Sentences with phrase «british painting world»

Previously shown at the Sainsbury Centre for Visual Arts in Norwich, REALITY was recently hosted by the Walker Art Gallery * — a gallery long famed for its support of contemporary painting through the John Moores Painting Prize, first held in 1957; the competition has even been named by Sir Norman Rosenthal as «the Oscar of the British painting world.»

The John Moores Painting Prize is the United Kingdom's longest - running painting competition, and has been dubbed «the Oscar of the British painting world.»

Not exact matches

And then there is that extended British family of children's games from which baseball drew its basic morphology (stoolball, tut - ball, and, of course, rounders); but these are only charming finger - paint renderings of the ideal, vague, and glittering dreams that the infant soul brings with it in its descent from the world above before the oblivion of adulthood purges them from memory; they are as inchoately remote from the real thing as a child's first steps are from ballet.

Looking fit and robust in shirts and sweaters spray - painted on to his buff body, the four - time major winner of two PGA Championships, a U.S. and a British Open can boom it out there with the Bubba Watsons and Dustin Johnsons of the world (see: Sunday's tee shot to the green on the par - 4 third).

Thanking her allies, Kirchner painted a picture of a predatory British state patrolling the waters of the world, looking to snatch up land.

Despite the cosy notion that British research is among the best in the world, the hard numbers paint a bleak picture of a nation in decline

In 2011, artist Patrick Brill (known creatively as Bob and Roberta Smith) made waves in the art world with a letter to Michael Gove, an oversized painted - word response to the Education Secretary's proposed eradication of art from the British school syllabus.

But its most famous frequent guest was Winston Churchill, the British prime minister who painted watercolor seascapes inside his private cabana following World War II.

The early years of Wolseley — How the company developed up to the First World War by Norman Painting / Homage to a Morris 8 — D.H. Smith relates his memories of a 1937 Morris 8 named «Cleopatra» / Amilcar anniversary — Brian Heath visited the Auvergne in company with other Amilcar enthusiasts on the occasion of the car's 75th anniversary / The Citroen 2CV phenomenon — The story of this unconventional classic is told by Chris Bowes / Honeymoon trip in a Riley — Malcolm Bates tells us about a young couple's trip to remember in a 1929/30 Riley Monaco / Memories of Woolf Barnato and W.O. Bentley — Rivers Fletcher relates his personal reminiscences of Woolf Barnato and W.O. Bentley in the 1920s and 30s / 1933 Alvis Speed Twenty — This month The Editor gives us his impressions of this traditional — but tecnically advanced — British sporting car / Sunbeam Talbot Darracq rally — A report on the STD register's national rally by Nick Baldwin / Vulcan history part two — Michael Worthington - Williams continues his article on this comparitively little known manufacturer.

-- Kirkus Reviews (starred review) «Simonson's second novel paints a sensitive, witty, luminous portrait of England at the outbreak of World War I.» — Shelf Awareness «This novel is just the ticket for fans of Simonson's debut, Major Pettigrew's Last Stand, and for any reader who enjoys leisurely fiction steeped in the British past.»

The Hamptons» own Lee Krasner demonstrates the expressive possibilities of the first medium in «The Umber Paintings, 1959 — 1962,» while «David Hockney: Works on Paper, 1961 — 2009» provides a close - up view of the world of the beloved British painter, who is currently the subject of a major exhibition at The Met.

Above all, like his paintings, these works on paper convey Hockney's absolute glee in viewing the world and frequently his (very British) sense of humor.

Since then Agnew's has held a pre-eminent position in the world of Old Master paintings, and was instrumental in promoting contemporary British art in the late 19th century.

Ghanaian British architect David Adjaye's modern crimson - hued building, extending from South Flores Street to the San Pedro Creek, will house the Foundation's growing collection of more than 800 paintings, sculptures, installations and video works by contemporary artists from around the world.

The British artist Henry Moore is most famous for his sculptures, but also known for his ink, wax, and watercolor paintings of people sheltering in London's Underground stations during the Second World War.

Of the many British modernist painters currently enjoying a revival, Winifred Knights is amongst the most deserving, having been completely forgotten about in spite of her painting The Deluge, 1920, one of the most memorable images associated with the First World War.

For an artist whose output extends far beyond the fine paintings of World War One and exceeds the parameters of British landscape painting within which his work is usually understood, the recurrence of certain themes and preoccupations — a sense of significant place, and the idea of trees as sentient, mystical beings — creates a satisfying symmetry to his career.

1, no. 8, November 1970; (introduction) John Hoyland (catalogue), Beaux Arts, London, 2003 Maloon, Terence, «Hoyland Retrospectively» in John Hoyland, Paintings 1967 - 1969 (catalogue), 1979 Maloon, Terence and John Edwards, «Two Aspects of John Hoyland» in One, no. 2, 1974 Marginson, R.D., (foreword) John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980 McEwen, John, «Colour as Form» in John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings 1967 - 1969 (catalogue), 1979 Maloon, Terence and John Edwards, «Two Aspects of John Hoyland» in One, no. 2, 1974 Marginson, R.D., (foreword) John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980 McEwen, John, «Colour as Form» in John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980 McEwen, John, «Colour as Form» in John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings 1967 - 1979 (catalogue), Arts Council, 1979; «Colour as Form» in John Hoyland, Paintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings Australia 1980, (catalogue), University Gallery, University of Melbourne 1980; «John Hoyland: new paintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, Lonpaintings, 1986» in John Hoyland (catalogue), Waddington Galleries, London, 1987; Affinities in Paint (catalogue), Crane Gallery, London, 1991 Moffat, Alexander, «Reinventing the Real World» in The British Art Show (catalogue), Orbis / Arts Council, London, 1984 Moorhouse, Paul, The Mystery of Ordered Form: The Art of John Hoyland (catalogue), Royal Academy, London 1999 Read, Herbert, Contemporary British Art, Penguin Books, London, 1964 Robertson, Bryan (introduction), Paintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings 1960 - 67 (catalogue), Whitechapel Gallery, London, 1967; (introduction), John Hoyland (catalogue), Galleria dell» Ariete, Milan, 1970; (introduction), John Hoyland, Paintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings 1967 - 1979 (catalogue), Arts Council, 1979; (introduction), John Hoyland, Paintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, LonPaintings Australia 1980 (catalogue), University Gallery, University of Melbourne, 1980; A Line in Painting: Part One — British Art (catalogue), Gallery Fine, London, 1999 Robertson, Bryan, and Russell, John, Private View (with photos by Lord Snowdon), Nelson, London, 1965 Thompson, Colin, «The Importance of the Maclaurin Trust Collection» in The Maclaurin Collection (brochure), Maclaurin Gallery, Rozelle, Ayr Thompson, David (introduction), The New Generation (catalogue), Whitechapel Gallery, London, 1964 Waddington, Leslie (introduction), John Hoyland (catalogue), Waddington Galleries, London, 1983 Wright, Philip (introduction), John Hoyland, Prints 1968 - 89 (catalogue), Austin / Desmond Fine Art, London, 1990

Joe has exhibited his watercolour paintings at the Singer & Friedlander Sunday Times Exhibition, Royal Institute of Painters in Watercolour, Laing Art Exhibition, Chichester Open, Barings ING — Platform 100, World of Drawings and Watercolours, British Modern Masters, Royal Society of Marine Artists.

This rootedness in the natural world ties Kirkeby's work to Nordic traditions and — as Schjeldahl points out — that of British landscape painting.

She has written widely on Bacon, including her monograph Francis Bacon: Painting in a Godless World (2012), which was long - listed for the William M.B. Berger Prize for British Art History in 2013.

During the past of British art, at the forefront of landscape paintings, early abstract works, and innovations in the use of materials, we acknowledge the artists from this part of the world.

Whether it is the start of the World Cup, documentaries about the Cold War or the British Renaissance, these linkages attract wide audiences to the paintings on Your Ppaintings on Your PaintingsPaintings.

Norman Cornish The «lost world» of British coal mining remembered in words and paintings.

Chris Ofili comes with a seemingly gold - plated reputation: 1998 Turner prize winner, British representative at the 50th Venice Biennale, paintings held in some of the world's great collections.

The previous world record for a painting sold at auction was $ 142.4 m, for British painter Francis Bacon's Three Studies of Lucian Freud in 2013.

Tags: A Crisis of Brilliance, Andrew Causey, Art, art book, Art Book Publishers, Art Book Publishing, book illustration, Book of the Week, Dulwich Picture Gallery, English landscape painting, First World War, Landscape and the Life of Objects, Landscape from a Dream, landscape painting, Lund Humphries, Modern British Art, Modernism, Pallant House, Paul Nash, Paul Nash The Clare Neilson Collection, Romanticism, Second World War, Slade School of Art, Surrealism, Tate, Totes Meer, War Artist, wood engraving,

Roy and Marie Neuberger Collection: Modern American Painting and Sculpture, January 4 — 30 * Janicki, Sterne, Glasco, February 2 — 26 * An Exhibition of Sculpture and Drawings by Young British Sculptors, March 2 — 29 * Thirty - Fifth Annual Exhibition by the Professional Members, April 3 — May 6 * World at Work: An Exhibition of Paintings and Drawings Commissioned by Fortune, Presented on the Occasion of the Magazine's Twenty - Fifth Anniversary, May 12 — 15 An Exhibition of Cubism on the Occasion of the Fortieth Anniversary of The Arts Club of Chicago, October 3 — November 4 * Noguchi: Sculpture and Scroll Drawings, November 11 — December 7 * Accent Rugs Woven by Gloria Finn and Designed by American Painters, December 13, 1955 — January 3, 1956 * Melanesian Sculpture, December 13, 1955 — January 3, 1956 *

The works on view include icons of British painting, such as Mr and Mrs Andrews and The Watering Place, which count among the most famous paintings of all time in the English - speaking world.

John Constable's The Lock realized # 22,441,250 achieving a world record price for the artist at auction in the Old Master & British Paintings Evening Sale at London, King Street on 3 July 2012.

The five thematic sections - Inheritance; Childhood; Parenting; Couples & Kinship; Home - reveal a world of shifting certainties for the British family through a range of media, including film and photography, painting and sculpture.

He paints a picture of the British contemporary art world split down the middle between real artists and mere ironists.

Evelyn Dunbar, the only woman hired as an Official British War Artist in World War II, gets a retrospective of over 500 paintings and sketches.

From paintings by Turner Prize nominee Sean Scully and British - Nigerian artist Yinka Shonibare, who was also part of the Selection Committee, to pieces by Anish Kapoor, Tracey Emin, and Marina Abramović, works by art world giants hang democratically beside pieces from those lesser known.

It was the St Ives group which established links with artists from the emerging New York school of abstract expressionism, and which provided most of the abstract paintings promoted world - wide during the 1950s and 60s through the auspices of the British Council and the Arts Council.

July 1: Record for John Constable at Christie's At Christie's sale of Old Master and British Paintings, «The Lock» (1824), a landscape by English artist John Constable (1776 - 1837)- one of the Stour Series - was sold to an anonymous buyer for over # 22.4 million, a world record for a work by the artist.

Bowling, the Guyanese - born British painter, is widely celebrated for his contributions to the field of abstraction and his advocacy of black artists internationally, created a number of paintings in the 1970s characterized by his use of world maps as organizational tools to explore color as its own subject — a recurring theme in his work.

Lina Iris Viktor is a contemporary British - Liberian artist who uses a palette of blue, black, white, and 24 - karat gold to create an imagined world of sumptuous minimalism in performances, site - specific installations, sculpture, and paintings.

Up and down the country museum collections help to define cities: the Kurt Schwitters Merzbau at the Hatton Gallery in Newcastle is a case in point; Birmingham is famous for its world class collection of Pre-Raphaelite paintings, Derby for the work of the first painter of the spirit of the industrial revolution, Joseph Wright of Derby; the Walker Art Gallery in Liverpool has collected many outstanding works through its John Moores painting prize, the SNGMA in Edinburgh is notable for its collection of British and European Surrealism.

Connected to the British Systems artists, Dower creates paintings that are free from overt references to the creator, or to the external world, and are solely derived from her own invented, predetermined systems.

Published this week, «Kehinde Wiley: The World Stage Jamaica,» features both young men and women painted against textiles by British designer William Morris.

During the First World War he was appointed an official British War Artist, in which role he painted his famous composition Gassed (1919), based on studies made on the battlefield.

The commercial art world centred around the fag - end of the aristocracy buying paintings by British artists.

2013 Toot Toot Tootsie Goodbye, V1 Gallery, Copenhagen, DK 10th Anniversary Exhibition, Malaga Contemporary Art Center (CAC), ES Iconoclasm, Tate Britain, London, UK Island, Dairy Art Centre, London, UK Damage Control: Art & Destruction Since 1950, Hirshhorn Museum & Sculpture Garden, Washington D.C., US Théâtre du Mondem, la maison rouge, Paris, FR Viewing Room, All Visual Arts, London, UK Art under Attack: Histories of British Iconoclasm, Tate Britain, London, UK Victoriana: The Art of Revival, Guildhall Art Gallery, London, UK Capita Selecta, Groninger Museum, Groningen, NL Adventures of Truth - Painting and Philosophy: A Narrative, Fondation Maeght, Saint - Paul - de - Vence, FR Art in the event of the world, Depoland, Dunkerque, FR Sculpture in the City, London, UK FULL HOUSE, Schönewald Fine Arts, Düsseldorf, DE

The artist's work has been included in extensive group exhibitions, including Iran Modern, Asia Society, New York (2013); Spectacular of the Vernacular, Minneapolis Institute of Arts, MN (2011); Word Into Art: Artists of the Modern Middle East, British Museum, London (2006); Far Near Distance: Contemporary Positions of Iranian Artists, House of World Cultures, Berlin (2004); Carnegie International, Pittsburgh, PA (1988); Sculptur Projekte Muster» 87, Germany (1987); International Survey of Recent Painting and Sculpture, Museum of Modern Art, New York (1984); 74th Annual American Exhibition, Art Institute of Chicago, IL (1982); Biennial of American Art; Whitney Museum of American Art, New York (1981); 39th Venice Biennale, American Pavilion, Italy (1980); Information, Museum of Modern Art, New York (1970); and Documenta 5 (1972), 7 (1982) and 8 (1987), Kassel, Germany.

Dazzle painting played a vital role in the protection of British navel and trade vessels during the First World War when it was introduced in early 1917 as a system for camouflaging ships.

This is the catalogue of the March 2018 Tate gallery exhibition «All Too Human» on the theme of British figurative painting since the first world war.

T01944 FLAXMAN: UNDERSTUDY [from](SANDSEND SERIES FROM BEYOND THE WORLD»S END) 1972 [T01941 - T01944; complete] Inscribed «FLAXMAN understudy Sandsend Series from beyond The World's End» b.l., «Scale 1 = 4» b.c. and «optional orientation - preferred position Ian Stephenson 1972» b.r. Oil and enamel with ballpoint on paper treated with white polish, 30 × 40 (76.2 × 101.6) Purchased from the artist (Grant - in - Aid) 1975 Exh: 11 englische Zeichner, Kunsthalle, Baden - Baden, May — June 1973, and Kunsthalle, Bremen, July — August 1973 (Stephenson 16); Recente Britse Tekenkunst, Koninklijk Museum, Antwerp, September — October 1973 (Stephenson 16); Art as Thought Process, Serpentine Gallery, December 1974 — January 1975 (no numbers); Ian Stephenson: Paintings 1955 — 66 and 1966 — 77, Hayward Gallery, March — April 1977, also Arnolfini Gallery, Bristol, May — June 1977, and Turnpike Gallery, Leigh, August — September 1977 (72) All four studies [T01941 - T01944] were first shown at an informal British Council preview, Drawings by 11 British Artists, at the Hayward Gallery in London on 16 March 1973, immediately prior to their despatch for tour in EuWORLD»S END) 1972 [T01941 - T01944; complete] Inscribed «FLAXMAN understudy Sandsend Series from beyond The World's End» b.l., «Scale 1 = 4» b.c. and «optional orientation - preferred position Ian Stephenson 1972» b.r. Oil and enamel with ballpoint on paper treated with white polish, 30 × 40 (76.2 × 101.6) Purchased from the artist (Grant - in - Aid) 1975 Exh: 11 englische Zeichner, Kunsthalle, Baden - Baden, May — June 1973, and Kunsthalle, Bremen, July — August 1973 (Stephenson 16); Recente Britse Tekenkunst, Koninklijk Museum, Antwerp, September — October 1973 (Stephenson 16); Art as Thought Process, Serpentine Gallery, December 1974 — January 1975 (no numbers); Ian Stephenson: Paintings 1955 — 66 and 1966 — 77, Hayward Gallery, March — April 1977, also Arnolfini Gallery, Bristol, May — June 1977, and Turnpike Gallery, Leigh, August — September 1977 (72) All four studies [T01941 - T01944] were first shown at an informal British Council preview, Drawings by 11 British Artists, at the Hayward Gallery in London on 16 March 1973, immediately prior to their despatch for tour in EuWorld's End» b.l., «Scale 1 = 4» b.c. and «optional orientation - preferred position Ian Stephenson 1972» b.r. Oil and enamel with ballpoint on paper treated with white polish, 30 × 40 (76.2 × 101.6) Purchased from the artist (Grant - in - Aid) 1975 Exh: 11 englische Zeichner, Kunsthalle, Baden - Baden, May — June 1973, and Kunsthalle, Bremen, July — August 1973 (Stephenson 16); Recente Britse Tekenkunst, Koninklijk Museum, Antwerp, September — October 1973 (Stephenson 16); Art as Thought Process, Serpentine Gallery, December 1974 — January 1975 (no numbers); Ian Stephenson: Paintings 1955 — 66 and 1966 — 77, Hayward Gallery, March — April 1977, also Arnolfini Gallery, Bristol, May — June 1977, and Turnpike Gallery, Leigh, August — September 1977 (72) All four studies [T01941 - T01944] were first shown at an informal British Council preview, Drawings by 11 British Artists, at the Hayward Gallery in London on 16 March 1973, immediately prior to their despatch for tour in Europe.

British abstract impressions Artist Melanie Berman paintings explore tangible and intangible elements of the natural world and multiple narratives that challenge and engage the viewer.

1963 Sculpture in the Open Air (London County Council exhibition), Battersea Park, London, UK 7th Japan International Art Exhibition (Tokyo Biennial): National Museum of Modern Art, Tokyo, JP; Sogo Department Store, Osaka, JP; City Museum of Art, Takamatsu, JP; Yawata Museum of Art, Kita - Kyushu, JP; City Museum of Art, Kagoshima, JP; Daimaru Department Store, Fukuoka, JP; Central Civil House of City, Sasebo, JP; Tsuruya Department Store, Kumamoto, JP; Nakamura Oriental Department Store, Nagoya, JP; Fujisaki Department Store, Sendai, JP Creatura, Museum am Ostwall, Dortmund, DE Zeugnisse der Angst in der Modernen Kunst, Mathildenhöhe, Darmstadt, DE Skulptur: Bo Boustedts Samling, Göteborgs Konstmuseum, Göteborg, SE; Moderna Museet, Stockholm, SE Moore, Zajac, and Chadwick, M. Knoedler Gallery, New York, US 1962 Collectors» Choice XI, Gimpel Fils, London, UK Arte Britanica no seculo XX (organised by the British Council), Gulbenkian, Kent, UK; Foundation, Lisbon, PT; Coimbra, PT; Oporto, PT VII Esposizione Internazionale di Bianco e Nero, Lugano, CH Festival of Two Worlds, Music and Sculpture, Spoleto, IT Sculpture at the Keukenhof, Lisse, NL 3 Premio Carrara, Biennale Internazionale di Scultura, Carrara, IT 19 Young Sculptors (organised by Gloucester City Council), Hillfield Gardens, Gloucester, UK British Art Today, San Francisco Museum of Art, California, US; Dallas Museum for Contemporary Arts, Texas, US; Santa Barbara Museum of Art, California, US 1961 James Thrall Soby Collection (exhibition organised by the Museum of Modern Art, New York), M.Knoedler Gallery, New York, US 19th and 20th Century Drawings, Watercolours and Sculpture, Marlborough Fine Art, London, UK The Maremont Collection at the Institute of Design, Illinois Institute of Technology, Chicago, Illinois, US 2éme Exposition Internationale de Sculpture Contemporaine, Musée Rodin, Paris, FR Some Aspects of 20th Century Art, Marlborough Fine Art, London, UK 6e Biennale voor Beeldhouwkunst, Middelheim Park, Antwerp, BE De Rodin a Nuestros Días, Fundación Eugenio Mendoza, Madrid, ES IV Concorso Internazionale del Bronzetto, Sala della Ragione, Padua, IT Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburgh, Pennsylvania, US Recent British Sculpture (British Council touring exhibition National Gallery of Canada, in New Zealand by the Auckland City Art Gallery, in Australia by the State Galleries of Australia); Gallery of Canada, Ottawa, CA; Montreal Museum of Fine Arts, Montreal, CA; Winnipeg Art Gallery, Winnipeg, CA; Norman McKenzie Art Gallery, Regina College, Regina, CA; Art Gallery of Toronto, Toronto, CA; Public Library and Art Museum, London, Ontario, CA; Vancouver Art Gallery, Vancouver, CA; City Art Gallery, Auckland, NZ; Dominion Museum, Wellington, NZ; Otago Museum, Dunedin, NZ; Canterbury Museum, Christchurch, NZ; National Gallery of Western Australia, Perth, AU; National Gallery of Southern Australia, Adelaide AU; National Gallery of Tasmania, Hobart, AU; National Gallery of Victoria, Melbourne, AU; National Gallery of New South Wales, Sydney, AU; National Gallery of Queensland, Brisbane, AU; Newcastle Art Gallery, Newcastle (New South Wales), AU; Canberra, AU; Bridgestone Gallery, Tokyo, JP; National Museum of Modern Art, Kyoto, JP; City Hall, Hong Kong, CH