Showing posts with label Oxford. Show all posts
Showing posts with label Oxford. Show all posts

Wednesday, January 7, 2026

Art about and at Oxford

Robert Parkinson
The Radcliffe Observatory from the Southwest
1959
drawing (ink and wash on paper)
Ashmolean Museum, Oxford


Mary Hogarth
Interior of the Radcliffe Observatory
1927
drawing
Ashmolean Museum, Oxford

William Nicholson
Queen's College, Oxford
ca. 1904-1906
drawing (charcoal and watercolor on paper)
Ashmolean Museum, Oxford

Paul Ayshford Methuen
Queen's College Library
1953
watercolor and ink on paper
Ashmolean Museum, Oxford

John Buckler
Sheldonian Theatre, Oxford
1815
watercolor on paper
Ashmolean Museum, Oxford

Charles Ernest Cundall
Encaenia (Sheldonian Theatre)
1946
oil on paper
Ashmolean Museum, Oxford

Leonard Russell Squirrell
Oxford from Wytham
1944
watercolor and ink on paper
Ashmolean Museum, Oxford

Peter Greenham
Oxford from the Radcliffe Camera
ca. 1951
watercolor on paper
Ashmolean Museum, Oxford

Muirhead Bone
Examination Schools, High Street, Oxford
1931
drawing
Ashmolean Museum, Oxford

Alfred Daniels
Hertford College from the South
1973
watercolor and gouache on paper
Ashmolean Museum, Oxford

Francis Towne
Worcester College, Oxford
1813
watercolor on paper
Ashmolean Museum, Oxford

Francis Towne
Christ Church from Merton Field
1813
watercolor on paper
Ashmolean Museum, Oxford

Frederick Mackenzie
Merton College Chapel from the Grove
ca. 1829-30
drawing
Ashmolean Museum, Oxford

Walter Tyrwhitt
Roof of New College Hall
1909
watercolor on paper
Ashmolean Museum, Oxford

Walter Tyrwhitt
Canterbury Quad, St John's College
ca. 1910
watercolor on paper
Ashmolean Museum, Oxford

Charles Wild
Radcliffe Library, Oxford
1813
watercolor on paper
Ashmolean Museum, Oxford

John Piper
Main Quad, University College
1968
watercolor and ink on paper
Ashmolean Museum, Oxford

    And therefore also to judge of men's works which were written at distant times of their lives, to make them out as genuine or spurious according as they containe repugnant or congruent conceptions, and to expect constancy of opinions in former and after writings, is to forget the difference of men and students allowable for their successive enquiries; to presume on improving heads an early stand in knowledge; nor to commend but disparage good Authors, whom they suppose in their yonger or middle yeares to have sett up their non ultra in knowledge. A constant tenour of discourse or strict uniformitie of sense and notions from the same elder and junior penns is only expectable from improficient heads; wherin supinitie, credulity, obstinacy, or self conceit affordeth no accretion. 

    The many men that every man is by the great varietie of tempers, inclinations, opinions, and apprehensions unto the age of man, makes a kind of metempsychosis before death, and makes good that Pythagoricall opinion in one generation and the same habitation of flesh. Time brings not only frequent repentancie in actions butt iterated resipiscency in opinions, thoughts and notions. Even of what I now apprehend I have no settled assurance. These are my present thoughts this night in England; what they will prove tomorrow when I arise toward China,* I may bee yet to determine. 

– Sir Thomas Browne (1605-1682) 

*Which may bee sayd in some latitude upon the diurnall motion of the earth from west to east.

Saturday, June 9, 2018

Indelicate Illustrations (Eighteenth-Century England)

William Ward after George Morland
Tom Jones and Molly Seagrim in the Grove
(illustration to Tom Jones by Henry Fielding)
ca. 1787
hand-colored mezzotint
British Museum

William Ward after George Morland
Tom Jones, Molly Seagrim, and Square
(illustration to Tom Jones by Henry Fielding)
ca. 1787
hand-colored mezzotint
British Museum

William Ward after George Morland
 Lady Bellaston and Tom Jones after their return from the Masquerade
(illustration to Tom Jones by Henry Fielding)
ca. 1787
hand-colored mezzotint
British Museum

Carington Bowles
Lady Booby and Joseph Andrews
(illustration to Joseph Andrews by Henry Fielding)
ca. 1780-90
hand-colored mezzotint
British Museum

Anonymous English printmaker
Tom Jones and Mrs Waters at the Inn at Upton after the Battle
(illustration to Tom Jones by Henry Fielding)
ca. 1750-1800
mezzotint
British Museum

William Ward after George Morland
Fanny Hill, Louisa, and the Nosegay Boy
(illustration to Fanny Hill by John Cleland)
ca. 1787
hand-colored mezzotint
British Museum

Oxford

Homeless and never sadder,
dragging bags, spending money,
leaning over luggage,
suddenly saying, "Without you, God,
I can't continue." What was that?

And then I lift it and walk
to find one book.

Up Iffley Turn to the Hawkwell and Tree Inns
and down over a lock
into an extended filthy river
through the Thames Valley
and over a meadow into town:
two fats,
one fishing and one man on a bike
swerving through Cotswold cow pads.
I ask:
"Do you know the fastest way
to City Centre?"

No, yes, no!
Circle Magdalen College, and the mall, the High,
Broad Street, po and Headington Hill,
Brookside and Christ Church,
cross big pavement stones and cobbles
to Holywell
and down North Parade, Maison Blanc, Browns,
the Phoenix Cinema on Walton Street
where you can bring your wine into the film.
Asbestos,
white dust, condiments, Pret Manger,
T.S.  Eliot, Philip Larkin, smelly markets, buskers
on a harp
and a xylophone, buses and bicycles.
Red-faced riotously quiet British. . . .
Earl green carpets and rotten wood frames,
lavender, and buttery daisies,
flagelot beans, bar food, the stink of perfumes
over toilets, Blackwell has none,
St. Philips does, what are you looking for.

Thomas Merton.

(There are so many mental ways
and Abbot Patrick in his cassock stands high above
and smiles and says You see? It's all right
the church is in ruins.)

The devil runs the world was Adam's discovery
and now it is time to pray
before Blake's engravings of the double bind.
I made this fruit for you. Don't eat it!

"Do you carry The Seven Storey Mountain?"

No.
Everything you see is finished.
Even the ground underfoot and ahead.
The stars and the dancing planets – over.
A grand finale unfolds across the lens.
There is no present.
The book is out of print.

– Fanny Howe (2009, published in Poetry)

William Ward after George Morland
Fanny Hill and Phoebe
(illustration to Fanny Hill by John Cleland)
ca. 1787
hand-colored mezzotint
British Museum

William Ward after George Morland
Harriet Ravish'd in the Summer House
(illustration to Fanny Hill by John Cleland)
ca. 1787
hand-colored mezzotint
British Museum

Anonymous English printmaker
Harriet and the Baronet
(illustration to Fanny Hill by John Cleland)
ca. 1748-1800
mezzotint
British Museum

Anonymous English printmaker
Mrs Brown, the Horse-Grenadier, and Fanny Hill
(illustration to Fanny Hill by John Cleland)
ca. 1748-1800
mezzotint
British Museum

William Ward after George Morland
Mrs Homespun and Sedley
(illustration to The Pupil of Pleasure by Samuel Jackson Pratt)
ca. 1787
hand-colored mezzotint
British Museum

William Ward after George Morland
St Preux and Eloisa
(illustration to La Nouvelle Héloise by Jean-Jacques Rousseau)
ca. 1787
hand-colored mezzotint
British Museum
Thomas Rowlandson
Harlequin and Columbine, with Pierrot spying
ca. 1790-1810
hand-colored etching
British Museum


Thomas Rowlandson after Francesco Albani
Nymphs and Shepherds
ca. 1790-1800
hand-colored etching
British Museum

Saturday, December 2, 2017

Seventies Gardens by Ivor Abrahams

Ivor Abrahams
Privacy Plots I (Brick Wall)
1970
screenprint and flock fibre
Tate Gallery

Ivor Abrahams
Privacy Plots II (Flower Garden)
1970
screenprint and flock fibre
Tate Gallery

Ivor Abrahams
Garden Suite I
1970
screenprint
Tate Gallery

Ivor Abrahams
Garden Suite IV
1970
screenprint
Tate Gallery

Ivor Abrahams
Garden Suite V
1970
screenprint
Tate Gallery

Ivor Abrahams
Suburban Shrub I (Dawn)
1972
lithograph
Tate Gallery

Ivor Abrahams
Sundial I (Summer)
1975
screenprint, felt, and mixed media
Tate Gallery

Ivor Abrahams
The Domain of Arnheim
from the series, E.A Poe - Tales and Poems

1976
screenprint
Tate Gallery

MOTHER GARDEN'S ROUND

The year was river-throated, with the stare of legend.
Then truth the whirlwind and Mother Garden. Death.
And now these stars, antlers, the masks of speech,
And the one ghost a glove in the middle of the floor.
                        Garden my green may grow.

If you were here tonight, my heart would rest,
Would rest on a support, happy thereon.
Something is dancing on leafdrift, dancing across the graves;
A child is watching while the world breaks open.
                        Garden my green may grow.

– Muriel Rukeyser (published in Poetry, April 1955)

Ivor Abrahams
Oxford Gardens V
1977
screenprint
Tate Gallery

Ivor Abrahams
Oxford Gardens VII
1977
screenprint
Tate Gallery

Ivor Abrahams
Hedges I
1977
screenprint
Tate Gallery

Ivor Abrahams
Hedges II
1977
screenprint
Tate Gallery

Ivor Abrahams
Funerary Urn (Monuments series)
1978
screenprint
Tate Gallery

Ivor Abrahams
The Sphinx (Monuments series)
1978
screenprint
Tate Gallery

Tuesday, December 6, 2016

European Drawings and Prints, 19th century

Anonymous French artist
Bust of Roman soldier
1801
drawing
British Museum

Camille Auguste Gastine
Head of a man
19th century
drawing
Ashmolean Museum, Oxford

John Flaxman
Mercury carrying Pandora to Earth
ca. 1807-14
drawing
British Museum

The neo-classical drawing above is described by curators at the British Museum as "a rejected design for Flaxman's illustrations to Hesiod's 'Works and Days' ... The final design for this subject, which was engraved as Plate 6, shows Mercury in profile rather than in the more complex foreshortened frontal representation indicated in this drawing." 

Below, also from the British Museum, "a sketch of a standing woman in classically inspired dress with her arms crossed over her head. The blunt and forceful use of ink, and the abstracted planes and volumes all bear an affinity to Géricault's series of figure studies inspired by antique statuary made around 1815, many after the intermediary designs of John Flaxman."

Théodore Géricault
Standing woman
ca. 1815
wash drawing , gouache
British Museum

Auguste Paul Charles Anastasi
Scene in the Forest of Fontainebleau
mid-19th century
drawing
British Museum

Carlo Ferrario
Massive Staircase
19th century
drawing
Morgan Library, New York

Georges Seurat
House at dusk
1881-82
Conté crayon
Metropolitan Museum of Art, New York

Francesco Bagnara
Seaport (design for the stage)
early 19th century
wash drawing
Morgan Library, New York

Louisa Anne Beresford
Child with book
ca. 1888
drawing
National Portrait Gallery, London

Joseph Benwell Clark
Portrait of Alphonse Legros
1880
drypoint
National Portrait Gallery, London

Achille Devéria
Head of a woman
19th century
drawing
Ashmolean Museum, Oxford

Franz von Stuck
Die Sinnlichkeit (Sensuality)
ca. 1889-91
etching, drypoint
British Museum

Georges Seurat
An Indian Man
ca. 1878-79
drawing
Getty Museum, Los Angeles

Gustave Courbet
Self-portrait with upraised arm
ca. 1840
drawing
Metropolitan Museum of Art, New York