1 10 31 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1897 Birthplace Chicago, United States Death Date 1983 Occupation Artist Biographical Text Ivan Le Lorraine Albright (February 20, 1897 – November 18, 1983) was an American painter, sculptor and print-maker most renowned for his self-portraits, character studies, and still lifes. Due to his technique and dark subject matter, he is often categorized among the Magic Realists and is sometimes referred to as the "master of the macabre". From a family of artists and artisans, Albright emerged on the American art scene in the 1930s and established a reputation as one of the most enigmatic of the American Realists. He shocked, awed and upset the viewing public through his emphasis on the fragility of the body, flesh and the human condition with such works as The Lineman (1928), That Which I Should Have Done I Did Not Do (The Door) (1931), and The Picture of Dorian Gray (1943). His work to highlight the minute detail and texture of every surface often required him to spend years or decades on a single painting. While Albright's works can be found in museums throughout the United States, the most important repository of his works is at the Art Institute of Chicago. Bibliography http://www.tate.org.uk/art/artists/ivan-albright-637 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ivan Albright Identifier An unambiguous reference to the resource within a given context 637 Describing Femininity Ivan Albright Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1916 Birthplace Leeds, United Kingdom Death Date 2002 Occupation Artist Biographical Text William Kenneth Armitage (18 July 1916 – 22 January 2002) was a British sculptor known for his semi-abstract bronzes. Bibliography http://www.tate.org.uk/art/artists/kenneth-armitage-664 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Kenneth Armitage Identifier An unambiguous reference to the resource within a given context 664 Describing Femininity Kenneth Armitage Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1931 Birthplace Berlin, Deutschland Occupation Artist Biographical Text Auerbach was born in Berlin of Jewish parents; his father was a lawyer and his mother a former art student. In 1939 he was sent to England to escape Nazism. His parents, who remained behind, died in concentration camps. He spent his childhood at a progressive boarding school, Bunce Court, at Lenham near Faversham, Kent, a school for Jewish refugee children. During the war years the school was evacuated to Shropshire. He attended St Martin's School of Art, London, from 1948 to 1952, and studied with David Bomberg in night classes at Borough Polytechnic. It was during this period that he developed a friendship with fellow student Leon Kossoff. Auerbach studied at the Royal College of Art from 1952 to 1955. He has used three principal models throughout his career: his wife Julia, who first posed for him in 1959; Juliet Yardley Mills ('J.Y.M.'), a professional model whom he met in 1957; and his close friend Estella (Stella) West ('E.O.W.'), the model for most of his nudes and female heads prior to 1973. Rarely leaving Britain, he lives and works in London and has had the same studio since the 1950s. The dealer Helen Lessore at the Beaux-Arts Gallery, London, gave Auerbach his first solo show in 1956. He was criticised for his thick application of paint, but found support from the critic David Sylvester, who wrote of 'the most exciting and impressive first one-man show by an English painter since Francis Bacon in 1949'. Sylvester countered remarks by various critics that the artist's work was closer to sculpture than to painting: 'in spite of the heaped-up paint, these are painterly images, not sculptural ones, have to be read as paintings, not as polychrome reliefs, and make their point just because their physical structure is virtually that of sculpture but their psychological impact is that of painting' (Sylvester, 'Young English Painting', The Listener, 12 January 1956). Kossoff later echoed these sentiments: 'in spite of the excessive piling on of paint, the effect of these works on the mind is of images recovered and reconceived in the barest and most particular light, the same light that seems to glow through the late, great, thin Turners ... an unpremeditated manifestation arising from the constant application of true draughtsmanship' (in Frank Auerbach, exhibition catalogue, Arts Council, Hayward Gallery, London 1978, p.9). Auerbach exhibited regularly at the Beaux-Arts Gallery until 1963. From 1965 he exhibited at the Marlborough Gallery. He was given an Arts Council retrospective at the Hayward Gallery, London in 1978, and had solo exhibitions at the British Pavilion in the 1986 Venice Biennale, and at the Rijksmuseum Vincent Van Gogh, Amsterdam, 1989. Group shows in which he has participated include Tooth and Sons, London, in 1958, Pittsburgh International Exhibition at the Carnegie Institute in 1958 and 1961, '54/64 Painting and Sculpture of a Decade at the Tate Gallery, 1964, British Painting in the Sixties organised by the Contemporary Arts Society in 1964, and The Human Clay, selected by R.B. Kitaj, held at the Hayward, 1976. Bibliography http://www.tate.org.uk/art/artists/frank-auerbach-676 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frank Auerbach Identifier An unambiguous reference to the resource within a given context 676 Describing Femininity Frank Auerbach Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1921 Birthplace Krefeld, Deutschland Death Date 1986 Occupation Artist Biographical Text Joseph Heinrich Beuys ( BOYSS, German: [ˈjoːzɛf ˈbɔʏs]; 12 May 1921 – 23 January 1986) was a German artist, teacher, performance artist, and art theorist whose work reflected concepts of humanism and sociology. With Heinrich Böll, Johannes Stüttgen, Caroline Tisdall, Robert McDowell, and Enrico Wolleb, Beuys created the Free International University for Creativity & Interdisciplinary Research (FIU). Through his talks and performances, he also formed The Party for Animals and The Organisation for Direct Democracy. He was a member of a Dadaist art movement Fluxus and singularly inspirational in developing of Performance Art, called Kunst Aktionen, alongside Wiener Aktionismus that Allan Kaprow and Carolee Schneemann termed Art Happenings. Today, internationally, the largest performance art group is BBeyond in Belfast, led by Alastair MacLennan who knew Beuys and like many adapts Beuys's ethos. Beuys is known for his "extended definition of art" in which the ideas of social sculpture could potentially reshape society and politics. He frequently held open public debates on a wide range of subjects, including political, environmental, social, and long-term cultural issues. Bibliography http://www.tate.org.uk/art/artists/joseph-beuys-747 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Joseph Beuys Identifier An unambiguous reference to the resource within a given context 747 Describing Femininity Joseph Beuys Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1913 Birthplace Buntingford, United Kingdom Death Date 1981 Occupation Artist Biographical Text Reginald Cotterell Butler (28 April 1913 – 23 October 1981) was an English sculptor. He was born at Bridgefoot House, Buntingford, Hertfordshire to Frederick William Butler (1880–1937) and Edith (1880–1969), daughter of blacksmith William Barltrop, of The Forge, Takeley, Essex. His parents were the Master and Matron of the Buntingford Union Workhouse. Frederick Butler, formerly a police constable, was a relative of the poet William Butler Yeats; Edith was of Anglo-French descent. Butler studied and lectured at the Architectural Association School of Architecture in London from 1937 to 1939. He was a conscientious objector during the Second World War, being exempted from military service conditional upon setting up a small blacksmith business repairing farm implements. After winning the 'Unknown Political Prisoner' competition in 1953 he became one of the best known sculptors during the 1950s and 1960s, and also taught at the Slade School of Art. Butler's later work consists of lifelike models of female figures, such as Girl on a Round Base, that have something in common with Hans Bellmer and the sculpture of Allen Jones and prefigure the work of Ron Mueck. Bibliography http://www.tate.org.uk/art/artists/reg-butler-844 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reg Butler Identifier An unambiguous reference to the resource within a given context 844 Describing Femininity Reg Butler Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1924 Birthplace Surrey, United Kingdom Death Date 2013 Occupation Artist Biographical Text Sir Anthony Alfred Caro (8 March 1924 – 23 October 2013) was an English abstract sculptor whose work is characterised by assemblages of metal using 'found' and industrial objects. He began as a member of the modernist school, having worked with Henry Moore early in his career. He was lauded as the greatest British sculptor of his generation. Bibliography http://www.tate.org.uk/art/artists/sir-anthony-caro-865 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sir Anthony Caro Identifier An unambiguous reference to the resource within a given context 865 Describing Femininity Sir Anthony Caro Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1900 Death Date 1976 Occupation Artist Bibliography http://www.tate.org.uk/art/artists/jesse-dale-cast-871 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jesse Dale Cast Identifier An unambiguous reference to the resource within a given context 871 Describing Femininity Jesse Dale Cast Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1924 Birthplace Derbyshire, United Kingdom Occupation Artist Biographical Text Geoffrey Clarke (28 November 1924 – 30 October 2014) was a British sculptor of ecclesiastical art and maker of stained glass. Bibliography http://www.tate.org.uk/art/artists/geoffrey-clarke-912 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Geoffrey Clarke Identifier An unambiguous reference to the resource within a given context 912 Describing Femininity Geoffrey Clarke Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1908 Birthplace Plymouth, United Kingdom Death Date 1989 Occupation Artist Biographical Text Cecil Collins was born in Plymouth, Devon on 23 March 1908. He early life was physically and economically difficult and he was apprenticed to an engineering firm for a year before winning scholarships to Plymouth School of Art (1924-7) and the Royal College of Art in London (1927-31). At the College he won the William Rothenstein Life Drawing Prize. He also met and, in 1931, married Elisabeth Ramsden, a sculpture student. They lived in London and rented a cottage at Speen, north of High Wycombe in Buckinghamshire, where they were introduced to Eric Gill, nearby at Piggots, and met David Jones. In 1933 the Collinses visited Paris, where they saw the work of Paul Klee and visited Gertrude Stein's apartment. They became friendly with Mark Tobey after his exhibition at Beaux Arts Gallery. Collins held his first exhibition at the Bloomsbury Gallery (Oct. 1935), where he showed some of his most important early paintings, including The Fall of Lucifer (1933), which indicated the mystical direction of his work. He published a poem in The New English Weekly in 1936 and a painting and a drawing were included in the International Exhibition of Surrealism (New Burlington Galleries, 1936). In the same year, the couple moved to Devon, attending Tobey's classes at Dartington Hall. Collins held an exhibition in the Barn Studio (1937) attached to the Dartington Hall Art Department and, after Tobey's departure in 1938, he taught there (1939-43) alongside Bernard Leach, Hein Heckroth and Willi Soukop (q.v). The combination of interests in Far Eastern art and philosophy and German Expressionist performance proved important, and it was there that Collins began the series of Fools. Between 1944 and 1948, the Collinses divided their time between London and Cambridge. His exhibition at Lefevre's (Feb. 1944) escaped major damage even though blown off the walls in an air raid, and two more exhibitions in London followed in 1945. This period saw the publication of the first monograph on the artist by Alex Comfort (Cecil Collins: Paintings and Drawings 1935-45, 1946) and Collins's own major text written in 1944, The Vision of the Fool (1947). Both confirmed the artist's links with the poets of the 'Apocalypse' group and the associated inclination towards a visionary Neo-Romanticism in painting. In Cambridge from 1948, the Collinses were part of a circle, including the painters Nan Youngman and Elisabeth Vellacott, which founded the Cambridge Society of Painters and Sculptors (1955). From 1951, Collins also taught life drawing part-time with Mervyn Peake at the Central School of Art in London. He had a major retrospective at the Whitechapel Gallery in 1959, which included some 'matrical' paintings, which developed mystical images from gestural beginnings. The Collinses moved to Chelsea in 1970. He received a number of religious commissions, making an altar front for the Chapel of St Clement in Chichester Cathedral (1973), for which Elisabeth made kneelers, and windows for St Michael and All Saints, Basingstoke (1985). In 1979 he was awarded the MBE. A retrospective of his prints at the Tate Gallery in 1981, was followed by one of paintings and drawings in 1989. The painter died on 4 June 1989, during the course of this exhibition. Bibliography http://www.tate.org.uk/art/artists/cecil-collins-930 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cecil Collins Identifier An unambiguous reference to the resource within a given context 930 Cecil Collins Describing Femininity Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Describing Femininity at the Tate, 1950-1955: Artists Person An individual. Birth Date 1920 Birthplace Grangemouth, United Kingdom Death Date 2014 Occupation Artist Biographical Text James Alan Davie (28 September 1920 – 5 April 2014) was a Scottish painter and musician. Bibliography http://www.tate.org.uk/art/artists/alan-davie-979 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Alan Davie Identifier An unambiguous reference to the resource within a given context 979 Alan Davie Describing Femininity