Afleveringen
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NGV curators ponder the inspiration behind Kenneth Armitage's culpture People in a Wind and his move away from grand symbolic gesture towards more of a commentary on everyday life.
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In 1957, the Soviet Union launched Sputnik. Britain tested its first Hydrogen Bomb. Artists, including John Bratby, painted images of kitchen sinks. NGV curators ask the obvious question: why.
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Zijn er afleveringen die ontbreken?
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NGV curators discuss The Straw Hat, painted by Mark Gertler during a period when he was influenced by Renoir’s monumental nudes.
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NGV curators discuss Alfred Wallis’s painting The Steamer and his motivation to capture the sights of a disappearing way of life: Cornwell’s fishing and shipping traditions.
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NGV curators discuss Barbara Hepworth’s sculpture Eidos which means ‘form’ in Greek. In this work, Hepworth is attempting to sculpt form itself.
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NGV curators speculate about the meaning behind Lowry’s paintings of British industrial scenes, including The River Candidate.
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NGV curators discuss the double meaning in the title of Hillier’s painting and the double meaning also contained within the image.
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NGV curators discuss Roger Fry’s paintings Still life (jug and eggs) and Table and the artist’s involvement in the Bloomsbury group.
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NGV curators question whether Walter Sickert is seeking to present a sinister view of Christianity in his painting The Raising of Lazarus.
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NGV curators discuss Spencer Gore’s painting The Icknield Way which features a subject well known to English audiences: the Icknield Way is claimed to be the oldest road in Britain.
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NGV curators discuss William Orpen’s The English Nude, considered a risqué image for Britain at this time. It is a bold painting, the naked woman gazing out at the viewer with frank sexuality.
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Discusses William Nicholson’s painting The Beautiful Motorist – here we see the modern woman, dressed in the lavish uniform of that new-fangled device, the motor car.