In 2019, GSA was placed 8th in the 2019 QS World Rankings for Art and Design, and the school maintained its 8th place ranking in 2020.
Introduction
Glasgow School of Art
Glasgow School of Art | Introduction
In 2019, GSA was placed 8th in the 2019 QS World Rankings for Art and Design, and the school maintained its 8th place ranking in 2020. Sorry. I cannot find the answer based on the context. Founded in 1845 as the Glasgow Government School of Design, the school changed its name to The Glasgow School of Art in 1853. Originally located at 12 Ingram Street the school moved to the McLellan Galleries in Sauchiehall Street in 1869. Founded in 1845 as the Glasgow Government School of Design, the school changed its name to The Glasgow School of Art in 1853. Originally located at 12 Ingram Street the school moved to the McLellan Galleries in Sauchiehall Street in 1869.
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Sorry. I cannot find the answer based on the context.
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The main story arc for the first half of the series revolved around the Doctor and Nardole occupying themselves as a university professor and assistant while they guard an underground vault containing Missy, who the Doctor has sworn to protect for a thousand years after her supposed execution.
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Peter Capaldi.
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He is a Scottish actor, writer, director, and singer.
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where was he born?
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Glasgow, Scotland.
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where did he study?
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At St Teresa's Primary School in Possilpark, St Matthew's Primary School in Bishopbriggs and St Ninian's High School, Kirkintilloch, before attending the Glasgow School of Art.
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His first starring role on television was as Luke Wakefield, a strange man who imagines he has witnessed a crime, in the BBC drama series "Mr Wakefield's Crusade".
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what is the historical record behind this art school?
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Founded in 1845 as the Glasgow Government School of Design, the school changed its name to The Glasgow School of Art in 1853. Originally located at 12 Ingram Street the school moved to the McLellan Galleries in Sauchiehall Street in 1869. In 1897, work began on a new building nearby to house the school on Renfrew Street, funded by a donation of £10,000 from the Bellahouston Trust, left from the will of Moses Stevens of Bellahouston. The building was designed by Charles Rennie Mackintosh, chosen for the commission by the school's director, Francis Newbery, who oversaw a period of expansion and fast-growing reputation.
Glasgow School of Art | History
A. Walton (1860–1922). The third wave of artists were David Gauld (1865–1936), William Kennedy (1859–1918), John Lavery (1856–1941), Harrington Mann (1864-1937), Stuart Park (1862–1933), William Wells (1872–1923), David Young Cameron (1865–1945), Alexander Ignatius Roche (1861–1923), Arthur Melville (1855–1904), Thomas Corsan Morton (1859-1928), James Nairn (1859–1904), George Pirie (1863-1946) and John Quinton Pringle (1864–1925).
Glasgow School | The Glasgow Boys
His offer stemmed partly from the difficulties he himself had experienced obtaining adequate training. The school opened in 1885 with 96 students enrolled for the day classes and 322 for the evening classes. It was housed in an impressive pink granite building at Schoolhill in the city centre, next to the Aberdeen Art Gallery. The building was designed to match and give architectural coherence to the gallery, in accordance with Gray's wishes. By the 1960s the School had outgrown the building, and moved to a newly constructed modernist building at Garthdee, next to the Scott Sutherland School of Architecture (see below).
Gray's School of Art | History
Constructed in 1910 the Baree School of Arts is a modest timber building located at Creek Street, Baree. The School of Arts movement began in the 1820s, when Mechanics Institutes were established in Glasgow and London, and a School of Arts was established in Edinburgh. Their intention was to promote mental and moral improvement of the working classes, although it appears they were often directed more towards the middle classes, with lectures on subjects such as philosophy, and classes in French and Latin, which may not have appealed to a largely illiterate working class. Some institutes also provided technical classes including measured drawing, painting and typewriting and all Schools of Arts provided a variety of entertainments as well as games, lending libraries and reading rooms.
Baree School of Arts | History
For the late nineteenth century developments in Scottish art are associated with the Glasgow School, a term that is used for a number of loose groups based around the city. The first and largest group, active from about 1880, were the Glasgow Boys, including James Guthrie (1859–1930), Joseph Crawhall (1861–1913), George Henry (1858–1943) and E. A. Walton (1860–1922). They reacted against the commercialism and sentimentality of earlier artists, particularly represented by the Royal Academy, were often influenced by French painting and incorporated elements of impressionism and realism, and have been credited with rejuvenating Scottish art, making Glasgow a major cultural centre.
Scottish art | Glasgow School
The Glasgow School was a circle of influential artists and designers that began to coalesce in Glasgow, Scotland in the 1870s, and flourished from the 1890s to around 1910. Representative groups included The Four (also known as the Spook School), the Glasgow Girls and the Glasgow Boys. Part of the international Art Nouveau movement, they were responsible for creating the distinctive Glasgow Style (see Modern Style (British Art Nouveau style)). Glasgow experienced an economic boom at the end of the 19th century, resulting in an increase in distinctive contributions to the Art Nouveau movement, particularly in the fields of architecture, interior design and painting.
Glasgow School | Introduction
Attempts were made to establish an art school in Dundee from the 1850s, and evening classes in art were taught at the High School and the YMCA with great success. A full-time art school only became a possibility following the creation of the Dundee Technical Institute in 1888. The Institute was based in Small's Wynd, now part of the University of Dundee's main campus, and shared facilities with what was then University College, Dundee. From the start, art classes were taught at the Institute in the evenings by George Malcolm, but in 1892 Thomas Delgaty Dunn was appointed as the first full-time art master, and this is now regarded as the date of the present college's foundation.
Duncan of Jordanstone College of Art and Design | History
The history of the art school dates back to 1812, when Gérard van Dinther started his art classes in the "Royal and Imperial Academy of Painting, Sculpture and Architecture" in ’s-Hertogenbosch. In 1825 a drawing school started in Breda, and eventually in 1945 the Free Academy of Visual Art was founded by the artists Dio Rovers, Gerrit de Morée and Niel Steenbergen. All full-time courses start with a foundation year.
AKV St. Joost | History
ArtsEd originated from two schools: one founded in 1919 by Grace Cone, the other in 1922 by Olive Ripman. Both offered curricula combining a general academic education with training in dance, drama, music and art, in preparation for professional careers in or connected with the theatre. In 1939 the two schools amalgamated to form the Cone Ripman School, later named the Arts Educational Schools. The school was first based at Stratford Place in London, but following the outbreak of World War II, relocated to Tring, Hertfordshire, sharing premises with Rothschild Bank at Tring Park. In 1941, the school reopened at Stratford Place, while the second school continued to operate in Tring.
Arts Educational Schools, London | History
Christie attended the Glasgow School of Art from 1946 to 1951, He loved the art of the early Italian Renaissance, especially Giotto and Piero Della Francesca and after two years of general studies began to specialise studying stained glass and mural painting under Walter Pritchard (Christie exhibited a mural stained glass window at the Edinburgh Festival titled "The Last Supper" in 1951). Biographer Ted Allan was, like Christie, a veteran who enrolled at the school immediately after the war and in his article in "The Covenanter" describes the difficulties of these older men and women returning to study after years of war and the hardship of living on a tight government grant as he describes Christie living on a diet of kippers and getting into trouble with his landlady through his attempts to brew beer in his bedsit and even grow tobacco in his window box".
Fyffe Christie | Glasgow School of Art
For the late nineteenth century and early twentieth century, developments in Scottish art are associated with the Glasgow School, a term that is used for a number of loose groups based around the city. The most important grouping, active from about 1890 and known as "The Four" or the "Spook School", was composed of acclaimed architect Charles Rennie Mackintosh (1868–1928), his wife the painter and glass artist Margaret MacDonald (1865–1933), her sister the artist Frances (1873–1921), and her husband, the artist and teacher Herbert MacNair (1868–1955). They produced a distinctive blend of influences, including the Celtic Revival, the Arts and Crafts Movement, and Japonisme, which found favour throughout the modern art world of continental Europe and helped define the Art Nouveau style.
Art in modern Scotland | Glasgow School
The Glasgow Girls is the name now used for a group of female designers and artists including Margaret and Frances MacDonald, both of whom were members of The Four, Jessie M. King, Annie French, Helen Paxton Brown, Jessie Wylie Newbery, Ann Macbeth, Bessie MacNicol, Norah Neilson Gray, Stansmore Dean, Eleanor Allen Moore, De Courcy Lewthwaite Dewar, the silversmith Agnes Banks Harvey and Christian Jane Fergusson. May Wilson and Eliza Bell, among others, continued the tradition of ceramic artistry into the 1940s and 1950s by hand painting various items with floral patterns. Women were able to flourish in Glasgow during a "period of enlightenment" that took place between 1885 and 1920, where women were actively pursuing art careers and the Glasgow School of Art had a significant period of "international visibility".
Glasgow School | The Glasgow Girls
He then was appointed in 1918 a Director of the Glasgow School of Art having been acting as a director since 1914. He remained there until 1924. The School of Art and the Glasgow University strengthened their links under his leadership developing an Architectural Degree in 1924 which gave the School a teaching institutional status. He suddenly died in Busby, East Renfrewshire near Glasgow in 1924. During his working time at the Glasgow School of Art he painted a portrait of Andrew Fergus (1827-1887) MD MRCS, which hangs in the University of Strathclyde.
John Henderson (painter) | Biography
He entered the Glasgow School of Art in 1949 on a non-diploma course. In 1955, he was awarded a post-diploma and spent the summer of that year at Hospitalfield. After leaving the Glasgow School of Art he spent 18 months as a non-certified teacher at Keith Grammar school. In 1959 he joined the staff of the Glasgow School of Art initially on a part-time basis, ultimately becoming a Senior Lecturer and temporary Head of Drawing and Painting before his retirement in 1996.
James D Robertson | Introduction
In his reminiscences of 1913, Mr Isaac Whereat wrote 'The first school of Arts was started about 1863 or 1864. Mr Geo. Wilson was elected president and Mr E. R. Whereat (aged 23) honorary secretary and treasurer. It was situated in a building occupied by Mr Raper, a tailor, at the corner of Scott and High Streets.' It was afterwards removed to one of Mr Merrell's brick cottages in Rouse Street. In 1869 or 1870 they built the first School of Arts on the present site. It was slab building with a single roof and looked like a big barn.
Tenterfield School of Arts | History
A slightly later grouping, active from about 1890 and known as "The Four" or the "Spook School", was composed of acclaimed architect Charles Rennie Mackintosh (1868–1928), his wife the painter and glass artist Margaret MacDonald (1865–1933), her sister the artist Frances (1873–1921), and her husband, the artist and teacher Herbert MacNair (1868–1955). They produced a distinctive blend of influences, including the Celtic Revival, the Arts and Crafts Movement, and Japonisme, which found favour throughout the modern art world of continental Europe and helped define the Art Nouveau style.
Scottish art | Glasgow School
A careful restoration process began soon after the fire; work on restoring and recreating the Mackintosh design, including the famous library interior, started in 2016. The restoration was performed with historical accuracy, including the use of original wood species such as longleaf pine and tulipwood.
Glasgow School of Art | Restoration
Through the 1880s and 1890s, around the same time that the Spook School was gaining prominence, a collective which came to be known as the Glasgow Boys was interpreting and expanding the canon of Impressionist and post-impressionist painting. Their subject matter featured rural, prosaic scenes from in and around Glasgow. Their colorful depictions attempted to capture the many facets of the character of Scotland. The Glasgow Boys consisted of several men, most of whom were trained in, or had strong ties to the city of Glasgow. These men were brought together by a passion for realism and naturalism and this showed through in the pieces they produced.
Glasgow School | The Glasgow Boys
The Scottish National Portrait Gallery was founded in 1882. The Glasgow Institute was formed in 1861 to provide exhibiting opportunities in the growing city similar to those in Edinburgh. It opened its own gallery on Sauchiehall Street in 1879. It received a Royal charter in 1896 and became the Royal Glasgow Institute of the Fine Arts. Scotland has had schools of art since the eighteenth century. The Trustees Drawing Academy of Edinburgh had been founded in Edinburgh in 1760. It became the Trustees' School of Art, and placed under auspices of the Science and Art Department in South Kensington in 1858.
Scottish art in the nineteenth century | Institutions and education
The Institute's exhibition program continued despite the outbreak of war in 1914. It continued to attract painters from the south: both the older established "Glasgow boys" such as Sir John Lavery (RA), George Henry (RA), David Gauld, Stuart Park, James Guthrie, Edward Arthur Walton, Edward Atkinson Hornel etc., but also younger artist such as Samuel Peploe, Leslie Hunter and Francis Cadell who had connections with the art of pre-war Paris and the paintings of Matisse and Picasso. After the war, French art was rarely seen in the Institute's exhibitions and avant-garde work from the South was not so much in evidence.
Royal Glasgow Institute of the Fine Arts | World War I to the present day
The Neilson–Terry Guild of Dramatic Art was a drama school at 17 Cavendish Square in London. In the 1930s it was run by the actress and playwright, Louise Regnis. Students included playwright Elizabeth FitzRoy, Kirsten Forssmann, Mary Joan (Mollie) Hammond, and Marjorie Johnstone. During World War II most of the school went to Bath, and the company was finally shut down in 1948.
Neilson–Terry Guild of Dramatic Art | Introduction
The Glasgow School of Art (GSA) is a higher education art school offering undergraduate degrees; post-graduate awards (both taught and research-led) and PhDs in architecture, fine art and design based in Glasgow, Scotland. The school is housed in a number of buildings in the centre of Glasgow, upon Garnethill, an area first developed by William Harley of Blythswood Hill in the early 1800s. The most famous of its buildings was designed by Charles Rennie Mackintosh in phases between 1896–1909. The eponymous Mackintosh Building soon became one of the city's iconic landmarks and stood for over 100 years. The building was severely damaged by fire in May 2014 and destroyed by a second fire in June 2018, with only the burnt-out shell remaining.
Glasgow School of Art | Introduction
A slightly later grouping, active from about 1890 and known as "The Four" or the "Spook School", was composed of acclaimed architect and artist Charles Rennie Mackintosh (1868–1928), his wife the painter and glass artist Margaret MacDonald (1865–1933), her sister the artist Frances (1873–1921), and her husband, the artist and teacher Herbert MacNair (1868–1955). They produced a distinctive blend of influences, including the Celtic Revival, the Arts and Crafts Movement, and Japonisme, which found favour throughout the modern art world of continental Europe and helped define the Art Nouveau style that would come to prominence in the early twentieth century.
Scottish art in the nineteenth century | Glasgow School
In 2002 the funding councils published figures which placed Glasgow School of Art as having the second-lowest number of students from a working-class background out of a list of UK higher education institutions. With 7 per cent of its students coming from social classes IIIm, IV and V (skilled manual, semi-skilled or un-skilled workers), the figures put it above Oxford and Cambridge in terms of exclusivity. Glasgow School of art disputed the figures, explaining that the majority of its applicants did not come through the UCAS system on which the statistics were based so the numbers involved were very small.
Glasgow School of Art | Students
This two-storeyed concrete building was erected in 1907 as new premises for the Cairns School of Arts, replacing an earlier adjacent building in Shields Street. Schools of Arts were synonymous with Mechanics' Institutes, established in Britain early in the 19th century, and transplanted throughout the British Empire during the colonial era. The movement was instituted by George Birkbeck, who in 1800 established a class for journeymen mechanics in Glasgow, and later formed the first Mechanics' Institute in London in 1824. The purpose of forming such an institute was to improve the education of working men, and to instruct them in various trades.
Cairns School of Arts | History
Scotland has had schools of art since the eighteenth century, many of which continue to exist in different forms today. Edinburgh College of Art developed from the Trustees Academy founded in the city in 1760 and was established in 1907. After a long independent history, in 2011 it became part of the University of Edinburgh. Glasgow School of Art grew from the city's School of Design, founded in 1845. Grays School of Art in Aberdeen was founded in 1885. Duncan of Jordanstone College of Art and Design was founded in Dundee in 1909. There are also smaller private institutions such as the Leith School of Art founded in a former Lutheran church in 1988.
Scottish art | Art schools and colleges
Scotland has had schools of art since the eighteenth century, many of which continue to exist in different forms today. Edinburgh College of Art developed from the Trustees Academy, founded in the city in 1760, and was established in its current form in 1907. After a long independent history, in 2011 it became part of the University of Edinburgh. Glasgow School of Art grew from the city's School of Design, founded in 1845. Grays School of Art in Aberdeen was founded in 1885. Duncan of Jordanstone College of Art and Design was founded in Dundee in 1909. There are also smaller private institutions such as the Leith School of Art founded in a former Lutheran church in 1988.
Art in modern Scotland | Art schools and colleges
The school aimed to give the 'best artistic and technical education to all classes in the district'. Originally, the school offered classes in specific trades, such as architecture, cabinet design, embroidery, wood carving, wood block and stencil cutting. By 1920, a Fine Art Department had been created. During World War II, Victor Pasmore was appointed head of the school's Painting Department. He brought in William Coldstream, who in turn brought in Joe Dixon from the Royal College of Art and Claude Rogers. These three eminent Euston Road School painters, whose own work was figurative, initiated an exciting period for the School.
Camberwell College of Arts | History
Allan maintained an individualistic approach to his art, aligning himself neither with British Impressionists nor with the Glasgow School, which was 'fast coming to be recognised as a new force and power, especially in the landscape art of the country'. The 'Glasgow School' – retrospectively known as the 'Glasgow Boys' – was a diverse grouping of artists including James Paterson (1854–1932), William York Macgregor (1855–1923), James Guthrie (1859–1930), John Lavery (1856–1941) and Thomas Millie Dow (1848–1919). Mrs. Bell's "International Studio" article draws on conversations with Allan in which he makes it clear that he 'was not, as is so often taken for granted, a member of the Glasgow School'.
Robert Weir Allan | 'A French orientation'
This is sometimes attributed to the "influential" and "progressive" head of the art school, Fra Newbery, who established an environment in which women could flourish, both as students and as teachers. Women benefited from the new Glasgow Society of Lady Artists (founded 1882) which offered a place for women artists to meet and also had exhibition space. In addition, many art school students and staff were involved in women's suffrage. "Students took turns between classes stitching up banners" for the movement. The name "Glasgow Girls" emerged much later. In the 1960s there was an attempt to give due attention to the work of the city’s women artists to balance the plentiful discussion of the Glasgow Boys.
Glasgow School | The Glasgow Girls
The first half of the building was completed in 1899 and the second half in 1909. The School's campus has grown since that time and in 2009 an international architectural competition was held to find an architect-led design team who would develop the Campus Masterplan and design the Phase 1 building. The competition was won by New York-based Steven Holl Architects working with Glasgow-based JM Architects. The Reid Building was completed in 2014 and sits opposite the now destroyed Mackintosh Building on a site previously occupied by the Foulis, Assembly and Newbery Tower Buildings.
Glasgow School of Art | History
The School originally provided courses in both art history and music, and was created in 1964 as the School of Fine Arts and Music. It was later renamed the School of Art History and Music and then the School of World Art Studies & Museology before taking on its present name in 2013. It focuses on the study of the history of art and architecture from a global perspective. After 1978, following the gift to the University of the Sir Robert and Lady Lisa Sainsbury Collection of art from around the world, the School was relocated to purpose-built facilities in the Sainsbury Centre for Visual Arts, designed by Sir Norman Foster.
School of Art History and World Art Studies (UEA) | History
Developments in late nineteenth-century Scottish art are associated with the Glasgow School, a term that is used for a number of loose groups based around the city. The first and largest group, active from about 1880, were the Glasgow Boys, including James Guthrie (1859–1930), Joseph Crawhall (1861–1913), George Henry (1858–1943) and E. A. Walton (1860–1922). They reacted against the commercialism and sentimentality of earlier artists, particularly the work associated with Royal Academy. They were particularly influenced by London-based US artist James Abbott McNeill Whistler and French painting, incorporated elements of impressionism and realism into their work. They have been credited with rejuvenating Scottish art and with making Glasgow a major cultural centre.
Scottish art in the nineteenth century | Glasgow School
A large collection of work from the Glasgow Boys is held in the Kelvingrove Art Gallery and Museum, where one room is dedicated to the group. The museum houses more than 60 of the Boys' pieces that were created between 1880 and 1900, arguably the time period in which their best, and most innovative, pieces were produced. More of their works can be found on display at the Burrell Collection, Broughton House, Paisley Museum and Art Galleries, Walker Art Gallery and the Hunterian Museum and Art Gallery.
Glasgow School | Collections and exhibitions
The school was founded in 1890 by Elam, and incorporated a School of Design which had been established and maintained for 11 years by Sir Logan Campbell. Edward William Payton was the first director, retiring in 1924 after 35 years. Archie Fisher was appointed principal in 1924 and was instrumental in the school's inclusion within the University of Auckland in 1950. A fire in 1949, which destroyed the school and library, was the catalyst that resulted in joining with the University as well as the loss of pre-1950 administrative records. In 1994, the Sargeson Trust, named after Frank Sargeson, gave the George Fraser Gallery, located in the downstairs premises of a historic stables in Princes St, to the students of Elam for an exhibition space.
Elam School of Fine Arts | History
The Technical Institute's main building, designed by J Murray Robertson, soon became inadequate, particularly when the High School and YMCA art classes were amalgamated with those of the Institute. A fund-raising campaign was launched in 1907 and in 1911 the Institute moved to new and much grander premises on Bell Street, designed by Robert Gibson and James Langlands, where it re-opened as Dundee Technical College & School of Art. A further incentive to the development of the school had come in 1909 with the bequest of £60,000 by James Duncan of Jordanstone to establish an independent art school in the city.
Duncan of Jordanstone College of Art and Design | History
Its approach articulates Stanislavski's system, with the movement work of Rudolf Laban and the character typology of Carl Jung to produce a 'movement psychology' for the analysis and development of characters. The school's work also draws on the English tradition, particularly that of Joan Littlewood and Theatre Workshop. These approaches are taught as part of the Western theatrical tradition that began with the Greeks, on which the school places great emphasis. When the school was founded, it was the only drama school in the country to have an acting class, and is considered to be the first 'Method' drama school in Britain.
Drama Centre London | History
The school was founded as Bath School of Art in 1852 following The Great Exhibition of 1851. The Bath Directory for 1856 shows its location at Weymouth House (roughly the rear of the present Marks and Spencers store) and its Master as Anthony Carey Stannus, an Irish painter noted for marine scenes and who later helped establish a society which evolved into the Royal Ulster Academy. By the 1858 edition he had been succeeded by John J. Drummond, who by 1860 had set up his own Mr Drummond's School of Art at 3 Bladud Buildings, and later (1862) at 5 Princes Buildings almost opposite.
Bath School of Art and Design | History
Argent and his team believed that the authentic spirit of an actor, even if contained within a less-than-conventionally-perfect body, was more important. Based initially at the former Congregational Church on Cavendish Street (now demolished) and the adjacent former Righton's Haberdashery (which survives), in 1971 the School of Theatre moved to the Capitol Theatre, Didsbury (also now demolished), a former cinema from where in the Sixties ABC Television's influential Armchair Theatre series had been broadcast. The School established an outstanding national and international reputation due largely to the authenticity and disparate talents of its alumni, actors such as Richard Griffiths, Bernard Hill, David Threlfall and, of course, Dame Julie Walters.
Manchester School of Theatre | History
Along with this passion for naturalism, they shared a marked distaste for the Edinburgh oriented Scottish art establishment, which they viewed as oppressive. Driven and motivated by these ideals they embraced change, created masterpieces, and became Scottish icons in the process. There were three distinct waves of Glasgow Boys. The leading figures of the first wave were James Paterson (1854–1932) and William York Macgregor (1855-1923), and the group used to meet at Macgregor's studio. The second wave was represented in Joseph Crawhall (1861–1913), Thomas Millie Dow (1848-1919), James Guthrie (1859–1930), George Henry (1858–1943), E. A. Hornel (1864–1933), James Whitelaw Hamilton (1860-1932) and E.
Glasgow School | The Glasgow Boys
As a teenager, his erudite uncle Gerald Cooper took him on a trip to Monte Carlo, where Cooper saw the Sergei Diaghilev's ballet company; his biographer traces an arc from here to Cooper's late work "Picasso et le Théatre". He went to Repton School and Trinity College, Cambridge, graduating in 1930 with a third in the French section and a second (division 2) in the French section of the Medieval and Modern Languages Tripos. When he was 21, he inherited £100,000 (then about US$500,000, a significant fortune), enabling him to study art history at the Sorbonne, in Paris and at the University of Freiburg in Germany, which was not possible at the time in Cambridge.
Douglas Cooper (art historian) | Education
Abbotsholme was founded by Scottish academic and educationist Cecil Reddie as an experiment for his progressive educational philosophies and theories. The school, then known "The New School", opened to boys aged 10 to 19 in 1889. From the very beginning, the school departed from the structure of the traditional public school in favour of a less rigid environment and more liberal education. Top hats and "Eton collars" were discarded in favour of a more comfortable and practical uniform, and English, French and German were taught in place of Classics (Latin and Greek). The fine arts were introduced as core subjects, considered unusual at that time, since music and art were mostly taught at cathedral schools or specialist art institutes.
Abbotsholme School | History
The school derived its name from Alderman T.H. (Tommy) Foulstone who was Darfield's representative on the West Riding County Council (headquarters at Wakefield); his special interest was education, standards for which he sought to increase at all levels.
Darfield Foulstone School of Creative Arts | History
The City and Guilds of London Art School was founded in 1854 by the Reverend Robert Gregory under the name Lambeth School of Art. It began as a night school in rooms occupied during the day by a National School in his south London parish of St Mary the Less. With the support of Henry Cole Director of the South Kensington Museum, who supplied Gregory with teachers, the school flourished and became a leader in the provision of instruction in applied art and design to working artisans, many of whom were employed by local manufacturing firms, including Doulton's and Farmer and Brindley.
City and Guilds of London Art School | Foundation in the 19th century
The original school was founded as the Choir School of Glasgow Cathedral in around 1124, and later became known as Glasgow Grammar School. It was housed in Greyfriar's Wynd until 1782, when it moved to new purpose-built accommodation in George Street, but it moved again in 1821 to new premises between John Street and Montrose Street. The name was changed in 1834 to The High School of Glasgow, and in 1872 it was transferred to the management of the Glasgow School Board. In 1878, the school moved into the former premises of the Glasgow Academy on Elmbank Street, when the latter moved to its new home in Kelvinbridge in the West End of the city.
High School of Glasgow | History
The School opened in October 1946, eight months after the founding of its parent Bristol Old Vic Theatre Company, in a room above a fruit merchant's warehouse in the Rackhay near the stage door of the Theatre Royal, with support from the Lord Olivier. (The yard of the derelict St Nicholas School adjacent to the warehouse was still used by the Company for rehearsals of crowd scenes and stage fights as late as the early 1960s, notably for John Hale's productions of "Romeo and Juliet" starring the Canadian actor Paul Massie and Annette Crosbie, an alumnus of the School, and Rostand's" Cyrano de Bergerac" with Peter Wyngarde.
Bristol Old Vic Theatre School | History
It was absorbed into the University of Glasgow's Faculty of Medicine in 1947. The building adjacent to the Western Infirmary remained in use for decades.
List of historical medical schools in the United Kingdom | Glasgow
It is thought that the then head of the Scottish Arts Council William Buchanan was the first to use the name in the catalogue for a 1968 Glasgow Boys exhibition. This "invention" has been called an "ironic reference" to the equivalent men’s grouping. The term Glasgow Girls was emphasised by a major exhibition "Glasgow Girls: Women in Art and Design 1880-1920" organised by Jude Burkhauser in 1990.
Glasgow School | The Glasgow Girls
The business was established selling picture frames. It eventually expanded into art. The firm also dealt occasionally in old furniture. The firm was located at several addresses in Glasgow in a 1910 / 1911 directory they were listed under "carvers and gilders. In the late 19th century the firm dealt in Hague school and Barbizon school paintings at their Glasgow gallery.
James Connell &amp; Sons | History
Spence is perhaps better known for his design of Coventry Cathedral, the "Beehive" building in New Zealand, or the British Embassy in Rome amongst many others. Although Spence was to design in the modern Brutalist mould the school he designed at East Kilbride was far from that, being entirely playful and theatrical. A feature of the school building was a large mural by William Crosbie representing the history of the Clyde. This was located at the main entrance, visible through a floor to roof line, two storey glass wall. Crosbie's paintings hang in all the major museums and galleries in Scotland as well as the Royal Collection and the British Museum in London, and in private collections throughout the United Kingdom and abroad.
Duncanrig Secondary School | History
He continued as Director from 1946 until 1964. When he completed his period as Director, Glasgow School of Art was listed by Whitaker's Almanack among the six top Art Schools in Britain.
Douglas Bliss | Introduction
The tradition of highland landscape painting was continued by figures such as Horatio McCulloch (1806–67), Joseph Farquharson (1846–1935) and William McTaggart (1835–1910). Aberdeen born William Dyce (1806–64), emerged as one of the most significant figures in art education in the United Kingdom. The Glasgow School, which developed in the late 19th century, and flourished in the early 20th century, produced a distinctive blend of influences including the Celtic Revival the Arts and Crafts Movement, and Japonisme, which found favour throughout the modern art world of continental Europe and helped define the Art Nouveau style. Among the most prominent members were the loose collective of The Four: acclaimed architect Charles Rennie Mackintosh, his wife the painter and glass artist Margaret MacDonald, her sister the artist Frances, and her husband, the artist and teacher Herbert MacNair.
Scotland in the modern era | Art and architecture
Manchester School of Acting was founded by the actor Mark Hudson in 2000 he eventually moved into television producing for the BBC the school's follows an American approach to drama training consistent with that such as naturalism and others. The school offers acting courses focused towards Film, Television and Theatre.
Manchester School of Acting | History
The Board was responsible for the construction of the Royal Institution (named for the Royal Institution for the Encouragement of the Fine Arts in Scotland), now the Royal Scottish Academy building, on The Mound and also commissioned the Scottish National Portrait Gallery on Queen Street. From 1826, classes were held at the Royal Institution building. The Master of the School was always a fine artist, the first being French painter William Delacour. Subsequent masters included Alexander Runciman and David Allan. The Academy's focus gradually shifted from applied arts to encompass fine art, and the school gained a reputation for excellence in both painting and design.
Edinburgh College of Art | History
Manchester Polytechnic School of Theatre evolved out of an early training course for drama teachers that was introduced by the Manchester College of Art and Design between 1964 and 1966. The theatre school was officially established in 1970 as part of Manchester Polytechnic under its charismatic Head of School Edward Argent and Senior Lecturer John Cargill Thompson. It was established to provide a professional training for actors that went beyond the rather staid traditions of the established drama schools: at the time, Central School of Speech and Drama would examine prospective students' teeth, like a horse, to see if they had the teeth of a professional actor.
Manchester School of Theatre | History
The school prospered and swiftly developed a reputation for high quality copper and silver decorative metalwork. By 1888 nearly seventy men were attending the classes. By 1890 the school was exhibiting nationally and winning prizes; Its numbers now more than a hundred, it had outgrown its cramped home in the parish rooms, and Rawnsley raised funds for a purpose-built school nearby. Among his supporters were Walter Crane, Holman Hunt, and G F Watts. The new building, to which the school moved in 1894, was designed by the Lancaster architects Paley and Austin at a cost of £1,300. The workrooms were on the ground floor, with the showroom and a library on the upper floor.
Keswick School of Industrial Art | History
M. Barrie, most famous for his creation of Peter Pan, and George MacDonald, whose works, including "Phantasies", played a major part in the creation of the fantasy genre. Scotland also played a major part in the development of art and architecture. The Glasgow School, which developed in the late 19th century, and flourished in the early 20th century, produced a distinctive blend of influences including the Celtic Revival the Arts and Crafts Movement, and Japonisme, which found favour throughout the modern art world of continental Europe and helped define the Art Nouveau style. Among the most prominent members were the loose collective of The Four: acclaimed architect Charles Rennie Mackintosh, his wife the painter and glass artist Margaret MacDonald, her sister the artist Frances, and her husband, the artist and teacher Herbert MacNair.
History of Scotland | Intellectual life
In December 2009, Director of Tate galleries, Sir Nicholas Serota was invited to become the school's head teacher for the day.
Thomas Tallis School | History (1971–2011)
The origins of the School of Art lie with the Royal Birmingham Society of Artists, who founded the "Birmingham Government School of Design" in 1843. George Wallis (1811–1891), Wolverhampton-born artist and art educator, was its Headmaster in 1852–1858. In 1877, the Town Council was persuaded by the school's energetic headmaster Edward R. Taylor to take the school over and expand it to form the United Kingdom's first municipal college of art. With funding coming from Sir Richard and George Tangye, the current building was commissioned from architect J H Chamberlain. In 1885, the school became the first Municipal School of Art.
Birmingham School of Art | History
Calico printers Edmund Potter and James Thomson were involved in the school's foundation. The first head from 1838 was John Zephaniah Bell, who pursued a fine art curriculum until 1843. John Cassidy studied in 1883 and taught here for a year in 1887. Walter Crane was the Director of Design from 1893 to 1898. Adolphe Valette was a teacher there from 1906 to 1920. Its graduates include L.S. Lowry, Eugene Halliday, Liam Spencer, Ossie Clark, Martin Parr, Malcolm Garrett, Peter Saville, Thomas Heatherwick and Roger Hampson. Sylvia Pankhurst was a student at the school. Susan Dacre and Annie Swynnerton formed the Society of Women Painters and Swynnerton became the first woman to be elected to the Royal Academy since its inception in 1768.
Manchester School of Art | People
In 1972 a group of graduates from Glasgow School of Art set up Glasgow Print Studio in a flat in Finnieston. Finding nowhere that they could continue printmaking after graduation, they were supported by the Glasgow School of Art's Head of Printmaking, Philip Reeves, to establish their own workshop. As membership of the organisation increased, the 1976 move to Ingram Street in the city centre provided a larger workshop plus a gallery. Here, artists had a space to sell their work and the programme ranged from contemporary print to the popular Scottish Cartoonists exhibition and a retrospective by L. S.
Glasgow Print Studio | History
The building is listed on the New South Wales State Heritage Register. Since 2004 the school has also conducted classes at Headland Park, Georges Heights, Mosman.
Julian Ashton Art School | History
Edinburgh College of Art can trace its history back to 1760, when the Trustees Drawing Academy of Edinburgh was established by the Board of Trustees for Fisheries, Manufactures and Improvements in Scotland. This board had been set up by Act of Parliament in 1727 to "encourage and promote the fisheries or such other manufactures and improvements in Scotland as may most conduce to the general good of the United Kingdom". The aim of the academy was to train designers for the manufacturing industries. Drawing and the design of patterns for the textile industries were taught at the Academy's rooms at Picardy Place.
Edinburgh College of Art | History
It will be saved in some form." He continued to support his firm belief that the building should continue in its function as a working art school, rather than a museum.
Glasgow School of Art | 2018 fire
It was taken over by the Scottish Education Department in 1907. Glasgow School of Art grew from the city's School of Design, founded in 1845. Grays School of Art in Aberdeen was founded in 1885.
Scottish art in the nineteenth century | Institutions and education
By the middle of the 19th century, Glasgow had become the most important center for trade and industry in Scotland. The city had numerous theatres, concert halls and libraries, but no regular exhibitions for the works of contemporary painters and sculptors. From the 1780s onwards, various organizations had unsuccessfully tried to fill this gap but failed through lack of finance or direction. In 1861 a group of Glasgow's prominent citizens - including the artists John Graham (later John Graham-Gilbert), John Mossman and C N Woolworth - met to discuss the establishment of an annual Art exhibition of the works of contemporary artists.
Royal Glasgow Institute of the Fine Arts | Early days
Gray's was founded in 1885 as Gray's School of Science and Art, in recognition of the generosity of its founding father, John Gray (1811–1891), a local businessman and philanthropist. He began as a carpenter but rose through the ranks to become a partner in McKinnon & Co., a firm of engineers and iron founders in Aberdeen. In 1859 he was appointed director of the Aberdeen Mechanics Institution, one of the city institutions which would eventually develop into The Robert Gordon University. In the early 1880s, John Gray offered to finance a new school of science and art in Aberdeen, on the condition that the governors named it Gray's School of Science and Art.
Gray's School of Art | History
Graduates of the Art School were involved in some of the leading social and political movements of the early twentieth century, including Clemence Housman and Laurence Housman, who co-founded, in 1909, a society for artists who supported the Suffragette Movement, called the Suffrage Atelier. Laurence Housman later went on to found the alternative bookshop, which still bears his name, located in Caledonian Road, near London's King's Cross railway station. After the Second World War, new restoration and carving courses were established at the Art School to train people for the restoration of London's war-damaged buildings. However, during the 1960s the art school also developed a fine art programme, although it still maintained and strengthened its programmes in restoration and carving.
City and Guilds of London Art School | 20th and 21st centuries
Edward Alleyn (1566–1626) was an actor who became an entrepreneur in Elizabethan theatre. His commercial interests in the Rose and Fortune Theatres (a major competitor to the Globe Theatre), gave him sufficient wealth to acquire the Manor of Dulwich in 1605. He founded a college at Dulwich, the College of God's Gift, and endowed it with his estate. It was a school for boys and next to it were almshouses for the local poor. The college became three separate beneficiary schools – Dulwich College, Alleyn's School, and James Allen's Girls' School, named after an early 18th-century headmaster. The college, the attached almshouses and chapel survive next to the gallery on Gallery Road, although its exterior has undergone extensive renovation.
Dulwich Picture Gallery | Early history of the gallery
The Byam Shaw was opened in May 1910 by John Liston Byam Shaw and Rex Vicat Cole with the name Byam Shaw and Vicat Cole School of Art. The teaching staff initially consisted of W. Dacres Adams, D. Murray Smith and C. Austin Cooper; additional lectures were given by Evelyn Eunice Pyke-Nott (Mrs. Byam Shaw), Kenneth Martin and Percival Silley. Other early members of the staff were Ernest Jackson, who was principal of the school from 1926 to 1940, Brian Thomas who was Principal from 1946–54, and the late Pre-Raphaelite painter Eleanor Fortescue-Brickdale. The original premises were at 70 Campden Street, London W8; the school moved in 1990 to larger premises in Archway.
Byam Shaw School of Art | History
The Glasgow Dental School was formed as part of Anderson's College in 1879. It moved to Dalhousie Street in 1903. The current hospital is a category B listed Art Deco building with its entrance on Renfrew Street, which was designed by Wylie, Wright and Wylie and completed in 1931; in 1928 a football tournament was held between the local teams explicitly to raise funds for its construction, won by Partick Thistle and providing £819 (equivalent to around £50,000 90 years later). The Dental School began issuing the Bachelor of Dental Surgery Degree of the University of Glasgow in 1948. A large extension fronting Sauchiehall Street was completed in the brutalist style by Melville Dundas & Whitson in 1970.
Glasgow Dental Hospital and School | History
On a wider cultural front staff and students' participation in public performances began in the 1860s and constantly punctuated its history, whether the Carnivals and "Vision of Empire" for Empire Week in the 1920s, innovative performance and "live art" at The Zap club in the 1980s, or a variety of more recent manifestations such as "Dance for Camera" and "Smudged" at Tate Modern led by Alice Fox.
University of Brighton School of Art | Polytechnic
The RCA was founded in Somerset House in 1837 as the Government School of Design or Metropolitan School of Design. Richard Burchett became head of the school in 1852. In 1853 it was expanded and moved to Marlborough House, and then, in 1853 or 1857, to South Kensington, on the same site as the South Kensington Museum. It was renamed the Normal Training School of Art in 1857 and the National Art Training School in 1863. During the later 19th century it was primarily a teacher training college; pupils during this period included George Clausen, Christopher Dresser, Luke Fildes, Kate Greenaway and Gertrude Jekyll.
Royal College of Art | History
Liverpool School of Art and Design is the oldest art and design school in England outside London. In 1825, Liverpool Mechanics’ School of Art Institute was established, providing and education for working men. In 1856 the school had changed name to become The Liverpool Institute and School of Art. This then moved to Liverpool College of Art on Hope Street in 1880 to a new building to house the School of Art. In 2000, the school developed to cater for a much broader field of subjects and it moved into the current building in 2008.
John Lennon Art and Design Building | History
It also contributed to a tradition of Scottish landscape painting that focused on the Highlands, formulated by figures including Alexander Nasmyth. The Royal Scottish Academy of Art was created in 1826, and major portrait painters of this period included Andrew Geddes and David Wilkie. William Dyce emerged as one of the most significant figures in art education in the United Kingdom. The beginnings of a Celtic Revival can be seen in the late nineteenth century and the art scene was dominated by the work of the Glasgow Boys and the Four, led Charles Rennie Mackintosh, who gained an international reputation for their combination of Celtic revival, Art and Crafts and Art Nouveau.
Scottish art | Introduction
The history of the School of Arts can be traced back to the first courses in drawing offered at Columbia in 1881. In 1900, drama critic Brander Matthews was appointed professor of Dramatic Literature, first chair of drama at any university in the country. Courses in creative writing, film, and painting followed. In 1921, the Department of Fine Arts was established for the study of architecture, painting, sculpture and scholarly works in those fields. The university's first sculpture classes were offered in 1936, followed two years later by graphic art classes. In 1947, the School of Painting and Sculpture, and the School of Dramatic Arts were established.
Columbia University School of the Arts | History
The art school originated in 1853. In the nineteenth century each of the towns making up the (future) city of Stoke-on-Trent founded its own art school, the Burslem school moving into the Wedgwood Institute when it was completed in the 1860s. In 1905 the art school moved across the road to new purpose-built accommodation designed by A.R. Wood, a local architect. The new building with its distinctive large windows helped the art school become pre-eminent in the district. At the time of the foundation of North Staffordshire Polytechnic in 1971, Burslem School of Art was one of three sites used by the Stoke-on-Trent College of Art.
Burslem School of Art | History
This transfer gave a historical link to the Manchester Mechanics' Institute established in 1824. The school became part of Manchester Polytechnic in 1970 and is now part of the Faculty of Arts and Humanities at the Manchester Metropolitan University. Its 175th anniversary in 2013 was marked by the opening of the new Benzie Building and the refurbishment of the Chatham Tower. The school comprises four departments, the Manchester School of Architecture (MSA), formed in 1996 and jointly administered with the University of Manchester, and the Departments of Art and Performance, Design and Media which incorporates the Manchester School of Theatre as well as Manchester School of Art Research Centre.
Manchester School of Art | History
Brown received his first drawing lessons in the Free Church Normal School, Cowcaddens. He took night classes at the Glasgow Art School taught by Robert Greenlees. Brown was an apprentice in the designing department of Inglis and Wakefield, calico printers, for 7 years. Later, Brown studied at the Heatherly School in London. He traveled and painted with such fellow artists as James Docharty and E. A. Walton
Alexander Kellock Brown | History
The Grosvenor School of Modern Art was a private British art school and, in its shortened form ("Grosvenor School"), the name of a brief British-Australian art movement. It was founded in 1925 by the Scottish wood engraver Iain Macnab in his house at 33 Warwick Square in Pimlico, London. From 1925 to 1930 Claude Flight ran it with him, and also taught linocutting there; among his students were Sybil Andrews, Cyril Power, Lill Tschudi and William Greengrass.
Grosvenor School of Modern Art | Introduction
Knowing they needed a larger location, F+F started the restoration of a warehouse built in 1949. This building also housed the art collection of the Swiss company UBS until they moved out in 2003. F+F has also used a painter's studio in the Rote Fabrik, since it opened. The school also runs a milk bar and a printing workshop from this location.
F+F School for Art and Media Design Zurich | History
Mrs Christine McLintock then took over as headteacher from September 2017. It was awarded specialist school status as a Visual Arts College by the Department for Education and Skills in September 2000. In 2007, the school opened a multi-million pound performing arts centre. The first performance given by pupils was the musical "Grease".
Sir William Ramsay School | History
The first included the students Augustus John, William Orpen and Percy Wyndham Lewis; the second – which has been chronicled in David Boyd Haycock's "A Crisis of Brilliance: Five Young British Artists and the Great War" (Old Street Publishing, 2009) – included the students Dora Carrington, Mark Gertler, Paul Nash, C.R.W. Nevinson and Stanley Spencer.
Slade School of Fine Art | History
As encouraged by her father, she studied at the Glasgow School of Art from 1936 to 1940. In 1939 she was awarded a travelling scholarship to London, however as war was declared shortly afterwards she remained in Glasgow, returning the scholarship money. The same year she exhibited a self-portrait, titled 'Reflection' at the Royal Glasgow Institute of the Fine Arts, which, in 1940, was purchased by Glasgow City Council for Kelvingrove Art Gallery and Museum. This painting depicts the artist at the side of her easel, paintbrushes in hand. On graduating from Glasgow, she studied at the Hospitalfield School of Art during 1941.
Isabel Brodie Babianska | Glasgow School of Art
Its remaining funds were used in the early 1920s to found the amateur Scottish National Players with the goal to promote native theatre. During the interwar years all such initiatives had their origins in the amateur theatre movement, in particular Glasgow's Curtain Theatre (1932–39) founded by Grace Ballantyne, Scottish People's Theatre and Glasgow Unity. No teaching institutions offered formal provision for training in Scottish styles of performance or diction until the establishment of the Glasgow College of Dramatic Art in 1950 (as part of the Royal Scottish Academy of Music). as a consequence, most of Scotland's ground-breaking mid-twentieth century native actors, such as Duncan Macrae, Roddy McMillan or Molly Urquhart, first developed their skills and methods through performance with the more innovative non-professional companies listed above.
Scottish Community Drama Association | Introduction
Eardley went back to London for a short time, but returned to Scotland to continue her studies in 1947 at Hospitalfield House, in Arbroath under James Cowie, who influenced her choice of everyday subject matter. In 1948 Eardley returned to the Glasgow School of Art to complete a post-diploma course.
Joan Eardley | Glasgow 1940-1948
The school opened in the basement of the Manchester Royal Institution on Mosley Street in 1838. It became the School of Art in 1853 and moved to Cavendish Street in 1880. It was subsequently named the Municipal School of Art. In 1880, the school admitted female students, at the time the only higher education available to women, although men and women were segregated. The school was extended in 1897. The school became responsible for the non-degree courses of the Manchester Municipal College of Technology by 1996, when the rest of that institution became the University of Manchester Institute of Science and Technology.
Manchester School of Art | History
After demobilization in 1918, he and his wife occupied a studio flat in Edinburgh until 1921, before moving to London. Here he successfully worked as a portrait painter, exhibiting at the Royal Academy, becoming a member of the Savage Club, and enjoying a large circle of friends, mainly from the art world. Hutchison was Director of the Glasgow School of Art from 1933 to 1943, from all accounts being an excellent director. Though a great traditionalist he encouraged those who tended to the avant-garde. The school maintained an interest in those staff and students serving during World War II, sending them gifts and cards.
William Oliphant Hutchison | Life
After studying at the Scottish Decorative Trade Institute, the Stow College of Building in Glasgow, and the Glasgow School of Art, John Canning served a five-year apprenticeship as a church decorator, developing artistic skills and replicating old-world techniques and materials. After his apprenticeship, he opened a studio in Glasgow as a member of the London City & Guilds. Canning emigrated from Scotland to the United States in the early 1970s and opened a studio in Connecticut, coinciding with the growing historic preservation movement. The company was incorporated in 1977 and has grown from a small workshop to a large restoration studio.
John Canning Studios | History
Scottish artists who were trained at the Academy include John Brown, Alexander Nasmyth and Andrew Wilson. In 1858, the Academy was affiliated to the Science and Art Department in London, known as the "South Kensington system", under which it became the Government School of Art for the city of Edinburgh. A School of Applied Art was also established under this system. The Drawing School became part of a system of schools managed on similar lines, and distinctive teaching practices were lost. In 1903 it amalgamated with the School of Applied Art. In 1907, the Scottish Education Department took over responsibility for the school, and it became Edinburgh College of Art.
Edinburgh College of Art | History
The headmaster, Montague Rendall, was a devotee of Italian painting and sculpture, and inspired Clark, among many others, to appreciate the works of Giotto, Botticelli, Bellini and their compatriots. The school library contained the collected writings of John Ruskin, which Clark read avidly, and which influenced him for the rest of his life, not only in their artistic judgments but in their progressive political and social beliefs. From Winchester, Clark won a scholarship to Trinity College, Oxford, where he studied modern history. He graduated in 1925 with a second-class honours degree. In the Oxford Dictionary of National Biography Sir David Piper comments that Clark had been expected to gain a first-class degree, but had not applied himself single-mindedly to his historical studies: "his interests had already turned conclusively to the study of art".
Kenneth Clark | Early years
In 1865, three stained glass windows, designed by Ward and Hughes were installed in the apse, with others added in 1873. A number of stained glass windows were also added in 1913 by Alfred Webster, and in the 1950s by his son Gordon Webster. A war memorial Frieze by Evelyn Beale was built in 1923. In 1911, the Pipe organ, the work of Norman and Beard, was installed.
Websters Theatre, Glasgow | Works of Art
In 1913, Rait was appointed to the newly created Chair in Scottish History and Literature at the University of Glasgow, funded through the proceeds of the 1911 Scottish Exhibition of National History, Art, and Industry, held in the adjacent Kelvingrove Park. In this role he sought to engage more closely with students than was traditional for academics at the time, inviting students to tea at his home. From 1915–1918 during the First World War, Rait worked at the War Trade Intelligence Department in London, and was appointed a CBE in 1918. In 1919, he was appointed Historiographer Royal of Scotland, also serving for a time as Dean of the Faculty of Arts in the University.
Robert Rait | Glasgow
Irene Slater taught at the school in the 1950s, described as a "professional decorator, specializing in the reproduction of reverse painting of old clock and mirror glasses. Collector of original pieces." Ronald Alfred Slayton taught summer courses at the school in the 1950s and 1960s, where he developed a naturalistic style of watercolor painting, rich in color. Joseph Skinger taught jewelry for several years at the school.
Fletcher Farm School | School history
Its Printing Department was popular with printing companies. It had an excellent complementary studies department headed by a fine artist and with many art historians, broadcast scriptwriters and published authors on the staff who taught students to think critically about the world around them. Alan Coleman, a sculptor, who had studied at Goldsmiths' College School of Art and the Royal College of Art, was Principal of Guildford School of Art from 1956 - 65.
Guildford School of Art | History
Other members included Cooper's student Robert Strange, the two younger Nories, the portrait painters John Alexander (c. 1690-c. 1733) and Allan Ramsay (1713–84). The success of the group was limited by its associations with Jacobitism, with Strange printing bank notes for the rebels. Alexander was a great grandson of George Jamesone. He studied in London and Rome, returning to Edinburgh about 1720 where he painted the Baroque "The Rape of Proserpine", for the roof of a staircase at Gordon Castle and numerous portraits. Ramsay emerged as the most distinguished alumni of the academy. He studied in Sweden, London and Italy before basing himself in Edinburgh.
Art in early modern Scotland | Professionalisation of art
The Westminster School of Art was located at 18 Tufton Street, Deans Yard, Westminster, and was part of the old Royal Architectural Museum. H. M. Bateman described it in 1903 as: "... arranged on four floors with galleries running round a big square courtyard, the whole being covered over with a big glass roof. Off the galleries were the various rooms which made up the school, the galleries themselves being filled with specimens of architecture which gave the whole place the air of a museum, which of course it was." In 1904 the art school moved and merged with the Westminster Technical Institute, in a two-story building on Westminster's Vincent Square, established by the philanthropy of Angela Burdett-Coutts, 1st Baroness Burdett-Coutts in 1893.
Westminster School of Art | History
Cronulla School of Arts Dramatic Society (1946 - 1957). In 1946 Beryl Austin, a member of the Cronulla School of the Arts, organised a dramatic club, which became known as the Cronulla School of Arts Dramatic Society. Without a permanent venue they performed in a variety of Sutherland Shire venues: the Masonic Hall, Thornton Hall, the Church of England Parish Hall, and the Miranda School of the Arts. Their first production was "The Haxtons", by Hugh Walpole, directed by Beryl Austin on 30 April 1947. Over 11 years the society presented 20 plays the last being "ROPE", by Patrick Hamilton, directed by Ken Imison.
Arts Theatre Cronulla | Early years
Scotland Street School Museum is a museum of school education in Glasgow, Scotland, in the district of Kingston. It is located in a former school designed by Charles Rennie Mackintosh between 1903 and 1906. The building is one of Glasgow's foremost architectural attractions. It is located next to the Shields Road subway station. Mackintosh based the design of the school on Rowallan Castle in Ayrshire and Falkland Palace. The building features a pair of windowed Scottish baronial style tower staircases and a tiled Drill Hall. During the building's construction, Mackintosh frequently battled the school board about the design (the board wanted a less expensive design).
Scotland Street School Museum | Introduction
Andrew Carnduff Ritchie was born in Bellshill in Scotland in 1907. In 1922 he moved with his family to Pittsburgh. At 17 he took a job at Westinghouse Electric in Pittsburgh in order to fund his higher education. He entered the University of Pittsburgh in 1927, graduating with an MFA degree in medieval studies in 1933. He then obtained a fellowship to study at the Courtauld Institute of Art, University of London from 1933, graduating with a PhD in 1935. His dissertation topic was English medieval art.
Andrew Ritchie (art historian) | Early life and education