Showing 161–180 of 180 results for autumn
A Belated ‘Breakthrough’ to Abstraction
In Focus study by AnnMarie Perl on Meryon 1960–1 by Franz Kline, a Tate Research publication
Commitment and Desire in Sharon Hayes’s Ricerche: three 2013
This article examines Sharon Hayes’s video work Ricerche: three 2013 and the way it represents and mediates the often-painful psychic …
Transforming Collections Information at Tate: The Case for an Embedded, Artist-Directed and Object-Centred Ethos
Public art institutions in the United Kingdom have been critiqued for emphasising socio-political interpretations of Black and brown artists’ works …
William Hazlitt’s Account of ‘Mr Angerstein’s Collection of Pictures’
Hazlitt’s account of the Angerstein Collection was published anonymously in 1822, two years before Lord Liverpool purchased thirty-eight pictures from …
Value and Audience Relationships: °Õ²¹³Ù±ð’s Ticketed Exhibitions 2014–15
In this report Mariza Dima sets out the findings of a research project examining the experiential and educational value of …
‘New Ways of Modern Bohemia’: Edward Burra in London, Paris, Marseilles and Harlem: Rothenstein Lecture
Paying close attention to Edward Burra’s letters, scrapbooks and other archival material, Andrew Stephenson reveals the impact that the cosmopolitan …
‘Marx on the Wall’: Muralism and Anglo-American Exchange during the 1930s
This article explores English artists’ support for socially engaged public mural painting during the 1930s in relation to international developments, …
The Painting
Tate Research In Focus project on John Constable's Salisbury Cathedral from the Meadows 1831
Emerson’s Evolution
British photographer Peter Henry Emerson’s dramatic recantation of his beliefs about photography and art forms a canonical yet perplexing episode …
‘More Impact than the Venice Biennale’: Demarco, Beuys and Strategy: Get Arts
In this essay Christian Weikop closely examines primary source correspondence and press material from the Richard Demarco Archive at the …
Frank Bowling: Material Explorations
This paper establishes a technical art history of the paintings of Frank Bowling and chronicles materials and techniques used by …
‘Fire and Water’: Turner and Constable in the Royal Academy, 1831
Pictures by John Constable and J.M.W. Turner hung side by side in the Royal Academy in 1831, an arrangement orchestrated …
‘Not Incorrect and Particularly Not Irrelevant’: Joseph Beuys and Henning Christiansen, 1966–71
Between 1966 and 1971, Danish composer Henning Christiansen (1932–2008) appeared in eight of Joseph Beuys’s actions. This article examines the …
David Hockney’s Early Etchings: Going Transatlantic and Being British
David Hockney’s early autobiographical prints, My Bonnie Lies Over the Ocean 1961 and the series A Rake’s Progress 1961–3, are …
Where Theory Belongs: Four Ways to Experience a Seminar in Contemporary Art
Exploring how the format of the seminar as used in contemporary art education is developing, and the social, economic and …
From the Issue of Art to the Issue of Position: The Echoes of Socialist Realism
Socialist Realism represented the dominant creative method of China’s revolutionary era, yet critical histories of the practice are limited. This …
‘No Mercenary Views’? °ä´Ç²Ô²õ³Ù²¹²ú±ô±ð’s English Landscape
°ä´Ç²Ô²õ³Ù²¹²ú±ô±ð’s English Landscape 1830–2, a set of twenty-two mezzotints by David Lucas after paintings by the artist, has generally been …
The Making of a Triptych: The Annunciation and Adoration of the Magi 1861 by Edward Burne-Jones
This paper examines Edward Burne-Jones’s commission to make an altarpiece for St Paul’s church, Brighton. For this, his first major …
‘Truth of Character from Truth of Feeling’: William Hazlitt, ‘Gusto’ and the Linguistic History of Writing on Art
Adapting and applying speech act theories of language use, this paper offers a new understanding of the innovative import of …
Guttuso, Guernica, Gramsci: Art, History and the Symbolic Strategy of the Italian Communist Party
The Italian Communist artist Renato Guttuso found in Picasso’s 1937 painting Guernica a language with which to confront the violence …