Discover Art @ The Stanley & Audrey Burton Gallery

Free, fun- packed, hands-on four day art course for 7 to 11 year olds with the Stanley & Audrey Burton Gallery and professional artist Jennyanne Smith.

Do you love making things? Are you curious about all things 'ART'?  Would you like to discover the wonderful world of The Stanley and Audrey Burton Gallery and gain a fab certificate in the process?

Arts Award Discover Course

 

If you answered yes to these questions then DISCOVER ART could be just the thing for you!

Working with the Education Officer, Claire Evans and Artist Jennyanne Smith, children aged between 7 & 11 yrs are invited to join us during the summer holiday to take part in these free sessions and to work towards an Arts Award* certificate.  Discover all that the arts encompass - get inspired by the art works in the Gallery, make your own amazing relief art works and experimental colourful inky creations and much much more.

The course runs from 10am to 2:30pm on:

31 July 2014
7 August 2014
14 August 2014
28 August 2014

PLEASE NOTE: Children must fully participate in at least 3 of the sessions in order to be submitted for the Arts Award Discover certificate.

Please contact the Gallery for further information on the course and how to book:

Email: gallery@leeds.ac.uk (please write 'Arts Award' in the subject bar) Tel: 0113 343 2778

Parents are welcome to stay and get involved too but parental supervision is not compulsory.


*Arts Award is managed by Trinity College London in association with the Art Council England. Arts Award's unique qualifications support young people to develop as artists and arts leaders. 

Arts Award Centre

Staff Picks VII

Fiona Gell is a team assistant in the University Library Special Collections. She is also co-founder of the Leeds Big Bookend Festival. No wonder her favourite work of art in the Gallery has literary connections!

Lionel Maurice de Sausmarez, Whitelocks, Oil on Canvas, 1955

Lionel Maurice de Susmarez, Whitelocks

© Courtesy of Jane de Sausmarez. Image © University of Leeds

I love that this painting of Whitelocks by Maurice de Sausmarez hangs in the Stanley and Audrey Burton Gallery and that I can visit it whenever I want to. I work in Special Collections at the Brotherton Library. It's not so much the painting itself which I do like but the history and associations that it brings to mind.

If you have never been to Whitelocks, I urge you to go. It's a piece of living Leeds history tucked away right next to the shopping metropolis, Trinity. It started life in 1715 as the Turk's Head, named after the Turk's Head Yard where it is located but became Whitelock's in Victorian times after its then owner William Whitelock. Its interior is a mixture of Victorian and Edwardian styles and will transport you straight back to those times.

As a Leeds University student, I went there and I have carried on doing so all the time I have lived in Leeds. What I didn't realise was that it has a long association with the cultural heart of the city which I only found out about relatively recently. It has been the haunt of artists, journalists, actors and writers for decades.

Jacob Kramer and the leading lights of the Yorkshire Luncheon Club used Whitelocks during the 1930s, 40s and 50s for their informal gatherings. Journalists from the Yorkshire Post and Yorkshire Evening Post had it as their local haunt before their move to Wellington Street. Actors appearing at the City Varieties and the Grand Theatre would meet there including Leeds' own Peter O'Toole.

What interests me most, however, is its strong literary connections. TS Eliot, John Betjemen, Keith Waterhouse, Tony Harrison, Geoffrey Hill and Jon Silkin all drank there. Some of them still continue to do so! One of my fondest memories is being at Whitelocks this time last year with Tony Harrison and a whole host of Leeds writers. We were celebrating the end of the Leeds Big Bookend festival which he had just appeared at as our head line author and closed the festival. Afterwards, we took him to his old haunt, Whitelocks, for a reminisce and a drink or two. It was a really special moment for everybody there.

I can now say that I share a little of Whitelocks'  literary history and every time I visit the Gallery and see "Whitelocks", I am reminded of that.

Review: Parallel Lives at Leeds Art Gallery

New Gallery volunteer Rhiannon Flood has been out and about in Leeds this month, exploring the many art shows on offer. She has returned with a review of Parallel Lives, concurrent exhibitions at Leeds Art Gallery which run until 7th September 2014.

6th June - 7th September 2014

Two female/transgender/queer/label-defying?! artists exhibited alongside each other for the first time.

This exhibition, featuring early twentieth-century surrealist photographer Claude Cahun and constructivist painter-sculptor Marlow Moss, offers a unique insight in to the worlds of two remarkable artists. Although working in different media and styles, both chose to change their names and adopted male/androgynous identities whilst working in Paris during the 1920s and 30s.

Claude Cahun's photographic self-portraits are disarming; playful yet aggressive, her unflinching gaze dares the viewer to make sense of her. Born in 1894 as Lucy Schwob to French Jewish parents in Nantes, she later moved to Paris and adopted a male pseudonym along with her partner Marcel Moore (formerly Suzanne Malherbe). Working alongside fellow surrealists, including Andre Breton, Cahun stood apart from her predominantly male contemporaries, choosing to focus on subverting established notions of gender identity and sexuality with her highly theatrical, staged self-portraits. There's something fetishistic about her use of objects, particularly in later works such as 'Shoes in a Shop Window, untitled' (1936) and 'Tetes de Cristal, British Museum' (1936) depicting Aztec artefacts shot through a museum display case. Certain themes crop up throughout her work, such as death, nature, and spirituality. Combining essentialist themes with her progressive, almost futuristic, aesthetic may at first seem disconcerting until viewed alongside her constructivist counterpart Marlow Moss (1889-1958). Influenced by Piet Mondrian, Moss' paintings based on complex mathematical calculations, and her geometrical sculpture, represent attempts at depicting the vastness of space.

Although there is a strong biographical element to this exhibition - with archive snapshots and personal letters written by Moss to Naum Gabo, both artists seem to successfully elude questions of identity within their work, presenting instead a refreshing oeuvre of standalone pieces that somehow seem to transcend the rigid confines of historical or political concerns.

Find out more about Parallel Lives at Leeds Art Gallery online.

Staff Picks VI

Gallery volunteer and Leeds University Fine Art student Sara Mata tells us why she loves the Gallery's Charles Joseph Beauverie etching. A work that is much more than meets the eye.

Charles Joseph Beauverie, The Goatherds, After Corot, Etching, Image © The University of Leeds

The Goatherds, After Corot

Personally, I would suggest that one of the most amazing works in The Stanley & Audrey Burton Gallery is The Goathers, After Corot by Charles Joseph Beauverie. This is for a number of different reasons. Although this is a copy of Camille Corot's painting Goatherds (1866) you can see slight differences between the two works which immediately add a degree of interest and intrigue; most obviously, the original work is coloured and the later copy, black and white. Secondly and certainly more subjectively, Beauverie was, in my opinion, more successful in creating a sense of movement of the wind in the trees and the grass. It is wonderful to see the different shapes of the leaves and to almost hear them moving in the air. In the original painting the trees look denser and as a result it is more difficult to observe the delicateness of the leaves and to truly perceive the essence of the work. Another element which interests me when considering the differences between the two works is the way in which Beauverie managed to create such an impressive contrast between light and shadow, so that the trees stand out so distinctly from the pale sky. I think he wanted to give a clear sense of what should be looked at with a greater degree of attention - what he considers the most important elements - and what should be kept in the background. By contrast, in Corot's painting there is a more harmonious involvement of all the elements of the work. Colours used by the artist in the creation of the sky are repeated in the trees for example, at times making it hard to see where the trees end and the sky begins.

Beauverie was evidently very intelligent and there is a clear sensitivity at play in this copy and through the process of its creation. For although Beauverie intended to copy Corot's painting he clearly wished to emphasize the agitation and life that we are able to see in the original work, adding a new depth and vitality to the image.

Figurative Froy and Amazing Abstraction

Sarah Butler reviews The Stanley & Audrey Burton Gallery's new exhibition 'Martin Froy and the figurative tradition'

I have a confession to make. Prior to this year, I had never even heard of Martin Froy, let alone seen any of his paintings. However, thanks to the new exhibition in the Gallery, gloriously curated by our phenomenal Gallery Intern, Rebecca Starr (who is indeed a star), I am now much better acquainted with, and appreciative of, the work of the First Gregory Fellow in Painting.

Each time I wander round the display, I am astonished anew by Froy's experimentation within the figurative tradition. The difference between the analytical cubist style of Seated Girl (1952) and the detailed, almost realistic portrait of the Head of Frank Lisle (1954) with its muddy hues makes it hard to believe they were produced by the same artist.

In a similar vein, the earthy angularity of Landscape Figure (1961) is a world away from the broad brushstrokes and cloudlike, chocolatey swirls of the buxom Composition Oval Nude (1957). 

Martin Froy, Landscape Figure

Martin Froy, Landscape Figure, 1961, Resin Oil on Canvas. On loan from Steven Rich. © Martin Froy

 

Martin Froy, Composition Oval Nude

Martin Froy, Composition Oval Nude, 1957, Oil on Canvas. On loan from Steven Rich. © Martin Froy 

Froy did not only experiment with abstraction; he also worked in other mediums and his palette became much bolder and brighter in the 1970s and 80s. Café (1953) is dominated by black and so dark, you almost need to strain your eyes to distinguish the figures yet Kitchen Interior (1977/8) zings with warm, sunshine tones. The selection of small watercolours and chalk drawings is another delightful reminder of Froy's skill and willingness to embrace new techniques.

Without meaning to detract from the main man, there are also works by other masters of the figurative tradition on display. Pieces by Freud, George, Auerbach and Bacon line the walls on the 'runway' into Froy's exhibition space, providing both a fitting introduction and contrast to his work.

Be prepared to open your eyes and your mind. Catch the exhibition before it ends on 2 August 2014.

 

 

 

 

FUAM Graduate Art Prize 2014

Calling all undergraduate Fine Art & Design Students! Don't forget that it's not too late to still make an impression and come out as this year's winner of the FUAM Graduate Art Prize!...

FUAM Graduate Art Prize 

Staff Picks V

Lucy Jackson from the School of Process, Environmental and Materials Engineering, and former volunteer at The Stanley & Audrey Burton Gallery reveals her favourite work of art from our collections.

George Hume Barne, Still Life with Oranges, 1912, Oil on Canvas, Gift of Sir Michael Sadler, 1923, Image © University of Leeds

George Hume Barne, Still Life with Oranges, 1912

George Hume Barne is a new one on me, but I have a soft spot for oil paintings and the merest hint of white spirit transports me back to my art student days, working with still lives of glass bottles and tastefully arranged groups of fruit. What I first noticed was, of course, the star of the show, the bowl of oranges. But the more I look the more I see: the edge of a dish, part of a chair, and the whispering colours of quiet domesticity - peach and mauve and muted grey. I note the brush strokes on the china pot and the blue-white tea towel hanging over the chair. I am struck by the vivid contrasts on the fruit - sombre blues and vibrant orange. Set against a dark, blood red wall, yet the leaning shadows on the tablecloth convey a sunny room, the thought of which lifts my spirits.

Shape, Colour, Texture

Education Officer Claire Evans looks back on the Gallery's recent schools workshop 'The Science of Colour'

Being located in a University there are always a lot of opportunities to think about the partnership between art and a number of other subjects such as Maths, English, History and Science.

This April the Gallery's Education Officer teamed up once again with Claire Jones the Director of the Museum of the History of Science, Technology and Medicine and work experience student Ruchi Mittal to provide workshops to secondary school pupils that celebrated the science in art. This was part of the University's Annual Festival of Science.

This year the focus was on the chemistry behind paint. Using art works in the Gallery such as Landscape with Cottage and Windmill by Jean-Babtist-Camille Corot and examples from the University's historical chemical collection we encouraged the students to consider what qualities we look for in paint, where people from Corot's time and before, got their paint, and how they might have been made. The pupils were able to look at some of the pigments in their raw form and gained an understanding of how the pigments might be created from these elements (mostly metal for paint making) and compounds. They then went on to learn how pigments are combined with binders to create mixtures i.e. paint.

The most popular part of the workshops was where the pupils had the opportunity to grind up their own pigments and add them to 3 different binders to create their own paints. Unfortunately, while they clearly enjoyed the process, the majority decided that the range of colours produced and ease of use of modern synthetic paints meant that they would still be popping to the local art shop to buy the paint for their own masterpieces!!

  Science, COlour, Texture - schools workshop

 

While the pupils hopefully learnt lots of new things during their visit, Claire, Ruchi and I also learnt a lot. Did you know that to make egg tempera, you need to not only separate the egg yolk from the white but you also need to remove the yolk membrane by first drying, and then pinching it off, any egg white or membrane left will leave the paint prone to cracking! Also you only get a tiny amount of paint from one egg - how many eggs do you think Michelangelo used to create one of his panel paintings?....

Staff Picks IV

Customer Service Assistant at the Edward Boyle Library, Kate Green, shares her Gallery favourite this month. Sometimes it's all in the detail...

Portrait of Edmund Gosse, 1886, by John Singer Sargent

The University's art collection contains many remarkable paintings that I enjoy for many different reasons, but I do like the Portrait of Edmund Gosse because his glorious moustache makes me chuckle - a moustache that, in all its Titian beauty, looks like it's about to make him sneeze. Sometimes the nose changes from a twitch to a hoity wiggle, as his chest inflates and he takes on a more pompous pose fitting a man sitting for the greatest portrait painter of his generation - John Singer Sargent.

Portrait of Edmund Gosse by John Singer Sargent

Portrait of Edmund Gosse, John Singer Sargent, 1886. Oil on canvas. Image © University of Leeds.

Gosse had every cause to feel proud in his own right, he was one of the most prolific and powerful writers of his time and his reputation was such that he was even asked to give a series of lectures in America in the 1880s. Gosse, as well as being a poet, writer, and man of letters, was also a librarian, getting his first job at 17 as a clerk in the library of the British Museum, later progressing to the role of librarian of the House of Lords (1904) - I often wonder if the idea of his portrait being owned by the University of Leeds Library would tickle him?

Each time the humour turns to conceit in the painting, I look again and see a man who, despite his wife's best efforts that morning, has ended up with a crumbled suit, tightly pulled neck scarf, and uncombed hair. Osbert Sitwell wrote of Gosse's  'sense of the ludicrous', his 'gaiety and dash', his 'fighting spirit-a nature perhaps a little feline', and his beautiful blue eyes that sparkle from this animated painting as if he too is chortling at his own likeness.

Find this work by John Singer Sargent and others in the Gallery's online Catalogue, or why not pop into the Gallery and see this painting for yourself?

Staff Picks III

Art Gallery Volunteer Russell Forester shows us that small really can be beautiful as he reveals his favourite works from the University's Art Collections.

The Edward Westoby Miniatures

Tucked away in a corner of the Gallery space here at  The Stanley & Audrey Burton Gallery  is, in my view, a treasure trove of the most delicate, precise and charming paintings in miniature by Lincolnshire born artist Edward Westoby. The skilfully painted and sketched miniatures offer a wide glimpse into the world that Westoby lived in; through sketches of local Yorkshire scenery, to sometimes playful depictions of characters and people of the 1800's.

One of the portraits which stands out for me depicts William Spencer Cavendish, the sixth Duke of Devonshire. A watercolour, delicately applied onto ivory, fully captures with brilliant detail the character of a typical well respected, well presented and somewhat influential gentleman of the 19th century. I read Cavendish as somewhat arrogant and pompous displaying himself finely turned out in front of what I assume to be the estates which he lords over: but how do you view this portrait? One of the interesting factors in Westoby's portraits is that they invite the viewer to explore the subjects depicted and try to gain an insight into their character, whether the impression you get matches up with the artists intentions or not is all part of the fun.

William Spencer Cavendish, the sixth Duke of Devonshire

Edward Westoby, William Spencer Cavendish, the sixth Duke of Devonshire. Watercolour on Ivory. Date unknown. Harland Gift 2002. Image © University of Leeds Art Collection

On a slightly more intimate note is the portrait of Cornet G.W. Tireman, a soldier serving in the Yorkshire Hussars. An emotional keepsake or gift that the soldier might possibly have commissioned to give to his family, or beloved, before setting out to war, knowing that he may possibly not return. The scale and delicate nature of the portrait on ivory tugs at the heart strings as one thinks of the reasons behind creating such an intimate likeness in this portable locket, or pendant-sized treasure.

Cornet G.W. Tireman, Yorkshire Hussars,

Edward Westoby, Cornet G.W. Tireman, Yorkshire Hussars, Watercolour on Ivory, before 1820. Harland Gift 2002. Image © University of Leeds Art Collection

For those with an interest in a slightly more macabre morbid subject matter, one of Westoby's more profound works is that which depicts his father and mother, John and Sarah Westoby, on their deathbeds: Something which may seem unfamiliar and even uncomfortable to us today but back in the 1800's was a much practiced tradition. A forbearer to the Victorian tradition of post mortem photography, a morbid but fascinating art form that is slowly been lost to time, these works differ from the rest as they make you consider the artist's emotions and the motivation behind the work, rather than simply that of the subject. As a final glimpse of a loved one and act of remembrance these paintings, minimalistic in content and tone, still manage to capture as much detail and emotion as Westoby's other works.

John Westoby on his deathbed,

Edward Westoby, John Westoby on his deathbed, Watercolour on Ivory, 1827. Harland Gift 2002. Image © University of Leeds Art Collection

Sarah Westoby on her deathbed, Edward Westoby

Edward Westoby, Sarah Westoby on her deathbed. Watercolour of Ivory. Date Unknown. Harland Gift 2002. Image © University of Leeds Art Collection

Personally these three works are my favourite miniatures in the collections here at the University but it has been said to me before that I have a rather morbid taste when it comes to art relating to death. Each to their own after all...

Why not come on down to the Gallery and catch a glimpse of these treasures and possibly even choose your own favourite?

See more works by Edward Westoby on our collections pages http://library.leeds.ac.uk/art-gallery-collections

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