Category Archives: Arts and Crafts

People : A M Cassandre , Commercial Poster Artist And Designer …


A.M._Cassandre Normandie_poster

Cassandre, pseudonym of Adolphe Jean-Marie Mouron (24 January 1901 – 17 June 1968) was a Ukrainian-French painter, commercial poster artist, and typeface designer.

Early life and career

He was born Adolphe Jean-Marie Mouron in Kharkiv, Ukraine, to French parents. As a young man, Cassandre moved to Paris, where he studied at the École des Beaux-Arts and at the Académie Julian. The popularity of posters as advertising afforded him an opportunity to work for a Parisian printing house. Inspired by cubism as well as surrealism, he earned a reputation with works such as Bûcheron (Woodcutter), a poster created for a cabinetmaker that won first prize at the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes.

Cassandre became successful enough that with the help of partners he was able to set up his own advertising agency called Alliance Graphique, serving a wide variety of clients during the 1930s. He is perhaps best known for his posters advertising travel, for clients such as the Compagnie Internationale des Wagons-Lits.

His creations for the Dubonnet wine company were among the first posters designed in a manner that allowed them to be seen by occupants in moving vehicles. His posters are memorable for their innovative graphic solutions and their frequent denotations to such painters as Max Ernst and Pablo Picasso. In addition, he taught graphic design at the École des Arts Décoratifs and then at the École d’Art Graphique.

With typography an important part of poster design, the company created several new typeface styles. Cassandre developed Bifur in 1929, the sans serif Acier Noir in 1935, and in 1937 an all-purpose font called Peignot. In 1936, his works were exhibited at the Museum of Modern Art in New York City which led to commissions from Harper’s Bazaar to do cover designs.

Later career

With the onset of World War II, Cassandre served in the French army until the fall of France. His business long gone, he survived by creating stage sets and costumes for the theatre, something he had dabbled in during the 1930s. After the war, he continued this line of work while also returning to easel painting. In 1963, he designed the well-known Yves Saint Laurent logo.

In his later years, Cassandre suffered from bouts of depression prior to his suicide in Paris in 1968.

In 1985, Cassandre’s son told his father’s life story in a book titled A.M. Cassandre. The book, published in English by Rizzoli, is currently out of print.

Typeface

These foundry types were produced by Deberny & Peignot from designs by Cassandre:

  • Acier Noir (1936)
  • Bifur (1929)
  • Peignot (1937)
  • Touraine (1947), with Charles Peignot

Exbury House & Gardens , Home To The Rothschilds ….


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Exbury Gardens is a famous garden in Hampshire, England, which belongs to a branch of the Rothschild family. It is situated in the village of Exbury, just to the east of Beaulieu across the river from Bucklers Hard. It is well signposted from Beaulieu and from the A326 Southampton to Fawley road in the New Forest.

Exbury is a 200-acre (81 ha) informal woodland garden with very large collections of rhododendrons, azaleas and camellias, and is often considered the finest garden of its type in the United Kingdom. Exbury holds the national collection of Nyssa (Tupelo) and Oxydendrum under the NCCPG National Plant Collection scheme run by the National Council for the Conservation of Plants and Gardens.

Other features include the Hydrangea Walk, the Rock Garden, Iris Garden, the Sundial Garden which follows an exotic planting, and a Camellia Walk (which takes visitors to a path alongside Beaulieu river and back via the pond).

History

Lionel Nathan de Rothschild purchased the Exbury estate in 1919 and soon set to creating a garden on an ambitious scale. The infrastructure included a water tower, three large concrete lined ponds, and 22 miles (35 km) of underground piping. Exbury is now open to the public for most of the year, with high seasons in the spring for the flowering shrubs and the autumn for the autumn colour. The Rothschild’s house at Exbury is a neoclassical mansion which was built around an earlier structure in the 1920s. It is not open to the public.

Administration

The gardens are run by a registered charity, Exbury Gardens Limited, whose objects are “to maintain, improve, develop and preserve Exbury Gardens in Hampshire, including opening them to the public, and to advance horticultural science, knowledge and learning for the public’s benefit.” In 2009, over 110,000 people visited the gardens.

Transport

In the summer, the gardens are served by the New Forest Tour open-top bus service.

Steam railway

In the north east corner of the gardens there is also the 12 14 in (311 mm) gauge Exbury Steam Railway that goes on a journey across the pond in Summer Lane Garden, along the top of the rock gardens and into the American Garden. The railway was built in 2000–2001 as an additional attraction in the gardens. Two narrow gauge style 0-6-2 tender tank locos were built specially for the line by the Exmoor Steam Railway. The railway is a member of Britain’s Great Little Railways.

The railway however has proved to be more popular than anyone had anticipated, with trains often needing to be double headed. To solve this problem, a much larger 2-6-2 tender loco called Marriloo was built at Exmoor, and entered service on the line in 2008. It is notable for having carried the Queen on a footplate trip round the railway. The railway stages very popular Ghost Trains during the October half-term and Santa Steam Specials in the run-up to Christmas.

People : Frank Bramley , Newlyn School Artist, Known For Paintings Of Interiors …


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Frank Bramley RA (6 May 1857 – 9 Aug 1915) was an English post-impressionist genre painter of the Newlyn School.

Personal life

Bramley was born in Sibsey, near Boston, in Lincolnshire to Charles Bramley from Fiskerton also in Lincolnshire.

From 1873 to 1878 Bramley studied at the Lincoln School of Art. He then studied from 1879 to 1882 at the Royal Academy of Fine Arts, where Charles Verlat was his instructor. He lived in Venice from 1882 to 1884 and then moved to Newlyn, Cornwall.

Bramley married fellow artist Katherine Graham, daughter of John Graham from Huntingstile, Grasmere, Westmoreland, in 1891.The couple lived at Orchard Cottage, which at the time was called Belle Vue Cottage, from 1893 to 1897. In 1895 they moved to Droitwich in the West Midlands.They lived at Bellue Vue House in 1889 and by 1900 had settled at Grasmere in the Lake District.

Bramley died in Chalford Hill, Gloucestershire in August 1915.

Career

Having returned to England from Venice in or after 1884, Bramley established himself in the Newlyn School artist colony on Rue des Beaux Arts in Newlyn. Along with Walter Langley and Stanhope Forbes, he was considered to be one of the “leading figures” of the Newlyn School.

In contrast to other members of the Newlyn school, Bramley specialised in interiors and worked on combining natural and artificial light in his paintings, such as A Hopeless Dawn.

During his time in Newlyn, Bramley was a particular exponent of the ‘square brush technique’, using the flat of a square brush to lay the paint on the canvas in a jigsaw pattern of brush strokes, giving a particular vibrancy to the paint surface. In the early 1890s, his palette became brighter and his handling of the paint looser and more impastoed, while his subject matter narrowed to portraits and rural genre paintings.

An example of Bramley’s use of the square brush technique is his painting Domino!.

His A Hopeless Dawn (1888) is held by the Tate Gallery, London after having been purchased for the nation by the Chantrey Bequest and is one of Bramley’s most favored works. Praised by the Royal Academy, Penlee House also appreciate this Bramley work: “The painting’s strong emotional and narrative content, together with its aesthetic appeal and tonal harmony, make this one of the most admired Newlyn School works to this day.”

Bramley was one of the founders of the New English Art Club, but left the organization after having received condemning comments from Walter Sickert.

In 1894 Bramley became an Associate of the Royal Academy (ARA) and in 1911 he became a Royal Academician (RA). He was also a gold medal winner at the Paris Salon.

Exhibitions

  • 1884 – 1912: Royal Academy
  • 1890: Domino, Dowdeswell Exhibition

Works

Selected paintings include:

  • A Venetian Market Girl,
  • Primrose Day,
  • Everyone His Own Tale,
  • Domino,
  • Eyes and No Eyes,
  • A Hopeless Dawn,

People : Octavia Hill , Social Reformer, Friend Of Ruskin And Co Founder Of The National Trust …… What A Woman !


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Octavia Hill (3 December 1838 – 13 August 1912) was an English social reformer, whose main concern was the welfare of the inhabitants of cities, especially London, in the second half of the nineteenth century. Born into a family with a strong commitment to alleviating poverty, she herself grew up in straitened circumstances owing to the financial failure of her father. With no formal schooling, she worked from the age of 14 for the welfare of working people.

Hill was a moving force behind the development of social housing, and her early friendship with John Ruskin enabled her to put her theories into practice with the aid of his initial investment. She believed in self-reliance, and made it a key part of her housing system that she and her assistants knew their tenants personally and encouraged them to better themselves. She was opposed to municipal provision of housing, believing it to be bureaucratic and impersonal.

Another of Hill’s concerns was the availability of open spaces for poor people. She campaigned against development on existing suburban woodlands, and helped to save London’s Hampstead Heath and Parliament Hill Fields from being built on. She was one of the three founders of the National Trust, set up to preserve places of historic interest or natural beauty for the enjoyment of the British public. She was a founder member of the Charity Organisation Society (now the charity Family Action) which organised charitable grants and pioneered a home-visiting service that formed the basis for modern social work. She was a member of the Royal Commission on the Poor Laws in 1905.

Hill’s legacy includes the large holdings of the modern National Trust, several housing projects still run on her lines, a tradition of training for housing managers, and the museum established by the Octavia Hill Society at her birthplace.

Biography

Early years

Octavia Hill was the daughter of James Hill, corn merchant and banker, and his third wife, Caroline Southwood Smith. He had been widowed twice, and had six children (five daughters and a son) from his previous marriages. He had been impressed by the writings on education of Caroline Southwood Smith, the daughter of Dr Thomas Southwood Smith, a pioneer of sanitary reform. He had engaged Caroline as a governess for his children in 1832, and they were married in 1835, three years before Octavia was born in Wisbech, Cambridgeshire, her father’s eighth daughter and ninth child. The family’s comfortably prosperous life was disrupted by James Hill’s financial problems and his mental collapse. In 1840 he was declared bankrupt. Caroline Hill’s father gave the family financial support, and took on some of Hill’s paternal role. Southwood Smith was a health and welfare reformer concerned with a range of social issues including child labour in mines and the housing of the urban poor. Caroline Hill held similar views on social reform, and her interest in progressive education, influenced by Johann Heinrich Pestalozzi, and Southwood Smith’s daily experience in his work at the London Hospital in the East End inspired Octavia Hill’s concern for the poorest in early Victorian London. She received no formal schooling: her mother educated the family at home.

The family settled in a small cottage in Finchley, now a north London suburb, but then a village. Octavia Hill was impressed and moved by Henry Mayhew’s London Labour and the London Poor, a book that portrayed the daily lives of slum dwellers. She was also strongly influenced by the theologian, Anglican priest and social reformer F. D. Maurice, who was a family friend. She began her work on behalf of London’s poor by helping to make toys for Ragged school children, and serving as secretary of the women’s classes at the Working Men’s College in Bloomsbury in central London.

A co-operative guild providing employment for “distressed gentlewomen” accepted Hill for training in glass-painting when she was 13. When the work of the guild was expanded to provide work in toy-making for Ragged school children, she was invited, at the age of 14, to take charge of the workroom. The following year she began working in her spare time from the guild as a copyist for John Ruskin in Dulwich Art Gallery and the National Gallery. She was deeply aware of the dreadful living conditions of the children in her charge at the guild. Her views on encouraging self-reliance led to her association with the Charity Organisation Society (COS), described by Hill’s biographer Gillian Darley as “a contentious body which deplored dependence fostered by kindly but unrigorous philanthropy … support to the poor had to be carefully targeted and efficiently supervised. Later in life, however, she began to think the COS line … was over-harsh.”

Hill was short, like all her family, and indifferent to fashion. Her friend Henrietta Barnett wrote: “She was small in stature with long body and short legs. She did not dress, she only wore clothes, which were often unnecessarily unbecoming; she had soft and abundant hair and regular features, but the beauty of her face lay in brown and very luminous eyes, which quite unconsciously she lifted upwards as she spoke on any matter for which she cared. Her mouth was large and mobile, but not improved by laughter. Indeed, Miss Octavia was nicest when she was made passionate by her earnestness.” Barnett also spoke of Hill’s streak of ruthlessness. Gertrude Bell called Hill despotic. Later in Hill’s life, the Bishop of London, Frederick Temple, encountered her at a meeting of the Ecclesiastical Commissioners, and wrote, “She spoke for half an hour … I never had such a beating in all my life.”

Housing for the poor

Parliament and many concerned reformers had been attempting to improve the housing of the working classes since the early 1830s. When Hill began her work, the model dwelling movement had been in existence for twenty years, royal and select committees had sat to examine the problems of urban well-being, and the first of many tranches of legislation aimed at improving working class housing had been passed. From Hill’s point of view these had all failed the poorest members of the working class, the unskilled labourers. She found that their landlords routinely ignored their obligations towards their tenants, and that the tenants were too ignorant and oppressed to better themselves. She tried to find new homes for her charges, but there was a severe shortage of available property, and Hill decided that her only solution was to become a landlord herself. John Ruskin, who was interested in the co-operative guild, knew Hill from her work as his copyist and was impressed by her. As an aesthete and a humanitarian he was affronted by the brutal ugliness of the slums. In 1865, having inherited a substantial sum of money from his father, he acquired for £750 the leases of three cottages of six rooms each in Paradise Place, Marylebone.

Ruskin placed these houses, which were “in a dreadful state of dirt and neglect”, under Hill’s management. He told her that investors might be attracted to such schemes if a five per cent annual return could be secured. In 1866 Ruskin acquired the freehold of five more houses for Hill to manage in Freshwater Place, Marylebone. The Times recorded, “The houses faced a bit of desolate ground occupied by dilapidated cowsheds and manure heaps. The needful repairs and cleaning were carried out, the waste land was turned into a playground where Mr. Ruskin had some trees planted.”

After being improved the properties were let to those on intermittent and low incomes. A return of five per cent on capital was obtained as promised to Ruskin; any excess over the five per cent was reinvested within the properties for the benefit of the tenants. Rent arrears were not tolerated, and bad debts were minimal. As Hill said, “Extreme punctuality, and diligence in collecting rents, and a strict determination that they shall be paid regularly, have accomplished this.” In consequence of her prudent management, Hill was able to attract new backers, and by 1874 she had 15 housing schemes with around 3,000 tenants.

Hill’s system was based on closely managing not only the buildings but the tenants; she insisted, “you cannot deal with the people and their houses separately.” She maintained close personal contact with all her tenants, and was strongly opposed to impersonal bureaucratic organisations and to governmental intervention in housing. In her view, “municipal socialism and subsidized housing” led to indiscriminate demolition, re-housing schemes, and the destruction of communities.

Housing management

At the heart of the Octavia Hill system was the weekly visit to collect rent. From the outset, Hill conceived this as a job for women only. She and her assistants, including Emma Cons combined the weekly rent collection with checking every detail of the premises and getting to know the tenants personally, acting as early social workers. At first Hill believed, “Voluntary workers are a necessity. They are better than paid workers, and can be had in sufficient numbers.” Later, she found it expedient to maintain a paid workforce. Her system required a large staff. Rent was collected on Monday, Tuesday and Wednesday mornings. Rent accounts were balanced in the afternoons and arrangements were made with contractors for repairs. On Thursdays and Fridays arrears were pursued, contractors’ invoices paid, new tenancy lettings and tenants’ moves organised.

If any of Hill’s assistants had spare time, whether during normal working hours or in frequent voluntary after-hours working, it was used to promote tenants’ associations and after-work and children’s after-school clubs and societies. In 1859, Hill created the Southwark detachment of the Army Cadet Force, its first independent unit, which gave training along military lines for local boys. Hill considered that such an organisation would be more like the “real thing” than such existing outfits as the Church Lads’ Brigade and therefore more attractive to young men “who had passed the age of make-believe”. She invited a serving officer of the Derbyshire Regiment to set up the company, and such was its popularity that its numbers had to be capped at 160 cadets.

Hill’s principles were summed up in an article of 1869: “Where a man persistently refuses to exert himself, external help is worse than useless.” She was an outspoken critic of the principles of “outdoor relief” or the Speenhamland system of poor relief as operated by various Poor Law Boards. Because these systems did not encourage recipients to work, she regarded them as “a profligate use of public funds.” Under her methods, personal responsibility was encouraged. She insisted on dealing with arrears promptly; she appointed reliable caretakers; she took up of references on prospective tenants, and visited them in their homes; she paid careful attention to allocations and the placing of tenants, with regard to size of families and the size and location of the accommodation to be offered; and she made no rules that could not be properly enforced.

An American admirer described her as “ruling over a little kingdom of three thousand loving subjects with an iron scepter twined with roses.” Although Hill drove her associates hard, she drove herself harder. In 1877, she collapsed and had to take a break of several months from her work. Darley ascribes a number of contributory causes: “chronic overwork, a lack of delegation, the death of her close friend Jane Senior, the failure of a brief engagement” as well as an attack on her by John Ruskin. The Hill family found a companion for her, Harriot Yorke (1843–1930). Yorke took on a great amount of the everyday work that had caused Hill’s collapse. She remained her companion until Hill’s death. A further palliative was the building of a cottage, at Crockham Hill near Sevenoaks in Kent, where they could take breaks from their work in London.

Open spaces

Among Hill’s concerns was that her tenants, and all urban workers, should have access to open spaces. She believed in “the life-enhancing virtues of pure earth, clean air and blue sky.” In 1883, she wrote:

There is perhaps no need of the poor of London which more prominently forces itself on the notice of anyone working among them than that of space. … How can it best be given? And what is it precisely which should be given? I think we want four things. Places to sit in, places to play in, places to stroll in, and places to spend a day in. The preservation of Wimbledon and Epping shows that the need is increasingly recognised. But a visit to Wimbledon, Epping, or Windsor means for the workman not only the cost of the journey but the loss of a whole day’s wages; we want, besides, places where the long summer evenings or the Saturday afternoon may be enjoyed without effort or expense.

She campaigned hard against building on existing suburban woodlands, and helped to save Hampstead Heath and Parliament Hill Fields from development. She was the first to use the term “Green Belt” for the protected rural areas surrounding London. Three hills in Kent (Mariners Hill, Toys Hill and Ide Hill) which she helped to protect from development form part of the belt.

In 1876 Hill became the treasurer of the Kyrle Society, founded in that year by her eldest sister, Miranda, as a “Society for the Diffusion of Beauty”. Under the slogan “Bring Beauty Home to the Poor” it aimed to bring art, books, music and open spaces into the lives of the urban poor. For a short period it flourished and expanded, and although it declined after a few years, it was a template for the National Trust, 20 years later.

Before that, however, Hill was engaged in a campaign in 1883 to stop the construction of railways from the quarries in the fells overlooking Buttermere, in the English Lake District, with damaging effect on the unspoilt scenery. The campaign was led by Canon Hardwicke Rawnsley, who secured the support of Ruskin, Hill, and Sir Robert Hunter, solicitor to the Commons Preservation Society. From 1875 onwards, Hunter had been Hill’s legal adviser on the protection of open spaces in London. Both he and Rawnsley, building on an idea put forward by Ruskin, conceived of a trust that could buy and preserve places of natural beauty and historic interest for the nation.

On 16 November 1893, Hill, Hunter and Rawnsley met in the offices of the Commons Preservation Society and agreed to launch such a trust. Hill suggested that it should be called “The Commons and Gardens Trust”, but the three agreed to adopt Hunter’s suggested title, the “National Trust”. Under its full formal title, the National Trust for Places of Historic Interest or Natural Beauty was inaugurated the following year. The trust was concerned primarily with protecting open spaces and endangered buildings of historic interest; its first property was Alfriston Clergy House and its first nature reserve was Wicken Fen.

Later years

The number of homes managed by Hill continued to grow. Although Ruskin had turned against her in a bout of mental instability, she found a new supporter, the Ecclesiastical Commissioners, who handed over to her the management of their housing estates in several poor areas of south London. By the end of the nineteenth century, Hill’s women workers were no longer unpaid volunteers but trained professionals. Hill’s influence spread beyond the properties under her own control. Her ideas were taken up and copied, with her enthusiastic support, in continental Europe and the United States of America. Beatrice Webb said that she “first became aware of the meaning of the poverty of the poor,” while staying with her sister, who was a rent collector for Octavia Hill in the East End. Queen Victoria’s daughter, Princess Alice of Hesse-Darmstadt, was taken incognito on a tour of some of Hill’s properties, and she translated Hill’s Homes of the London Poor into German. Among those whom Hill trained was her assistant and secretary, Maud Jeffery, who was later engaged by the Commissioners of Crown Lands to run new housing estates in London on Octavia Hill’s lines. Even some local authorities, despite Hill’s distrust, followed her model: some of the earliest examples of municipal council housing, at Kensington and Camberwell, were run on her lines, with the acquisition of working class houses, and their gradual improvement, without evictions or demolitions.

Despite her opposition to interference by national or local government in the provision of housing, Hill had to cope with the newly created London County Council and the involvement of the council and other local authorities in providing housing for the poor. In 1884 a royal commission on the housing of the working classes was set up, but the prime minister, W.E. Gladstone, and his ministerial colleagues vetoed a proposal to include Hill among the members of the commission. The municipal authorities quickly surpassed her in the number of properties under their management. A.S. Wohl notes that in the 1880s Hill had about £70,000 worth of property under her management, and at the end of her career she was managing the dwellings of “perhaps three or four thousand people at the most.” The London County Council, by contrast, had a budget of £1,500,000 for its programme of rehousing London’s poor in 1901–02.

Hill was opposed to other reforms that came about in the early part of the twentieth century. She was against female suffrage on the grounds that “men and women help one another because they are different, have different gifts and different spheres”. She also believed that provision of social services and old-age pensions by the government did more harm than good, sapping people’s self-reliance.

Hill died from cancer on 13 August 1912 at her home in Marylebone, at the age of 73.

Legacy and memorials

When John Singer Sargent’s portrait of her was presented by her fellow-workers in 1898, Hill made a speech in which she said, “When I am gone, I hope my friends will not try to carry out any special system, or to follow blindly in the track which I have trodden. New circumstances require various efforts, and it is the spirit, not the dead form, that should be perpetuated. … We shall leave them a few houses, purified and improved, a few new and better ones built, a certain amount of thoughtful and loving management, a few open spaces…” But, she said, more important would be “the quick eye to see, the true soul to measure, the large hope to grasp the mighty issues of the new and better days to come – greater ideals, greater hope, and patience to realize both.”

The Horace Street Trust, founded by Hill, became a model for many subsequent housing associations and developed into the present trust that bears her name, Octavia Housing. Today it owns several of the homes, including Gable Cottages, designed by Elijah Hoole, who worked with Hill for many years. Hill’s determination to provide community space can still be seen in the shape of the Red Cross site in Southwark (1888), among others. The Octavia Hill Society website states that with a community hall, and soundly maintained attractive houses, Hill here anticipated the fundamental ingredients of town planning by some 15 years.

The Settlement Movement (creating integrated mixed communities of rich and poor) grew directly out of Hill’s work. Her colleagues Samuel and Henrietta Barnett, founded Toynbee Hall, the first university-sponsored settlement, which together with the Women’s University Settlement (later called the Blackfriars Settlement) continues to serve local communities. Overseas, Hill’s name is perpetuated in the Octavia Hill Association in Philadelphia, a small property company, founded to provide affordable housing to low and middle-income city residents.

Women who had trained under Hill formed the Association of Women Housing Workers in 1916. This later changed its name to the Society of Housing Managers in 1948. After merging with the Institute of Housing Managers in 1965, the society became the present day Chartered Institute of Housing in 1994. The CIH is a professional body for those working in the housing profession in the UK and overseas. The training that Hill gave to Charity Organisation Society volunteers contributed to the development of modern social work, and COS continued to be instrumental in developing social work as a profession during the twentieth century. COS is still in operation today as the charity Family Action.

In 1907, Parliament passed the first National Trust Act, enshrining the trust’s permanent purpose and giving it powers to protect property for the benefit of the nation. The trust now looks after a wide range of coast, countryside and historic buildings. According to the trust’s website, “Staff, volunteers and tenants are engaged daily in providing access to open spaces for people’s enjoyment, providing habitats for wildlife and in improving our environment – ‘for ever, for everyone’.”

Commemorations of Hill herself include a monument to her at a Surrey beauty spot, on the summit of a hill called Hydon Ball (now owned by the National Trust). Shortly after her death, the family erected a stone seat there, from which walkers can enjoy views over the Surrey countryside. The Octavia Hill Society was set up in 1992 “to promote awareness of the ideas and ideals of Octavia Hill, her family, fellow workers and their relevance in today’s society nationally and internationally”. Under the society’s auspices her birthplace at Wisbech has been turned into the Octavia Hill Birthplace Museum. In 1995, to mark the centenary of the National Trust, a new variety of rose, “Octavia Hill”, was named in her honour.

People : Henry Scott Tuke , Newlyn School Artist And Photographer …


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Henry Scott Tuke, RA RWS (12 June 1858 – 13 March 1929), was an English visual artist; primarily a painter, but also a photographer. His most notable work was in the Impressionist style, and he is probably best known for his paintings of nude boys and young men.

He was born into a Quaker family in Lawrence Street in York. He was the second son of Daniel Hack Tuke (1827–1895) and Maria Strickney (1826–1917). In 1859 the family moved to Falmouth, where Daniel Tuke, a physician, established a practice. Tuke’s sister and biographer, Maria Tuke Sainsbury (1861–1947), was born there. Tuke was encouraged to draw and paint from an early age and some of his earliest drawings—from when he was four or five years old—were published in 1895. In 1870, Tuke joined his brother William at Irwin Sharps’s Quaker school in Weston-super-Mare, and remained there until he was sixteen.

In 1875, Tuke enrolled in the Slade School of Art under Alphonse Legros and Sir Edward Poynter. Initially his father paid for his tuition but in 1877 Tuke won a scholarship, which allowed him to continue his training at the Slade and in Italy in 1880. From 1881 to 1883 he was in Paris where he met Jules Bastien-Lepage, who encouraged him to paint en plein air. While studying in France, Tuke decided to move to Newlyn Cornwall where many of his Slade and Parisian friends had already formed the Newlyn School of painters. He received several lucrative commissions there, after exhibiting his work at the Royal Academy of Art in London.

In 1885, Tuke returned to Falmouth where many of his major works were produced. Tuke became an established artist and was elected to full membership of the Royal Academy in 1914. Tuke suffered a heart attack in 1928 and died in March, 1929. Towards the end of his life Tuke knew that his work was no longer fashionable. In his will he left generous amounts of money to some of the men who, as boys, had been his models. Today he is remembered mainly for his oil paintings of young men, but in addition to his achievements as a figurative painter, he was an established maritime artist and produced as many portraits of sailing ships as he did human figures. Tuke was a prolific artist—over 1,300 works are listed and more are still being discovered.

Early life

Tuke was born at Lawrence Street York, into a prominent Quaker family. His brother William Samuel Tuke was born two years earlier in 1856. His father, Daniel Hack Tuke, a well-known medical doctor specialising in psychiatry, was a campaigner for humane treatment of the insane. His great-great-grandfather William Tuke had founded the Retreat at York, one of the first modern insane asylums, in 1796. His great-grandfather Henry Tuke, grandfather Samuel Tuke and uncle James Hack Tuke were also well-known social activists. The Tuke family’s ancestry can be traced back to Sir Brian Tuke, who served as an adviser to King Henry VIII of England (replacing Sir Thomas More).

In 1859 the family moved to Falmouth in Cornwall where it was hoped the warmer climate would benefit Tuke’s father, Daniel, who had developed symptoms of tuberculosis. Daniel survived there and lived on until he was 68. He established a small doctor’s practice in his house in Wood Lane. His sister, Maria Sainsbury Tuke (1861–1947)—who wrote a biography of her brother after his death—was born there. William went on to study medicine but Henry—or Harry as he was called by the family, showed no interest in the profession. Tuke was encouraged to draw and paint from an early age. Tuke and his siblings were taught by a governess at home. Maria described their childhood in Falmouth as “a very happy and healthy one” and the long summer days spent on the beach and swimming in the sea had a lasting effect on Tuke and other enduring memories were the firm friendships the young Tuke formed.

In 1874 Tuke moved to London, where he enrolled in the Slade School of Art. It was in Falmouth that the young Tuke had been introduced to the pleasures of nude sea bathing, a habit he continued into old age. After graduating he travelled to Italy in 1880, and from 1881 to 1883 he lived in Paris, where he studied with the French history painter Jean-Paul Laurens and met the American painter John Singer Sargent (who was also a painter of male nudes, although this was little known in his lifetime).

During the 1880s Tuke also met Oscar Wilde and other prominent poets and writers such as John Addington Symonds, most of whom were homosexual (then usually called Uranian) and who celebrated the adolescent male. He wrote a “sonnet to youth” which was published anonymously in The Artist, and also contributed an essay to The Studio.

Newlyn School

In 1883, Tuke returned to Britain and moved to Newlyn, Cornwall joining a small colony of artists including Walter Langley, Albert Chevallier Tayler and Thomas Cooper Gotch. These painters, and others, became known as the Newlyn School. He worked from Rose Cottage at Tregadgwith Farm, Cornwall at the head of the Lamorna valley.

In Newlyn, in 1884, Tuke completed his first painting of boys in boats. Called Summertime, it depicts two local boys, John Wesley Kitching and John Cotton in a punt called “Little Argo”. Tuke’s style was more impressionistic than the other Newlyn painters and he only stayed a short time. However, he remained close friends with many of the artists until his death.

Falmouth

Tuke painted oil studies of young male nudes during a tour of Italy in his early twenties in 1881, but the theme did not become central to his work until after 1885, when he had moved to Falmouth, then still a secluded part of Cornwall and a part of the country with a very mild climate that was more agreeable for nude bathing. There Tuke focused on maritime scenes and portraits, which showed boys and young men bathing, fishing and sunbathing on sunny beaches. He settled at Swanpool, a fishing port, bought a fishing boat for £40, and converted it into a floating studio and living quarters. He rented two rooms in Pennance Cottage, situated between Pennance Point and Swanpool Beach.The cottage remained Tuke’s permanent base until his death, although he often lived aboard boats. Here he could indulge his passion for painting boys. His early models were brought down from London but he soon befriended some of the local fishermen and swimmers in Falmouth who became his close friends and models. These included Edward John “Johnny” Jackett (1878–1935), Charlie Mitchell (1885–1957), who looked after Tuke’s boats, Willie Sainsbury, Tuke’s eldest nephew, Leo Marshall, Georgie and Richard Fouracre (sons of his housekeeper), George Williams – younger son of close neighbours, Maurice Clift – nephew of a family friend, Ainsley Marks, Jack Rolling (in some sources spelt “Rowling”) Freddy Hall, Bert White and Harry Cleave. Due to Tuke’s habit of interchanging heads and bodies of his models in his paintings, it is often not possible to identify each figure exactly. All of Tuke’s regular models were eventually called up during the First World War, and some did not return, including Maurice Clift—a model for August Blue—who was killed in France.

He would often commute to London—Falmouth was well served with a railway service—and he was not isolated from the London art scene. He produced numerous portraits of society figures, local officials and members of the Tuke family circle. He also painted many more saleable landscapes and was well regarded as a painter of ships in sail. Henry Scott Tuke was elected Associate of the Royal Academy in 1900 and Royal Academician in 1914.

Style

Tuke favoured rough, visible brush strokes, at a time when a smooth, polished finish was favoured by fashionable painters and critics. He had a strong sense of colour and excelled in the depiction of natural light, particularly the soft, fragile sunlight of the English summer. Although Tuke often finished paintings in the studio, photographic evidence shows that he worked mainly in the open air, which accounts for their freshness of colour and the realistic effects of sunlight reflected by the sea and on the naked flesh of his models.

In his early paintings, Tuke placed his male nudes in mythological contexts, but the critics found these works to be rather formal, lifeless and flaccid. From the 1890s, Tuke abandoned mythological themes and began to paint local boys fishing, sailing, swimming and diving, and also began to paint in a more naturalistic style. His handling of paint became freer, and he began using bold, fresh colour. One of his best known paintings from this period is August Blue (1893–1894), a study of four mostly nude youths bathing from a boat. The Looe artist, Lindsay Symington (1872–1942), modelled for the blonde boy holding onto the boat in the water; though not a regular model, Symington was a good friend of Tuke, the latter often visiting the Symington family home, Pixies’ Holt, at Dartmeet. Tuke painted some female nudes but these were not as successful as his male nude paintings.

Although Tuke’s paintings of nude youths undoubtedly appealed to his gay friends and art-buyers, they are never explicitly sexual. The models’ genitals are almost never shown, they are almost never in physical contact with each other, and there is never any suggestion of overt sexuality. Most of the paintings have the nude models standing or crouching on the beach facing out to sea, so only the back view is displayed.Tuke is also regarded as an important maritime artist. Over the years, he painted many pictures of the majestic sailing ships, mainly in watercolour, that were common until the 1930s. Tuke was often fascinated with the beauty of a fully rigged ship, and since his childhood could draw them from memory. His decision to move to Falmouth in 1885 was, in part, influenced by the constant presence of the ships there.

Tuke enjoyed a considerable reputation, and he earned enough money from his paintings to enable him to travel abroad and he painted in France, Italy and the West Indies. In 1900 a banquet was held in his honour at the Royal Cornwall Polytechnic Society. He was elected to the Royal Academy of Arts in 1914.

Major examples of his male nudes were purchased by major art galleries including The Bathers at Leeds Art Gallery in 1890 and August Blue at the Tate, London in 1894. But he was also well known as a portraitist, and maintained a London studio to work on his commissions. Among his best known portraits is that of soldier and writer T. E. Lawrence (“Lawrence of Arabia”).

Death

In later life he was in poor health for many years, and died in Falmouth in 1929 and was buried in a Falmouth cemetery close to his home. Tuke kept a detailed diary all his life but only two volumes survived after his death and have since been published. He also kept a detailed artist’s Register which survives and has been published by the Royal Cornwall Polytechnic Society in Falmouth.

Legacy

After his death, Tuke’s reputation faded, and he was largely forgotten until the 1970s, when he was rediscovered by the first generation of openly gay artists and art collectors. He has since become something of a cult figure in gay cultural circles, with lavish editions of his paintings published and his works fetching high prices at auctions.

Commemoration

The student halls of residence at University College Falmouth are named after Tuke, a tribute to him as both an artist, and a famous resident of the town. At the time they were built and named, the school was known as the Falmouth College of Arts. Also in Falmouth is a collection of 279 of Tuke’s works belonging to the Royal Cornwall Polytechnic Society, the largest such collection in public ownership. The bulk were donated by a single collector in the 1960s, but the Society maintains a policy of adding to the collection.

Exhibitions and publications

During the 150th year after H.S. Tuke’s birth, there were three exhibitions of his work:

  • 2008-05-03 to 2008-07-12: Catching the light: the sunshine paintings of Henry Scott Tuke.
  • 2008-09-06 to 2008-09-27: Tall ships.
  • 10 May – 12 July 2008: Catching the Light: A Retrospective of Henry Scott Tuke”, Royal Cornwall Museum, Truro
  • 7 June – 12 July 2008: A Hidden Treasure Revealed: A selection of the works on paper by Henry Scott Tuke from the Royal Cornwall Polytechnic Society, the Royal Cornwall Museum, Truro.
  • 21 July – 28 August 2008: Catching the Light: The Art of Henry Scott Tuke at the Fine Art Society, New Bond Street,

The Great Spring Show That Is ‘The Chelsea Flower Show’ Is Fast Approaching …..


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The RHS Chelsea Flower Show, formally known as the Great Spring Show, is a garden show held for five days in May by the Royal Horticultural Society (RHS) in the grounds of the Royal Hospital Chelsea in Chelsea, London. It is the most famous flower show in the United Kingdom, and perhaps in the world, attracting visitors from all continents.

Highlights to the Chelsea Flower Show include the avant-garde show gardens designed by leading names with Floral Marquee at the centrepiece. The Show also features smaller gardens such as the Artisan and Urban Gardens.

History

The Great Spring Show

The first Royal Horticultural Society Great Spring Show was held in 1862, at the RHS garden in Kensington. Before this date the RHS had held flower shows from 1833 in their garden in Chiswick, which themselves had been preceded by fetes. The Kensington Garden was chosen as a site because the flower shows in Chiswick were experiencing falling visitor numbers due to problems such as poor transport links. The Great Spring Show was held at Kensington for twenty-six years but in 1888 the RHS decided to move the show to the heart of London. The site chosen was the Temple Gardens, situated between the Embankment and Fleet Street, which had a recorded history dating back to 1307 and which were said to date from the time of the Knights Templar. The roses for which these Temple Gardens were famous were alluded to in Shakespeare’s Henry VI Part 1. Using two marquees requisitioned from the old Kensington shows the 1888 show was a success with exhibits from both amateurs and commercial firms. By 1897 five marquees were being used with many of the best known plant and seed merchants being attracted to the event including Suttons and Sons.

Royal International Horticultural Exhibition

In 1912, the Temple Show was cancelled to make way for the Royal International Horticultural Exhibition. Sir Harry Veitch, the great nurseryman, secured the grounds of the Royal Hospital, Chelsea, for this one-off event. It proved such a good site for an exhibition that the Great Spring Show was moved there in 1913, where it has taken place almost every year since.

Royal Hospital, Chelsea – early 20th century

The RHS first became involved with the Chelsea Hospital in 1905. Three years before, it had leased the grounds of Holland House in Kensington to hold what was first advertised as a Coronation Rose Show, but which turned into a more general show (with not many roses) by the time it actually opened in June. Two further two-day summer shows took place at Holland House in 1903 and 1904, but then, to the general satisfaction of exhibitors and press, a three-day Summer Show was staged in the Hospital grounds, a more spacious site than Holland House had allowed, with room for five tents. The Summer Shows reverted to Holland House for the years thereafter, except in 1911, when both it and Chelsea proved unavailable, and the Show was held at the Olympia exhibition hall.

The Royal International Horticultural Exhibition of 1912 demonstrated, at a time when the complaints from the Temple were increasing annually, what an excellent site for a show the grounds of the Chelsea Hospital provided. Accordingly, for 1913, the Great Spring Show was moved there. The first Chelsea Flower Show opened on May 20. The Summer Show reverted to Holland House. Despite the First World War, the show was held 1914–1916, but was cancelled in 1917 and 1918.

By the roaring 1920s, the Chelsea Flower Show was back in full swing, the famous Chelsea tea parties were established and Royal visits resumed. In 1926 the show was held a week late due to the General Strike.

In 1937, King George VI and Queen Elizabeth celebrated their Coronation Year, and to mark the occasion, a superb Empire Exhibition was staged. It featured wattles from Australia, pines from Canada, brilliant gladioli from East Africa and even a big prickly pear from Palestine.

The show was cancelled during the Second World War, as the land was required by the War Office for an anti-aircraft site. Some doubt arose as to whether the show would resume in 1947. The majority of exhibitors wanted a postponement, as stocks of plants were low, staff much depleted and fuel for greenhouses was obtainable only with special permits, but Lord Aberconway (then RHS President) and the RHS Council felt strongly that the show should resume as soon as possible. As it turned out, the show went ahead in 1947 and it was a great success.

Royal Hospital, Chelsea – later 20th century

The coronation of Queen Elizabeth II in 1953 was a sufficient cause for a flower show that reflected the celebratory mood of the country. Most members of the royal family attended that year. Due to other commitments, the only member of the family unable to attend was the Queen herself.

And the Show went on to increase in popularity throughout the second half of the century – until its popularity became its major problem. Crowding within the tents had been a recurring refrain during the interwar years, but always mastered by increasing the tentage; photographs show heavy crowds in the open, especially in the vicinity of the rock gardens. As the 1970s progressed, the attendance at the Chelsea Show climbed, by as much as 6,000 visitors in a single year (1978). In 1979, crowding became so severe in the mornings that the turnstiles were temporarily closed, and it was clear that some emergency action was needed. It was decided to open the Show at 8 am next year, and close it at 8.30 in the evenings, with a reduced price for entry after 4 pm, to try to draw people away from the morning time-slot; and a one-way system was laid out in the marquee (an expedient that had been rejected as impracticable 20 years earlier). The arrangements worked better than expected in 1980, when a bare majority of Council voted for the imposition of a ceiling on the number of tickets sold. But numbers continued to increase, and in 1987 the turnstiles were closed again. In 1988 a limit of 40,000 visitors per day was imposed – a reduction of 90,000 in total from the previous year – and members were charged for tickets for the first time. An immediate response was a fall in attendance; by April, ticket booking was so slow that national advertisements were taken out to encourage people to come to Chelsea, and the original announcement that tickets would not be available at the gates was rescinded. 1988 was also the first year that ticket touts made their presence felt, and the RHS felt the frustration of seeing its tickets sold at a considerable mark-up without being able to do anything.

An alarmed Council now began to look seriously at the idea of moving the show to a larger venue. Battersea Park, Osterley Park, and Wisley were suggested; one proposal was that Chelsea should be limited to plant sales, and the sundries rerouted elsewhere; the firm of Land Use Consultants was hired to prepare a feasibility study, and after examining all these options, concluded that the Show should stay at Chelsea. The real rescue came from the expansion of the shows programme into other venues, and in particular from the takeover of the Hampton Court Palace Flower Show in 1993: the increased options for both members and for exhibitors meant that the intense criticisms and conflict of the 1980s over the future of the Show did not return.

The Chelsea Flower Show today

The Chelsea Flower Show receives a lot of publicity. It is attended by 157,000 visitors each year (a number limited by the capacity of the 11-acre (45,000 m2) ground), and all tickets must be purchased in advance. From 2005 the show was increased from four days to five, with the first two days only open to RHS members. The show is extensively covered on television by the BBC. An official DVD of the show is produced on behalf of the RHS by Twofour. Several members of the British Royal Family attend a preview of the show, as part of the royal patronage of the RHS. The area of land devoted to show gardens increased steadily between 1970 and 2000 and the show has become an important venue for watching trends. New plants are often launched at the show and the popularity of older varieties revived under the focus of the horticultural world. It is the garden design equivalent of a catwalk at a fashion show.

Highlights from the 2011 RHS Chelsea Flower Show includes The Irish Sky Garden by Diarmuid Gavin based on the idea of a restaurant in the sky. Other show stopping gardens included the HESCO Garden, by Leeds City Council who reconstructed an impressive and idyllic working water wheel in the grounds of the Royal Hospital.

The 2011 show also saw the introduction of the new Artisan garden category which featured beautiful artistic and natural gardens.

Awards

There are four grades of award presented, gold, silver-gilt, silver and bronze, in each of the categories listed below. Bronze grade exhibits do not actually receive a medal.

Awards categories

  • Flora Gardens and floral exhibits
  • Hogg Exhibits of trees
  • Knightian Exhibits of vegetables, including herbs
  • Lindley Exhibits of special educational or scientific interest
  • Grenfell Exhibits of pictures, photographs, floral arrangements and floristry

Special awards

  • Best Show Garden Award
  • Best Courtyard Garden Award
  • Best Chic Garden Award
  • Best City Garden Award
  • RHS Sundries Bowl
  • RHS Junior Display Trophy
  • RHS Floral Arrangement Trophies
  • RHS Floristry Trophies
  • Show Certificates of merit
  • Certificates for Junior displays
  • RHS President’s Award

Significant gardens and exhibits

  • 1929 Mrs Sherman Hoyt’s exhibit of American cacti, complete with painted backdrops depicting the Mojave desert, which was acquired for Kew and had its own glasshouse there for over half a century, before being absorbed into the Princess of Wales Conservatory
  • 1930s J. Macdonald’s grass gardens – the lone voice declaring the merits of ornamental grasses for his generation
  • 1936 Hilliers’ ‘Dingley Dell’ exhibit
  • 1937 Coronation Year: the Empire Exhibition, with displays of ornamental and economic plants from around the Empire
  • 1953 Another Coronation Year: William Wood of Taplow staged a ‘Cutty Sark’ garden
  • 1959 The Times ‘Garden of Tomorrow’, complete with radio-controlled lawn mower
  • 1960 The great orchid display to accompany the Third World Orchid Conference
  • 1964 Popular Gardening’s ‘Garden of Today’
  • 1967 The first garden for the disabled at Chelsea
  • 1968 Wisley’s exhibit of hostas, which gave a great boost to their popularity
  • 1980 Display of penjing from China
  • 1982 Brenda Hyatt’s display of auriculas, which launched these plants back into popularity
  • 1988 John Chambers’s honeybee garden
  • 1993 Julie Toll’s seaside garden controversially won the last Wilkinson Sword award for best garden, described by David Stevens as “a sand dune garden that was well planted and beautiful, but visitors said it wasn’t a garden.”
  • 1994 Isabel and Julian Bannerman’s Daily Telegraph Old Abbey garden, with a virtuoso display of mature tree transplanting
  • 1996 Dan Pearson’s London roof garden for the 1990s
  • 1997 Christopher Bradley-Hole’s Latin Garden, the first garden at Chelsea to exhibit the new fashion for sparse planting
  • 2000 The Garden History Society’s Le Nôtre Garden, and Piet Oudolf’s winning ‘Evolution’ garden
  • 2009 James May’s Paradise in Plasticine, a garden made entirely of Plasticine. Its concept and creation was documented for James May’s Toy Stories.
  • 2010 Row after row of exotic orchids from Taiwan, presented by the Taiwan Orchid Growers Association (TOGA). This was the first time that Taiwan was invited to the Chelsea Flower Show.
  • 2011 Diarmuid Gavin’s Irish Sky Garden. This was the first garden to be suspended in the air.

Otl Aicher : Graphic Designer , Who Flew Us To The Munich Olympics Via Lufthansa ….


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Otl Aicher (May 13, 1922 – September 1, 1991), also known as Otto Aicher, was a German graphic designer and typographer. He is best known for having designed pictograms for the 1972 Summer Olympics in Munich that proved influential on the use of stick figures for public signage, as well as designing the typeface Rotis. Aicher also co-founded the Ulm School of Design.

Early life and career

Aicher was born in Ulm, in the south-western state of Baden-Württemberg, on May 13, 1922. Aicher was a classmate and friend of Werner Scholl, and through him met Werner’s family, including his siblings Hans and Sophie Scholl, both of whom would be executed in 1943 for their membership in the White Rose resistance movement in Nazi Germany. Like the Scholls, Aicher was strongly opposed to the Nazi movement. He was arrested in 1937 for refusing to join the Hitler Youth, and consequently he was failed on his abitur (college entrance) examination in 1941. He was subsequently drafted into the German army to fight in World War II, though he tried to leave at various times. In 1945 he deserted the army, and went into hiding at the Scholls’ house in Wutach.

In 1946, after the end of the war, Aicher began studying sculpture at the Academy of Fine Arts Munich. In 1947, he opened his own studio in Ulm.

In 1952 he married Inge Scholl, the older sister of Werner, Hans and Sophie.

Ulm School of Design

In 1953, along with Inge Scholl and Max Bill, he founded the Ulm School of Design (Hochschule für Gestaltung Ulm), which became one of Germany’s leading educational centres for design from its founding until its closure in 1968. Faculty and students included such notable designers as Tomás Maldonado and Peter Seitz.

Aicher was heavily involved in corporate branding and designed the logo for German airline Lufthansa in 1969.

1972 Munich Olympics

In 1966 Aicher was asked by the organisers of the 1972 Summer Olympics in Munich to become the Olympic Games’ lead designer. He was asked to create a design for the Olympics that complemented the architecture of the newly built stadium in Munich designed by Günther Behnisch. Aicher consulted with Masaru Katsumie, who had designed the previous 1964 Tokyo Olympic Games.

Basing his work in part on iconography for the ’64 Games, Aicher created a set of pictograms meant to provide a visual interpretation of the sport they featured so that athletes and visitors to the Olympic village and stadium could find their way around. He created pictograms using a series of grid systems and a specific bright colour palette that he chose for these Games. These designs were directly influential on the DOT pictograms, developed in 1974 by the United States Department of Transportation, which applied the same principles to standard public signage such as those for toilets and telephones; the DOT pictograms have in turn been used around the world.

Otl Aicher also helped to design the logo of the Munich Olympics. He went through several stages with his design team before finally finding the successful emblem. One of their first ideas was to use an element of the city’s coat of arms or Münchner Kindl within the design which showed a monk or child pointing into the distance while clasping a book in his hand. Other ideas were to use the surrounding areas of the city, referencing the sun, mountains and landscape within the design. Finally the “Strahlenkranz” was created, a garland which represented the sun but also the five Olympic rings merged in a spiral shape. Designer Coordt von Mannstein reworked Aicher’s original design through a mathematical calculation to amalgamate the garland and spiral together to get the final design.

The colours chosen for the designs of the games were selected to reflect the tones of the Alps. The mountains in blue and white would make up the palette of colours which also included green, orange and silver. The colours were used to identify allocated themes such as media, technical services, celebrity hospitality and public functions and each had a different colour so visitors could differentiate the themes around the stadium and village. Uniforms were colour-coordinated to represent these themes, the Olympic staff could be identified as working for a particular department by the colour they were wearing.

Aicher used the typeface Univers for the Olympic designs. The design team produced 21 sports posters to advertise the sports at the games, using the official design colours and also including the logo and “München 1972”. The design team used a technique called “posterization” for the graphics on the posters, separating the tonal qualities from the images and using the official munich colours for these games. This had to be produced manually as photoshop did not exist at this time. The first of these posters that was created manually in this way was a poster of the Olympic stadium which became the official poster for these games. these posters were displayed all around the city of Munich and around the Olympic sites. Posters were hung in twos alongside posters designed by famous artists chosen to represent this Olympics such as David Hockney, R. B. Kitaj, Tom Wesselmann and Allen Jones.

He also created the first official Olympic Mascot, a striped dachshund named Waldi.

Later work

In 1980 Otl Aicher became a consultant of the kitchen manufacturer bulthaup. He created the rotis font family in 1988, naming it after the domicile of Rotis in the city of Leutkirch im Allgäu, where Aicher lived and kept his studio which is still used today by bulthaup.

He has designed the logo of the University of Konstanz and Munich Airport, the latter consisting of the letter M in a simple sans-serif font.

Death

Aicher died in Günzburg on September 1, 1991, after being struck by a motorist crossing a highway. Aicher was mowing the grass at Rotis at the time.

 

People : Charles Robert Ashbee , Arts & Crafts Prime Mover, Designer And Entrepreneur …


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Charles Robert Ashbee (17 May 1863 – 23 May 1942) was an English designer and entrepreneur who was a prime mover of the Arts and Crafts movement that took its craft ethic from the works of John Ruskin and its co-operative structure from the socialism of William Morris.

Early life

Ashbee was born in 1863 in Isleworth, the son of businessman and erotic bibliophile Henry Spencer Ashbee. His Jewish mother developed suffragette views, and his well-educated sisters were progressive as well. Ashbee went to Wellington College and read history at King’s College, Cambridge, from 1883 to 1886, and studied under the architect George Frederick Bodley.

Guild and School of Handicraft

Ashbee set up his Guild and School of Handicraft in 1888 in London, while a resident at Toynbee Hall, one of the original settlements set up to alleviate inner city poverty, in this case, in the slums of Whitechapel. The fledgling venture was first housed in temporary space but by 1890 had workshops at Essex House, Mile End Road, in the East End, with a retail outlet in the heart of the West End in fashionable Brook Street, Mayfair, more accessible to the Guild’s patrons. The School closed in 1895, which Ashbee blamed on “the failure of the Technical Education Board of the L.C.C. to keep its word with the School Committee and the impossibility of carrying on costly educational work in the teeth of state aided competition.” The following year the L.C.C. opened the Central School of Arts and Crafts. In 1902 the Guild moved to Chipping Campden, in the picturesque Cotswolds of Gloucestershire, where a sympathetic community provided local patrons, but where the market for craftsman-designed furniture and metalwork was saturated by 1905. The Guild was liquidated in 1907. One of Ashbee’s pupils in Mile End was Frank Baines, later Sir Frank, who was enormously influential in keeping Arts and Crafts alive in 20th-century architecture.

The Guild of Handicraft specialised in metalworking, producing jewellery and enamels as well as hand-wrought copper and wrought ironwork, and furniture. (A widely illustrated suite of furniture was made by the Guild to designs of M. H. Baillie Scott for Ernest Louis, Grand Duke of Hesse at Darmstadt.) The School attached to the Guild taught crafts.The Guild operated as a co-operative, and its stated aim was to:

“seek not only to set a higher standard of craftsmanship, but at the same time, and in so doing, to protect the status of the craftsman. To this end it endeavours to steer a mean between the independence of the artist— which is individualistic and often parasitical— and the trade-shop, where the workman is bound to purely commercial and antiquated traditions, and has, as a rule, neither stake in the business nor any interest beyond his weekly wage”.

Other work

Ashbee himself was willing to do complete house design, including interior furniture and decoration, as well as items such as fireplaces. In the 1890s he renovated The Wodehouse near Wombourne for Colonel Shaw-Hellier, commandant of the Royal Military School of Music, adding a billiard room and chapel, amid many external changes. Shaw-Hellier commissioned him in 1907 to build the Villa San Giorgio in Taormina, Sicily, as a little island of England in Italy, hence the name of the patron saint. MacCarthy judges it “the most impressive of Ashbee’s remaining buildings”; it is run as the Hotel Ashbee.

Ashbee was involved in book production and literary work. He set up the Essex House Press after Morris’s Kelmscott Press closed in 1897, taking on many of the displaced printers and craftsmen. Between 1898 and 1910 the Essex House Press produced more than 70 titles. Ashbee designed two type faces for the Essex House Press, Endevour (1901) and Prayer Book (1903), both of which are based on Morris’ Golden Type.

Ashbee wrote two utopian novels influenced by Morris, From Whitechapel to Camelot (1892) and The Building of Thelema (1910), the latter named after the abbey in François Rabelais’ book Gargantua and Pantagruel. Ashbee also founded the Survey of London.

Sexuality, marriage, children

Ashbee was homosexual in a time when homosexuality was illegal. He is thought to have been a member of the Order of Chaeronea, a secret society founded in 1897 by George Ives for the cultivation of a homosexual ethos. In 1898 To cover his homosexuality, he married Janet Forbes, daughter of a wealthy London stockbroker and after 13 years of rocky marriage (including a serious affair on the part of Janet), they had four children: Mary, Helen, Prue and Felicity. He was influenced in his life by the theories of homosexuality developed by Edward Carpenter.

Later life

In 1918 he was appointed civic adviser to the British Mandate of Palestine, overseeing building works and the protection of historic sites and monuments as the chairman of the Pro-Jerusalem Society. He summoned his family to Jerusalem, where they lived until 1923.

He died in 1942 at Sevenoaks and was buried at St Peter and St Paul’s Church in Seal, Kent, where he was church architect. The screen for the church tower was designed by Ashbee.

His papers and journals are at King’s College.

 

People : Rex Whistler, Artist Designer And Illustrator, When He Was A soldier He Carried His Brushes Hanging Off His Tank In A Bucket ….


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Reginald John “Rex” Whistler (24 June 1905 – 18 July 1944) was a British artist, designer and illustrator.

Biography

Reginald John Whistler was born in Britain on 24 June 1905, at Eltham, Kent, the son of Harry and Helen Frances Mary Whistler. In May 1919 he was sent to boarding school at Haileybury, where he showed a precocious talent for art, providing set designs for play productions and giving away sketches to prefects in lieu of “dates” (a punishment at Haileybury, similar to “lines” whereby offenders are required to write out set lists of historical dates).

After Haileybury the young Whistler was accepted at the Royal Academy, but disliked the regime there and was “sacked for incompetence”. He then proceeded to study at the Slade School of Art, where he met Stephen Tennant, soon to become one of his best friends and a model for some of the figures in his works. Through Tennant, he later met the poet Siegfried Sassoon and his wife Hester, to both of whom Whistler became close.

Upon leaving the Slade he burst into a dazzling career as a professional artist. His work encompassed all areas of art and design – from the West End theatre to book illustration (including works by Evelyn Waugh and Walter de la Mare, and perhaps most notably, for Gulliver’s Travels) and mural and trompe-l’oeil painting. Paintings at Port Lympne Mansion (within Port Lympne Wild Animal Park), Plas Newydd, Mottisfont Abbey and Dorneywood among others, show his outstanding talent in this genre. During his time at Plas Newydd he may well have become the lover of the daughter of the 6th Marquess of Anglesey, the owner of the house, who had commissioned him to undertake the decorative scheme. Whistler and Lady Caroline Paget are known to have become very close friends and he painted numerous portraits of her, including a startling nude. Whether this painting was actually posed for or whether it was how Whistler imagined her naked is a matter of debate.

His most noted work during the early part of his career was for the café at the Tate Gallery, completed in 1927 when he was only 22. He was commissioned to produce posters and illustrations for Shell Petroleum and the Radio Times. He also created designs for Wedgwood china based on drawings he made of the Devon village of Clovelly. Whistler’s elegance and wit ensured his success as a portrait artist among the fashionable; he painted many members of London society, including Edith Sitwell, Cecil Beaton and other members of the set to which he belonged that became known as the “Bright Young Things”. His murals for Edwina Mountbatten’s 30-room luxury flat in Brook House, Park Lane, London were later installed by the Mountbattens’ son-in-law, decorator David Hicks, in his own houses.

Whistler’s activities also extended to ballet design. He designed the scenery and costumes for Ninette de Valois and Gavin Gordon’s Hogarth-inspired 1935 ballet The Rake’s Progress.

When war broke out, although he was 35, Whistler was eager to join the army. He was commissioned into the Welsh Guards as Lieutenant 131651. His artistic talent, far from being a stumbling block to his military career, was greatly appreciated and he was able to find time to continue some of his work, including a notable self-portrait in uniform now in the National Army Museum. In 1944 he was sent to France following the D-Day landings.

During the war, he was the burial officer of his regiment, and his soldiers became somewhat suspicious of the 20 crosses he carried on his tank. He decided that just because he was at war, did not mean he could not paint, and he therefore also carried a bucket hanging off the side of his tank for his paintbrushes.

Death

In July he was with the Guards Armoured Division in Normandy as the invasion force was poised to break out of the salient east of Caen. On the hot and stuffy 18 July his tank, after crossing a railway line, drove over some felled telegraph wires beside the railway, which became entangled in its tracks. He and the crew got out to free the tank from the wire when a German machine gunner opened fire on them, preventing them from getting back into their tank. Whistler dashed across an open space of 60 yards to another tank to instruct its commander, a Sergeant Lewis Sherlock, to return the fire. As he climbed down from Sherlock’s tank a mortar bomb exploded beside him and killed him instantly, throwing him into the air. He was the first fatality suffered by the battalion in the Normandy campaign. The two free tanks of his troop carried out their dead commander’s orders before returning to lay out his corpse beside a nearby hedge, first having removed his personal belongings. Whistler’s neck had been broken, but there was not a mark on his body. The troop was then immediately called away to act as infantry support, so when that evening Sherlock obtained permission to locate and bury Whistler, he found that this had already been done by an officer of the Green Jackets, a regiment in which Whistler’s younger brother Laurence (an acclaimed glass engraver and poet) was serving. Among the many works of art produced by Rex Whistler during his time in the forces was a fine pencil portrait of Sergeant Sherlock.

Whistler, like many other artists in war, seems to have predicted his own death. Just days before he was killed, he remarked to a friend that he wanted to be buried where he fell, not in a military cemetery. On the night before his death, a fellow officer named Francis Portal came up to him and they talked for a while. Before they parted, Portal remarked: “So we’ll probably see each other tomorrow evening.” Wistfully, Whistler replied, “I hope so.” His body now lies in Banneville-La-Campagne War Cemetery. Reportedly, The Times newspaper received more letters about Whistler’s death than for any other war victim.

A memorial glass engraving by Laurence Whistler (the Rex prism) is to be found in the Morning Chapel at Salisbury Cathedral. Laurence also wrote a biography of his brother The Laughter and the Urn (1985).

Archive

In 2013, the Salisbury and South Wiltshire Museum acquired an archive, compiled by Laurence Whistler after Rex’s death, consisting of thousands of drawings, book illustrations, stage and mural designs and other material by Whistler. The museum mounted an exhibition based on this material in the summer of 2013.

Works

  • An Anthology Of Mine (published posthumously), London: Hamish Hamilton (1981)

 

People : Arthur Heygate Mackmurdo , Architect & Designer , Influences The Arts And Crafts Movement …


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Arthur Heygate Mackmurdo (12 December 1851 – 15 March 1942) was a progressive English architect and designer, who influenced the Arts and Crafts Movement, notably through the Century Guild of Artists, which he set up in partnership with Selwyn Image in 1882.

Mackmurdo was the son of a wealthy chemical manufacturer. He was educated at Felsted School, and was first trained under the architect T. Chatfield Clarke, from whom he claimed to have learnt nothing. Then, in 1869, he became an assistant to the Gothic Revival architect James Brooks. In 1873, he visited John Ruskin’s School of Drawing, and accompanied Ruskin to Italy in 1874. He stayed on to study in Florence for a while; despite the influence of Ruskin, the Italian architecture he was most impressed by was that of the Renaissance. That same year, Mackmurdo opened his own architectural practice at 28, Southampton Street, in London.

In 1882, Mackmurdo founded the Century Guild of Artists. Other members included Selwyn Image, Herbert Horne, Clement Heaton and Ruskin’s protegee, the sculptor Benjamin Creswick. It was one of the more successful craft guilds of its time. It offered complete furnishing of homes and buildings, and its artists were encouraged to participate in production as well as design; Mackmurdo himself mastered several crafts, including metalworking and cabinet making.

In 1884, the guild showed a display in the form of a music room at the Health Exhibition in London; the stand was shown, with variations, at subsequent exhibitions in Manchester and Liverpool. It incorporated two of Mackmurdo’s favourite motifs. One was foliage twisted into sinuous curves. Nikolaus Pevsner described Mackmurdo’s use of such foliage on the title page of the designer’s own Wren’s City Churches (1883) as “the first work of art nouveau which can be traced”, identifying its main influences as Rossetti and Burne-Jones, and ultimately, through them, William Blake.

The second motif was the use of thin square columns, topped with flat squares instead of capitals. These columns influenced the furniture designs of C.F.A. Voysey, and, through him, Charles Rennie Mackintosh. Mackmurdo used them architecturally on his own house at 8 Private Road, Enfield (1887), and on a house for the artist Mortimer Menpes, at 25 Cadogan Gardens, Chelsea (1893-1894), where he incorporated them into a kind of Queen Anne style.