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Stating the ObviousEvening dress by Ossie Clark + Ossie Clark (1942-1996).David Hockney, Mr and Mrs Stating the ObviousEvening dress by Ossie Clark + Ossie Clark (1942-1996).David Hockney, Mr and Mrs Stating the ObviousEvening dress by Ossie Clark + Ossie Clark (1942-1996).David Hockney, Mr and Mrs

Stating the Obvious

Evening dress by Ossie Clark + Ossie Clark (1942-1996).

David Hockney, Mr and Mrs Clark and Percy (1970-71), Tate Britain, London.


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How vulnerable is creativity? - Céline, Spring 2015, rtw.- Meredith Frampton, Portrait of a Young WoHow vulnerable is creativity? - Céline, Spring 2015, rtw.- Meredith Frampton, Portrait of a Young Wo

How vulnerable is creativity?

- Céline, Spring 2015, rtw.
- Meredith Frampton, Portrait of a Young Woman, 1935, oil on canvas, Tate Britain, London.

 


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We are 1.- 17th Century British School, The Cholmondeley Sisters, Tate Gallery, London.- Comme des GWe are 1.- 17th Century British School, The Cholmondeley Sisters, Tate Gallery, London.- Comme des GWe are 1.- 17th Century British School, The Cholmondeley Sisters, Tate Gallery, London.- Comme des G

We are 1.


- 17th Century British School, The Cholmondeley Sisters, Tate Gallery, London.
- Comme des Garçons, Spring 2015, rtw.


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Tate Britain favourites (2)Tate Britain favourites (2)Tate Britain favourites (2)Tate Britain favourites (2)Tate Britain favourites (2)Tate Britain favourites (2)Tate Britain favourites (2)Tate Britain favourites (2)Tate Britain favourites (2)Tate Britain favourites (2)

Tate Britain favourites (2)


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Tate Britain favourites (1).Tate Britain favourites (1).Tate Britain favourites (1).Tate Britain favourites (1).Tate Britain favourites (1).Tate Britain favourites (1).Tate Britain favourites (1).Tate Britain favourites (1).Tate Britain favourites (1).Tate Britain favourites (1).

Tate Britain favourites (1).


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Paul Maitland, Kensington Gardens with Chairs and Figures (ca.1907)[Oil on panel 4 ¼ × 6 7/8

Paul Maitland, Kensington Gardens with Chairs and Figures (ca.1907)

[Oil on panel 4 ¼ × 6 7/8 (108 × 175) © Tate Britain]


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Sketching at the @Tate Britain during the #dance performance part of #THESQUASH by #AntheaHamilton.

Sketching at the @Tate Britain during the #dance performance part of #THESQUASH by #AntheaHamilton. Costumes designed with @LoeweOfficial’s @jw_anderson www.francescoloiacono.com @Sothebys @andrew_wilson_a @hellojenaa


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 Sketching at the @Tate Britain during the #dance performance part of #THESQUASH by #AntheaHamilton.

Sketching at the @Tate Britain during the #dance performance part of #THESQUASH by #AntheaHamilton. Costumes designed with @LoeweOfficial’s @jw_anderson www.francescoloiacono.com @Sothebys @andrew_wilson_a @hellojenaa


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I spent some time #sketching at the @Tate Britain during the #dance #performance that is part of #TH

I spent some time #sketching at the @Tate Britain during the #dance #performance that is part of #THESQUASH, an #installation created by #AntheaHamilton. Costumes were designed with @LoeweOfficial’s @jw_anderson www.francescoloiacono.com


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Hylas Surprised by the Naiades (1837) John Gibson (1790–1866)This life-size statue group in white maHylas Surprised by the Naiades (1837) John Gibson (1790–1866)This life-size statue group in white maHylas Surprised by the Naiades (1837) John Gibson (1790–1866)This life-size statue group in white maHylas Surprised by the Naiades (1837) John Gibson (1790–1866)This life-size statue group in white maHylas Surprised by the Naiades (1837) John Gibson (1790–1866)This life-size statue group in white maHylas Surprised by the Naiades (1837) John Gibson (1790–1866)This life-size statue group in white maHylas Surprised by the Naiades (1837) John Gibson (1790–1866)This life-size statue group in white ma

Hylas Surprised by the Naiades (1837) 

John Gibson (1790–1866)

This life-size statue group in white marble presents a scene from Greek mythology in which the boy Hylas, the companion of Hercules, goes to collect water from a stream, and is lured into the depths by water nymphs who are entranced by his beauty. The nymphs (Naiades) simultaneously gaze admiringly and move to physically detain the boy. The taller nymph places her face against Hylas’s hair and strokes his cheek while gently restraining his arm. The other places a hand around the boy’s waist and takes his hand in hers. Hylas seems to lose his grip on the pitcher in surprise. His extended leg suggests that he is trying to leave, although he also appears entranced by the naked naiad.

Hylas Surprised by the Naiades draws on several classical sources. The boy’s profile resembles an antique gem engraving with ‘long hair in curls’, as described by the third-century Greek poet Theocritus. The amphora in his hand is based on excavated examples, and his pose echoes a relief of the subject on a sarcophagus at the Villa Mattei in Rome. The Greek inscription translates as ‘Beautiful Hylas’.


Marble, H: 1,600, L: 1,194, D: 0,718 m - N01746

Tate Britain, London


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Waterhouse, John William.  Saint Eulalia.  1885.  Oil on canvas.  188.6 cm x 117.5 cm.  Tate Britain

Waterhouse, John William.  Saint Eulalia.  1885.  Oil on canvas.  188.6 cm x 117.5 cm.  Tate Britain, London.

Another painting from Waterhouse, This piece inspires me because of the impressive use of foreshortening and angles as well as the contrast in colors between the woman’s skin and the white of the snow as well as the many different angles and positions of the birds.  To me, it seems like there is a clash of old and new represented with this art.  The woman seems out of place in the time period for some reason, not to mention foreshortening did not show up during the time period that this is seemingly set.


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David Annesley, Red, Yellow, Blue and Turquoise, 1970, screenprint on paper, 58.1 x 76.5 cm, Tate Br

David Annesley, Red, Yellow, Blue and Turquoise, 1970, screenprint on paper, 58.1 x 76.5 cm, Tate Britain, London. Source


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One of my images on display at Tate Britain, part of Source Spotlight last month. Here’s one o

One of my images on display at Tate Britain, part of Source Spotlight last month. Here’s one of them. Thanks Tate Collectives for involving me!#SourceDisplay


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Jaspers Johns (American, born 1930), Fall, from the series The Seasons, 1987.  Etching and aquatint

Jaspers Johns (American, born 1930), Fall, from the series The Seasons, 1987.  Etching and aquatint on paper, 49 x 32.5; Tate Britain, London | © Jaspers Johns


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Floor plan for the Tate Gallery, London

Floor plan for the Tate Gallery, London


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Design for the Tate Gallery, London

Design for the Tate Gallery, London


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The Reconciliation of Helen and Paris after His Defeat by Menelaus, Richard Westall, 1805

                                  S   E    X    Y     P   I   N    KViews of Hew Locke’s monumental                                   S   E    X    Y     P   I   N    KViews of Hew Locke’s monumental                                   S   E    X    Y     P   I   N    KViews of Hew Locke’s monumental                                   S   E    X    Y     P   I   N    KViews of Hew Locke’s monumental

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Views of Hew Locke’s monumental opus, The Procession. The work is installed at the Tate Britain. Every single element is imbued with the history, anguish, joy and spectacle of the Caribbean. If you’re lucky enough to be able to see it, put aside a few of hours to take it all in. @hewdjlocke @tate


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