art Gallery of New South Wales, this allowed her to "create sculptures which, at their best, have the sensuousness, subtlety and rigour of the greatest of the Indian carvings she admires." Critical analysis often assessed her work as "a restrained homage to the preoccupations of an earlier generation of modern figurative sculptors" and her most successful works were deemed to have a quality similar to the artist Henri Gaudier-Brzeska.
|
|
Experimental paintings and sculpture using angular simplification and abstraction, by Lewis, Wadsworth, Shakespear and others, were shown at the Rebel Art Centre in 1914, before the formation of the Vorticist Group. This work was contemporary with and comparable to abstraction by European artists such as Wassily Kandinsky, František Kupka and the Russian Rayist Group. The Vorticists held only one exhibition, in 1915, at the Doré Gallery in London. The main section of the exhibition included work by Jessica Dismorr, Frederick Etchells, Lewis, Gaudier-Brzeska, William Roberts, Helen Saunders and Edward Wadsworth.
|
|
The history of Mayaguez began when the founding of the city was requested on July 19, 1760 by a group led by Faustino Martínez de Matos, Juan de Silva and Juan de Aponte, at a hill located about one kilometer inland from Mayagüez Bay and the outlet of the Yagüez River. It was officially founded on September 18, 1760. "Maygüez" was the indigenous name for this river (the word means "clear water" in the language of its original inhabitants, the Taíno).Gaudier, Martín, Genealogías, Biografías e Historia del Mayagüez de Ayer y Hoy y Antología de Puerto Rico, 1957, p. 45.
|
|
Beddington-Behrens' mother, Evelyn Beddington, was from a family of art patrons, including her sister Violet Salaman Beddington Schiff and brother-in-law, the author Sydney Schiff. Edward continued this tradition, supporting Stanley Spencer and his wife Patricia Preece. In the 1930s, Spencer and Beddington-Behrens spent time in Switzerland, in Valais and Zermatt. He was also a patron of Oscar Kokoschka, housing him and his wife Olda in Park Lane in 1943. Among his notable acquisitions were a 1965 cast of the 1913 sculpture ‘’The Dancer’’ by Henri Gaudier-Brzeska and The Crab by Oskar Kokoschka both now in the Tate collection.
|
|
The London Group was founded in 1913, when the Camden Town Group came together with the English Vorticists and other independent artists to challenge the domination of the Royal Academy of Arts, which had become unadventurous and conservative. The London Group emerged from a merger of the Fitzroy Street Group and the male-member-only Camden Town Group organization. Founding members included the patron-artist Ethel Sands, artist Anna Hope Hudson, Walter Sickert, Jacob Epstein, Wyndham Lewis, Robert Bevan and his wife Stanislawa de Karlowska, and Henri Gaudier-Brzeska. Other early female members included Marjorie Sherlock, Mary Godwin, and Ruth Doggett.
|
|
In this same lot stood, since the times of Spanish rule, first the Barracks of the Alfonso XII Regiment until 1898, then the district court and jail until the October 11, 1918 earthquake when the old brick building was destroyed."Genealogias Biografias e Historia del Mayagüez de Ayer y Hoy y Antologia de Puerto Rico"; by Martin Gaudier (Author); Pages: 54-56; Publisher: Imprenta "El Aguila", San German (1959); Language: Spanish The barracks were built in 1848; they were large and had two floors. They could house a battalion of 800 men and its officers. The building's brick roof had 30 lightning rods.
|
|
Franck studied art history at the University of Madrid and at the Ecole du Louvre in Paris. After struggling through her thesis (on French sculptor Henri Gaudier-Brzeska and the influence of cubism on sculpture), she said she realized she had no particular talent for writing, and turned to photography instead. In 1963, Franck's photography career started following trips to the Far East, having taken pictures with her cousin’s Leica camera. Returning to France in 1964, now possessing a camera of her own, Franck became an assistant to photographers Eliot Elisofon and Gjon Mili at Time-Life.
|
|
The gallery's art collection covers six centuries of European art history, with over 5,300 works in its fine art collection. It is housed in an example of 1930s municipal architecture. The gallery holds a Designated Collection, considered of national importance.Southampton City Art Gallery, Culture 24, UK. Highlights of the permanent collection include a 14th-century altarpiece by Allegretto Nuzi, of the Italian Giambattista Pittoni; the Perseus series by Burne-Jones; paintings by the Camden Town Group and The London Group; sculpture by Jacob Epstein, Auguste Rodin, Edgar Degas, Henri Gaudier Brzeska, Richard Deacon and Tony Cragg; and Richard Long photographs.
|
|
His fellow vorticist Henri Gaudier-Brzeska was killed at the front and Bomberg and Lewis found that their belief in the purity of the machine age was seriously challenged by the realities of the trenches. Wadsworth spent the war in the Royal Naval Volunteer Reserve on the island of Mudros until invalided out in 1917, transferring dazzle camouflage designs onto allied ships.Modernist Art in Camouflage Known as Dazzle ships, these vessels were not camouflaged to become invisible, but instead used ideas derived from Vorticism and Cubism to confuse enemy U-boats trying to pinpoint the direction and speed of travel.Dazzle Painting Dazzle camouflage was invented and designed by Norman Wilkinson.
|
|
UK, Naturalisation Certificates and Declarations, 1870-1916 Through his generosity and connections with the Tate Gallery, the gallery received an oil painting by Georges Braque, a number of drawings and sculptures by Henri Gaudier-Brzeska and a further major donation in 1933 after his death of 17 works by modern European artists, including two paintings by Paul Cézanne, the unfinished painting Farms near Auvers (1890) by Van Gogh, pastels by Degas and the first paintings by Picasso to enter the British national collection at Tate.The Camden Town Group in Context. Walter Richard Sickert Miss Gwen Ffrangcon-Davies as Isabella of France 1932. Tate Gallery.
|
|
When Bevan's mother died in 1952 she left Bobby and his sister Halszka (Mrs Charles Baty) an equal share in a large collection of family paintings and many works by their parents, as well as their Camden Town Group friends and other associates, including Walter Sickert, Paul Gauguin, Paul Cézanne and Henri Gaudier-Brzeska.Stanisława Bevan: Will dated 3 October 1949. Bobby and his sister made a substantial gift of their father's work to the Ashmolean Museum in 1957 and for the remainder of his life he applied all his business experience to the promotion of Robert and Stanisława Bevan. A series of exhibitions were held throughout the 1960s.
|
|
Blast 1 was edited and largely written by Wyndham Lewis with contributions from Pound, Gaudier- Brzeska, Epstein, Spencer Gore, Wadsworth, and Rebecca West and included an extract from Ford Madox Hueffer's novel The Saddest Story, better known by its later title The Good Soldier (published under his subsequent pseudonym, Ford Madox Ford). The first edition was printed in folio format, with the oblique title Blast splashed across its bright pink soft cover. Inside, Lewis used a range of bold typographic innovations to engage the reader, that are reminiscent of Marinetti's contemporary concrete poetry such as Zang Tumb Tumb. Rather than conventional serif fonts, some of the text is set in sans- serif "grotesque" fonts.
|
|
Thirty-three days after Blast 1 was published, war was declared on Germany. The First World War would destroy vorticism;Vorticism, an essay by Richard Cook, Oxford Art Online both Gaudier-Brzeska and T. E. Hulme were killed at the front, and Bomberg lost his faith in modernism."[Bomberg's] disillusion with the destructive power of the machine at war led to a few years spent experimenting with ways of making his stark pre-war style more rounded and organic." Quoted from the essay on Bomberg by Richard Cork, Oxford Art Online Lewis was mobilised in 1916, initially fighting in France as an artillery officer, later working as a war artist for the Canadian Government.
|
|
Some regular contributors, like Neville Cardus, came from Manchester, where Moult had been educated. Jewish contributors included Louis Golding, Maurice Samuel, and the Zionist poet Israel Zangwill; Stephen Winsten, the arts editor, was one of the so- called Whitechapel Boys group, and attracted contributions from David Bomberg, Jacob Kramer, Lucien Pissarro, and Jacob Epstein. The magazine reviewed war literature and published war poetry by soldier-poets such as Frederick Victor Branford and Edmund Blunden. Open to both Georgian and Modernist poetry, the magazine published artwork by avant-garde artists including Henri Gaudier- Brzeska, Wyndham Lewis, David Bomberg, Jacob Kramer, Edward Wadsworth, Lucien Pissarro, Paul Nash, Eric Gill, Edmund X. Kapp, Anne Estelle Rice, John Duncan Fergusson, and Robert Gibbings.
|
|
These include Gutzon Borglum, Antoine Bourdelle, Constantin Brancusi, Camille Claudel, Charles Despiau, Malvina Hoffman, Carl Milles, François Pompon, Rodo, Gustav Vigeland, Clara Westhoff and Margaret Winser, even though Brancusi later rejected his legacy. Rodin also promoted the work of other sculptors, including Aristide Maillol and Ivan Meštrović whom Rodin once called "the greatest phenomenon amongst sculptors." Other sculptors whose work has been described as owing to Rodin include Joseph Csaky,Edith Balas, 1998, Joseph Csaky: A Pioneer of Modern Sculpture, Philadelphia: American Philosophical Society Alexander Archipenko, Joseph Bernard, Henri Gaudier-Brzeska, Georg Kolbe, Wilhelm Lehmbruck, Jacques Lipchitz, Pablo Picasso, Adolfo Wildt, and Ossip Zadkine. Henry Moore acknowledged Rodin's seminal influence on his work.
|
|
His family owned a coffee plantation in the Río Cañas Abajo barrio in Mayagüez,Historia de Mayagüez 1760-1960; by Subcomite de la Historia de Mayaüez (Author); Pages: 321–326; Publisher: Talleres Graficos Interamericanos (1960); Language: Spanish and were one of the wealthiest families in that town. There he received both his primary and secondary education. Rius Rivera was sent by his parents to study in Spain and earned his bachelor's degree in Barcelona.Genealogias Biografias e Historia del Mayagüez de Ayer y Hoy y Antologia de Puerto Rico; by Martin Gaudier (Author); Pages: 245–249; Publisher: Imprenta "El Aguila", San German (1959); Language: Spanish He then went to study law at the University of Madrid.
|
|
Bilbo did however find space for a Stockley one man show, although the exhibition had to be delayed: > As I am holding a show of Picasso's latest work during August which would > rather crowd your paintings, I am postponing your exhibition until > September, which, from the point of view of a contemporary artist, is anyhow > a better month [Bilbo, letter to Stockley, 13 July 1944]. The show was finally held in November 1944; Stockley's work was hung alongside Picasso and Henri Gaudier-Brzeska. A small number of Stockley's paintings carry the Modern Art Gallery label. Stockley spoke well of Jack Bilbo, who was said to have sold more of his paintings and at a better price than did Lucy Wertheim.
|
|
Hitchman with the Ottawa Senators Hitchman retired with 28 goals and 34 assists in 417 career NHL games, adding 534 penalty minutes. Although often overlooked by contemporaries in favor of defencemen with gaudier offensive numbers, Hitchman was regarded as the premier defensive defencemen of his day. Despite reports that he would succeed Ross as Bruins' coach and would not be asked to serve in the minor leagues, Hitchman went on to coach the Bruins' Boston Cubs farm for two seasons; the Cubs folded thereafter, and he was named Ross' assistant coach for the Bruins the following year. Hitchman went on to coach the Springfield Indians in 1939, although he missed half the season with a leg injury that kept him off the bench.
|
|
A Shared Vision: The Garman Ryan Collection, by Shelia McGregor, Merrell Publishers A number of artists represented with the collection also had personal connections with Kathleen Garman and Sally Ryan. Jacob Epstein was Kathleen's late husband, and artists Augustus John, Gaudier-Brzeska and Amedeo Modigliani were all friends. Family links are also evident within the collection; there are a number of works by Theodore Garman, the son of Kathleen Garman and Jacob Epstein, and Portrait of Kitty, a portrait of Epstein's daughter Kitty by her first husband Lucian Freud.The Rare and the Beautiful: The Lives of the Garmans by Cressida Connolly, Fourth Estate The collection was donated to the people of Walsall in 1973 and opened to the public in July 1974.
|
|
These shows might travel through country towns or move from corner to corner along busy London streets, giving many performances in a single day. The character of Punch adapted to the new format, going from a stringed comedian who might say outrageous things to a more aggressive glove-puppet who could do outrageous—and often violent—things to the other characters. A Punch and Judy show attracts a family audience In Thornton Hough, Merseyside, England The mobile puppet booth of the late 18th- and early 19th-century Punch and Judy glove-puppet show could be easily fitted-up and was originally covered in checked bed ticking or whatever inexpensive cloth might come to hand. Later Victorian booths were gaudier affairs, particularly those used for Christmas parties and other indoor performances.
|
|
Marinetti promoted his ideas by continually travelling across Europe giving recitations; as well as giving 'riotous soirées' throughout Italy, he travelled to Russia in 1910 and 1913, Paris 1912 and 1914, Berlin and Brussels in 1912, and London in 1911, 1912 and 1914. This last recital, on June 12, 1914, became notorious when, during a performance of The Battle Of Adrianople with CRW Nevinson on drums, a group of disgruntled vorticists, including Wyndham Lewis, Henri Gaudier-Brzeska and Jacob Epstein interrupted the performance, jeering and shouting to protest at Marinetti's co-opting of vorticists' signatures to an English translation of the Futurist Manifesto.Blasting The Future! Black, Philip Wilson Publishing, 2004 p100 On another occasion at the Lyceum Club, 1911, Marinetti challenged an Irish journalist to a duel after a perceived slight against the Italian Army.
|
|
Although the collection largely consists of works collected by Sackville-West and Knollys, each of the three men added to what eventually became a collection of over 800 works. It reflects their different tastes: Sackville-West for Modernism, Knollys for French impressionists and Radev for the modern British artists with whom he worked and from whom he bought works directly. It includes works by over 65 artists, such as Vanessa Bell, Georges Braque, Eugene Boudin, Henri Gaudier-Brzeska, Maurice Denis, Duncan Grant, Frances Hodgkins, Amedeo Modigliani, Ben Nicholson, Pablo Picasso, Lucien Pissarro, Matthew Smith, Graham Sutherland, and Alfred Wallis, many of whom were known personally by the three men who put the collection together. It includes works by Radev and Knollys, and portraits of each of them by Duncan Grant.
|
|
Noguchi photographed by Alvin Langdon Coburn, 1913 In 1913, he made his second trip to Britain (via Marseille and Paris) to lecture on Japanese poetry at Magdalen College, Oxford at the invitation of poet laureate, Robert Bridges, also giving lectures to the Japan Society of London and reading at the Poetry Bookshop. While in London, he met with George Bernard Shaw, W. B. Yeats, Ezra Pound, Laurence Binyon, Arthur Symons, Sarojini Naidu, and numerous other noted literary figures, and also investigated the latest trends in British modern art, spending time with Roger Fry, Alvin Langdon Coburn, Joseph Pennell, Jacob Epstein and Henri Gaudier- Brzeska. In April the following year, while in Paris, he also met with Tōson Shimazaki who happened to be travelling in Europe at the time. Noguchi traveled back to Japan via Berlin and Moscow using the Trans-Siberian Railway.
|
|
Pound critic Hugh Witemeyer writes that, overall, the implication is that Smith had led an unorthodox life like that of Manfred, a conclusion with which Daniel Tiffany agrees, writing that the dedication implied Smith was "a heretic of sorts, a renegade". Smith's death continued to weigh on Pound; he wrote in 1922 that "thirteen years are gone; I haven't replaced him and shan't and no longer hope to". Tiffany finds that, in Canto 77, Pound refers to Smith as "the wraith of my best friend", an allusion to Dante's description of his best friend, Guido Cavalcanti; Mary Paterson Cheadle concurs with this conclusion, though she suggests sculptor Henri Gaudier-Brzeska as another possibility. Tiffany describes Smith as still "haunting" Pound in Hugh Selwyn Mauberley, as Elpenor to Odysseus, and writes that, ultimately, Pound was unable to put the "ghost" to rest.
|
|
The thing is, the revamped, puzzlingly titled I Wanna Be with You [Special Edition] (thereby giving the impression that this is an extended EP release or that there's a "regular" edition of I Wanna Be with You, which there's not) works a lot better than its predecessor. Why? Because it's trashier, flashier, gaudier, and altogether more disposable: all essential ingredients for a good teen pop album, since it should be something that is of the moment, not designed for the ages. I Wanna Be with You is definitely, almost defiantly of the moment, and while there's more than its fair share of filler (let's face it, there was a reason why the album needed to be reworked), that filler glitters here where it was simply dull on the predecessor. And, most of all, it's pretty fun, whether it's on ballads or dance numbers.
|
|
He was probably born in Bourges, and received his early training there, becoming a choirboy at the Ste Chapelle of the Bourges royal palace in October 1458, along with his brother Pierron. Between October 1458 and 31 March 1459 the brothers were assigned to the care of Jehan Gaudier, and in 1462 the composer Guillaume Faugues became briefly magister puerorum (master of the choirboys); he may have been a formative influence on the young Philippe. The boy's musical gifts were sufficiently distinguished that he had a clavichord purchased for him in 1462, an extremely rare occurrence for a choirboy of 12 or 13 years old. Ockeghem also visited Bourges that year, but if the boy made his acquaintance then is not known; however the influence, and possibly friendship, of the older composer was to become clear later.
|
|
In 1965 Davenport and Laurence Scott prepared and printed Pound's Canto CX in an edition of 118 copies, 80 of which they presented to Pound for his 80th birthday. The previous year they had produced Ezra's Bowmen of Shu on the same press, a double broadside that published for the first time, with a brief introductory essay by Davenport, a drawing by sculptor Henri Gaudier-Brzeska and a letter of Gaudier's from the trenches of World War I that cites Pound's poem (translated from one in the Shi Jing) "The Song of the Bowmen of Shu".Song of the Bowmen of Shu – A poem by Ezra Pound – American Poems Many of Davenport's earlier stories are combinations of pictures and text, especially Tatlin! and Apples and Pears (where some of the illustrations are of pages that resemble those of his own notebooks).
|
|
The State Theater was a major participant in the vaudeville theatrical genre that was extremely popular at the time. In 1933 Eugene Levy purchased the theater from George Cohen and “converted that playhouse of a gaudier era into an institution where cinematic and variety productions of the highest standard [were] presented with amazing skill, and affording the fascinated beholder the ultimate in comfort and convenience.”The November News, November 28, 1933 This would begin a new era for the Ritz Theater, which became a frequent stomping ground of many big name stars such as: Ella Fitzgerald, Louis Prima, Mary Martin, Peggy Lee, Wood Herman, Dick Powell, Bill “Bojangles” Robinson, Eddy Duchin, Red Skelton, Xavier Cugat, The Inkspots, Vaughn Monroe, Montana Slim, Les Brown, Ricardo Crotez, and many more. On November 3, 1940, Frank Sinatra, an unknown singer at the time, stepped onto the Ritz Theater’s stage.
|
|
Following the theory that Columbus disembarked in Mayagüez; in 1896 a statue of the Admiral was placed in the main plaza in the city, thus it came to be known as Plaza Colón. The statue was made by A. Coll y Pí in Barcelona in 1843.Archivo Nacional de Madrid, Ministerio de Ultramar (Legado 5147, Expediente 14)"Genealogias Biografias e Historia del Mayagüez de Ayer y Hoy y Antologia de Puerto Rico"; by Martin Gaudier (Author); Page: 17; Publisher: Imprenta "El Aguila", San German (1959); Language: Spanish In 1944 a monument to the city founders was constructed in the plaza."Historia de Mayagüez 1760-1960"; by Subcomite de la Historia de Mayaüez (Author); Page: 71; Publisher: Talleres Graficos Interamericanos (1960); Language: Spanish In 1944 Regino Cabassa made great efforts to get the creation of a Monuments to the founders of the city in the Plaza Colon.
|
|
Harwood, 142–145 Throughout the nearly five- year-long courtship, Dorothy and Pound corresponded regularly, filling their letters with gossip about mutual acquaintances such as T.E. Hulme, Violet Hunt, Walter Rummel, Florence Farr, and Henri Gaudier-Brzeska; additionally in their letters they shared trivial incidents, family information, and showed affection for one another. They were separated for long periods each year when the Shakespear family visited friends and extended family (mostly members of the Tucker family) in the country, returning to London only for a few months in the spring and autumn—customary for many Victorian families. Generally young women of the period were expected to indulge in activities such as painting, embroidery and music while waiting for marriage. Dorothy, however, through the influence of her mother, was well read (and quite capable of conversing with Pound who had multiple degrees), knowledgeable in music, and a talented artist.
|
|
According to MGM records the film earned $565,000 in the US and Canada and $283,000 elsewhere, resulting in a loss of $754,000. According to Bosley Crowther, > "this cheerful and unpretentious flurry of straight domestic farce has a lot > more to recommend it than you'll find in some of [MGM's] heavier, gaudier > films"; the script is "elastic and pleasingly written", its direction is "of > a measuredly careless, off-beat sort that clips you with sudden droll > surprises", and it is "played with seeming relish by a comparatively second- > flight cast that appears to be thoroughly delighted to have something bouncy > to do." According to Turner Classic Movies, > Though Young Man with Ideas is one of Leisen's lesser efforts and represents > the beginning of the end of his long career, the film features a good > comedic performance by Glenn Ford, some excellent supporting work from Nina > Foch, a brisk pace that reveals a light directorial touch, and a reasonable > perspective on the trials and tribulations of romance.
|
|
Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brâncuși, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing machine.
|
|
The publication of the English Futurist manifesto Vital English Art, in the June 1914 edition of The Observer, co-written by Marinetti and the "last remaining English Futurist" C. R. W. Nevinson, Lewis found his name, among others, had been added as a signatory at the end of the article without permission, in an attempt to assimilate the English avant-garde for Marinetti's own ends. On 12 June, during recitations of this manifesto and a performance by Marinetti of his poem The Battle of Adrianople, with Nevinson accompanying on drums, Lewis, T. E. Hulme, Jacob Epstein, Henri Gaudier-Brzeska, Edward Wadsworth, and five others roundly interrupted the performance with jeering and shouting. Wyndham Lewis wrote a few days later, "England practically invented this civilisation that Signor Marinetti has come to preach to us about".Wyndham Lewis, quoted in Pfannkuchen (2005) The final riposte came with the publication of Blast (later known as Blast 1), written and illustrated by a group of artists assembled by Lewis from "a determined band of miscellaneous anti-futurists".
|
|
We learn from Durst's Tate Britain Archive papers that when Durst returned to his studies after the 1914-1918 war he was very much drawn to the concept of "Direct Carving" as advocated by Jacob Epstein and Eric Gill. He also states that he was an admirer of Henri Gaudier-Brzeska the French sculptor killed in action in 1915. George Pace, an English architect who worked with Dunst wrote of his philosophical approach towards sculpting: > In 1964 when he had finished carving seven statues for the upper part of > Peterborough Cathedral he told me that in his early days when he wanted to > learn “direct carving” he found that the art schools of the day could only > teach him modelling; for it was still the fashion for sculptors to make > models which were then translated into stone or marble by technicians using > pointers and masons' skills. After World War 1 the more realistic approach > to sculpture enabled him to learn the techniques of direct carving and this > equipped him to devote the rest of his life to spirited direct carving in > stone, wood and ivory.
|
|