Friday, 3 January 2014

Now the British Library makes 1 million images available

Copyright-free digital material… it's catching…

Following our last report on the Getty's joining in on making digital material freely available for use, the British Library has put 1 million images available for use without restriction on Flickr.
Just follow THIS LINK
In fact, using Flickr is not the brightest and best plan but it's a start, and screen grabs will have to come in handy here if you really want to use any of the images. Still it's a start. MORE please but make it more user friendly. Here is what they said:
'The release of these collections into the public domain represent the Library’s desire to improve knowledge of and about them, to enable novel and unexpected ways of using them, and to begin working with researchers to explore and interpret large-scale digital collections.'
Well, quite…

Monday, 30 September 2013

Getty Museum makes digital content available

Another step in the (copy)right direction…

Following the initiatives of the British Museum, Yale University, the Walters Art Museum, and other institutions honoured in these pages, the director of the Getty, James Cuno, wrote the following on the Getty’s online magazine (http://blogs.getty.edu/iris) 12 August 2013 (excerpted):

"Today the Getty becomes an even more engaged digital citizen, one that shares its collections, research, and knowledge more openly than ever before. We’ve launched the Open Content Program to share, freely and without restriction, as many of the Getty’s digital resources as possible.
The initial focus of the Open Content Program is to make available all images of public domain artworks in the Getty’s collections. Today we’ve taken a first step toward this goal by making roughly 4,600 high-resolution images of the Museum’s collection free to use, modify, and publish for any purpose.
These are high-resolution, reproduction-quality images with embedded metadata, some over 100 megabytes in size.
Why open content? Why now? The Getty was founded on the conviction that understanding art makes the world a better place, and sharing our digital resources is the natural extension of that belief. This move is also an educational imperative. Artists, students, teachers, writers, and countless others rely on artwork images to learn, tell stories, exchange ideas, and feed their own creativity. In its discussion of open content, the most recent Horizon Report, Museum Edition stated that ‘it is now the mark – and social responsibility – of world-class institutions to develop and share free cultural and educational resources.’ I agree wholeheartedly."

And so, as our readers will know, does The British Art Journal

Friday, 5 July 2013

Berger Prize Winner 2013: Wall Paintings of Eton

The William MB Berger Prize for British Art History 2013 was awarded to Wall Paintings of Eton by Emily Howe, Henrietta McBurney, David Park, Stephen Rickerby, and Lisa Shekede, published in 2012 by Scala, at a reception in London on the evening of Thursday 4 July 2013, held at the Paul Mellon Centre for Studies in British Art. The prize, worth £5000 to be shared among the authors, was presented by Professor Mark Hallett. The assessors said: 'This is a very exciting, major project on the the most important surviving 15th-century wall decoration of the north of the Alps. It also features a major discovery of a 16th-century mural of a school scene that came to light in 2005 in the Head Master’s Chambers. The production was perfect, the scholarship outstanding, the international context explored; the book combines, in the most successful manner, conservation and technical reports with history of great clarity and authority. There was also the romance of the story of the involvement of M.R. James in the preservation of these very important paintings. Congratulations are also due to those who encouraged the project, including the Provost of Eton, Lord Waldegrave, and to the publisher and designer for creating such an attractive, beautifully produced book."

The assessors are:
Timothy J Standring, Gates Foundation Curator of Painting & Sculpture, Denver Art Museum
Dr John Wilson, Director, Timken Museum of Art, San Diego
Dr Rosemary Hill
Andrew Wilton
Dr James Hamilton
Professor Robin Simon, Editor, The British Art Journal

The assessors commented on the other shortlisted books as follows:

Basil Spence, Buildings and Projects
Louise Campbell, Miles Glendinning and Jane Thomas, eds.
RIBA Publishing
This is a tricky moment for Basil Spence: still recent enough to be vulnerable to fashion and taste, the impact of such buildings as Coventry Cathedral, the British embassy in Rome and the University of Sussex still fresh in the memory. But this elegantly produced book is hugely impressive and to the point, filling in much invaluable material and making sense of 20th-century Modernism in Britain and the place of Spence within it. An example to all of how to combine several contribution into a whole, that was the product of a vast amount of research.

Japanned Papier Mâché and Tinware c1740-1940
Yvonne Jones
The Antique Collectors Club
The assessors all agreed that this was a pioneering work, on a subject that no-one knew anything about, but which opened a window onto the interconnecting worlds of art, design and commerce. It was 'wondrous' and in addition an ‘unbelievably beautiful book”' ‘I felt I was being introduced to a world that was new and exciting, in a book that was especially well written.' It might seem to the be last word, but the assessors felt that it really opened the way forward to more research and further publications. A model of its kind.

The London Square
Todd Longstaff-Gowan
Yale University Press for the Paul Mellon Centre for Studies in British Art
This was, all the assessors agreed, quite wonderful. The Prize several observed, has often shown how writers outside the academic world are free from boundaries limiting their investigations, for the very good reason that they simply do not care to recognize that they exist. This book therefore moved freely and fruitfully over architecture, design, social history, modern developments, garden history, and more, over a long sweep of time, with endless cross-references and interconnections. It was refreshing, and opened everyone’s eyes to something, the London square, that we think we know but in fact rarely properly reflect upon. There is now simply no excuse… 

James Wyatt, Architect to George III
John Martin Robinson
Yale University Press for the Paul Mellon Centre for Studies in British Art
Wyatt the destroyer… Not a popular man. A tricky topic… This is a book that has been long in the making and is comprehensive in its scope, arguing for a more positive appreciation of one of the most important but neglected architects in British history. It revealed the range and variety of Wyatt’s inventiveness, his capacity to change and adapt, his sheer professionalism but also, significantly, the beauty of many of his buildings. The illustrations were of the highest quality and altogether the book represents an enduring resource.

George Stubbs: 1724-1806 Science into Art
Herbert W Rott, ed.
Prestel Publishing Ltd
This is the catalogue of an outstanding exhibition that only one of the assessors had been lucky enough to see in Munich. The editor of the catalogue, Herbert Rott, director at the Neue Pinakothek, succeeded in persuading his board to agree to a Stubbs exhibition, with angle towards science, reflected in the title. The exhibition and the book were therefore shaped for a particular audience but both succeeded triumphantly. 'The catalogue is a perfect model of what a catalogue ought to be but so rarely is, these days…' It is especially important in its treatment of the engravings and the scientific aspect of Stubbs’ works. In the event, the exhibition was one of the most successful exhibitions of recent time and in shortlisting this outstanding catalogue the assessors were especially happy to be acknowledging a major initiative in the introduction of Stubbs to a German audience.

Finally, not all books that ought to win prizes are large and the assessors wished especially to commend Ian Waites for Common Land in English Painting 1700-1850 published by The Boydell Press, a most elegantly written book that calmly knocked many entrenched but erroneous notions about British landscape painting firmly on the head, almost in passing…

Thursday, 27 June 2013

Berger Prize Short List 2013

The William MB Berger Prize for British Art History 2013
Short List
[books published in 2012: for Long List go to www.britishartjournal.co.uk home page, William MB Berger Prize in menu on right-hand side]
The Prize, worth £5000 to the winner, will be awarded at a reception in London on Thursday 4 July 2013
  • Basil Spence, Buildings and Projects

  • Louise Campbell, Miles Glendinning and Jane Thomas, eds.
    RIBA Publishing
    ISBN 978-1859463093, 
    hb £46, pp368

  • Wall Paintings of Eton 
Emily Howe, Henrietta McBurney, David Park, Stephen Rickerby, Lisa Shekede
Scala, 8 November 2012
ISBN 978-1-857-59787-5
hb £35, pp192, colour 210
  • Japanned Papier Mâché and Tinware c1740-1940
Yvonne Jones
The Antique Collectors Club, 4 May 2012
ISBN 978-1-85149-6860
hb £45, pp336, 360 ills
  • The London Square 
Todd Longstaff-Gowan
Yale University Press for the Paul Mellon Centre for Studies in British Art, 20 April 2012
ISBN 978-0-300-15201-2
hb £30, pp304, b/w 160, colour 100
  • George Stubbs: 1724-1806 Science into Art 
Editor Herbert W Rott 
Prestel Publishing Ltd, 29 February 2012
ISBN 978-3-79135170-4 English edition
hb £35, pp240,b/w 12, colour 153
  • James Wyatt Architect to George III 
John Martin Robinson
Yale University Press for the Paul Mellon Centre for Studies in British Art, 21st May 2012
ISBN 978-0-300-17690-2
hb £50, pp400, b/w 170, colour 150

Friday, 21 June 2013

Robin Simon is Paul Mellon Lecturer
in  British Art 2013

He gave the Paul Mellon Lectures at the National Gallery, London, each Monday 14 January–11 February.
The theme was British art and the theatre, with the title 'Painters and Players from Hogarth to Olivier'.
Details on the National Gallery website
Robin Simon was joined by actor William Chubb for the first four lectures, and for the final lecture by soprano Alison Pearce and Paul Wynne-Griffiths, piano. The music included works by Handel, Arne and Linley.
The lecture series was repeated at the Yale Center for British Art, New Haven,  10-24 April 2013, when Robin Simon was joined by the actor Bruce Altman for the first four lectures and by actor Alex Kramer for the fifth lecture.

Monday, 17 September 2012

Motya Charioteer

Motya Charioteer at the British Museum
I have a question. Where's willy? Think about it. More to follow…

Thursday, 26 July 2012

Terry Friedman is Berger Prize Winner 2012

Terry Friedman is the winner of the £5000 William MB Berger Prize for British Art History 2012 for his book The Eighteenth Century Church in Britain published for the Paul Mellon Centre by Yale University Press. 


The prize was presented by Sir Timothy Clifford at a reception held at the Paul Mellon Centre for Studies in British Art in London on the evening of Thursday 5 July. The book was, in the opinion of the assessors, ‘quite simply definitive’. It seemed incredible, several thought, that ‘one man could do it’. It was ‘a revelation of the sheer variety of architecture involved’, all organized ‘with the utmost care and lucidity’. It seems to be, they said, ‘an exhaustive treatment’ of a very understudied but major subject, and yet it ‘opens up entirely new fields for further research and discussion’.


Sir Timothy quoted the assessors' remarks about the other books on the Short List of six:

John Zoffany RA: Society Observed edited by Martin Postle, was the catalogue of the exhibition of the same name, at Yale and the Royal Academy, published by the Yale Center for British Art, New Haven, and the Royal Academy of Arts, in association with Yale University Press. It was, in the assessors’ opinion, ‘fantastic, wonderful, with an excellent cast of contributors’. ‘Exciting’, with ‘lots of new material’, obviously at ‘the cutting edge of research’, and ‘beautifully produced’. It ‘shows the way forward for almost endless research into this underestimated artist’. ‘This is the Zoffany who captures the imagination’.
The English Castle by John Goodall, published for the Paul Mellon Centre by Yale University Press, was, the assessors said, an instance of ‘an individual scholar taking an enormous subject and making it both clear and exciting’. ‘The extraordinary clarity of the exposition was brilliantly complemented by splendid photographs and invaluable diagrams of all kinds’. ‘The captions alone are brilliant’ while ‘the text with its many technical terms is not only easy to read but a great pleasure’. It was, they thought, ‘definitive’.
Inigo Jones: The Architect of Kings by Vaughan Hart, published for the Paul Mellon Centre by Yale University Press, was ‘a model for a monograph on any architect’, a ‘focused effort at providing both a national and international context to Jones’s architecture’. The book was ‘full of stimulating ideas’, ‘fresh and exciting’, and ‘the author is at pains to confront several contentious issues – and he does so with vigour’, and puts forward ‘any number of ingenious and original interpretations’.
Johan Zoffany: 1733-1810 by Mary Webster was also published for the Paul Mellon Centre for Studies in British Art by Yale University Press. This was ‘truly the achievement of a lifetime’, a book that has been some forty years in the making, and it was ‘well worth the wait’. It was, the assessors felt, not only ‘extremely successful as a biography’ but also ‘hugely enjoyable’ with its subject ‘emerging from the shadows in all his eccentricity and brilliance’. The ‘excellent illustrations’ were considered by several of the judges almost as valuable as the ‘mass of historical material so very well marshalled and presented’. ‘A great book’.
Royal Manuscripts: The Genius of Illumination by Scot Mckendrick, John Lowden & Kathleen Doyle, published by British Library Publishing, accompanied the magnificent exhibition of the same name. It was, said the assessors, ‘exactly the kind of exhibition that the British Library ought to put on, and the book amply complemented an extraordinary show’. The illustrations are ‘stunningly’, ‘jaw-droppingly’ beautiful. ‘If anything it left one wishing for more’.
Sir Timothy reported that the assessors wished especially to note the outstanding nature of a few of the many titles which can be seen on the Long List, notably the pioneering study by Gwen Yarker of portraiture in Dorset, Georgian Faces – Portrait of a County; the book (in Dutch) of the Stanley Spencer exhibition in Rotterdam by Alied Ottevanger; and the catalogue raisonné of William Nicholson by Patricia Reed, Wendy Baron and Merlin James.

The assessors were: Timothy J. Standring, Gates Foundation Curator of Painting & Sculpture, Denver Art Museum; Robin Simon, Editor, The British Art Journal; Rosemary Hill, sometime Fellow, All Souls’ College, Oxford, and independent scholar; Katherine Eustace, Editor of the Sculpture journal; Desmond Shawe-Taylor, Surveyor of The Queen’s Pictures; Angus Trumble, Senior Curator of Paintings and Sculpture, Yale Center for British Art