Topic Visual Arts

1.1HISTORY OF THEATRE 1.1.1Greek and Roman theatre Attending the theatre in ancient Greece was a great festive occasion. The statue of Dionysus, god of wine, was carried through the streets, leading a procession to the outdoor hillside theatre where the plays were to be performed. Several plays, all religious and nationalistic in character, were shown in one day. The spectators thrilled to the dramatic stories of gods and heroes and had the added excitement of witnessing a contest, for the best playwright was awarded a prize. Greek theatre had its origins in song and dance. The song was the ancient dithyramb, a choral narrative in honor of Dionysus, sung to the accompaniment of the lyre. The dances depicted the harvest work and festivals honoring dead heroes. About 560 BC, Thespis, the first actor-dramatist, gave the Greek drama its form. The next 150 years were the golden age of Greek drama. The Greek theatres were magnificent structures. Fifteen or twenty thousand spectators sat in bleacher like tiers built on a hillside in an arc around the acting and dancing space, called the orchestra. These theatres had remarkable acoustics. In the theatre at Epidaurus, which still stands, a match struck in the orchestra can be heard in the farthest seat. In the beginning no scenery was used. As the theatre developed, a skene structure of columns with three entranceways was added behind the orchestra space. [plaatje0] The Roman theatre was smaller than the Greek. It usually sat about 1,500 people but sometimes as few as 200. The structure was like the Greek, except that it was not on a hillside. Bleachers arranged in an exact semicircle joined directly onto a scene building. The scene building was more elaborately decorated, usually with five door openings that looked like Roman triumphal arches. Sometimes the narrow stage area stretching in front of the scene building was roofed over. At Pompeii two excellent examples built in 80 BC still stand.
1.1.2The Middle Ages and the Renaissance The drama of the Middle Ages began with a simple Latin dialogue spoken in the church. The dialogue grew into recognizable plays. At first they were in Latin and acted out in the church. Later they were in the people's language and acted out on the church steps or in the courtyards of inns. These plays were sometimes shown before a long, low, scenic construction which represented various localities, or mansions. At one end of this structure was an elaborate mansion representing Heaven and at the other end a dragon's mouth representing Hell. Sometimes these plays were staged on wagons, one scene on each wagon. The spectators stayed in one place and watched the various acts as the wagons pulled up in front of them. The Renaissance theatre was a period of elaborate spectacle, of few plays and playwrights of lasting importance, and of new playhouses that set the pattern for modern theatres. These stage spectacles, called masques, were performed in the ballrooms of Italian courts. Scenery and costumes were elaborate. Clouds floated around the ceiling; angels and cherubs went up and down. Magnificent chariots were drawn into view. The stories were unimportant. Attention was on the gorgeous pageantry. More notable, however, were the theatres built at the academies of learning. In 1584 the Teatro Olimpico was completed. It was built by the Olympian Academy of Vicenza, Italy, and was designed by the famous architect Palladio. With its semicircle of 3,000 tiered seats and its scenic facade, it was essentially a Roman-type theatre. The main difference was that it was roofed over. The central opening in the scenic wall may have been the first real proscenium arch. Through this central arch and two other openings on each side the spectator saw elaborate vistas of buildings painted in perspective. The principles of perspective painting had just been rediscovered. Also famous was the Teatro Farnese at Parma, Italy. It was built in 1618 and is sometimes considered the first modern theatre. The auditorium of this theatre was shaped like a horseshoe, and the tremendous stage area extended out into the horseshoe, permitting elaborate spectacles. The scenic wall had one large opening. Perspective settings were erected behind this curtained opening. Stage action took place either in front of or behind this proscenium. [plaatje1] 1.1.3The Commedia dell'Arte The commedia dell'arte was the theatre of the common people during the Renaissance. It was a theatre of actors, of stage types, and of improvised plays put together by the common people. Three dell'arte characters-Harlequin, Pierrot, and Pulcinella are still well known; and the name of the jesting valet, Zanni, is used to describe any comic "cutup," on the stage or off. A dell'arte company consisted of 10 or 12 strolling players. Each was assigned a stock part-the Doctor, the Captain, Scaramuccia, or one of the others. Each character had his standard costume and established peculiarities. The Doctor, for example, always dressed in black and talked in a high-sounding manner. The troupe had no set plays. They had only scenarios or synopses of the action. The players depended on making up speeches as they went along and on stock comic situations which they slipped into easily. Their methods were like the modern creative dramatics programs carried on in many schools. Els Mievis2 Visual Arts 1.1.4Shakespeare and the Elizabethan Theatre Before 1576 there was no proper theatre in London. The inner courtyards of inns were used to present plays. A small platform was placed over the watering troughs just outside the stables at one end of the court. The spectators either stood in the court or sat on benches on the balconies above the yard. This layout was the model for the later regular theatres. The first one, called simply the Theatre, was built by James Burbage in 1576. Many more theatres were built in short order-the Curtain, Rose, Swan, Hope, Fortune, and most important, the Globe. The Globe Theatre opened in 1599, with 'Julius Caesar' as one of its first productions. It staged the first performances of many of Shakespeare's tragedies. The plays were acted by the Lord Chamberlain's men, later known as the King's Men. Shakespeare was an actor in this company. The Globe was a hexagon with an inner court about 55 feet across. A platform stage stretched halfway into this court. The audience either stood in the open courtyard-the pit-or sat in one of three semicircular galleries. More than 1,500 people could crowd into the Globe. At the first level of the stage house were the platform stage and an inner curtained stage flanked by two doors. At the second level was another curtained inner stage fronted by two windows and a balcony. On the third level was a small music gallery. On the roof were a flag, facilities for shooting cannon, and over the platform stage a roof through which characters could be lowered by crane to the stage. With so many stage spaces, the multiple scenes of Shakespeare's plays could be played through without interruption for scenery changes. The action moved from one playing space to another. In many ways it was the most flexible theatre ever developed. There were private theatres at Blackfriars and St. Paul's where boy actors performed. There were also magnificent masques presented to the court in the Great Hall at Whitehall. The masques used such notable designers as Inigo Jones and such writers as Ben Jonson. In his designs for these masques, Jones introduced the side wings and backdrop type of setting, which has lasted until today. 1.1.5The next two centuries All theatrical activity during the English Restoration was limited to two London playhouses-the Duke's Theatre and the Theatre Royal. These were simply long halls with a stage at one end. In structure theatres were shifting from Elizabethan to modern. They had a proscenium with acting space behind it, but they also had a large apron stage extending into the audience and proscenium doors for entrances and exits. The settings were of the wing and backdrop type started by Inigo Jones. During the Restoration the theatre was the toy of noble fops. They came to see and talk with each other as much as to see the play. This period saw great actors rise-Thomas Betterton, Mrs. Bracegirdle, and Nell Gwynn. Since then, the English theatre has been known for its actors rather than its plays. Among the famous actors of the 1700s were Colley Cibber, Anne Oldfield, Charles Macklin, Peg Woffington, and John Philip Kemble and his sister Sarah Siddons. The greatest was David Garrick. Garrick started what he called a natural method of acting. The two great theatres were the Drury Lane and the Covent Garden. In most respects these were like the Restoration theatres. They kept the proscenium doors, but the size of the apron was cut down. In Garrick's time the Drury Lane seated about 2,000. In 1791 Richard Brinsley Sheridan tore it down and built a new Drury Lane seating 3,500. During the 1800s the actor continued to dominate the stage-Edmund Kean, Ellen Terry, and Henry Irving in England; Francois Talma and Sarah Bernhardt in France; Edwin Forrest and Edwin Booth in the United States. Theatre buildings looked like those of the 1700s. Apron space became smaller. More action took place behind the proscenium. Proscenium doors were sometimes replaced with stage boxes for select members of the audience. In about 1850 box sets began to appear. They had a back wall parallel to the footlights and two sidewalls. The course of the modern theatre was set in the late 1800s. In 1866 George II, the duke of Saxe-Meiningen, organized a company devoted to theatrical principles now accepted as standard. In his time they were revolutionary. The primary purpose of production, he said, was to give a true and faithful rendering of the play. There could be no star or chief actors. The entire group must play together like an orchestra. Scenery and costumes must be authentic. The Meiningen Company influenced Andre Antoine's Theatre-Libre in Paris and Konstantin Stanislavsky's Moscow Art Theatre. In turn these helped form theatre groups in many countries: the Abbey Theatre in Ireland, the Stage Society in England, the Freie Buhne in Germany, and the Provincetown Players and the Washington Square Players in the United States. From this last group came the present-day Theatre Guild and the little theatre movement in the United States. Along with changes in production styles came significant alterations in theatre buildings. The introduction of electricity made possible safer and better lighting, movable stages, and mechanization of set handling. Studies in acoustics aided theatre design.   1.1.6Theatre since 1960 The most significant development in theatre in the decades after World War II was diversity. Not only was there a great deal of experimentation and innovation, but theatre expanded geographically as well. While New York City and London remained vital centers of theatrical production, most major urban centers had theatres of their own. The production standards in many of them were of very high quality.
1.1.7Great Britain London continued to maintain its leadership in theatre in the United Kingdom. Especially significant were the efforts of the Royal Shakespeare Company, the National Theatre, and the English Stage Company. In 1976 the National Theatre moved into large new facilities on the south bank of the Thames River, and in 1982 the Barbican Centre opened as the home for the Royal Shakespeare Company. These new multi-theatre buildings made possible a wider range of offerings by both companies. In 1968 the government did away with censorship laws passed in 1737. This freed theatrical companies to do plays that had previously been banned. It also paved the way for the starting of many new small, experimental groups. By the early 1980s there were more than 300 small repertory theatre troupes operating in Great Britain. They performed in colleges, at private clubs, in pubs, and outdoors. Their productions were varied enough to attract very diverse audiences-in many cases people who had never attended theatre before. There was also an increase in the number of resident theatre troupes in major cities such as Bristol, Glasgow, Liverpool, and Manchester. Many of these were subsidized by local governments and produced dramatic talent of high quality. Many of the works that originated in these local theatres eventually found their way to the London stage. 1.2TYPES OF THEATRE One way to classify the legitimate theatre is by types of staging. Three general systems are in use: 1.2.1The proscenium stage It is still the most common form. The scene of action is framed by a proscenium arch, and the front curtain represents the fourth wall of the stage room. When the curtain opens, the audience looks through this fourth wall into the room. 1.2.2The thrust stage Also known as the open, or platform, stage-extends into the audience. Spectators sit on three sides. Often this type is combined with proscenium staging. Part of the action takes place in front of the curtain line and part behind. 1.2.3Theatre-in-the-round It is also called arena, or central, stage. The action takes place on a platform space or on the floor in the center of the room. The audience completely encircles the playing space. Usually the spectators are banked in bleacher like tiers of seats around the stage space. Another way to classify the theatre is by location and purpose. The theatrical capital of the United States is New York City, and American professional theatre has long been identified with Manhattan's commercial theatre district centered on Broadway. The term Broadway has come to mean professional theatre. Smaller theatres with lower-budget productions are known as off-Broadway. These theatres have served experimental theatre and as training grounds for new professionals. Off-off-Broadway was a later development for still less expensive and more daring productions. There is, of course, professional theatre in other United States cities as well as many professional summer theatres, often in popular resort areas, and semiprofessional community theatres. Most American theatrical fare is presented by the nonprofessional, or little, theatre-university, high school, community, church, and club theatres of all kinds. 1.3ONE OF THE MOST FAMOUS THEATRES: THE GLOBE [plaatje2] The Globe Theatre also known as the Shakespeare Globe Theatre was not only one of most famous playhouse's of all time, but the playhouse where Shakespeare performed many of his greatest plays. Built from oak, deal, and stolen playhouse frames, the 3 storeys, 3000 capacity Globe Theatre, co-owned by William Shakespeare has become almost as famous as the playwright himself. 1.3.1The old Globe The original Globe opened in 1599. Built to the engineering standards, the famous playhouse was a large circular structure, three stories high. A small straw hatched roof only partially covered the circular structure, giving it an appearance very much like a modern day football stadium where the centre is uncovered. In the centre, pushed up against one interior side, extended the 5 feet high main stage. At the back of this stage facing the interior walls were two doors and a main entrance consisting of a central curtain. Behind this were changing rooms for the actors. To get back on stage, they would emerge from the arras or the two side doors at stage level. Above this stage was a balcony, flanked by two further balconies serving as playhouse boxes. On the third level was a small house like structure supported by columns from the stage where announcements were made and the playhouse's flag would often fly, advertising plays currently being performed. Again like a stadium, three rows of seating forming circular bands wrapped around the interior. These galleries at two pennies, cost more, but offered the comfort of seating. Those in the central uncovered courtyard had to stand through what could be a three-hour performance, rain or shine. It burned down in 1613 and was immediately rebuilt. It was closed by the Puritans in 1642. 1.3.2The dimensions of the original Globe Diameter: 100 ft surface to surface / 99 ft centre to centre Yard: 70 ft between post centres / 69 ft surface to surface Stage: 49 ft 6 inches across Stage height: 5 feet. Gallery Depth: 15 ft 6 inches overall / 15 ft 6 inches between post centres Overall height: 36 ft. 6 in. Overall heights from floor to floor: 15 ft. 6 in.,11 ft. 3 in. and 9 ft. 9 in. to the plates.  Balcony floor: 18 ft. 6 in. above the yard, 13 ft 6 in. above stage
Frons Scenae doors: 11 feet tall Heavens ceiling height: 26 ft 9 inches (to the height of the upper gallery floor)  1.3.3The new Globe Now, 200 yards from its original site, after almost 400 years, the Globe Theatre has been opened to the public again: the rebuilt playhouse was officially inaugurated by Her Majesty the Queen on Thursday 12 June 1997, its Opening Season ran from 29 May to 21 September 1997, and every summer it now offers performances of plays by Shakespeare and his contemporaries on the type of stage they were written for, many of them in authentic clothing. 1.3.4The dimensions of the new Globe 33 ft high to the eaves, 45 ft overall 100 ft diameter 300 ft circumference 20 sections capacity: 1600, including 700 standing places 1.4SHAKESPEARE 1.4.1Biography Though William Shakespeare is recognized as one of literature's greatest influences, very little is actually known about him. What we do know about his life comes from registrar records, court records, wills, marriage certificates and his tombstone. Anecdotes and criticisms by his rivals also speak of the famous playwright and suggest that he was indeed a playwright, poet and an actor. William was born in 1564. He was the third child of John and Mary Shakespeare. William's father, John Shakespeare, was a town official of Stratford and a local businessman who dabbled in tanning, leatherwork and whittawering which is working with white leather to make items like purses and gloves. John also dealt in grain and sometimes was described as a glover by trade. John was also a prominent man in Stratford. By 1560, he was one of fourteen burgesses which formed the town council. William's mother was Mary Arden who married John Shakespeare in 1557. They assume William attended the King's New Grammar School since it existed to educate the sons of Stratford but there's no definite proof. On the 28th November, 1582, the eighteen year old William married the twenty-six and pregnant Anne Hathaway. Barely seven months later, they had his first daughter, Susanna. In 1585 he had twins: Hamnet and Judith. Hamnet died in 1596, just eleven years old. William Shakespeare died on April the 23rd, 1616. He is buried at the Holy Trinity Church in Stratford. 1.4.2His works Comedies:
All's Well That Ends Well; As You Like It; The Comedy of Errors; Cymbeline; Love's Labours Lost; Measure for Measure; The Merry Wives of Windsor; The Merchant of Venice; A Midsummer Night's Dream; Much Ado About Nothing; Pericles; Prince of Tyre; Taming of the Shrew; The Tempest; Troilus and Cressida; Twelfth Night; Two Gentlemen of Verona; Winter's Tale. Histories: Henry IV, Part I; Henry IV, Part II; Henry V; Henry VI, Part I; Henry VI, Part II; Henry VI, Part III;
Henry VIII; King John; Richard II; Richard III. Tragedies: Antony and Cleopatra; Coriolanus; Hamlet; Julius Caesar; King Lear; Macbeth; Othello; Romeo and Juliet; Timon of Athens; Titus Andronicus. Els Mievis3 4 2. FILM 2.1HISTORY: LUMIÈRE AND THE FIRST MOTION PICTURES In the early 1890s, William Dickson and Thomas Edison developed their own camera-like device which they called the kinetoscope. It was a great success and by 1894 peep-show parlors popped up all across the country. Soon every industrial nation developed their own camera. Louis and Auguste Lumière were French pioneers that contributed a great deal to the development of the motion picture. They developed their own camera called the "Cinématographe", which effectively functioned as camera, projector and printer all in one.                 
Le cinematographe - 1985 (front and side views) Their work consisted mainly of moving images from scenes of everyday life. Ironically as we look back in retrospect in comparison to what film has developed into today, the Lumière Brothers believed it to be a medium without a future as they suspected that people would bore of images that they could just as easily see by walking out into the street. However, their film sequence of a train pulling into the station reportedly had audiences screaming and ducking for cover, as they believed that the train itself was about to plough into the theatre.   Born in the Haute-Saone District in 1862 and 1864, with Auguste being the elder, the Lumière family eventually settled in Lyon. Their father Antoine, opened his own photographic studio and was equally intrigued by this new phenomenon of moving pictures that was slowly developing. Antoine saw to it that his sons recieved a formal education as they attended the largest technical school in Lyon, La Martiniere.   The Lumière Brothers have been credited with over 1,425 different short films and had even filmed aerial shots years before the very first airplane would take to the skies.               Auguste Lumière            Louis Lumière 2.2SOME STUDIOS (NOTE: They held long-term contracts both on directors and actors) 20th Century Fox (1935) Directors: Ernst Lubitsch, Otto Preminger, Henry Hathaway, and Elia Kazan Actors: Shirley Temple, Loretta Young, Betty Grable, Marilyn Monroe, Tyrone Power, Don Ameche, Henry Fonda, and Gregory Peck Paramount Pictures (1912) Actors: Mary Pickford, Mae West, W. C. Fields, Bing Crosby, Bob Hope, Gary Cooper, Claudette Colbert, Alan Ladd, Burt Lancaster, Kirk Douglas Metro-Goldwyn-Mayer (1924) Directors: Eric Von Stroheim, Fritz Lang, George Cukor, Victor Fleming Actors: Greta Garbo, Clark Gable, Joan Crawford, Spencer Tracy, James Stewart, Mickey Rooney, Judy Garland, Elizabeth Taylor Columbia Pictures (1920) Warner Brothers (1923) Actors: Humphrey Bogart, Edward G. Robinson, Jimmy Cagney, Bette
2.3GREAT BRITAIN 2.3.1Introduction The cinema in Britain is often regarded as not quite part of 'the arts' at all - it is simply entertainment. Partly for this reason, Britain is unique among the large European countries in giving almost no financial help to its film industry. Therefore, although cinema going is regular habit for much larger number of people than is theatre going, British film directors often have to go to Hollywood because the resources they need are not available in Britain. As a result, comparatively few films of quality are made in the country. This is not because expertise in filmmaking does not exist. It does. American productions often use studios and technical facilities in Britain. Moreover, some of the films, which Britain does manage to make, become highly respected around the world. But even these films often make a financial loss. 2.3.2British pioneers      Robert Paul       Birt Acres                   George Albert Smith       James Wilkinson       Cecil Hepworth 2.3.3First British films 1. Charge of the Uhlans (1895) 2. Opening of the Kiel Canal (1895) 3. Rough Sea at Dover (1895) 4. Shoeblack at Work in a London Street (1895) 5. Smith and Machinery at Work (1895) 6. The Clown Barber (1895) 7. The Derby (1895) 8. The Oxford and Cambridge University Boat Race (1895) 9. Tom Merry, Lightning Cartoonist (1895) Els Mievis4 Visual Arts 3. THE FINE ARTS: PAINTING AND SCULPTURE
3.1INTRODUCTION Painting and sculpture are not as widely popular as theatre and film in Britain. There is a general feeling that you have to be a specialist to appreciate them, especially if they are contemporary. Small private galleries, where people might look at paintings with a view to buying them, are rare. Nevertheless, London is one of the main centres of the international collector's world. The two major auction houses of Sotheby's and Christie's are world-famous. Until the 1980s, the country's major museums and galleries charged nothing for admission. Most of them now do so, although sometimes payment is voluntary. This has caused a lot of complaint that a great tradition of free education has been lost. 3.2SOTHEBY'S INSTITUTE OF ART Sotheby's Institute of Art started in London in 1969 and, due to its tremendous success, quickly grew into a small university granting graduate and undergraduate degrees through the University of Manchester. Several years later Sotheby's Institute of Art, New York, was founded and, in 1989, became an accredited institutional member of the National Association of Schools of Art and Design. The courses in both London and New York are unique, giving students the opportunity to work directly with upcoming sale property. Courses encourage students to utilize Sotheby's auction galleries, on-site research library and business facilities. If you cannot commit to one of the degree programs, the institute also organizes individual lectures as well as seminar days. 3.3TATE BRITAIN Tate Britain is the national gallery of British art from 1500 to the present day, from the Tudors to the Turner Prize. Tate holds the greatest collection of British art in the world, including works by Blake, Constable, Epstein, Gainsborough, Gilbert and George, Hatoum, Hirst, Hockney, Hodgkin, Hogarth, Moore, Rossetti, Sickert, Spencer, Stubbs and Turner. The gallery is the world centre for the understanding and enjoyment of British art, and helps promote interest in British art internationally. Tate Britain Centenary Development The opening of the Tate Centenary Development on 1 November 2001 completes the launch of Tate Britain, begun in March 2000. The Development was announced in 1997 - the Centenary year of the Tate Gallery, as it was previously known. It provides Tate Britain with ten new and five refurbished galleries as well as the dramatic new Manton Entrance on Atterbury Street providing visitors with full access, new visitor information points, a cloakroom, toilets and a shop. 3.4SOME FAMOUS PAINTERS 3.4.1John Constable Biography John Constable was an English painter who was a master of landscape painting in the romantic style. His works, done directly from nature, influenced French painters of the Barbizon School and the impressionist movement. Constable was born June 11, 1776, in East Bergholt, Suffolk. He worked in his father's flourmill before going to London in 1799 to study at the Royal Academy schools. He exhibited his first landscape paintings in 1802 and thereafter studied painting and English rural life on his own, developing a distinctly individual style. His paintings, executed entirely in the open air rather than in a studio, as was customary, were an innovation in English art. Constable departed from the traditions of Dutch and English painting by discarding the usual brown under painting and achieving more natural, luminous lighting effects through the use of broken bits of colour applied with a palette knife. He endeavoured to portray the effect of the scene, often softening physical details. He was fascinated by reflections in water and light on clouds. Although he lived in London, he painted the country around the Stour River in Suffolk and in Salisbury and Dorset. For many years Constable received little recognition or support in England. In France, however, where his famous Hay Wain (1821, National Gallery, London) was shown by a French dealer at the Paris Salon of 1824, he was much admired by the romantic painter Eugene Delacroix, by the Barbizon painters, who began to paint outdoors, and by the impressionists, who painted the effects of light. He became a member of the Royal Academy in 1829. Constable died in London, March 31, 1837.
Some of his works           Dedham Vale, 1802         Stratford Mill, 1820   Brighton Beach with Colliers, 1824 3.4.2Joseph Mallord William Turner Biography Joseph Mallord William Turner was an English landscape painter who is renowned especially for his dynamic treatment of natural light effects in land and marine subjects. His work is of direct importance in the development of impressionism. Turner was born in London on April 23, 1775, and educated at the Royal Academy of Arts. At the age of 15 he exhibited his paintings at the academy and continued to show his work there until 1850. He was elected an associate of the academy in 1799 and a full member three years later. He travelled widely throughout his career, extensively touring England and Scotland and later France, Switzerland, and Italy. In 1807 he became professor of perspective at the Royal Academy and in 1845 was appointed deputy professor. Turner's early paintings were predominantly watercolours and his subjects mostly landscapes. By the late 1790s he had started exhibiting his first oil paintings, eventually transferring to the oils the same vibrancy of colour that had proved so successful in his watercolours. His mature work falls into three periods. During the first period (1800-20) Turner painted many picturesque mythological and historical scenes in which the colouring was subdued and details and contours were emphasized. He was influenced by the 17th-century French landscape painter Claude Lorrain, notably in the use of atmospheric effects, as in The Sun Rising Through Vapor (1807, National Gallery, London), and in the treatment of architectural forms, as in Dido Building Carthage (1815, National Gallery). Turner also produced numerous engravings for his unfinished collection Liber Studiorum (1806-19). The paintings of the artist's second period (1820-35) are characterized by more brilliant colouring and by diffusion of light. In two of Turner's best works, Bay of Baiae (1823, National Gallery) and Ulysses Deriding Polyphemus (1829, National Gallery), his use of light lends radiance to the colours and softens architectural and topographical forms and shadows. During this period he also executed a number of illustrations for books on topography and a collection of watercolours depicting Venetian scenes. Turner's artistic genius reached its culmination during his third period (1835-45). In such works as Snow Storm: Steam Boat Off a Harbour's Mouth (1842, Tate Gallery, London), Peace—Burial at Sea (1842, Tate Gallery), and Rain, Steam, and Speed (1844, National Gallery), he achieved a vibrant sense of force by presenting objects as indistinct masses within a glowing haze of colour. Some of the forces represented are the strength of the sea and the rhythm of rain. Other famous works of this period include The Fighting Téméraire (1839, National Gallery), The Sun of Venice Going to Sea (1843, National Gallery), and The Approach to Venice (1844, National Gallery of Art, Washington, D.C.). Turner died in London on December 19, 1851. Els Mievis5 6 Some of his works             Rain, Steam and Speed, 1844The Fighting Téméraire, 1838 Boldarn Castle, 1799 3.5SOME FAMOUS SCULPTORS 3.5.1 Dame (Jocelyn) Barbara Hepworth (1903-1975) Biography Sculptor, born in Wakefield, West Yorkshire, N England, UK. She studied at the Leeds School of Art (where she befriended Henry Moore, a fellow student), the Royal College of Art, and in Italy. She married, first, the sculptor John Skeaping (1901--80), then (1933) the painter Ben Nicholson, who had a strong influence on her work. She was one of the foremost non-figurative sculptors of her time, notable for the strength and formal discipline of her carving (as in Contrapuntal Forms, exhibited at the Festival of Britain, 1951). Her representational paintings and drawings are of equal power. She was made a dame in 1965. Els Mievis6
Visual Arts