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Tuesday, 24 September 2013

Tate Modern Art Gallery

Tate Modern Art Gallery Definition

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The Tate is an institution that houses the United Kingdom's national collection of British Art, and International Modern and Contemporary Art. It is a network of four art museums: Tate Britain, London (until 2000 known as the Tate Gallery, founded 1897), Tate Liverpool (founded 1988), Tate St Ives, Cornwall (founded 1993) and Tate Modern, London (founded 2000), with a complementary website, Tate Online (created 1998). It is an executive non-departmental public body of the Department for Culture, Media and Sport.
Tate is used as the operating name for the corporate body, which was established by the Museums and Galleries Act 1992 as The Board of Trustees of the Tate Gallery.
The gallery was founded in 1897, as the National Gallery of British Art. When its role was changed to include the national collection of Modern Art as well as the national collection of British art, in 1932, it was renamed the Tate Gallery after sugar magnate Henry Tate of Tate & Lyle, who had laid the foundations for the collection. The Tate Gallery was housed in the current building occupied by Tate Britain, which is situated in Millbank, London. In 2000, the Tate Gallery transformed itself into the current-day Tate, or the Tate Modern, which consists of a federation of four museums: Tate Britain, which displays the collection of British art from 1500 to the present day; Tate Modern, which is also in London, houses the Tate's collection of British and International Modern and Contemporary Art from 1900 to the present day. Tate Liverpool, in Liverpool has the same purpose as Tate Modern but on a smaller scale, and Tate St Ives displays Modern and Contemporary Art by artists who have connections with the area. All four museums share the Tate Collection. One of the Tate's most publicised art events is the awarding of the annual Turner Prize, which takes place at Tate Britain.The original Tate art gallery was called the National Gallery of British Art, situated on Millbank, Pimlico, London at the site of the former Millbank Prison. The idea of a National Gallery of British Art was first proposed in the 1820s by Sir John Leicester, Baron de Tabley. It took a step nearer when Robert Vernon gave his collection to the National Gallery in 1847. A decade later John Sheepshanks gave his collection to the South Kensington Museum (later the Victoria & Albert Museum), known for years as the National Gallery of Art (the same title as the Tate Gallery had). Forty years later Sir Henry Tate who was a sugar magnate and a major collector of Victorian art, offered to fund the building of the gallery to house British Art on the condition that the State pay for the site and revenue costs. Henry Tate also donated his own collection to the gallery. It was initially a collection solely of modern British art, concentrating on the works of modern—that is Victorian era—painters. It was controlled by the National Gallery until 1954.
In 1915, Sir Hugh Lane bequeathed his collection of European modern art to Dublin, but controversially this went to the Tate, which expanded its collection to include foreign art and continued to acquire contemporary art. In 1926 and 1937, the art dealer and patron Joseph Duveen paid for two major expansions of the gallery building. His father had earlier paid for an extension to house the major part of the Turner Bequest, which in 1987 was transferred to a wing paid for by Sir Charles Clore. Henry Courtauld also endowed Tate with a purchase fund. By the mid 20th century, it was fulfilling a dual function of showing the history of British art as well as international modern art. In 1954, the Tate Gallery was finally separated from the National Gallery.
Tate Liverpool opened in 1988

During the 1950s and 1960s, the visual arts department of the Arts Council of Great Britain funded and organised temporary exhibitions at the Tate Gallery including, in 1966, a retrospective of Marcel Duchamp. Later, the Tate began organising its own temporary exhibition programme. In 1979 with funding from a Japanese bank a large modern extension was opened that would also house larger income generating exhibitions. In 1987, the Clore Wing opened to house the major part of the Turner bequest and also provided a 200 seat auditorium.In 1988, an outpost in north west England opened as Tate Liverpool. This shows various works of modern art from the Tate collection as well as mounting its own temporary exhibitions. In 2007, Tate Liverpool hosted the Turner Prize, the first time this has been held outside London. This was an overture to Liverpool's being the European Capital of Culture 2008.

In 1993, another offshoot opened, Tate St Ives. It exhibits work by modern British artists, particularly those of the St Ives School. Additionally the Tate also manages the Barbara Hepworth Museum and Sculpture Garden, which opened in 1980.
Tate Modern opened in 2000.

Neither of these two new Tates had a significant effect on the functioning of the original London Tate Gallery, whose size was increasingly proving a constraint as the collection grew. It was a logical step to separate the "British" and "Modern" aspects of the collection, and they are now housed in separate buildings in London. The original gallery is now called Tate Britain and is the national gallery for British art from 1500 to the present day, as well as some modern British art. Tate Modern, in Bankside Power Station on the south side of the Thames, opened in 2000 and now exhibits the national collection of modern art from 1900 to the present day, including some modern British art. In its first year, the Tate Modern was the most popular museum in the world, with 5,250,000 visitors.

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Tate Modern Art Gallery

Bronze Art Gallery

Bronze Art Gallery Definition

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The Bronze Age is a period characterized by the use of copper and its alloy bronze and proto-writing, and other features of urban civilization.
The Bronze Age is the second principal period of the three-age Stone-Bronze-Iron system, as proposed in modern times by Christian Jürgensen Thomsen, for classifying and studying ancient societies. An ancient civilization can be in the Bronze Age either by smelting its own copper and alloying with tin, or by trading for bronze from production areas elsewhere. Copper-tin ores are rare, as reflected in the fact that there were no tin bronzes in western Asia before the third millennium BC. Worldwide, the Bronze Age generally followed the Neolithic period, but in some parts of the world, the Copper Age served as a transition from the Neolithic to the Bronze Age. Although the Iron Age generally followed the Bronze Age, in some areas, the Iron Age intruded directly on the Neolithic from outside the region except for Sub-Saharan Africa where it was developed independently.
Bronze Age cultures differed in their development of the first writing. According to archaeological evidence, cultures in Mesopotamia (cuneiform) and Egypt (hieroglyphs) developed the earliest viable writing systems.The term "Bronze Age" ultimately derives from the Ages of Man, the stages of human existence on the Earth according to Greek mythology. Of these, modern historians categorize the Golden Age and Silver Age as mythical, but consider the Bronze Age and Iron Age historically valid. The overall period is characterized by the full adoption of bronze in many regions, though the place and time of the introduction and development of bronze technology was not universally synchronous.Man-made tin bronze technology requires set production techniques. Tin must be mined (mainly as the tin ore cassiterite) and smelted separately, then added to molten copper to make the bronze alloy. The Bronze Age was a time of heavy use of metals and of developing trade networks (See Tin sources and trade in ancient times).In Mesopotamia, the Mesopotamia Bronze Age begins about 2900 BC and ends with the Kassite period. The usual tripartite division into an Early, Middle and Late Bronze Age is not used. Instead, a division primarily based on art-historical and historical characteristics is more common. The cities of the Ancient Near East housed several tens of thousands of people. Ur in the Middle Bronze Age and Babylon in the Late Bronze Age similarly had large populations.
The earliest mention of Babylonia appears on a tablet from the reign of Sargon of Akkad in the 23rd century BC. The Amorite dynasty established the city-state of Babylon in the 19th century BC. Over 100 years later, it briefly took over the other city-states and formed the first Babylonian empire during what is also called the Old Babylonian Period. Babylonia adopted the written Semitic Akkadian language for official use. By that time, the Sumerian language was no longer spoken, but was still in religious use. The Akkadian and Sumerian traditions played a major role in later Babylonian culture, and the region, even under outside rule, remained an important cultural center throughout the Bronze and Early Iron Age.

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Bronze Art Gallery

Aboriginal Art Galleries

Aboriginal Art Galleries Definition

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Aboriginal art galleries is the modern art work produced by Indigenous Australians. It is generally regarded as beginning with a painting movement that started at Papunya, northwest of Alice Springs, Northern Territory in 1971, involving artists such as Clifford Possum Tjapaltjarri and Kaapa Tjampitjinpa, and facilitated by white Australian teacher and art worker Geoffrey Bardon. The movement spawned widespread interest across rural and remote Aboriginal Australia in creating art, while contemporary Indigenous art of a different nature also emerged in urban centres; together they have become central to Australian art. Indigenous art centres have fostered the emergence of the contemporary art movement, and as of 2010 were estimated to represent over 5000 artists, mostly in Australia's north and west.Aboriginal art galleries artists have won many of Australia's most prominent art prizes. The Wynne Prize has been won by Indigenous artists on at least three occasions, the religious-themed Blake Prize was in 2007 won by Shirley Purdie with Linda Syddick Napaltjarri a finalist on three separate occasions, while the Clemenger Contemporary Art Award was won by John Mawurndjul in 2003 and Judy Watson in 2006. There is a national art prize for aboriginal artists, the National Aboriginal & Torres Strait Islander Art Award, which in 2012 was won by Timothy Cook from the Tiwi Islands.Indigenous artists, including Rover Thomas, have represented Australia at the Venice Biennale in 1990 and 1997. In 2007, a painting by Emily Kngwarreye, Earth's Creation, was the first Indigenous art work to sell for more than $1 million. Leading Indigenous artists have had solo exhibitions at Australian and international galleries, while their work has been included in major collaborations such as the design of the Musée du quai Branly. Works by contemporary Indigenous artists are held by all of Australia's major public galleries, including the National Gallery of Australia, which in October 2010 opened a new wing dedicated to its Indigenous collection.Indigenous Australian art can claim to be "the world’s longest continuing art tradition".Prior to European settlement of Australia, Indigenous people used many art forms, including sculpture, wood carving, rock carving, body painting, bark painting and weaving. Many of these continue to be used both for traditional purposes and in the creation of art works for exhibition and sale. Some other techniques have declined or disappeared since European settlement, including body decoration by scarring and the making of possum-skin cloaks. However, Indigenous Australians also adopted and expanded the use of new techniques including painting on paper and canvas. Early examples include the late nineteenth century drawings by William Barak.While the initiatives at Hermannsburg and Ernabella were important antecedents, most sources trace the origins of contemporary Indigenous art, particularly acrylic painting, to Papunya, Northern Territory in 1971.An Australian school teacher, Geoffrey Bardon arrived at Papunya and started an art program with children at the school and then with the men of the community. The men began with painting a mural on the school walls, and moved on to painting on boards and canvas. At the same time, Kaapa Tjampitjinpa, a member of the community who worked with Bardon, won a regional art award at Alice Springs, with his painting Gulgardi. Soon over 20 men at Papunya were painting, and they established their own company, Papunya Tula Artists Limited, to support the creation and marketing of works. Although painting took hold quickly at Papunya, it remained a "small-scale regional phenomenon" throughout the 1970s, and for a decade none of the state galleries or the national gallery collected the works.

Aboriginal Art Galleries

Aboriginal Art Galleries

Aboriginal Art Galleries

Aboriginal Art Galleries

Aboriginal Art Galleries

Aboriginal Art Galleries

Aboriginal Art Galleries

Monday, 23 September 2013

Victorian Art Gallery

Victorian Art Gallery Definition

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The Victorian era of British history was the period of Queen Victoria's reign from 20 June 1837 until her death on 22 January 1901. It was a long period of peace, prosperity, refined sensibilities and national self-confidence for Britain.[1] Some scholars date the beginning of the period in terms of sensibilities and political concerns to the passage of the Reform Act 1832. The era was preceded by the Georgian period and followed by the Edwardian period. The latter half of the Victorian age roughly coincided with the first portion of the Belle Époque era of continental Europe and the Gilded Age of the United States.Culturally there was a transition away from the rationalism of the Georgian period and toward romanticism and mysticism with regard to religion, social values, and the arts.[2] In international relations the era was a long period of peace, known as the Pax Britannica, and economic, colonial, and industrial consolidation, temporarily disrupted by the Crimean War in 1854. The end of the period saw the Boer War. Domestically, the agenda was increasingly liberal with a number of shifts in the direction of gradual political reform, industrial reform and the widening of the voting franchise.Two especially important figures in this period of British history are the prime ministers Gladstone and Disraeli, whose contrasting views changed the course of history. Disraeli, favoured by the queen, was a gregarious Tory. His rival Gladstone, a Liberal distrusted by the Queen, served more terms and oversaw much of the overall law-making of the era.The population of England almost doubled from 16.8 million in 1851 to 30.5 million in 1901.[3] Scotland's population also rose rapidly, from 2.8 million in 1851 to 4.4 million in 1901. Ireland's population decreased rapidly, from 8.2 million in 1841 to less than 4.5 million in 1901, mostly due to the Great Famine. At the same time, around 15 million emigrants left the United Kingdom in the Victorian era and settled mostly in the United States, Canada, and Australia.During the early part of the era, the House of Commons was headed by the two parties, the Whigs and the Tories. From the late 1850s onwards, the Whigs became the Liberals; the Tories became the Conservatives. These parties were led by many prominent statesmen including Lord Melbourne, Sir Robert Peel, Lord Derby, Lord Palmerston, William Ewart Gladstone, Benjamin Disraeli, and Lord Salisbury. The unsolved problems relating to Irish Home Rule played a great part in politics in the later Victorian era, particularly in view of Gladstone's determination to achieve a political settlement. Southern Ireland achieved independence in 1922.The Victorian era was a time of unprecedented demographic increase in England. The population rose from 13.9 million in 1831 to 32.5 million in 1901. Two major factors affecting population growth are fertility rates and mortality rates. England was the first country to undergo the Demographic transition and the Agricultural and Industrial Revolutions.The Louth-London Royal Mail travelling by train from Peterborough East, 1845.Britain had the lead in rapid economic and population growth. At the time, Thomas Malthus believed this lack of growth outside Britain was due to the 'Malthusian trap'. That is, was the tendency of a population to expand geometrically while resources grew more slowly, reaching a crisis (such as famine, war, or epidemic) would reduce the population to a sustainable size. Britain escaped the 'Malthusian trap' because the Industrial Revolution had a positive impact on living standards.[6] People had more money and could improve their standards; therefore, a population increase was sustainable.Fertility rates in the Victorian era increased every decade until 1901 when the rates started evening out.[citation needed] There are several reasons for the increase in birth rates. One reason is biological. With living standards improving, the percentage of women who were able to have children increased. Another possible explanation is social. In the 19th century, the marriage rate increased, and the age people were getting married was very young until the end of the 19th century, when the average age of marriage started to increase again slowly. Reasons why people got married younger and more frequently are uncertain. One theory is that greater prosperity allowed people to finance marriage and new households earlier than previously possible. With more births inside marriage it seems inevitable that marriage rates and birth rates would rise together.

Birth rates were originally measured by the 'Crude birth rate' – births per year in population per every thousand people. This is thought not to be accurate enough as key groups and their fertility rates are not clear. It also does not take into account population changes, e.g., same number of births in a smaller population (if men go to war, etc.). It was then changed to be recorded by the 'Net Reproduction Rate' that only measured the fertility rate of women who were capable of giving birth.

The evening out of fertility rates at the beginning of the 20th century was mainly a result of a few big changes: forms of birth control became available, and people's attitude towards sex altered.

Victorian Art Gallery

Newlyn Art Gallery

Newlyn Art Gallery Definition

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Newlyn is a town and fishing port in southwest Cornwall, England, United Kingdom.
Newlyn forms a conurbation with the neighbouring town of Penzance and is part of Penzance civil parish, and is the southernmost town on the British mainland (though not the most southerly settlement). The principal industry in Newlyn is fishing.The settlement is recorded as Nulyn in 1279 and as Lulyn in 1290, and the name is thought to be derived from the Cornish for "pool for a fleet of boats" which is thought to refer to the shallows offshore also called Gwavas Lake, traditionally the principal mooring for the fishing fleet in the area.The settlement is recorded as Nulyn in 1279 and as Lulyn in 1290, and the name is thought to be derived from the Cornish for "pool for a fleet of boats" which is thought to refer to the shallows offshore also called Gwavas Lake,
traditionally the principal mooring for the fishing fleet in the area.Before the rise of Newlyn as an important settlement the landing rights and most property within the Newlyn area were owned by the Manor of Alverton. Newlyn's history has been strongly linked to its role as a major fishing port. The natural protection afforded by the Gwavas Lake (an area of seawater in Mount's Bay) led to many local fishermen using this area as a preferred landing site. Newlyn Harbour is first recorded in 1435 by the Bishop of Exeter; later large-scale improvements to the harbour led to Newlyn becoming the predominant fishing port in Mount's Bay.

Before the 19th century, "Newlyn" referred only to the area near the old quay. The part of the village which now contains the fish market was known as "Streetanowan", this was separated at high tide from "Newlyn Town" the site of the lower part of the modern harbour being reclaimed land and formerly a beach. In fact Newlyn comprises three discrete hamlets all previously separated by bodies of water, being Tolcarne (Tal Carn: Brow of the Rocks), Street-an-Nowan (Steet-an-Awan: River Street) and Trewarveneth (Farm/Manor on the Hill).Before the 1890s, Newlyn (like Mousehole) had strong connections with the nearby parish of Paul. It was common for villagers to climb the relatively steep route from "Newlyn Cliff" to Paul via the area which is now known as Gwavas to worship at Paul Church. Until the mid-20th century an ancient stone cross was present on this route at "Park an Grouse" (The Field of the Cross), this cross was one site of veneration of the Cornish sea deity Bucca, (others were the beaches of Newlyn and Mousehole) the name 'Bucca' has often been used as a nickname for people resident in Newlyn: the location of the cross is now unknown.