Search results for ""sainsbury centre""

Rhythm and Geometry: Constructivist art in Britain since 1951 celebrates the dynamic abstract and constructed art made and exhibited in Britain over a seventy-year period. Including constructed reliefs and sculpture, kinetic and participatory art, painting and printmaking, the publication explains the dialogue and collaboration between artists working in radical ways across the generations to continually reinvent Constructivist art.Rhythm and Geometry is drawn from the collection at the Sainsbury Centre, University of East Anglia.Featured artists include Robert Adams, Rana Begum, Charles Biederman, Lygia Clark, Natalie Dower, Stephen Gilbert, Adrian Heath, Anthony Hill, Kenneth Martin, Mary Martin, Victor Pasmore, Jean Spencer, Takis, Victor Vasarely, Mary Webb, Stephen Willats, Gillian Wise and Li Yuan-Chia.

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This book reveals that Pablo Picasso wasn't simply a figurehead of the Modern Age. He grew up in the 19th century: the extraordinary mixture of values that was fin de siècle Europe penetrated deep into his personality, remaining with him through his life. While he was the quintessential Modern in so many ways, he was also a Victorian, and this duality explains the complexity of his genius. He was simultaneously looking forwards and backwards, and feeding off the efforts of others, before developing his own idioms for depicting the contemporary world.The young artist recognised that society was increasingly in a process of transformation, not in a transitory or temporary way, but permanently, under the inexorable pressures of modernisation. He realised that the emergence of Modern art through the last quarter of the century was a product of this transformation. Throughout his life, Picasso would feel the tension between modernity and the histories it replaced. He would also struggle with the role of the individual, and subjectivity, in this new environment.Each chapter shows how the young artist embraced successive styles at large in the art world of his time. By the age of 14 well capable of drawing in a highly competent Beaux Arts mode, he drew in a Classicist manner of redolent of Ingres, or early Degas. He then moved through various forms of Impressionism, Symbolism, and Post-Impressionism, before arriving in his early twenties at his first wholly individual style, the Blue period, albeit that all these earlier sources were still evident. The Rose period followed, after which the artist began a truly seminal period of experimentation which culminated in the development of Cubism. By 1910, Cubism had become a fully mature vision, practiced by a wide range of artists. It was to provide the springboard for much Modern art across the disciplines, and it positioned Picasso as perhaps the single most important artist of the new century.

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Published to accompany a major new exhibition at the Sainsbury Centre, this book examines the spectacular and controversial vision of art practice that raged across the Western world from the end of the 19th century: Art Nouveau.The role of nature is a key focus of the exhibition. The common theme of translating plants into patterns will be explored as a defining feature of the modern style. Art and objects will represent Art Nouveau from different countries, where it appeared characterised as flowing, tensile line, and dramatic movement, or by organic imagery combined with an informal geometry.Artists and designers include René Lalique, Edgar Degas, Charles Rennie Mackintosh, William Morris; Alphonse Mucha and Gabriel Dante Rossetti.

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Henry Moore's humanist sculpture changed the course of art in the twentieth-century and raised the status of British sculpture internationally. Friendships and Legacies explores Moore's relationships with collectors Robert and Lisa Sainsbury and photographer John Hedgecoe and how they had impact on the public presentation of Moore and his work, who became one of the most prominent sculptors of the twentieth century. Moore became friends with Robert and Lisa Sainsbury after their first purchase of his work in 1933. They formed a close friendship and went on to acquire 22 important works by the artist. The Sainsburys gifted their personal collection to the University of East Anglia where Moore's works now form a key part of the displays both inside and outside the Sainsbury Centre. Henry Moore and John Hedgecoe had a close friendship spanning almost forty years. Hedgecoe took many photographs of Moore, producing four books about the artist and his work. Many of these photographs have become iconic, contributing to the public perception of Moore. Friendships and Legacies also includes 24 extended catalogue texts about each of the works by Moore in the Sainsbury Centre collection. The book is richly illustrated with archive images and new photography.

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From antiquity, when the Great Pyramid was revered as a wonder of the ancient world, to the Cleopatra of Shakespeare’s stage, and from the medieval Arab scholars who sought hieroglyphs’ mystical wisdom, to the biblical stories still told today, Visions of Ancient Egypt explores how ongoing engagement with ancient Egypt has shaped centuries of art and design. Accompanying a ground-breaking exhibition, it unpicks the constructed fantasies of this ancient civilisation and charts how ancient Egypt’s iconic motifs and visual style have been re-imagined over time – revealing not just an enduring artistic fascination with Egypt, but a story of how Egypt’s own heritage has been reinvented and appropriated by different cultures over time, and a history closely entwined with imperial conquest and colonial politics.Beautifully illustrated throughout and with contributions by leading scholars, this book explores the imagined construction of ancient Egypt promoted through painting, sculpture, photography, architecture and film, as well as design, fashion and jewellery. It traces the journey across time, beginning with the ancient Romans who looted Egyptian monuments and adopted Egyptian gods into their Pantheon; to Napoleon Bonaparte’s invasion of Egypt, and the elite taste for all things Egyptian it prompted; as well as the Victorian creation of an Orientalist fantasy popularised at World Fairs. Presented in a nuanced way, the story is not Eurocentric. For the first time, it also places Egypt’s own story firmly into the narrative, exploring for example Egyptian artists’ responses to nationalist calls for independence spurred by the discovery of Tutankhamun’s tomb in 1922, while also addressing the popular impact of the ‘Tutmania’ craze in the West and its influence on Art Deco. The book also examines the enduring appeal of ancient Egypt in global contemporary art, across media from painting and sculpture, to film and multimedia installations. Artists both within and beyond Egypt continue to look to its ancient imagery to make statements about heritage, identity and race.The book invites readers to debate and to discuss this complex history of the construction of ancient Egypt in art and design, and to ask who these visions serve – both then and now.

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This textbook outlines the key areas of mental health practice for those in the early stages of their training, who may not necessarily come from psychology backgrounds. Accompanies the lecturer’s book ‘Teaching Mental Health’ Focuses on the 'Ten Essential Shared Capabilities' that have been developed by the Sainsbury Centre for Mental Health In partnership with the BABCP, Lord Layard is recommending that more mental health graduates be trained in order to meet demand for mental health services in the UK

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In contrast to buildings divided by walls, monospace buildings are determined far less by its shell than by a reciprocal relationship between space and practices, objects, materials, and human bodies. Using the example of such one-room-architectures, this book explores the potential of an actor-network-theory (ANT) approach to space in the field of architecture. Sabine Hansmann focuses on the Sainsbury Centre for Visual Arts in Norwich, England by Foster Associates (1978) to investigate the mutual entanglement of people, objects and building. She traces the work that is necessary in "doing" space and thus suggests a re-conceptualisation of space in architectural theory.

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A close look at the work, relationship, and shared influences of two masterful 20th-century artists “The camera,” said Orson Welles, “is a medium via which messages reach us from another world.” It was the camera and the circumstances of the Second World War that first brought together Henry Moore (1898–1986) and Bill Brandt (1904–1983). During the Blitz, both artists produced images depicting civilians sheltering in the London Underground. These “shelter pictures” were circulated to millions via popular magazines and today rank as iconic works of their time. This book begins with these wartime works and examines the artists’ intersecting paths in the postwar period. Key themes include war, industry, and the coal mine; landscape and Britain’s great megalithic sites; found objects; and the human body. Special photographic reproduction captures the materiality of the print as a three-dimensional object rather than a flat, disembodied image on the page.Published by the Yale Center for British Art/Distributed by Yale University PressExhibition Schedule:The Hepworth Wakefield (February 7–November 1, 2020)Sainsbury Centre for Visual Arts, Norwich (November 21, 2020–February 28, 2021)Yale Center for British Art (November 17, 2022–February 26, 2023)

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The Robert and Lisa Sainsbury Collection at the University of East Anglia, Norwich, is considered one of the greatest art collections of the twentieth century. It originated in the 1930s when Robert Sainsbury, a collector of private press books, began to acquire works by Epstein and Moore as well as sculptures from China and Africa. After their marriage in 1937, Robert and Lisa Sainsbury embarked on "an unplanned voyage of discovery in the world of art," says Steven Hooper in the introduction to this three-volume set. With abundant illustrations, the set catalogues the holdings of the extensive Sainsbury Collection in three volumes: European 19th and 20th Century Paintings, Drawings and Sculpture; Pacific, African and Native North American Art; and Precolumbian, Asian, Egyptian and European Antiquities. As the Sainsburys' collection grew, it came to include a broad range of works by such artists as Moore, Giacometti, and Bacon, from such widespread locations as Polynesia, Alaska, Western Africa, Mesoamerica, Japan, and the Cyclades. Presented as a gift to the University of East Anglia in 1973, the Sainsbury Collection has grown considerably with continued acquisitions and is today housed in Norman Foster's remarkable Sainsbury Centre for the Visual Arts. University and museum scholars from Europe, America, and Japan provide entries for this catalogue, which will serve as a rich resource for art historians, anthropologists, and archaeologists. For general readers, the set offers an accessible introduction to a range of art from many periods and cultures.Published in association with the University of East Anglia, Norwich

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From ceramics to silversmithing, calligraphy to textiles, hot glass to bookbinding, crafts have played a rich and complex role in the social, cultural, and artistic history of twentieth-century Britain. This all-encompassing book is the first to survey the full range of individual craft disciplines and key practitioners from the pre-World War I years of the Arts and Crafts Movement to the 1990s. Tanya Harrod shows how the crafts movement emerged in response to generalized anxiety about the production, commodification, and consumption of objects in a highly industrialized society. Caught between the more powerful disciplines of fine art, architecture, and design for industry, crafts have defined and redefined themselves throughout the century.The book begins with the craft revival of the early 1900s, tracing the complex legacy of John Ruskin and William Morris. The author then discusses how the Arts and Crafts Movement was forced to reexamine its aims during the Great War; how the development of the crafts was closely connected to the development of modernism between the wars; and how during World War II the idea of the handmade, often in the form of vernacular craft discovered in remote pockets of England, played a significant part in propagandizing a national culture worth defending. The book also explores the postwar beginnings of a countercultural workshop-based craft movement led by Bernard Leach and the continuing redefinition of crafts as the government-funded Crafts Council pushed them toward the fine arts and then the government attempted in the 1980s to recast them as exemplars of enterprise culture. Harrod describes the increasingly blurred division between craft and design for mass production at the conclusion of the book. Along with historians, educators, artists, craftspersons, and collectors, readers with an interest in British cultural history will find in this book much to delight and fascinate. This book accompanies an exhibition of British crafts, “The Pleasures of Peace: Craft, Art and Design in Britain from the 1940s to the 1960s,” that will open at the Sainsbury Centre at the University of East Anglia in spring 1999.Published in association with the Bard Graduate Center for Studies in the Decorative Arts

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This new, thoroughly updated, third edition of Bradt's Norfolk, part of Bradt's award-winning 'Slow travel' series of guides to UK regions, turns the spotlight on this county of contrasts, from the fine city of Norwich to the watery wilderness of the Broads and the sweeping beaches of the superlative north coast. As well as featuring all the main sights, experienced travel writer and local resident Laurence Mitchell ensures that Bradt's Norfolk covers places and aspects not detailed by other guidebooks and offers a special emphasis on car-free travel, walking (including along several long-distance footpaths), accommodation, local food and pubs. Written in an entertaining style combining personal narrative with authoritative information, this guide brings the county to life through anecdotes and the views of local people. Making a virtue of being selective, the guide points visitors to the cream of the area, but includes the whole of Norfolk from Great Yarmouth and the Broads in the east to the Fens of the far west, from the iconic North Norfolk coast to the Breckland region to the south. Places to eat and drink are selected by the author based upon long-standing knowledge of the area, in particular delving into aspects of regional distinctiveness and character. Characterful market towns, medieval churches and Seahenge (a 4,000-year-old timber circle) feature alongside culturally vibrant Norwich, England's first UNESCO City of Literature, which hosts the acclaimed Sainsbury Centre for Visual Arts and the highly rated Norwich and Norfolk Festival. Flora and fauna are also celebrated, the guidebook detailing the many wildlife sites within the county that are home to rare species, including the iconic swallowtail butterfly, while there is new detail on rewilding projects such as Wild Ken Hill, featured on BBC Springwatch and Autumnwatch programmes, seal colonies and the 'Snettisham spectacular' of shorebirds and geese. Hiking and biking, literary and artistic connections, canoeing and water-based activities, local food and drink (including prize-winning vineyards and independent breweries), and all the practical, up-to-date information you could need are included, helping make Bradt's Norfolk the must-have guide for all visitors to this beguiling county.

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