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  • 06/29/13--06:04: Eric Ravilious – part 2
  • Eric Ravilious (1903 – 1942) was an English painter, wood-engraver and designer.
    This is part 2 of a 3-part post on the works of Eric Ravilious. For biographical notes, and for earlier works, see part 1 also. Part 3 will show his ceramic designs.

    1937 The Causeway, Wiltshire Downs watercolour © Victoria & Albert Museum, London, UK © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1937 Wiltshire Landscape watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1938 Paddle Steamers, Bristol Quay watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1938 Rye Harbour graphite & watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1938 Illustration for Ariel Poems "Elm Angel" by Harold Monro © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1938 The Lifeboat graphite & watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1938 The Waterwheel watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1938-39c Still Life with Acanthus Leaves watercolour © Fry Art Gallery, Saffron Walden, Essex, UK © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 A Farmhouse Bedroom watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 Beachy Head watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 Belle Tout Lighthouse watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 Cuckmere Haven watercolour 41.4 x 57 cm © Towner Art Gallery, Eastbourne, East Sussex, UK © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 Design for "Boat Race" bowl for Wedgwood © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 Interior at Furlongs © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 "London Fabric" cover © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 Tea at Furlongs © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 The Long Man of Wilmington, The Wilmington Giant watercolour © Victoria & Albert Museum, London, UK © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 The Westbury Horse graphite & watercolour 44.6 x 54.4 cm © Towner Art Gallery, Eastbourne, East Sussex, UK © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939 Train Landscape © Aberdeen Art Gallery and Museum, Scotland © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1939c The Vale of the White Horse graphite & watercolour 45.1 x 32.4 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 Barrage Balloons at Sea © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 Coastal Defences watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 Dangerous Work at Low Tide [defusing a German magnetic mine at Whitstable, Kent] © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 Duty Boat watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 HMS Ark Royal in Action watercolour 43.5 x 58 cm © IWM (Art.IWM ART LD 284) © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 HMS Glorious in the Arctic watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 Leaving Scapa Flow watercolour © Bradford Art Galleries and Museums, West Yorkshire © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 Midnight Sun graphite & watercolour 47 x 59.1 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 No. 1 Map Corridor © Leeds Museums and Galleries (City Art Gallery) U.K. © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 Submarines in Dry Dock graphite, watercolour, crayon & pastel 43.2 x 57.1 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940 Un-adopted stamp design © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1940c Working Controls when Submerged © National Maritime Museum, Greenwich, London © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941 Diving Controls Number 2 lithograph 27.5 x 31.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941 Introductory Drawings lithograph 27.5 x 31.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941 Shelling by Night graphite & watercolour 44.5 x 54.6 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941 Testing Davis Equipment lithograph 27.5 x 31.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941 The Diver lithograph 31.9 x 27.9 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941 Ward Room Number 1 lithograph 27.5 x 31.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941 Ward Room Number 2 lithograph 27.7 x 31.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941 Working Controls while Submerged lithograph 31.4 x 27.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941-42c Iron Bridge at Ewenbridge watercolour 54.6 x 49.5 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941c Commander Looking Through the Periscope lithograph 27.7 x 31.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941c Different Aspects of Submarines lithograph 27.9 x 31.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1941c Working Controls when Submerged lithograph 27.7 x 31.7 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1942 Spitfires at Sawbridgeworth watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1942 Tiger Moth graphite & watercolour 45.7 x 55.9 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1942c Aerodrome graphite & watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1998 The Rich Jew of Malta wood engraving 18.6 x 11.6 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1998 The Rich Jew of Malta wood engraving 18.6 x 11.6 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1998 The Rich Jew of Malta wood engraving 18.6 x 11.6 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    1998 The Rich Jew of Malta wood engraving 18.6 x 11.6 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    Beautiful Britain © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    Cockerel wood engraving © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    Design or a Plant-house graphite & watercolour 55.9 x 38.1 cm © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    Design for Curwen Press © Curwen Press © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    Halstead Road in Snow watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    Paddle Steamers by Night watercolour © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    Shadow of Small Plane Falling on the World wood engraving © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

    The Attic Bedroom watercolour 44.5 x 62.5 cm. © Fry Art Gallery, Saffron Walden, Essex, UK © The Estate of Eric Ravilious. Artists Rights Society (ARS), New York - DACS, London

     

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  • 07/01/13--06:10: Eric Ravilious – part 3
  • Eric Ravilious (1903 – 1942) was an English painter, wood-engraver and designer.
    This is part 3 of a 3-part post on the works of Eric Ravilious. For biographical notes on Ravilious and for other works see parts 1-2 also. Part 3 shows his ceramic designs.

    Throughout its history, Wedgwood has collaborated with the most famous artists of the day. In the twentieth century, Rex Whistler, John Skeaping, Eric Ravilious, Keith Murray, Arnold Machin, Richard Guyatt, Eduardo Paolozzi and David Gentleman have all designed for Wedgwood; reflecting Josiah's policy of commissioning work from John Flaxman, George Stubbs, Matthew Bolton and other celebrated artists of the late eighteenth century.


    Design 1937 Made 1938 Jam Jar earthenware with transfer printed & painted decoration © Victoria and Albert Museum, London

    1937 Mug to commemorate Coronation of George VI and Queen Elizabeth earthenware with transfer printed design and enamelled colours © Victoria and Albert Museum, London

    Made 1937c Mug commemorating Coronation of Edward VIII earthenware printed & painted © Victoria and Albert Museum, London

    1938 Christmas Pudding earthenware plate with printed design 29.8 cm diameter © Victoria and Albert Museum, London.

    1938 Christmas Pudding earthenware bowl with printed design 16.5 cm diameter © Victoria and Albert Museum, London.

    1938 Christmas Pudding earthenware plate with printed design 22.9 cm diameter © Victoria and Albert Museum, London.

    Made 1938 Earthenware teacup and saucer © Victoria and Albert Museum, London

    Made 1938c Earthenware Coffee Pot © Victoria and Albert Museum, London

    Made 1939 Earthenware beaker "Garden Implements" printed decoration © Victoria and Albert Museum, London

    Made 1939 Earthenware jug with painted design © Victoria and Albert Museum, London

    Made 1939 Porcelain mug with transfer printing © Victoria and Albert Museum, London

    Made 1939 Porcelain teapot and lid with printed design © Victoria and Albert Museum, London

    1939c Earthenware Jug with "Garden Implements" printed decoration © Victoria and Albert Museum, London.

    Made 1939c Earthenware Alphabet egg cup with printed decoration © Victoria and Albert Museum, London

    Made 1939c Earthenware Alphabet jug with printed decoration © Victoria and Albert Museum, London

    Made 1939c Earthenware bowl depicting Boat Race with printed design © Victoria and Albert Museum, London

    Made 1939c Earthenware bowl with printed design 23.4 cm diameter © Victoria and Albert Museum, London

    Made 1939c Earthenware Meat Dish with printed design © Victoria and Albert Museum, London

    Made 1939c Earthenware plate with printed design 23.4 cm diameter © Victoria and Albert Museum, London

    Made 1939c Earthenware Tureen and Cover with printed design © Victoria and Albert Museum, London

    Made 1940c Earthenware Bowl © Victoria and Albert Museum, London

    Made post 1952 Travel earthenware soup bowl transfer printed © Victoria and Albert Museum, London

    1953 Coronation Golden Persephone bone china side plate © Victoria and Albert Museum, London

    Made 1953 'Coronation Golden Persephone' soup bowl and stand of bone china, part of the Coronation Banquet Service and pattern based on a 1936 design © Victoria and Albert Museum, London


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  • 07/03/13--05:43: Jacob Riis – part 1

  • Jacb Riis c1903
    Having done a major series of posts on the New York ‘Ashcan School’ (see indexes for individual listings), I thought as an addendum I would show some of the photographic work of Jacob Riis, a social reformer and photographer, who covered some of the same subject matter and is sometimes (erroneously) linked with The Ashcan School. He’s not strictly an artist, and he certainly wasn’t doing ‘art’ photography, but I think his photographs show a fascinating insight to the period.

    The Ashcan School was an artistic movement during the early twentieth century that is best known for works portraying scenes of daily life in New York, often in the city's poorer neighborhoods. The most famous artists working in this style included Robert Henri, George Luks, William Glackens, John Sloan, and Everett Shinn, some of whom had met studying together under the renowned realist Thomas Anshutz at the Pennsylvania Academy of the Fine Arts, and others of whom met in the newspaper offices of Philadelphia where they worked as illustrators.

    From Wikipedia:

    Jacob August Riis (1849 – 1914) was a Danish American social reformer, "muckraking” journalist and social documentary photographer. He is known for using his photographic and journalistic talents to help the impoverished in New York City; those impoverished New Yorkers were the subject of most of his prolific writings and photography. He endorsed the implementation of "model tenements” in New York with the help of humanitarian Lawrence Veiller. Additionally, as one of the most famous proponents of the newly practicable casual photography, he is considered one of the fathers of photography due to his very early adoption of flash in photography. While living in New York, Riis experienced poverty and became a police reporter writing about the quality of life in the slums. He attempted to alleviate the bad living conditions of poor people by exposing their living conditions to the middle and upper classes.



    This is part 1 of 2-part post on the works of Jacob Riis:

    1888 An Ash-Barrel

    1888 Bandit's Roost

    1890 A "Black-and-Tan" Dive Bar

    before 1890 Hells Kitchen and Sebastopol

    1890 Bohemian Cigar-makers at Work in their Tenement

    1890 Police Station Lodgers. Eldridge Street Station, Women lodgers (only women lodgers in Eldridge St.) gelatin dry plate negative

    1890c Police Station Lodging Room 7. Women's lodging room in West 47th Street Station gelatin dry plate negative

    1890c "Knee-pants" at forty five cents a dozen - A Ludlow Street Sweater's Shop.

    1890c "Washing Up" in the Newsboys' lodging house.

    1890c A "Slide" in Hamilton Street. (Shopkeepers hammered the cellar door full of nails to stop their using it as their grand slide) gelatin dry plate negative

    1890c A Scrub and her Bed - The Plank

    1890c An Old Rear Tenement in Roosevelt Street gelatin dry plate negative

    1890c Arab Boarding House albumen print

    1890c Baby in slum tenement, dark stairs - it's playground gelatin dry plate negative

    1890c Baxter Street Alley in Mulberry Bend

    1890c Blackwell's Island. Prisoners Breaking Stone gelatin silver transparency

    1890c Children from a Poor Neighbourhood in Coney Island Play gelatin silver transparency with hand colouring

    1890c Children from a Poor Neighbourhood in Coney Island Play

    1890c Children in the Beach Street Industrial School gelatin dry plate negative

    1890c Class of Melammedim Learning English gelatin dry plate negative

    1890c Coming home from Fresh Air Vacation gelatin dry plate negative

    1890c Drilling the Gang, Mulberry Street gelatin dry plate negative

    1890c East Side Public School gelatin dry plate negative

    1890c East Side Public Schools. A class in the condemned Essex Market School, Gas burning by day gelatin silver print

    1890c East Side Public Schools. Class without desks in the Essex Market School gelatin dry plate negative

    1890c Going to Bed in the Five Points House of Industry.

    1890c Hester Street. The Street, the school children's only playground.

    1890c In sleeping quarters - Rivington Street Dump.

    1890c In the home of an Italian Ragpicker, Jersey Street.

    1890c Industrial School (Children's Aid Society) in West 52nd Street gelatin dry plate negative

    1890c James M'Bride, one of the City's Pensioners, father of the notorious Blanche Douglass.

    1890c Juvenile Asylum Playground.

    1890c Lodgers in a crowded Bayard Street tenement - "Five cents a spot."

    1890c Ludlow Street Hebrew making ready for Sabbath Eve in his coal cellar - bread on his table.

    1890c Men in a crowded in an "Black and Tan" dive bar gelatin silver transparency

    1890c Men's lodging room in West 47th Street Station

    1890c New York, Old house (torn down) in Bleeker Street, on a back lot between Mercer and Greene Streets gelatin dry plate negative

    1890c One of four pedlars who slept in the cellar of 11 Ludlow Street rear.

    1890c Pell Street. Happy Jack's Canvas Palace - 7 cents lodging House, "No swearing or loud talking here after 9 o'clock" gelatin dry plate negative

    1890c Police Station Lodgers 9. Women in the Elizabeth Street Station gelatin silver transparency

    1890c Prayer time in the nursery, Five Points House of Industry gelatin silver transparency

    1890c Reporters Office at 301 Mulberry Street. gelatin dry plate negative

    1890c Saluting the Flag in the Mott Street Industrial School gelatin dry plate negative


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  • 07/05/13--07:31: Jacob Riis – part 2
  • Jacob Riis by Pach Brothers 1903 albumen print
    Jacob August Riis (1849 – 1914) was a Danish American social reformer, "muckraking” journalist and social documentary photographer. He is known for using his photographic and journalistic talents to help the impoverished in New York City; those impoverished New Yorkers were the subject of most of his prolific writings and photography.

    This is part 1 of 2-part post on the works of Jacob Riis. For biographical and background notes on Riis and earlier photographs, see part 1 also.


    1890c Street Arabs gelatin silver print

    1890c Street Arabs in Sleeping Quarters

    1890c Talmud School in a Hester Street Tenement

    1890c The Baby’s Playground

    1890c The Board of Election Inspectors in the Beach Street School

    1890c The Mott Street Boys, "Keep off the Grass" gelatin silver transparency with hand-colouring

    1890c The Mott Street Boys, "Keep off the Grass"

    1890c The old Five Points Mission School gelatin dry plate negative

    1890c Tramp in Mulberry Street Yard

    1890c "Two Greek children in Gotham Court debating if Santa Claus will get to their alley or not. He did" gelatin dry plate negative

    1890c Upstairs in Blindman's Alley gelatin dry plate negative

    1892 Two boys asleep at 2 a.m. in the press room of the "Sun" newspaper gelatin dry plate negative

    1895 A man on the floor of a police station lodging house gelatin silver print

    1895 Bringing Foundling to Police gelatin silver print

    1895 Ludlow Street Cellar Habitation, Dec. 1895 gelatin dry plate negative

    1895 Mountain Eagle and his Family of Iroquois Indians - One of the few Indian families in the city, found at no. 6 Beach Street, Dec. 1895 gelatin dry plate negative

    1895 Shoemakers in their Ludlow Street Cellar, Dec. 1895 gelatin dry plate negative

    1895c "Bottle Alley Mulberry Bend in its worst days, picture used as evidence in murder case - cross on stairs shows where murderer stood and did shooting" gelatin silver print

    1895c Bottle Alley, Mulberry Road

    1895c Chinese Opium Joint gelatin silver print


    1896 Mulberry Bend

    1896 Shanty Town gelatin silver transparency

    1896 Shanty Town gelatin dry plate negative

    1897c "Yard in Jersey Street (now gone) where Italians lived in the then worst slums.." gelatin dry plate negative

    1900c A Child of the Dump gelatin silver print

    1900c "Children's Playground on Ellis Island (roof garden). The Children of detained or waiting immigrants" gelatin silver print

    1900c The New Idea; a Stairway of Public School No. 170 gelatin silver print

    1902 Boys in summer school wood shop class at Brooklyn's P.S. 32 gelatin silver transparency

    1902 Cooking Class, Public School

    1902 Rattan weaving vacation school

    1902 What the Boys Learn on their Street Playground

    1910c Organized Charity. Outdoor School

    1910c Family Living in One Room gelatin silver print

    1911 "A carrying-in-boy in a Virginia glass factory. He works all night every other week" gelatin silver print

    1911 A Dependent Widower gelatin silver print

    1911 "A few of the boys going to work in the Night Shift in a Virginia glass factory" gelatin silver print

    1911 Organised Charity. In the Oyster Camps, Child Labour gelatin silver print

    A Growler Gang in Session

    An English Coal-Heaver's Home

    Girl from the West 52 Street Industrial School

    Hester Street

    Minding Baby, Cherry Hill

    Shoemaker in a House in the Courtyard of 219 Broome Street

    The Short Tail Gang under the Pier at the Foot of Jackson Street


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    Frederic Edwin Church (1826 – 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, a family neighbor and founder of the Wadsworth Atheneum, introduced the two. In May 1848, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartford's Wadsworth Atheneum.

    Church settled in New York where he taught his first pupil, William James Stillman. From the spring to autumn each year Church would travel, often by foot, sketching. He returned each winter to paint and to sell his work.

    In 1853 and 1857, Church travelled in South America. One trip was financed by businessman Cyrus West Field, who wished to use Church's paintings to lure investors to his South American ventures. Church was inspired by the Prussian explorer Alexander von Humboldt's Cosmos and his exploration of the continent; Humboldt had challenged artists to portray the "physiognomy" of the Andes.

    Two years after returning to America, Church painted The Heart of the Andes (1859), now in the collection of the Metropolitan Museum of Art, at the Tenth Street Studio in New York City. It is more than five feet high and nearly ten feet in length. Church unveiled the painting to an astonished public in New York City in 1859. The painting's frame had drawn curtains fitted to it, creating the illusion of a view out a window. The audience sat on benches to view the piece and Church strategically darkened the room, but spotlighted the landscape painting. Church also brought plants from a past trip to South America to heighten the viewers' experience. The public were charged admission and provided with opera glasses to examine the painting's details. The work was an instant success. Church eventually sold it for $10,000, at that time the highest price ever paid for a work by a living American artist.


    1859 Heart of the Andes oil on canvas 158 x 303.9 cm
    Church showed his paintings at the annual exhibitions of the National Academy of Design, the American Art Union, and at the Boston Art Club, alongside Thomas Cole, Asher Brown Durand, John F. Kensett, and Jasper F. Cropsey. Critics and collectors appreciated the new art of landscape on display, and its progenitors came be to called the Hudson River School.
     
    In 1860 Church bought a farm in Hudson, New York and married Isabel Carnes. Both Church's first son and daughter died in March, 1865 of diphtheria, but he and his wife started a new family with the birth of Frederic Joseph in 1866. When he and his wife had a family of four children, they began to travel together. In 1867 they visited Europe and the Middle East, allowing Church to return to painting larger works.

    Before leaving on that trip, Church purchased the eighteen acres on the hilltop above his Hudson farm-land he had long wanted because of its magnificent views of the Hudson River and the Catskills. In 1870 he began the construction of a Persian-inspired mansion on the hilltop and the family moved into the home in the summer of 1872. Richard Morris Hunt was the architect for Cosy Cottage at Olana, and was consulted early on in the plans for the mansion, but after the Church's trip to Europe and what is now Lebanon, Israel, Palestine, Syria, Jordan and Egypt, the English architect Calvert Vaux was hired to complete the project. Church was deeply involved in the process, even completing his own architectural sketches for its design. This highly personal and eclectic castle incorporated many of the design ideas that he had acquired during his travels.

    Illness affected Church's output. Although he was enormously successful as an artist, by 1876 he was stricken with rheumatoid arthritis which greatly reduced his ability to paint. He eventually painted with his left hand and continued to produce his work although at a much slower pace. He devoted much of his energies during the final 20 years of his life to his house at Olana. Church died in 1900 and is buried in Spring Grove Cemetery, Hartford, Connecticut.
    Biographical notes from Wikipedia

    This is part 1 of a 4-part post on the works of Frederic Edwin Church:

    1844-46c The Oxbow oil on canvas 50.8 x 76.2 cm

    1845 Twilight among the Mountains oil on canvas 41.3 x 59.7 cm

    1846 Hooker and Company Journeying through the Wilderness from Plymouth to Hartford, in 1636 oil on canvas

    1846 Moses Viewing the Promised Land oil on cardboard 25.4 x 31.7 cm

    1846 New England Landscape with Ruined Chimney oil on panel 23.5 x 34.6 cm

    1846c The Charter Oak at Hartford oil on canvas 61 x 87 cm

    after 1847 Vision of the Cross oil on paperboard 17.9 x 25.5 cm

    1847 July Sunset, Berkshire County, Massachusetts oil on canvas 73.7 x 101.6 cm

    1847 New England Landscape oil on canvas 36.8 x 51.4 cm

    1847 North Lake oil on canvas 30.5 x 48.3 cm

    1847 Scene on the Catskill Creek, New York oil on canvas 54.6 x 75.6 cm

    1847 Storm in the Mountains oil on canvas 75.5 x 62.8 cm

    1847 The Charter Oak oil on canvas 56.2 x 76.5 cm

    1847 View near Stockbridge, Mass. oil on canvas 69.2 x 101.6 cm

    1847c Study for View near Stockbride, Massachusetts oil on canvas 19 x 27.9 cm

    1847c Sunrise oil on paper 21.5 x 36.5 cm

    1848 Morning, looking East over the Husdon Valley from Catskill Mountains oil on canvas 45.7 x 61 cm

    1848 Rutland Falls, Vermont oil on canvas 50.8 x 75.6 cm

    1848 To the Memory of Cole oil on canvas 81.3 x 124.5 cm

    1848 View in Pittsford, Vermont oil on academy board 27.9 x 41.3 cm

    1849 A Passing Storm oil on canvas 35.9 x 30.5 cm

    1849 Above the Clouds at Sunrise oil on canvas 69.2 x 102.4 cm

    1849 Lower Falls Rochester oil  on canvas 50.2 x 74.6 cm

    1849 New England Landscape (aka Evening after a Storm) oil on canvas 63.8 x 92.1 cm

    1849 New England Landscape oil on board 14 x 17.8 cm

    1849 West Rock, New Haven oil on canvas 67.3 x 101.6 cm cm

    1849-50 Ira Mountain, Vermont oil on board 103.2 x 156.5 cm

    1849-50c On Otter Creek oil on canvas 45.7 x 61.6 cm

    1850 Fog off Mount Desert oil on cardboard 30.5 x 39.4 cm

    1850 Mt. Desert Island, Maine Coast oil on paper

    1850 Otter Creek, Mt Desert oil on canvas 42.5 x 61 cm

    1850 Rough Surf, Mount Desert Island oil on paper mounted on wood 31.7 x 41.3 cm

    1850 The Abandoned Skiff oil on canvas 28 x 43.2 cm

    1850 Twilight, 'Short Arbiter 'twixt Day and Night' oil on canvas 81.9 x 121.9

    1850-55 Schoodic Peninsula from Mount Desert at Sunrise oil on paperboard 22.9 x 34.9 cm

    1850-60 Eagle Lake Viewed from Cadillac Mountain, Mount Desert Island, Maine graphite & oil on paperboard 29.4 x 44.5 cm

    1850c Mt. Desert Island graphite & oil on cardboard

    1851 Beacon, off Mount Desert Island oil on canvas 78.7 x 116.8 cm

    1851 Lake Scene in Mount Desert oil on canvas 52.6 x 78.4 cm

    1851 New England Scenery oil on canvas

    1851 View of Newport Mountain, Mount Desert oil on canvas 54 x 79.4 cm

    1852 Coast Scene oil on canvas 50.6 x 76.2 cm

    1852 Grand Manan Island, Bay of Fundy oil on canvas 55.4 x 81.1 cm

    1852 Home by the Lake oil on canvas 81 3 x 122.5 cm

    1852 Mountain Landscape with Mill, Cows and Stream oil on canvas 44.4 x 64.8 cm

    1852 The Natural Bridge, Virginia oil on canvas 71.1 x 58.4 cm

    1852 The Wreck oil on canvas 116.84 x 76.2

    1853 A Waterfall in Colombia oil on paperboard 31.6 x 44.2 cm

    1853 American Landscape oil on canvas 56.8 x 85.1 cm

    1853 Autumn on the Hudson oil on canvas 50.8 x 76.2 cm

    1853 Colombia, Baranquilla Church graphite & oil on paperboard

    1853 Colombia, Barranquilla, Two Houses graphite & oil on paperboard

    1853 Cotopaxi seen from Ambato, Ecuador graphite & oil on paperboard 42.7 x 29.1 cm

    1853 Mount Ktaadn (aka Mount Katahdin) oil on canvas 92.1 x 140.3 cm

    1853 Study of Tequendama Falls near Bogotá, Colombia graphite wash & gouache on paper


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    Frederic Edwin Church (1826 – 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters. 

    This is part 2 of a 4-part post on the works of Frederic Edwin Church. For biographical notes on Church, and for earlier works, see part 1 also.

    1853c Turner Pond with Pomola Peak and Baxter Peak, Maine oil on paperboard

    1854 La Magdalena oil on canvas 71.1 x 106.7 cm

    1854 A Country Home oil on canvas 115.9 x 161.6 cm

    1854 Scene among the Andes oil on canvas 40.3 x 61 cm

    1854 South American Landscape graphite & oil on paper 28.1 x 43 cm

    1854 Sunset, Bar Harbour oil on paper mounted on canvas 25.7 x 43.8 cm

    1854 Tamaca Palms oil on canvas 70.5 x 92.7 cm

    1854 The Cordilleras, Sunrise oil on canvas 72.4 x 109.2 cm

    1854 The Falls of Tequendama Near Bogota New Granada oil on canvas 162.6 x 101.6 cm

    1855 Cotopaxi oil on canvas 76.2 x 118 cm

    1855 Cotopaxi oil on canvas 107 x 71.1 cm

    1855 The Andes of Ecuador oil on canvas 121.9 x 190.5 cm

    1855-60 Mounts Katahdin and Turner from Lake Katahdin, Maine graphite & oil on paperboard

    1855c Tropical Landscape oil on canvas 28 x 41.3 cm

    1856 Autumn in North America oil on board 43.2 x 28.6 cm

    1856 In the Tropics oil on canvas 64.1 x 92.1 cm

    1856 Niagara Falls and Terrapin Tower graphite & oil on canvas 19.7 x 30 cm

    1856 Niagara Falls from Goat Island, Winter graphite & oil on canvas 28.9 x 44.1 cm
      
    1856 South American Landscape oil on canvas 59.5 x 92 cm

    1856 Sunset oil on canvas 61 x 91.4 cm

    1856 The Great Fall, Niagara oil on canvas 30.5 x 88.9 cm

    1856-7 Horseshoe Falls oil on two pieces of paper 29.2 x 90.5 cm

    1856c Mount Katahdin oil on canvas 20.6 x 29.8 cm

    1857 Cross in the Wilderness oil on canvas 61.6 x 41.3 cm

    1857 Mount Chimborazo, Ecuador graphite & oil on paperboard 23.5 x 44.6 cm

    1857 Mount Chimborazo, Ecuador, Shown from Riiobamba oil on board 29 x 44.1 cm

    1857 Niagara Falls oil on canvas 108 x 230 cm

    1857 Palm Trees and Housetops, Ecuador graphite & oil on paperboard 35.4 x 29.2 cm

    1857 Studies of Mount Chimborazo, Ecuador graphite & oil on paper laminate 29.8 x 44.6 cm

    1857 Study of Mount Chimborazo, Ecuador graphite & oil on paperboard 34.4 x 52.2 cm

    1857 View of Cotopaxi oil on canvas 62.2 x 92.7 cm

    1857 View on the Magdalena River oil on canvas 60.3 x 91.4 cm

    1858 Cayambe oil on canvas 30.5 x 45.7 cm

    1858 Cayambe oil on canvas 76.2 x 122.2 cm

    1858 Landscape with Waterfall oil on canvas 45.7 x 76.2 cm

    1858 Study for "The Heart of the Andes" oil on canvas 26 x 46.3 cm

    1859 Heart of the Andes oil on canvas 158 x 303.9 cm

    1858 Study for "Under Niagara" oil on paper mounted on canvas 29.8 x 44.5 cm

    1858 Twilight, a Sketch oil on canvas 21 x 31.1 cm

    1858-60c Mount Katahdin oil on paper 26.7 x 34.3 cm

    1858c Morning in the Tropics oil on canvas 21 x 35.5 cm

    1859 Autumn Shower oil on paper 16.5 x 29.8 cm

    1859 Iceberg, Newfoundland graphite & oil on board 13.6 x 37.8 cm

    1859 Icebergs at Midnight, Labrador oil on paperboard 30.5 x 50.6 cm

    1859 Icebergs, Twillingate, Newfoundland oil on fobreboard 30.48 x 46.04 cm

    1859 Off Iceberg, Newfoundland graphite & oil on board 12.5 x 28.3 cm

    1859 Seascape with Icecap in the Distance graphite & oil on paperboard

    1859 Study for 'The  Icebergs' (1861) oil on paperboard 16.3 x 26.3 cm

    1859 The Evening Star oil on canvas 19.7 x 25.4 cm

    1860 Aurora Borealis, Mt. Desert Island, from Bar Harbor, Maine oil on paperboard 26.3 x 35.2 cm

    1860 Study for 'The  Icebergs' (1861) oil on paperboard 15.2 x 33 cm

    1860 The Meteor of 1860

    1860 Twilight in the Wilderness oil on canvas 101.6 x 162.6 cm
     

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    Frederic Edwin Church (1826 – 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters. 

    This is part 3 of a 4-part post on the works of Frederic Edwin Church. For biographical notes on Church see part 1.
     

    1860c Icebergs and Wreck in Sunset oil on paperboard 21 x 31.1 cm
    1861 Oil Study of Cotopaxi oil on canvas 19 x 30.5 cm


    1861 Our Banner in the Sky oil on paper 19.1 x 28.6 cm

    1861 The Icebergs oil on canvas 163.83 x 285.7 cm

    1861c Oosisoak oil on canvas58.4 x 43.2 cm

    1862 Cotopaxi oil on canvas 121.9 x 215.9 cm

    1862 Sunrise (aka The Rising Sun) oil on canvas 26.7 x 45.6 cm

    1862c Study of Cotopaxi graphite & chinese white on paper 13.9 x 23.4 cm

    1863 Coast Scene, Mount Desert oil on canvas 91.8 x 121.9 cm

    1863 Icebergs oil on canvas 8.2 x 14.3 cm

    1864 Chimborazo oil on canvas 121.9 x 213.4 cm

    1864 Landscape with Two Trees oil on paper 30.2 x 17.5 cm

    1864 Our Flag oil on canvas 54.6 x 34.3 cm

    1864 Setting Sun oil on canvas 24.1 x 35.6 cm

    1864 South American Landscape oil on paper mounted on canvas 19.4 x 12.4 cm

    1865 A Coast Line in Jamaica, West Indies oil on paperboard 25.9 x 30.6 cm

    1865 A Glimpse of the Caribbean Sea from the Jamaica Mountains oil on canvas 17 x 22 cm

    1865 Aurora Borealis oil on canvas 142.2 x 212.1 cm

    1865 Birch Trees in Autumn oil on paperboard 30.5 x 19.5 cm

    1865 Blue Mountains, Jamaica graphite & oil on Paper 20.5 x 30.5 cm

    1865 Cloudy Skies, Sunset, Jamaica oil on board 25.9 x 30.8 cm

    1865 Fern Walk oil on paper mounted on canvas 31.1 x 33.7 cm

    1865 In the Blue Mountains, Jamaica oil on paperboard 28.6 x 45.4 cm

    1865 Moonrise oil on canvas 25.4 x 43.2 cm

    1865 Palm Trees, West Indies graphite & oil on board 27.3 x 24.4 cm

    1865 Plant Study, Jamaica, West Indies oil on paperboard 29.4 x 29.5 cm

    1865 Rain Forest, Jamaica, West Indies oil on paperboard 30.5 x 50.8 cm

    1865 Red Hills near Kingston, Jamaica oil on paperboard 23.5 x 36.7 cm

    1865 Ridges in the Blue Mountains, Jamaica oil on paper 26.3 x 30.6 cm

    1865 Scene in the Blue Mountains, Jamaica oil on paper 26.9 x 45.1 cm

    1865 Sky at sunset, Jamaica, West Indies oil on paperboard

    1865 Storm in the Mountains graphite & oil on board 30.2 x 50.5 cm

    1865 Storm in the Mountains, Jamaica oil on academy board 25.4 x 31.1 cm

    1865 Tropical Vines and Trees oil on paper 46 x 31.7 cm

    1865 Twilight Mount Desert Island, Maine oil on canvas 79.4 x 123.2 cm

    1865c Eruption at Cotopaxi oil on canvas 24.3 x 43.4 cm

    1866 Rainy Season in the Tropics oil on canvas 142.9 x 214 cm

    1866 Sunset oil on canvas 30.5 x 48.3 cm

    1867 Niagara Falls oil on canvas 253 x 225 cm

    1867 Pichincha oil on canvas 78.7 x 122.3 cm

    1867 The After Glow oil on canvas 79.3 x 123.8 cm

    1867 The Vale of St Thomas, Jamaica oil on canvas 123.2 x 214.8 cm

    1867 View of Cotopaxi oil on canvas 11 x 18 in

    1867 View of Kaaterskill Clove, New York oil on paper 22.2 x 29.2 cm

    1867 View of the Hudson River from Olana oil on canvas 31.1 x 51.7 cm

    1868 Hinter Schonau and Reiteralp Mountains, Bavaria oil on paperboard 32.9 x 50.8 cm

    1868 Interior of the Temple of Bacchus, Baalbek, Syria oil on paperboard 25.4 x 28.6 cm

    1868 Jerusalem from the Mount of Olives oil on paperboard 29.7 x 47 cm

    1870 Jerusalem from the Mount of Olives oil on canvas 137.7 x 214.3 cm

    1868 Konigsee, Bavaria graphite & oil on board 28.6 x 32.7 cm

    1868 Mountain Stream, Yemen Valley, Palestine oil on paperboard 32.7 x 50.8 cm

    1868 Ruins at Baalbek oil on canvas 55.2 x 92.1 cm

    1868 Study of Zoomorphic Rock, Petra graphite & oil on board 30.5 x 50.6 cm

    1868 View of Ed Deir, Petra, Jordan graphite & oil on paper 32.7 x 51.1 cm


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    Frederic Edwin Church (1826 – 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters. 

    This is part 4 of a 4-part post on the works of Frederic Edwin Church. For biographical notes on Church see part 1.

    1865 Sunset, Jamaica (Study for 'The After Glow') oil on paper mounted on linen 30.8 x 46 cm

    1867 After the Glow oil on canvas 79.3 x 123.8 cm

    1868 View of Wimmis, Valley of the Simmental, Switzerland oil on paper mounted on canvas 32.4 x 50.5 cm

    1868 View Towards Damascus, Syria oil on paperboard 11.6 x 22.9 cm

    1868-69 Rooftops at Sunset, Rome, Italy oil on paperboard 27.8 x 38.6 cm

    1868-69c Salzburg Castle oil on canvas 27.9 x 39.4 cm

    1869 Broken Column, the Parthenon, Athens graphite & oil on board 27.8 x 38.6 cm

    1869 North Peristyle, Parthenon, Athens graphite & oil on board 32.9 x 25.4 cm

    1869 Parthenon, Athens, from the Northwest (Illuminated Night View) oil on paperboard 32.9 x 41.4 cm

    1869-70 Erechtheum oil on paper mounted on canvas 33 x 27.9 cm

    1869-70 Study for "The Parthenon" oil on paper mounted on canvas 33 x 50.8 cm

    1871 The Parthenon oil on canvas 113 x 184.4 cm

    1869c The Ruins at Sunion, Greece oil on canvas 76.2 x 121.9 cm

    1870 Sunset across the Hudson Valley, New York graphite & oil on paperboard 32.2 x 35.2 cm

    1870 The Arabian Desert oil on canvas 50.8 x 76.2 cm

    1870 Winter Scene, Olana oil on paper 51.4 x 33 cm

    1870-72 Sunset & Catskills from Church Hill oil on paperboard 26.3 x 35.2 cm

    1870-75 Sunset in the Hudson Valley oil on paperboard 30.4 x 50.7 cm

    1870-75c View from Olana in the Snow oil on academy board 33.6 x 53.3 cm

    1871 Cloud Study graphite & oil on paperboard 25.7 x 32.9 cm

    1871 Jamaica oil on canvas 36.2 x 61.6 cm

    1871 Mountains from the Home of the Artist oil on canvas 56.2 x 92.4 cm

    1871 Winter Twilight from Olana oil on paper 25.6 x 33 cm

    1872 Clouds over Olana oil on paper 21.9 x 30.8 cm

    1872 Figures in an Ecuadorian Landscape oil on canvas 53.3 x 91.4 cm

    1873 Landscape in Greece oil on canvas 38.7 x 56.5 cm

    1873 South American Landscape oil on canvas 78.7 x 123.2 cm

    1873 Syria by the Sea oil on canvas 142.2 x 215.9 cm

    1873c Mountain Landscape with River, near Philadelphia oil on paper mounted on canvas 26.7 c 41.9 cm

    1873c Tropical Landscape oil on paper 24.8 x 37.5 cm

    1873c Tropical Scenery oil on canvas 97.3 x 152.2 cm

    1874 El Khasné, Petra oil on canvas 153 x 127.6 cm

    1874 Sunrise in Syria oil on canvas 77.5 x 64.8 cm

    1875 Autumn oil on canvas 39.4 x 61 cm

    1876 The Andes of Ecuador oil on canvas 121.9 x 190.5 cm

    1877 El Rio De Luz "The River of Light" oil on canvas 138 x 213.7 cm

    1877c The Aegean Sea oil on canvas 137.2 x 160.7 cm

    1878 Lake Scene (aka Landscape in the Adirondacks) oil on canvas 21.6 x 33 cm

    1878 Mount Katahdin from Lake Millinocket oil on cardboard

    1878 View of Mount Katahdin oil on canvas 52.1 x 77.5 cm

    1879 The Monastery of San Pedro oil on canvas 118.7 x 183.2 cm

    1882 Al Ayn (aka The Fountain) oil on canvas

    1882 The Mediterranean Sea oil on canvas 36.5 x 57.5 cm

    1884 Chimborazo Volcano oil on millboard 17.8 x 25.4 cm

    1885c House in Hudson, New York graphite & oil on paperboard 30.4 x 50.8 cm

    1885c The Andes of Ecuador oil on canvas

    1889 Moonrise in Greece oil on canvas 35.9 x 51.4 cm

    1890 Mountain Plateau with Hut graphite & oil on cardboard

    1891 The Iceberg oil on canvas 50.8 x 76.2 cm

    1895 Mount Katahdin from Millinocket Camp oil on canvas  67.3 x 107.3 cm

    n.d. Chimborazo pastel on paper 29.8 x 52.7 cm

    n.d. The Magdalena River, Ecuador oil on canvas 25.4 x 21 cm


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  • 07/15/13--07:16: Arthur Rackham – part 1

  • This expanded post on illustrator Arthur Rackham updates and replaces a post from June 2010.


    Arthur Rackham (1867 – 1939) was born in London as one of 12 children. In 1884, at the age of 17, he was sent on an ocean voyage to Australia to improve his fragile health, accompanied by two Aunts.At the age of 18, he worked as a clerk at the Westminster Fire Office and began studying part-time at the Lambeth School of Art.

    In 1892 he left his job and started working for The Westminster Budget as a reporter and illustrator. His first book illustrations were published in 1893 in To the Other Side by Thomas Rhodes:


    The Other Side

    Illustration from The Other Side
    His first serious commission was in 1894 for The Dolly Dialogues, the collected sketches of Anthony Hope, who later went on to write The Prisoner of Zenda. Book illustrating then became Rackham's career for the rest of his life.
     

    The Dolly Dialogues
    In 1903 he married Edyth Starkie, with whom he had one daughter, Barbara, in 1908. Rackham won a gold medal at the Milan International Exhibition in 1906 and another one at the Barcelona International Exposition in 1912.His works were included in numerous exhibitions, including one at the Louvre in Paris in 1914.
     
    Arthur Rackham is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War. During that period, there was a strong market for high quality illustrated books that typically were given as Christmas gifts. Many of Rackham's books were produced in a de luxe limited edition, often vellum bound and sometimes signed, as well as a larger, less ornately bound quarto 'trade' edition. This was often followed by a more modestly presented octavo edition in subsequent years for particularly popular books. The onset of the war in 1914 curtailed the market for such quality books, and the public's taste for fantasy and fairies also declined in the 1920s.

    Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.

    Rackham invented his own unique technique which resembled photographic reproduction; he would first sketch an outline of his drawing, then lightly block in shapes and details. Afterwards he would add lines in pen and India ink, removing the pencil traces after it had dried. With colour pictures, he would then apply multiple washes of colour until translucent tints were created:

    1911 Lovers ink & watercolour 22.8 x 12.6 cm
    He would also go on to expand the use of silhouette cuts in illustration work, particularly in the period after the First World War, as exemplified by his Sleeping Beauty and Cinderella.

    Plate from Cinderella
    Typically, Rackham contributed both colour and monotone illustrations towards the works incorporating his images - and in the case of Hawthorne's Wonder Book, he also provided a number of part-coloured block images similar in style to Meiji era Japanese woodblocks.
    Rackham's work is often described as a fusion of a northern European 'Nordic' style strongly influenced by the Japanese woodblock tradition of the 19th century. Arthur Rackham died in 1939 in Limpsfield, Surrey.

    This is part 1 of an 8-part post on the works of Arthur Rackham.


    The Ingoldsby Legends is a collection of myths, legends, ghost stories and poetry written supposedly by Thomas Ingoldsby of Tappington Manor, actually a pen-name of an English clergyman named Richard Harris Barham.

    The legends were first printed during 1837 as a regular series in the magazine Bentley's Miscellany and later in New Monthly Magazine. The legends were illustrated by John Leech and George Cruikshank. They proved immensely popular and were compiled into books published in 1840, 1842 and 1847 by Richard Bentley. They remained popular during the 19th century but have since become little known. An omnibus edition was published in 1879: The Ingoldsby Legends; or Mirth and marvels.

    1898 – 1907 Illustrations originally created by Arthur Rackham in 1898 and revised in 1907, published in 1908.

    1898 - 1908 The Ingoldsby Legends

    1898 - 1907 "The little man had seated himself in the centre of the circle upon the large skull"

    1898 - 1907 "Into the bottomless pit he fell slap"

    1898 - 1907 "Wandering about and Boo-hoo-ing"

    1898 - 1907 "The horn at the gate of the Barbican tower was blown with a loud twenty-trumpeter power"

    1898 - 1907 "Sir Thomas, her Lord, was stout of limb"

    1898 - 1907 "A flood of brown-stout he was up to his knees in"

    1898 - 1907 "A grand pas de deux performed in the very first style by these two"

    1898 - 1907 "And the maids cried Good gracious, how very tenacious!"

    1898 - 1907 "One kick? It was but one but such a one"

    1907 "Sir Rupert the Fearless"

    1898 - 1907 "With a countenance only Keeley could put on"
    Grimm's Fairy Talesis a collection of German fairy tales first published in 1812 by the brothers Jacob and Wilhelm Grimm. They penned many popular children’s stories, including Cinderella, Hansel and Gretel, Goldilocks and the Three Bears, and Rumpelstiltskin.
    Illustrations by Rackham produced, and in some cases revised, between 1898 and 1909.

    1898 - 1909 Grimm's Fairy Tales

    Title page















































    Rip Van Winkle is a short story by American author Washington Irving published in 1819, as well as the name of the story's fictional protagonist. Written while Irving was living in Birmingham, England, it was part of a collection entitled The Sketch Book of Geoffrey Crayon. Although the story is set in New York’s Catskill Mountains, Irving later admitted, "When I wrote the story, I had never been on the Catskills."
    This version originally published in 1905.

    1904 - 1905 Rip Van Winkle
















































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  • 07/18/13--06:35: Arthur Rackham – part 2

  • Arthur Rackham (1867 – 1939) is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War.

    Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.

    This is part 2 of an 8-part post on the works of Arthur Rackham. For full biographical notes, and for earlier works, see part 1 also.

    Peter Pan in Kensington Gardens is a novel by J. M. Barrie, published in 1906. It is one of four major literary works by Barrie featuring the widely known character he originated, Peter Pan. The story is set in Kensington Gardens, a famous park in London, mostly after "Lock-out Time", described by Barrie as the time at the end of the day when the park gates are closed to the public. After this time the fairies and other magical inhabitants of the park can move about more freely than during the daylight, when they must hide from ordinary people.The fairy inhabitants of the gardens are first described in Thomas Tickell’s 1722 poem Kensington Gardens.
    This version originally published in 1906.

    1906 Cover of Peter Pan in Kensington Gardens (later edition)

    Now there arose a mighty storm...

    The Kensington Gardens are in London...

    The Lady with the Balloons...

    In the Broad Walk you might meet all the people...

    The Hump, which is part of the Broadwalk...

    There is almost nothing that has such a keen sense of fun...

    The Serpentine is a lovely lake...

    The fairies of the Serpentine

    The island on which all the birds are born...

    Old Mr. Salford was a crab-apple of an old gentleman...

    Away he flew...

    The fairies have their tiffs with the birds.

    When he heard Peter's voice...

    A band of workmen...

    Put his case before old Solomon Caw.

    Peter screamed out...

    A hundred flew off with the string...

    … the birds said that they would help him no more...

    "Preposterous!" cried Solomon in a rage.

    For years he had been quietly filling his stocking.

    When you meet grown-up people...

    He passed under the bridge...

    Fairies are all more or less in hiding until dusk.

    When they think you are not looking...

    …they stand quite still pretending to be flowers...

    The fairies are exquisite dancers.

    These trick fairies sometimes change the board...

    Linkmen running in front carrying winter cherries.

    When her Majesty wants to know the time.

    The fairies sit round on mushrooms...

    Butter is got from the roots of old trees...

    Wallflower juice is good for reviving...

    Peter Pan is the fairies orchestra.

    They all tickled him on the shoulder.

    One day they were overheard by a fairy.

    The little people weave their summer curtains...

    An afternoon when the gardens were white with snow.

    She ran to St. Gover's Well and Hid.

    An elderberry hobbled across the walk...

    A chrysanthemum heard her...

    They warned her.

    Queen Mab, who rules in the Gardens.

    Shook his bald head and murmered...

    Fairies never say, "We feel happy"...

    Looking very undancey indeed.

    114 "My Lord Duke," said the physician...

    Building the house for Mamie.

    If the bad ones among the fairies happen to be out...

    They will certainly mischief you.

    …tombstones of Walter Matthews and Phoebe Phelps.

    Alice's Adventures in Wonderland(commonly shortened to Alice in Wonderland) is an 1865 novel written by English author Charles Lutwidge Dodgson under the pseudonym Lewis Carroll. It tells of a girl named Alice who falls down a rabbit hole into a fantasy world populated by peculiar, anthropomorphic creatures. The tale plays with logic, giving the story lasting popularity with adults as well as children.It is considered to be one of the best examples of the literary nonsense genre,and its narrative course and structure, characters and imagery have been enormously influential in both popular culture and literature.
    This version originally published in 1907.

    1907 Cover of Alice's Adventures in Wonderland

    Title page

    At this the whole pack rose up into the air, and came flying down upon her.

    Who stole the tarts?

    The Mock Turtle drew a long breath and said, "That's very curious"

    The Queen never left off quarrelling with the other players.

    The Queen turned angrily from him and said to the Knave, "Turn them over"

    A Mad Tea Party

    It grunted again so violently that she looked down into its face in some alarm.

    An unusually large saucepan flew close by it, and very nearly carried it off.

    Advice from a caterpillar.

    Why, Mary Ann, what are you doing here?

    They all crowded round it panting and asking, "But who has won?"

    The pool of tears.

    Alice in Wonderland.










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  • 07/20/13--01:09: Arthur Rackham – part 3

  • Arthur Rackham (1867 – 1939) is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War.

    Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.

    This is part 3 of an 8-part post on the works of Arthur Rackham. For full biographical notes see part 1. 

    A Midsummer Night's Dream is a play by William Shakespeare. Believed to have been written between 1590 and 1596, it portrays the events surrounding the marriage of the Duke of Athens, Theseus, and the Queen of the Amazons, Hippolyta. These include the adventures of four young Athenian lovers and a group of six amateur actors, who are controlled and manipulated by the fairies who inhabit the forest in which most of the play is set. The play, categorised as a Comedy, is one of Shakespeare's most popular works for the stage and is widely performed across the world.
    Originally published in 1907, some of these illustrations have later dates.

    1908 Cover of A Midsummer Night's Dream

    Title page

    Titania lying asleep

    Hermia

    Where often you and I upon faint primrose-buds were wont to lie, emptying our bosoms of their counsel sweet

    She never had so sweet a changeling

    The Meeting of Oberon and Titania

    Fairies away! We shall chide downright, if I longer stay

    To hear the sea-maid's music

    Ere the leviathan can swim a league

    On the ground sleep sound, I'll apply to your eye gentle lover, remedy

    Come, now a roundel

    …will sing, that they shall hear I am not afraid

    Lord, what fools these mortals be

    … and her fairy sent to bear him to my bower in fairy land

    And a fairy song

    Fair Helena

    Call'd Robin Goodfellow, are not you he that frights the maidens of the villagery

    …am that merry wanderer of the night

    O Bottom, thou art changed!

    What angel wakes me from my flowery bed?

     …ghosts, ivanciering here and there troop hovie to churchyards

    O monstous! O strange we are haunted pray, masters fly, masters! Help!

    How now, spirit! Whither wander you

    Never so weary, never so in woe, bedabbled with dew and torn with briars

    To make my small elves coats

    Are you sure that we are awake. It seems to me that yet we sleep, we dream









    Undine is a fairy-tale novella; an early German romance, written in 1811 by Friedrich de la Motte Fouqué in which Undine, a water spirit, marries a knight named Huldebrand in order to gain a soul.
    This version originally published in 1909.

    1909 Cover of Undine

    Title page


















































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  • 07/22/13--05:23: Arthur Rackham – part 4

  • Arthur Rackham (1867 – 1939) is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War.

    Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.

    This is part 4 of an 8-part post on the works of Arthur Rackham. For full biographical notes see part 1.
    Part 4 features two related books: The Rhinegold and the Valkyrie and Siegfried and the Twilight of the Gods, both based on operas by Richard Wagner, that constitute his Der Ring des Nibelungen (The Ring of the Nibelung).

    Das Rheinegold (The Rhinegold) was originally written as an introduction to the tripartite Ring, but the cycle is now generally regarded as consisting of four individual operas. 

    Götterdämmerung(Twilight of the Gods) is the last opera of the cycle. The title is a translation into German of the Old Norse phrase Ragnarök, which in Norse mythology refers to a prophesied war of the gods that brings about the end of the world. However, as with the rest of the Ring, Wagner's account of this apocalypse diverges significantly from his Old Norse sources.
    Wagner's plans for the cycle grew backwards from the tale of the death of the hero Siegfried, to include his youth and then the story of the events around his conception and of how the Valkyrie Brünnhilde was punished for trying to save his parents against Wotan's instructions.

    The Rhinegold and the Valkyrie published in 1910.


    1910 Cover of The Rhinegold and the Valkyrie

    Title page

    "Raging, Wotan rides to the Rock! Like a storm-wind he comes!"

    The frolic of the Rhine-Maidens

    The Rhine-Maidens teasing Alberich

    "Mock away! Mock! The Niblung makes for your toy!"

    "Seize the despoiler! Rescue the gold! Help us! Help us! Woe! Woe!"

    Freia, the fair one

    "The Rhine's pure-gleaming children told me of their sorrow"

    Fasolt suddenly seizes Freia and drags her to one side with Fafner

    Mime, howling, "Ohe! Ohe! Oh! Oh!"

    Mime writhes  under the lashes he receives

    Alberich drives in a band of Niblungs laden with gold and silver treasure

    "Ohe! Ohe! Horrible dragon, O swallow me not! Spare the life of poor Loge!"

    "Hey! Come hither, and stop me this cranny!"

    Fafner kills Fasolt

    "To my hammer's swing hitherward sweep vapours and fogs! Hovering Mists! Donner, your lord, summons his hosts!"

    "The Rhine's fair children, bewailing their lost gold, weep"

    "This healing and honeyed draught of mead deign to accept from me"

    Hunding discovers the likeness between Siegmund and Sieglinde



    Sieglinde prepares Hunding's draught for the night


    "Siegmund the Walsung thou dost see! As bride-gift he brings this sword"

    Brunnhilde

    Fricka approaches in anger

    Brunnhilde slowly and silently leads her horse down the path to the cave

    "Father! Father! Tell me what ails thee? With dismay thou art filling thy child!"

    Brunnhilde stands for a long time dazed and alarmed

    Brunnhilde with her horse, at the mouth of the cave

    "I flee for the first time and am pursued. Warfather follows close he nears, he nears, in fury! Save this woman! Sisters, your help!"

    "There as a dread dragon he sojourns, and in a cave keeps watch over Alberich's ring"

    The ride of the Valkyries

    "Appear, flickering fire, encircle the rock with thy flame! Loge! Loge! Appear!

    The sleep of Brunnhilde

     Siegfried and the Twilight of the Gods published in 1911.

    1911 Cover of Siegfried and the Twilight of the Gods

    Title page

    "Nothing! Nothing! Conquering Sword!"

    Mime at the anvil

    Mime and the infant Siegfried

    Mime finds the mother of Siegfried in the forest

    Siegfried sees himself in the stream

    "And there I learned what love was like"

    "In dragon's form Fafner now watches the hoard"

    Mime and the wanderer

    Siegfried killsFafner

    "The hot blood burns like fire"

    The dwarfs quarelling over the body of Fafner

    "Magical rapture pierces my heart, fixed is my gaze. Burning with terror, I reel, my heart faints and fails"

    Brunnhilde Salutes the Sun

    Brunnhilde throws herself into Siegfried's arms

    The three Norns

    The Norns vanish

    Siegfried leaves Brunnhilde in search of adventure

    Siegfried hands the drinking-horn back to Gutrune, and gazes at her with sudden passion

    Brunnhilde kisses the ring that Siegfried has left with her

    "The ring upon thy hand…ah, be implored! For Wotan fling it away!"

     The wooing of Grimhilde, the mother of Hagen

    "Swear to me. Hagen, my son!"

    "O wife betrayed. I will avenge thy trust deceived"

    "Though gaily ye may laugh. In grief ye shall be left. For mocking maids, this ring ye ask shall never be yours"

    "Siegfried! Siegfried! Our warning is true, flee, oh flee from the curse!"

    Brunnhilde on Grane leaps on to the funeral pyre of Siegfried

    The Rhine-Maidens obtain possession of the ring and bear it off in triumph



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  • 07/25/13--03:13: Arthur Rackham – part 5

  • Arthur Rackham (1867 – 1939) is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War.

    Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.

    This is part 5 of an 8-part post on the works of Arthur Rackham. For full biographical notes see part 1. 

      Aesop's Fables is a collection of fables credited to Aesop, a slave and story-teller believed to have lived in ancient Greece between 620 and 560 BC.
    The Greek historian Herodotus mentions in passing that "Aesop the fable writer" was a slave who lived in Ancient Greece during the 5th century BCE (Before the Common Era).Among references in other writers, Aristophanes, in his comedy The Wasps, represented the protagonist Philocleon as having learnt the "absurdities" of Aesop from conversation at banquets; Plato wrote in Phaedo that Socrates whiled away his jail time turning some of Aesop's fables "which he knew" into verses. Nonetheless, for two main reasons- because numerous morals within Aesop's attributed fables contradict each other, and because ancient accounts of Aesop's life contradict each other - the modern view is that Aesop probably did not solely compose all those fables attributed to him, if he even existed at all.

    This version originally published in 1912.

    1912 Cover of Aesop's Fables

    Title page

    The Hare and the Tortoise

    The Gnat and the Lion

    The Crab and his Mother

    The Quack Frog

    The Shipwrecked Man and the Sea

    The Blackamoor

    The Two Pots

    Venus and the Cat

    The Travellers and the Plane-tree

    The Trees and the Axe

    The Lion, Jupiter, and the Elephant

    The Ass in the Lion's Skin

    The Bear and the Fox

    The Fisherman Piping

    The Fox and the Crow

    The Frogs and the Well

    The Frogs asking for a King

    The North Wind and the Sun

    The Oak and the Reeds

    The Owl and the Birds

    The Wolf and the Goat

    The Wolf and the Horse

    1913 Arthur Rackham's Book of Pictures

    1913 Cover of Arthur Rackham's Book of Pictures

    Adrift

    Butterflies

    Fairy Wife

    Goblins

    Marjorie and Margaret

    Santa Claus


    --> Mother Goose is an imaginary author of a collection of fairy tales and nursery rhymes which are often published as Mother Goose Rhymes. As a character, she appears in one "nursery rhyme".A Christmas pantomime called Mother Goose is often performed in the United Kingdom. The so-called "Mother Goose" rhymes and stories have formed the basis for many classic British pantomimes. Mother Goose is generally depicted in literature and book illustration as an elderly country woman in a tall hat and shawl, a costume identical to the peasant costume worn in Wales in the early 20th century, but is also sometimes depicted as a goose (usually wearing a bonnet).

    This version originally published in 1913.

    1913 Cover of Mother Goose

    Title page

    A Little Nothing Woman

    As I was going to St Ives...

    Bye, baby bunting

    Hark! Hark! The Dogs do Bark!

     Jack Sprat could eat no fat

    Little Miss Muffet

    The Fair Maid who the first of May...

    The Man in the wilderness asked me...

    There was a crooked old man...

    301 There was an old woman who lived under a hill

    Imagina by Julia Ellsworth Ford, with illustrations by Arthur Rackham and Lauren Ford published in 1914.


    1914 Cover of Imagina


    Frontispiece "Faerie Folk"


    "Please, Mermaid, come out where it is sunny."

    A Christmas Carol is a novella by Charles Dickens, first published in 1843. The story tells of miserly Ebenezer Scrooge’s ideological, ethical, and emotional transformation resulting from supernatural visits from Jacob Marley and the Ghosts of Christmas Past, Present, and Yet to Come. The novella met with instant success and critical acclaim.
    The book was written and published in early Victorian Era Britain, a period when there was both strong nostalgia for old Christmas traditions and an initiation of new practices such as Christmas trees and greeting cards. Dickens's sources for the tale appear to be many and varied but are principally the humiliating experiences of his childhood, his sympathy for the poor, and various Christmas stories and fairy tales.
    The tale has been viewed by critics as an indictment of 19th-century industrial capitalism. it has been credited with restoring the holiday to one of merriment and festivity in Britain and America after a period of sobriety and sombreness. A Christmas Carol remains popular and has never been out of print.

    This version originally published in 1915.

    1915 Cover of A Christmas Carol

    Title page

    The air was filled with phantoms, wandering hither and thither in restless haste and moaning as they went.

    The way he went after that plump sister in the lace tucker!

    There was nothing very cheerful in the climate.

    The ghost of Marley visits Scrooge


    --> Little Brother & Little Sister is a well-known European fairy tale which was, among others, written down by the Brothers Grimm in their collection of Children's and Household Tales (Grimm's Fairy Tales). 
    This version originally published in 1917.

    1917 Cover of Little Brother & Little Sister

    Title page

    Instantly they lay still, all turned to stone

    Maid Maleen

    Suddenly the branches twined round her and turned into two arms.

    The Gnomes

    The True Sweetheart

    What did she find there?..but real ripe strawberries




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  • 07/27/13--03:27: Arthur Rackham – part 6
  • Arthur Rackham self-portrait
    Arthur Rackham (1867 – 1939) is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War.

    Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.

    This is part 6 of an 8-part post on the works of Arthur Rackham. For full biographical notes see part 1.

    The Romance of King ArthurisAlfred W.Pollard's version of Malory's Morte d'Arthur and includes tales of King Arthur, Sir Launcelot, Sir Gareth, Sir Tristram, Sir Launcelot and Dame Elaine, Sir Galahad and the Quest of the Holy Grail, and Launcelot, Guenever, and King Arthur.

    Malory's own Morte d'Arthurwas compiled from folk tales, with the addition of some original material related to Sir Gareth. The original version of the tales was first published by William Caxton in 1485 and the Malory's compilation is regarded as the best-known work of English-language Arthurian literature.

    In preparing for the commission, Rackham turned to his own copy of Beardsley's "Morte D'Arthur" and, following the pattern of the Beardsley version, drew square and rectangular chapter headings to be set at irregular intervals up and down the page. As in Beardsley, these have a stark black and white appearance, though Rackham cannot resist the occasional wryly humorous touch such as a barking dog or a jester's head.





     The closest Rackham comes to Beardsley, however, is in his illustration of 'Sangreal', a flaming lidded chalice carried by an attenuated golden-haired white-robed maiden. This homage to Aubrey is based closely on Beardsley's own angel in 'The Achieving of the Sangreal', the frontispiece to Volume Two of "Morte D'Arthur".

    "Sangreal" by Arthur Rackham

    Aubrey Beardsley "The Achieving of the Sangreal" 1893-94


    1917 Cover of The Romance of King Arthur






































    English Fairy Tales edited by Flora Annie Steel (1847 –1929). In 1867 Flora Annie Webster married Henry William Steel, a member of the Indian civil service, and for the next twenty-two years lived in India, chiefly in the Punjab, with which most of her books are connected. She acted as school inspector and mediator in local arguments.

    She encouraged the production of local handicrafts and collected folk-tales, a collection of which she published in 1884. Her interest in schools and the education of women gave her a special insight into native life and character. A year before leaving India, she co-authored and published The Complete Indian Housekeeper, giving detailed directions to European women on all aspects of household management in India. In 1889 the family moved back to Scotland, and she continued her writing there.

    This version originally published in 1918.

    1918 Cover of English Fairy Tales

    Title page

    "Tree of mine! O tree of mine! Have you seen my naughty little maid?"

    "Well!" she chuckled, "I am in luck!"

    The Three Bears

    "Ah! Somebody has been at my porridge, and eaten it all up!"

    "Fee-fi-fo-fum, I smell the blood of an Englishman"

    Many's the beating he had from the broomstick or the ladle

    Mr. and Mrs. Vinegar at home

     She went along, and went along, and went along

    Cinderella retold by Charles Seddon Evans (1883 – 1944). C. S. Evans joined William Heinemann publishers in 1914, and  became a director of the company in 1922.
    The title character of Cinderella is a young woman living in unfortunate circumstances that are suddenly changed to remarkable fortune. The story was first published by Charles Perrault in Histoires ou contes du temps passé in 1697,and later by the Brothers Grimm in their folk tale collection Grimms' Fairy Tales.

    Although both the story's title and the character's name change in different languages, in English-language folklore "Cinderella" is the archetypal name. The word "Cinderella” has come to mean one whose attributes were unrecognised, or one who unexpectedly achieves recognition or success after a period of obscurity and neglect. The still-popular story of "Cinderella" continues to influence popular culture internationally, lending plot elements to a wide variety of media.

    This version originally published in 1919.

    1919 Cover of Cinderella

    Title page

    Frontispiece














































































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  • 07/29/13--01:59: Arthur Rackham – part 7
  • Arthur Rackham self-portrait
    Arthur Rackham (1867 – 1939) is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War.

    Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.

    This is part 7 of an 8-part post on the works of Arthur Rackham. For full biographical notes see part 1.
     

    Some British Ballads was an illustrated collection of traditional tales including Clerk Colvil, The Lass of Lochroyan, Young Bekie, Chevy Chase, The Gardener, The Gay Goshawk, Lord Thomas and Fair Annet, The Twa Corbies, Young Akin, Binnorie, Get Up and Bar the Door, The Riddling Knight, Lady Elspat, Johnnie of Cockerslee, The Old Cloak, Proud Lady Margaret, Young Andrew, Sir Patrick Spens, Lord Randal, The Twa Brothers, The Duke of Gordon's Daughter, The Barron of Braikly, The Lackmaben Harper, The False Lover Won Back, Lamkin, Bonnie George Campbell, Prince Robert, Earl Mar's Daughter, The Death of Parcy Reed, Hynd Horn, Helen of Kirconnell, The Bailiff's Daughter of Islington, Rare Willie Drowned in Yarrow, The Gypsy Laddie, Clyde Water, The Lady Turned Serving-Man, Earl Brand, Earl Richard, The Fair Flower of Northumberland, and The Wife of Usher's Well.

    This version originally published in 1919.

    Cover of Some British Ballads

    Title page

    Chapter heading "Clerk Colvill"

    Clerk Colvill

    O Waken, Waken, Burd Isbel

    The Twa Corbies

    Erlington

    May Colven

    Get Up and Bar the Door

    Johnnie de Cockerslee

    Young Andrew

    Lord Randal

    The False Lover Won Back

    Earl Mar's Daughter

    Hind Horn

    The Gypsy Laddie

    Irish Fairy Tales by James Stephens. Stephens (1882 – 1950) was an Irish novelist and poet. He produced many re-tellings of Irish myths and fairy tales. His stories are marked by a combination of humour and lyricism.

    This version originally published in 1920.

    1920 Cover of Irish Fairy Tales

    Title page

    "My life became a ceaseless scurry and wound and escape, a burden and anguish of watchfulness"

    "Wild and shy and monstrous creatures ranged in her plains and forests"

    "A man who did not like dogs. In fact, he hated them. When he saw one he used to go black in the face, and he threw rocks at it until it got out of sight"

    "How he strained and panted to catch on that pursuing person and pursue her and get his own switch into action"

    "In forked glen into which he slipped at night fall he was surrounded by giant toads"

    "She looked with angry woe at the straining and snarling horde below"

    "The banqueting hall was in tumult"

    "The door of Fionn's chamber opened gently and a young woman came into the room"

    "The Hag of the Mill was a bony, thin pole of a hag with odd feet"

    "They stood outside, filled with savagery and terror"

    "The thumping of his big boots grew as continuous as the pattering of hail-stones on a roof, and the wind of his passage blew trees down"

    "The waves of all the worlds seemed to whirl past them in one huge green cataract"

    "They offered a cow for each leg of her cow, but she would not accept that offer unless Fiachna went bail for the payment"

    The Sleeping Beautytold by Charles Seddon Evans. The Sleeping Beauty by Charles Perrault or Little Briar Rose by the Brothers Grimm is a classic fairy-tale involving a beautiful princess, enchantment of sleep, and a handsome prince. Written as an original literary tale, it was first published by Charles Perrault in Histoires ou contes du temps passéin 1697.

    This version originally published in 1920.

    Cover of The Sleeping Beauty 1920













































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  • 07/31/13--02:35: Arthur Rackham – part 8
  • Arthur Rackham self-portrait entitled "A Transpontine Cockney" 1934
    Arthur Rackham (1867 – 1939) is widely regarded as one of the leading illustrators from the 'Golden Age' of British book illustration which encompassed the years from 1900 until the start of the First World War.

    Arthur Rackham's works have become very popular since his death, both in North America and Britain. His images have been widely used by the greeting card industry and many of his books are still in print or have been recently available in both paperback and hardback editions. His original drawings and paintings are keenly sought at the major international art auction houses.

    This is part 8 of an 8-part post on the works of Arthur Rackham. For full biographical notes see part 1.


      A Dish of Apples by Eden Phillpotts is a collection of poems written by Eden Phillpotts (1862-1960) on a theme of nature and harvest, with the greater part of the collection being poems in homage to varieties of orchard fruits.

    Phillpotts  was an English author, poet and dramatist. He was born in Mount Abu, British India, educated in Plymouth, Devon, and worked as an insurance officer for 10 years before studying for the stage and eventually becoming a writer. He co-wrote two plays with his daughter Adelaide Phillpotts.

    This version originally published in 1921.

    1921 Cover of A Dish of Apples

    Title page

















    Hawthorne’s Wonder Book was the First Edition of Nathaniel Hawthorne's classic tales illustrated by Arthur Rackham. Written as tales within a tale, Hawthorne presents the stories as being told to a group of children at Tanglewood, an Estate in Lenox, Massachusetts (where Hawthorne lived for a period), by Eustace Bright, a Williams College student.

    This version originally published in 1922.

    1922 Cover of Hawthorne's Wonder Book









    1922 American edition of the book









    Comus is a masque in honour of chastity, written by John Milton (1608 – 1674). It was first presented on Michaelmas 1634, before John Egerton, 1st Earl of Bridgewater at Ludlow Castle in celebration of the Earl's new post as Lord President of Wales. The plot concerns two brothers and their sister, simply called "Lady", lost in a journey through the woods. Lady becomes fatigued, and the brothers wander off in search of sustenance.

    While alone, she encounters the debauched Comus, a character inspired by the god of mockery, who is disguised as a villager and claims he will lead her to her brothers. Deceived by his amiable countenance, Lady follows him, only to be captured, brought to his pleasure palace and victimized by his necromancy.

    This version originally published in 1922.

    1922 Cover of Comus

    Title page

    "All amidst the Gardens fair of Hesperus, and his daughters three that sing about the golden tree."

    "And they, so perfect is their misery, not once perceive their foul disfigurement, but boast themselves more comely than before."

    "They come in making a riotous unruly noise"

    "Calling shapes, and beckoning shadows dire."

    "Sweet Echo."

    "The flowry-kirtl'd Naiades."

    "Some say, no evil thing that walks by night…"

    "…No goblin, or swart faery of the mine, hath hurt-full power o'er true virginity."

    "The huntress Diana"

    "The wonted roar was up amidst the woods, and fill'd the Air with barbarous dissonance."

    "… as Daphne was, root-bound, that fled Apollo."

    "Iris there, with humid bow"

    "The brothers rush in with swords drawn."

    "The water Nymphs, that in the bottom plaid, held up their pearled wrists and took her in."

    "Sabrina fair listen where thou art sitting."
    Peer Gynt is a five-act play in verse by the Norwegian dramatist Henrik Ibsen, loosely based on the fairy tale Per Gynt Written in the Dano-Norwegian language, it is the most widely performed Norwegian play. Peer Gynt has also been described as the story of a life based on procrastination and avoidance.A first edition of 1,250 copies was published on 14 November 1867 in Copenhagen. Although the first edition swiftly sold out, a re-print of 2,000 copies, which followed after only 14 days, didn't sell out until seven years later.

    This version originally published in 1936.

    1936 Cover of Peer Gynt

    Title page

    End paper

    Peer before the King of Trolls

    Aase on the mill house roof

    Peer among the wedding guests

    Peer and Solvieg at the wedding

    Peer follows the woman in green

    The dance of the Trolls

    Peer and the Troll Witch

    The Death of Aase

    Anitra's Dance

    The Thin Man

    Peer and the Threadballs


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  • 08/02/13--01:53: Barnett Newman – part 1
  • These revised and enlarged posts on Barnett Newman replace earlier posts from July 2010.

    Barnett Newman (1905 – 1970) was an American artist. He is seen as one of the major figures in Abstract Expressionism and one of the foremost of the Colour Field painters.

    Newman was born in New York City, the son of Jewish immigrants from Poland. He studied philosophy at the City College of New York and worked in his father's business manufacturing clothing. He later made a living as a teacher, writer and critic.From the 1930s on he made paintings, said to be in an expressionist style, but eventually destroyed all of these works.

    He wrote catalogue forewords and reviews and also organised exhibitions before becoming a member of the Uptown Group and having his first solo show at the Betty Parsons Gallery in 1948. Soon after his first exhibition, Newman remarked in one of the Artists' Session at Studio 35: "We are in the process of making the world, to a certain extent, in our own image."Utilising his writing skills, Newman fought every step of the way to reinforce his newly established image as an artist and to promote his work. An example is his letter on April 9, 1955, "Letter to Sidney Janis: ...it is true that Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against bourgeois society has involved the total rejection of it."

    Throughout the 1940s he worked in a surrealist vein before developing his mature style. This is characterised by areas of colour separated by thin vertical lines, or "zips" as Newman called them. In the first works featuring zips, the colour fields are variegated, but later the colours are pure and flat. Newman himself thought that he reached his fully mature style with the Onement series (from 1948). The zips define the spatial structure of the painting, while simultaneously dividing and uniting the composition.


    1948 Onement I oil on canvas 69.2 x 41.2 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

     The zip remained a constant feature of Newman's work throughout his life. In some paintings of the 1950s, such as The Wild, which is 2.4 meters by 2 centimeters, the zip is all there is to the work. Newman also made a few sculptures which are essentially three-dimensional zips.

    1950 The Wild. Newman & Betty Parsons with The Wild in 1951. Photo by Hans Namuth (See also 1950 The Wild in the chronological order of works below)
    The Stations of the Cross series of black and white paintings (1958–66), begun shortly after Newman had recovered from a heart attack, is usually regarded as the peak of his achievement. The series is subtitled "Lema sabachthani" - "why have you forsaken me" - the last words spoken by Jesus on the cross, according to the New Testament. Newman saw these words as having universal significance in his own time. The series has also been seen as a memorial to the victims of the holocaust(featured in part 2).

    Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases - Anna's Light (1968), named in memory of his mother who had died in 1965, is his largest work, 28 feet wide by 9 feet tall (8.5 by 2.7 meters). Newman also worked on shaped canvases late in life, with Chartres(1969), for example, being triangular, and returned to sculpture, making a small number of sleek pieces in steel. These later paintings are executed in acrylic paint rather than the oil paint of earlier pieces. Of his sculptures, Broken Obelisk (1963) is the most monumental and best-known, depicting an inverted obelisk whose point balances on the apex of a pyramid.

    Newman was unappreciated as an artist for much of his life, being overlooked in favour of more colourful characters such as Jackson Pollock. The influential critic Clement Greenberg wrote enthusiastically about him, but it was not until the end of his life that he began to be taken seriously. He was, however, an important influence on many younger painters. Newman died in New York City of a heart attack in 1970.

    This part 1 of a 3-part post on the works of Barnett Newman:

    n.d. Sketch in brush, ink & coloured crayon on paper 27.8 x 21.7 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    n.d. Sketch in pen & ink & brush on paper 28 x 21.5 cm 1946-7c © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    n.d. Sketch pen & ink on paper 37.5 x 27.5 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1944 The Blessing oil crayon & wax crayon on paper 65 x 49 cm © 2013 Barnett Newman Foundation - Artists Rights Society (ARS), New York

    1944-5 Gea oil & oil crayon on cardboard 70.5 x 55.7 cm © 2013 Barnett Newman Foundation - Artists Rights Society (ARS), New York

    1945 Untitled sketch © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1946 Moment oil on canvas 76.2 x 40.6 cm  © ARS, NY and DACS, London 2002 © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1946 Pagan Void oil on canvas 83.8 x 96.5 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1946 The Beginning oil on canvas 101.6 x 75.6 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1946 Untitled (The Cry) ink on paper 91.4 x 61 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1946-7c Pastel sketch on ruled paper 26.2 x 19.8 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1946-7c Pastel sketch on ruled paper 26.2 x 19.8 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1947 Genetic Moment oil on canvas 96.5 x 71 cm photo Cantz Medienmanagement © Fondation Beyeler 2013, Switzerland © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1947 The Death of Euclid oil on canvas 40.6 x 50.8 cm © Frederick R. Weisman Art Foundation, Los Angeles © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1948 Onement II oil on canvas 152.4 x 91.4 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1948 Two Edges oil on canvas 122 x 91.9 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 Abraham oil on canvas 21.2 x 87.7 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 Argos oil on canvas 83.8 x 182.9 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 Untitled 3 oil on canvas 61 x 71.4 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 By Twos oil on canvas 167.6 x 40.6 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 Concord oil & masking tape on canvas 228 x 136.2 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 Covenant oil on canvas 121.3 x 151.4 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 Onement III oil on canvas 182.5 x 84.9 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 The Name I oil on canvas © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 The Promise oil on canvas 130.8 x 173 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1949 Yellow Painting oil on canvas 171.4 x 133.1 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1950 Eve oil on canvas 238.8 x 172.1 cm © ARS, NY and DACS, London 2002 © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1950 Here I (to Marcia) bronze 272 x 69 x 72 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1950 The Name II magna & oil on canvas 264.2 x 240 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1950 The Voice egg tempera & enamel on canvas 244.1 x 268 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1950 The Wild oil on canvas 243 x 4.1 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1950 Untitled oil on canvas  142.2 x 7.6 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1950 Untitled oil on canvas 91.4 x 15.2 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1950-51 Vir Heroicus Sublimis oil on canvas 242.2 x 513.6 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1951 Cathedra magna on canvas 243 x 543 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1951 Cathedra

    1951 The Way I oil on canvas 101.6 x 76.2 cm © SODRAC (Montréal) © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1951-2 Adam oil on canvas 242.9 x 202.9 cm © ARS, NY and DACS, London 2002 © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1952 Achilles oil 7 acrylic resin on canvas 241.6 x 201 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1952 Onement V oil on canvas 152.4 x 96.5 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1952 Ulysses oil on canvas 336.3 x 127.3 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1953 Onement VI oil on canvas 259.1 x 304.8 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York
      1953 Onement VI. In May 2013 Newman’s “Onement VI” sold for $43.8 million at a New York City auction, setting an auction record for his work.


    1954 Right Here oil on muslin 127.5 x 89.5 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1954 The Gate oil on canvas 243.8 x 192.4 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1954 White Fire I oil on canvas 121.6 x 101 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1955 Uriel oil on canvas 548.6 x 243.8 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1958 Outcry oil on canvas 208.3 x 15.2 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York


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  • 08/05/13--02:00: Barnett Newman – part 2
  • Barnett Newman (1905 – 1970) was an American artist. He is seen as one of the major figures in abstract expressionism and one of the foremost of the colour field painters. For full biographical notes on Newman see part 1.

    This part 2 of a 3-part post on the works of Barnett Newman:

    Stations of the Cross
    The Stations of the Cross series of black and white paintings (1958–66), begun shortly after Newman had recovered from a heart attack, is usually regarded as the peak of his achievement. The series is subtitled "Lema sabachthani" - "why have you forsaken me" - the last words spoken by Jesus on the cross, according to the New Testament. Newman saw these words as having universal significance in his own time. The series has also been seen as a memorial to the victims of the holocaust.

    1958 First Station magna on canvas 197.8 x 153.7 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1958 Second Station magna on canvas 198.4 x 153.2 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1960 Third Station oil on canvas  198.4 x 152.1 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1960 Fourth Station oil on canvas 198.1 x 153 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1962 Fifth Station oil on canvas 198.7 x 153 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1962 Sixth Station oil on canvas 198.4 x 152.1 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1964 Seventh Station 198.1 x 152.4 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1964 Eighth Station oil on canvas 198.4 x 152.4 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1964 Ninth Station acrylic on canvas 198.1 x 152.4 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1965 Tenth Station oil on canvas 198.1 x 152.5 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1965 Eleventh Station acrylic on canvas 198.1 x 152.4 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1965 Twelfth Station acrylic on canvas 198.1 x 152.4 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1965-6 Thirteenth Station acrylic on canvas 198.2 x 152.5 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1965-6 Fourteenth Station acrylic & duco on canvas 198.1 x 152.2 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York
     *  *  *  *  *
     
    1959 Untitled brush & ink 53.5 x 61.1 cm © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York


    1960 Untitled brusk & ink on paper 35.5 x 25.2 cm © 2013 Barnett Newman Foundation / Artists Rights Society (ARS), New York

    1960 Untitled ink on paper 35.4 x 25.4 cm © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York

    1961 Untitled lithograph 35 x 24.7 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1961 Untitled lithograph © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York 2

    1961 Untitled lithograph © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York

    1962 The Third oil on canvas 101.5 x 120.2 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1963 Black Fire I oil on canvas 289.5 x 213.4 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York


    Eighteen Cantos 1963-4
    Series of eighteen lithographs of various sizes


      
    1963-4 Eighteen Cantos title page 40 x 30.5 cm approx © ARS, NY and DACS, London 2002


    1963-4 Canto (I) lithograph 42 x 31.5 cm © ARS, NY and DACS, London 2002

    1963-4 Canto II lithograph 38.5 x 32.7 cm © ARS, NY and DACS, London 2002

    1963-4 Canto III lithograph 42.4 x 32.4 cm © ARS, NY and DACS, London 2002

    1963-4 Canto IV lithograph 37.8 x 32 cm © ARS, NY and DACS, London 2002

    1963-4 Canto V lithograph 37.5 x 33.4 cm © ARS, NY and DACS, London 2002

    1963-4 Canto VI lithograph 37 x 33 cm © ARS, NY and DACS, London 2002

    1963-4 Canto VII lithograph 37.5 x 33.4 cm © ARS, NY and DACS, London 2002

    1963-4 Canto VIII lithograph 37.5 x 33.8 cm © ARS, NY and DACS, London 2002

    1963-4 Canto IX lithograph 37 x 33.5 cm © ARS, NY and DACS, London 2002

    1963-4 Canto X lithograph 37.3 x 33.7 cm © ARS, NY and DACS, London 2002

    1963-4 Canto XI lithograph 37.7 x 33.5 cm © ARS, NY and DACS, London 2002

    1963-4 Canto XII lithograph 37.3 x 33.7 cm © ARS, NY and DACS, London 2002

    1963-4 Canto XIII lithograph 37.2 x 33.4 cm © ARS, NY and DACS, London 2002

    1963-4 Canto XIV lithograph 37.5 x 31.9 cm © ARS, NYand DACS, London 2002

    1963-4 Canto XV lithograph 37.5 x 32.2 cm © ARS, NY and DACS, London 2002

    1963-4 Canto XVI lithograph 37.5 x 32.3 cm © ARS, NY and DACS, London 2002

    1963-4 Canto XVII lithograph 38 x 32.4 cm © ARS, NY and DACS, London 2002


    1963-4 Canto XVIII lithograph 37.9 x 31.8 cm © ARS, NY and DACS, London 2002
    *  *  *  *  *

    1963-69 Broken Obelisk steel 749.9 x 318.8 x 318.8 cm Image licensed under the Wikimedia Creative Commons Attribution
    Broken Obelisk is the largest and best known of his six sculptures. As both form and symbol, the pyramid (a place of ascent of the human spirit) and the obelisk (monument to life and renewal, broken relic of antiquity) fascinated Newman.

    1965 Here II steel 289.2 x 200 x 130.2 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1966 The Moment (from a portfolio of 4) pexiglass, oil & acrylic on board on wood 122.6 x 12.7 x 3 cm 1946-7c Pastel sketch on ruled paper 26.2 x 19.8 cm © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York
    1966-70 Who's Afraid of Red, Yellow and Blueis a series of four large-scale paintings by Newman painted between 1966 and 1970.

    1966 Who’s Afraid of Red, Yellow and Blue oil on canvas 190.5 x 121.9 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1967 Who’s Afraid of Red, Yellow and Blue II acrylic on canvas 304.8 x 259.1 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1966-67 Who’s Afraid of Red, Yellow and Blue III oil on linen 224 x 544 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1969-70 Who’s Afraid of Red, Yellow and Blue IV oil on canvas 274 x 603 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1967 Chartres acrylic on canvas 304.8 x 289.6 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York

    1967 Profile of Light 305.5 x 191 cm © 2013 Barnett Newman Foundation - Artists Right Society (ARS), New York


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  • 08/07/13--06:43: Barnett Newman – part 3
  • Barnett Newman (1905 – 1970) was an American artist. He is seen as one of the major figures in abstract expressionism and one of the foremost of the colour field painters. For full biographical notes on Newman see part 1.

    This part 3 of a 3-part post on the works of Barnett Newman:

    1967 Voice of Fire acrylic on canvas 543.6 x 243.8 cm © Estate of Barnett Newman - ARS (New York) - SODRAC (Montréal)

    1967 White and Hot acrylic on canvas 213.4 x 182.9 cm © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York

    1967-8 Study for the dust-jacket of Basil Bunting's "Collected Poems" red chalk & black crayon over graphite on paper 52 x 48.4 cm © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York

    1967c Sketch pen & ink on paper 31.5 x 24 cm © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York

    1968 Anna's Light acrylic on canvas 275 x 610.5 cm © 2013 Barnett Newman Foundation / Artists Right Society (ARS), New York

     1968 'Notes' a series of etchings:

    1968 Note I etching 15 x 7.4 cm (image) 51 x 35.7 cm Sheet © 2