verdure engraved - april issue (formally 'tristesse engraved')

verdure engraved april 2012

contents page 3-7: naomi kashiwagi page 8-9: peder sather bruguiere page 10-17: francis bruguiere page 18-27: yusaku kamekura page 28-33: gustave marissiaux page 34-39: anton slavĂ­cĚŒek page 40-45: kazumasa nagai page 46-67: 1950’s japanese advertising page 68-74: katherine sturges (dodge) page 75-79: margaret thomas page 80-84: barbara brassey page 85-92: martina thomas page 93-97: atsuko tanaka page 98-108: Anna-Eva Bergman page 109-114: carl moll page 115-119: margaret macdonald page 120-124: frances macdonald page 125-126: by an unknown photographer page 127-129: an archive # 7

naomi kashiwagi Piano Hammer Drawings 'I began finding little handwritten notes' Medium: piano hammers, carbon paper, manuscript paper.

Piano Hammer Drawings are drawings/musical scores and performance remnants, using the piano as a drawings instrument. The marks appear as intense smudges of black pigment on blank manuscript paper. Manuscript paper and carbon paper are placed behind the piano hammers and infront of the piano strings. When the keys are played, the physical impact of the hammers on the paper produced both a sonic and visual resonance. The absence of musical notation and clefs challenges conventional musical composition and interpretation. The drawings are visual imprints of an absent, transient gesture.

Piano String Drawings 'Of course it would have worn out sooner or later' Medium: pen, manuscript paper, piano strings.

'I made the traditional long wary mark' Medium:Â pen, manuscript paper, piano strings.

Piano String Drawings are drawings/musical scores and performance remnants. The piano is transformed into a drawing instrument. They appear as a flurry of chaotic pen marks invoking frantic noise at the edge of blank manuscript paper. The drawings have been produced by placing manuscript paper over the piano strings and creating gestural marks on the stave with ink. The sound generated itself echoes the process of drawing. The absence of musical notation and clefs challenges conventional musical composition and interpretation. The drawings are visual imprints of an absent, transient gesture.

Violin Bow Prints 'Untiled 1' and 'Untitled 2' Medium: Violin bow, lithographic touche, aluminium lithographic plate, black ink, paper I produced a series of lithographic prints using violin bows as paint brushes. Both are made out of the same materials, but in differing configurations. The linear and rhythmic gestures emanate the vivacity used to make the marks. http://www.naomikashiwagi.co.uk/ http://soundcloud.com/naomi-kashiwagi

I began finding little handwritten notes

I made the traditional long wary mark

Of course it would have worn out sooner or later

Violin Bow Prints

peder sather bruguiere

francis bruguiere

Francis Bruguière was born in San Francisco to a wealthy banking family and was privately educated. In 1905 he travelled to New York where he met and became friends with Frank Eugene and Alfred Stieglitz. Eugene encouraged Bruguière to investigate the aesthetic possibilities of photography, and Stieglitz accepted him as a member of the Photo-Secession, though Bruguière remained on the fringes of the movement.

Returning to San Francisco in 1906, Bruguière devoted himself professionally to photography, opening a portrait studio.

In 1919 he moved to New York and established a studio. He began photographing for Vanity Fair, Vogue, and Harper's Bazaar. His interest in the theater led Bruguière to the Theater Guild, where he became the official photographer. In his personal work he continued experiments with multiple exposure images.

In 1928 Bruguière moved to London. Here he started a new series of abstractions and produced the first British abstract film, Light Rhythm. He also continued working in commercial photography incorporating contemporary design into his illustrations. Bruguière abandoned photography in 1937 to concentrate on painting and sculpture .

yusaku kamekura

Born in the Niigata prefecture in Japan and a student of the Institute of New Architecture and Industrial Arts, Yusaku Kamekura was more than acquainted with the Bauhaus principles and sense of design. Starting his design career at the publishing company Nippon Kaupapu, Kamekura has more than half a decade of experience in the design world. Combining the influences of the Bauhaus with insight to his traditional heritage, his work is recognized for its colorfully minimalist approach.

Perhaps most well known for his work for the Tokyo 1964 Olympics, he combined modernist principles and typography with the Japanese cultural heritage through the simplistic combination of the words "Tokyo 1964", the olympic rings and the sun from the Japanese flags. His work for the Olympics also marked the first time that photography was used to promote the event.

Another success of equal magnitude was his poster design for the 1970 Expo in Osaka, which won several national and international design awards.

gustave marissiaux

(Belgian 1872-1929) Gustave Marissiaux is one of the most important turn of the century Belgian pictiorialists. He was an active art photographer and member of the Association Belge de la Photography" and the "Société Française de Photographie”

anton slavíček

(1870–1910) renowned Czech painter, part of the Czech impressionist movement.

kazumasa nagai

Born in 1929, Kazumasa Nagai is an award winning Japanese designer who has used traditional Japanese artistic styles and values in his work throughout his long career.

He communicates his messages using simplicity, elegance, texture and color. He has also been very involved in designing for environmental activism and design.

1950’s japanese advertising

katherine sturges (dodge)

book illustrator, most active in the 20’s & 30’s. No detailed biography available.

margaret thomas (1842 - 1929) English-born Australian travel writer, poet and artist, born at Croydon, Surrey, England, daughter of Thomas Cook, shipowner. Her date of birth is often cited incorrectly as 1843 and she was herself inconsistent about both her age and date of birth. It has also been discovered that she was originally named Margaret Cook and only later changed her surname to her father's first name.

She was brought to Australia by her parents in 1852 and later on studied sculpture under Charles Summers at Melbourne. She exhibited a medallion portrait at the first exhibition of the Victorian Society of Fine Arts held in 1857.

Thomas lived in Richmond, Victoria and exhibited her work regularly.

Around 1867 Thomas went to Europe to continue her studies. She had a medallion shown at the Royal Academy exhibition of 1868; after studying for three years at Rome she obtained a studentship at the Royal Academy, London, and in 1872 won the silver medal for sculpture. Between 1868 and 1880 Thomas exhibited her paintings (mostly portraits) at the Royal Academy. In 1880 Thomas wrote a memoir of Charles Summers, her first master, A Hero of the Workshop, and in the same year completed a bust of him for the shire hall, Taunton. She afterwards did busts of Henry Fielding and other distinguished Somerset men for the same place. She began contributing verse to periodicals and in 1888 Douglas Sladen included seven of her poems in his Australian Poets.

In 1888, Thomas left England for Brittany and subsequently Rome, accompanied by her long-term companion Henrietta Pilkington (1848-1927).

During the 1890s, they travelled throughout the Middle East and her book A Scamper through Spain and Tangier (1892) was dedicated to My dear friend, the companion of these wanderings. This book and Two Years in Palestine and Syria (1899), were illustrated by the author. In 1902 appeared an interesting little book, Denmark Past and Present, which was followed by How to Judge Pictures (1906), and a collection of her verse, A Painter's Pastime (1908).

In 1911 appeared what was possibly her most valuable piece of work, How to Understand Sculpture. Another volume of verse, Friendship, Poems in Memoriam, was published in 1927 after the death of Henrietta Pilkington. She also did a large number of illustrations in colour for From Damascus to Palmyra,

by John Kelman (1908). Thomas did not marry, although she spent much of her adult life with Henrietta Pilkington. The pair moved to Norton, Hertfordshire in 1911, living in a cottage known as Countryside in Croft Lane

barbara brassey

studied at the Royal Academy schools in the early 1930's and won the silver medal for drawing. On leaving the Academy she worked as a portrait painter.

After the war she specialised in landscape painting and continued to accept portrait commissions.  She always took a keen interest in nature with her family friends included George Edward Lodge and Lionel Edwards, the great wildlife artists of the 20th century. Both these painters encouraged her to paint in the Scottish Highlands and sketch nature as she observed it.

martina thomas (1922-1995)

parrots at birdworld

tin mines near pendeen

marwell zoo

mandolin

orange lilies

cape cornwall

peacocks at slindon college

atsuko tanaka

She was born in Osaka, on February 10, 1932. She went to several local art schools where she worked in mostly figurative mode. The schools she had attended were the Art Institute of Osaka Municipal Museum of Art in 1950,and from 1951 on, the Department of Western Painting at Kyoto Municipal College of Art (now Kyoto City University of Arts). There, she had made friends with a man named Akira Kanayama, who had helped her explore new artistic territories.

In 1955, she joined the Gutai group, an avant-garde artists' movement, to which she belonged until her marriage with Akira Kanayama in 1965. In the same year, Tanaka had left Gutai with Kanayama. She moved in with him in a house at a temple in Osaka. She produced most of her works at home and in the second floor of her parents’ house, which was ten minutes away from where she had lived. In later life she and her husband moved to Nara.

Anna-Eva Bergman (1909-1987) Bergman was born in Stockholm as a child of a Swedish father and Norwegian mother. Her parents divorced shortly after her birth, and she moved with her mother to Norway. She grew up with several of her mother's sisters in Hardanger and Fredrikstad / Oslo. She was encouraged by an uncle to take up art and began in 1926 at SHKS and the following year at the National Art Academy , where she had Axel Revold as a teacher. She also studied in Vienna and Paris.

In Paris she met the German painter Hans Hartung (1904-1989). The two were married in 1933, and lived together for 6 years in Minorca, Norway, Italy and France. When the couple divorced in 1939 Bergman returned home to Norway.

She was married to an officer and factory owner Fridhjof Lange (1895-1988) from 1944 to 1952. In 1952 she met again with Hartung, separated from Lange and in 1957 again married Hartung. The couple settled in Antibes in 1973. A foundation in Antibes manages their home as a museum, and takes care of the surviving plants.

Bergman's first shows in Norway (1950 and 1961) attracted little attention, but exhibitions in Paris and elsewhere awakened interest in Norway. Exhibitions in the House of Artists (1966) and Høvikodden (1979) were a clear recognition of her work.

carl moll

(1861, Vienna  – 1945, Vienna) was a prominent art nouveau painter active in Vienna at the start of the 20th century.

view of Nussdorf and Heiligenstadt in twilight

at the sideboard

beethoven house

margaret macdonald (1865-1933) Born Margaret MacDonald, at Tipton, near Wolverhampton, her father was a colliery manager and engineer. By 1890 the family had settled in Glasgow and Margaret and her sister, Frances MacDonald, enrolled as students at the Glasgow School of Art. There she worked in a variety of media, including metalwork, embroidery, and textiles. She was first a collaborator with her sister, and later with her husband, the architect and designer Charles Rennie Mackintosh. Her most dynamic works are large gesso panels made for the interiors that she designed with Mackintosh, such as tearooms and private residences.

Together with her husband, her sister, and Herbert MacNair, she was one of the most influential members of the loose collective of the Glasgow School known as "The Four". She exhibited with Mackintosh at the 1900 Vienna Secession, where she was arguably an influence on the Secessionists Gustav Klimt and Josef Hoffmann.

Macdonald, along with her sister, is one of the many "marginalized wives" that have suffered from patriarchal art historical discourse. She was celebrated in her time by many of her peers, including her husband who once wrote in a letter to Margaret "Remember, you are half if not three-quarters of all my architectural..."[1]; and reportedly "Margaret has genius, I have only talent." It is not known exactly which of Charles Rennie Mackintosh's works Margaret was involved with (or the extent to which she worked on them) but she is credited with being an important part of her husband's figurative, symbolic interior designs. Many of these were executed at the early part of the twentieth century; and include the Rose Boudoir at the International Exhibition at Turin in 1903, the designs for House for an Art Lover in 1900, and the Willow Tea Rooms in 1902. Sadly, poor health cut short Margaret's career—as far as we know, she produced no work after 1921.

frances macdonald (1873–1921) The sister of better known artist Margaret MacDonald, she was born near at Tipton, near Wolverhampton, and moved to Glasgow with her family in 1890. Both sisters enrolled in painting classes at the Glasgow School of Art in 1891, where they met the architect Charles Rennie Mackintosh and artist Herbert MacNair. Frances went on to marry MacNair, and Margaret married MackIntosh. All four later became the loose collective of the Glasgow School known as "The Four".

In the mid 1890s the sisters left the School to set up an independent studio together.

They collaborated on graphics, textile designs, book illustrations and metalwork, developing a distinctive style influenced by mysticism, symbolism and Celtic imagery.

Frances also produced produced a wide variety of other artistic work, including embroidery, gesso panels and water colour paintings. Like her sister, she was influenced by the work of William Blake and Aubrey Beardsley and this is reflected in her use of elongated figures and linear elements. The sisters exhibited in London, Liverpool and Venice.

In 1899 she married MacNair and joined him in Liverpool where he was teaching at the School of Architecture and Applied Art. The couple painted watercolours and designed interiors, exhibiting a Writing Room at the International Exhibition of Modern Art in Turin, and Frances began teaching. In the early 1900s they also exhibited in Liverpool, London, Vienna and Dresden. The closure of the School in 1905, and the loss of the MacNair family wealth through business failure, led to a slow decline in their careers, and they returned to Glasgow in 1909. In the years that followed, Frances painted a series of symbolist watercolours addressing the choices facing women, such as marriage and motherhood. .

Frances' achievements are less well known than those of her sister, due in part to her departure from Glasgow, but also because her husband destroyed many of her works after her death. Both sisters works were also frequently overshadowed by the achievements of Charles Rennie Mackintosh.

by an unknown photographer

ď Ź

ethel dietz nichols sitting on a rock in a garden, 1911

 exploring an archive # 7 bibliothèque de toulouse

Mont Saint-Michel, normandy

quiberon, brittany

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