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GALLERY STROLL courtauld institute galleries Master Drawingsfrom the Courtauld Collections •16 October 1991 - 19 January 1992· The scope ofthe exhibition has had to be limited to works covering a period from the early fifteenth to early nineteenth centuries. Within this range are the beautiful silverpoint by Hugo van der Goes; pen and sepia drawings by Pieter Bruegel the Elder; landscapes by Fra Bartolemmeo; two Michelangelo sheets, including the enigmatic Dream of Life; and superlative works byGuercino, Claude, Bernini, Canaletto, Rubens and Tiepolo. British art is represented by fine examples ofthe work ofGainsborough, A and J. R. Cozens, Francis Towne, Cotman, Girtin, and two glorious Turner watercolors. LEIGHTON HOUSE MUSEUM AND ART GALLERY Fired Earth: 1000 Yean of Tiles •11 November - 24 December 1991· While this exhibition surveys a thousand years of manufacture and design from the Medieval period to the present day, it is of particular interest for its nineteenth-century examples. It was in the nineteenth century that ceramic tiles truly came of age. The invention ofnew techniques such as transfer printing and machine pressing meant that tiles could now be produced in vast quantities and at comparatively little cost. As a result they became a standard form of decoration for hearths, floors and walls in all but the very poorest of homes. The period also witnessed tremendous improvements in the sphere of design. The adaptation of Gothic patterns by manufacturers such as Minton and Maw & Co. did much to revitalise mid-century design while the invention of "Art" tiles, produced by pioneering Arts & Crafts and Art Nouveau craftsmen like William de Morgan, C. F. A. Voysey and Walter Crane, introduced a new aesthetic note into tile design. Pictorial panels by Kate Greenaway and Walter Crane complement the more geometric style of A. W. N. Pugin and the sumptuous floral patterns produced by William Morris and William de Morgan anticipate the sensual, brightly colored designs associated with Art Nouveau. NATIONAL GALLERY The Queen's Pictures: Royal Collectors through the Centuries •2 October 1991 - 19 January 1992· Manet and the Execution ofMaximilian •Uury - 27 September 1992· Edvard Munch: The Frieze ofLife •12 November 1992 - 7 February 1993· GaUery StroU105 NATIONAL PORTRAIT GALLERY Michael Faraday 1791-1867 •10 September 1991 - 19 January 1992· A small display celebrating life and work of one of the greatest pioneers of scientific discovery. The Portrait in British Art •8 November 1991 - 9 February 1992· An exhibition of seventy of the most significant works of British portraiture throughout the centuries, all ofwhich have been saved for the nation bythe National Art Collections Fund. The portraits, including important works by Van Dydc, Thomas Gainsborough, Sir Joshua Reynolds and Walter Sickert, have been lent by museums and galleries throughout Britain. George Bernard Shaw •10 April 1992 - 5 July 1992· A biographical exhibition chronicling the life and works of George Bernard Shaw. Orator, pamphleteerand musiccritic, Shaw's greatest fame was achieved as a playwright withworks such as Pygmalion. Part ofa wide circle of artists, actors and writers, Shaw was painted and photographed by leading exponents of the day, including Augustus John, Dame Laura Knight and Edward Steichen. The Portraits of Thomas Eakins 1844 - 1916 •October 1993 - January 1994· Ahnoet totally unknown in Europe, this exhibition brings together sixty of the finest portraits by the most important American artist in the late nineteenth century. Eakins sought to portray the leaders of progressive American society, in commerce and industry, medicine, science, education and sport, as the "biographer" of his native Philadelphia. TATE GALLERY Turner's Rivers ofEurope: The Rhine, Meuse and Mosel •11 September 1991 - 26 January 1992· During the two years of her research sponsored by Volkswagen Dr. Cecilia Powell, who won a Mitchell Prize for her first book Turner in the South, has followed the course of Turner's three principal tours through the Rhineland and the Ardennes, identifying the subject-matter of thousands of pencil sketches of his sketchbooks. This has enabled her to establish the artist's exact movements on these tours on a day-to-day basis; to pinpoint the relationships between his on-the-spot sketches and the later works in ou, watercolor and gouache; and—in the case of the Meuse-Moeel tours—to redate...


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