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GALLERY ? ASHMOLEAN MUSEUM, Oxford Ruskin and Oxford • 21 May 1996 - 15 October 1996 · Ruskin always had close links with Oxford. After his appointment as the first Slade Professor he decided to found an Art School in the University, at which his principles could be put into practice. This exhibition, drawn largely from the Ashmolean's collections, will illustrate this surprisingly little-documented aspect of Ruskin's aims. The exhibition has been arranged and catalogued by Professor Robert Hewison, a well-known Ruskin scholar, and is sponsored by the Guild of St George and the Ruskin Foundation in association with the Sheffield City Arts and Museums Department. NATIONAL PORTRAIT GALLERY, London *************************** The Art ofthe Picture Frame: Artists, Patrons and the Framing ofPortraits in Britain • 8 November 1996 - 9 February 1997· The National Portrait Gallery is organizing the first major exhibition in Britain on pictures and their frames. The Art of the Picture Frame is the brainchild of Jacob Simon, Curator of eighteenth century portraits, who has organized and selected the exhibition. This venture is intended to encourage interest in an important aspect of the presentation of pictures and so develop greater understanding and awareness of historic and modern frames and their relationship to the picture. The exhibition will concentrate on the picture frame in Britain and will explore the themes of style, function, technique, perception and choice of frames. Based on the NPG's large and representative collection, the exhibition will range over five hundred years of British portraiture up to the present day and will include some one hundred eighty frames, most of them with their pictures. It will focus on sixty frames hung in the Wolfson Gallery and extend to include portraits throughout the rest of the National Portrait Gallery by means of a chronological trail highlighting about one hundred twenty portraits. 92Victorian Review VICTORIA AND ALBERT MUSEUM, London *************************** William Morris • 9 May 1996 - 1 September 1996 · The exhibition presents an important reassessment of the life and work of William Morris. Few individuals before or since have achieved so much in one lifetime. Morris was a prolific designer and manufacturer of all forms of the decorative arts, whose work and ideas have proved a major influence on the development of twentieth-century design and manufacture. The whole range of Morris's work and interests are explored, including wallpapers, ceramic tiles, linoleum, stained glass, table glass, tapestries, woven and painted textiles, carpets, embroideries, calligraphy, printed books, paintings, drawings, designs and furniture. His searching criticism of British society, his involvement with the early socialist movement and his personal and family life are also examined. More than five hundred works of art the majority of which are drawn from the Victoria and Albert's permanent collections, show the versatility of William Morris. Important exhibits include the St. George Cabinet, designed for the International Exhibition in 1862; his only finished painting, which shows his wife, Jane, as 'La Belle Iseult'; a lavish, illuminated version of Virgil's Aeneid, Morris's finest piece of calligraphic work; his designs for rooms at St. James's Palace; furnishings from Red House, his first family home; two of the series of Holy Grail tapestries, based on Arthurian legend and designed for W.K. D'Arcy of Stanmore Hall in 1890; the vast Bullerswood carpet made for the country house of the same name in Chislehurst, Kent widely considered to be the finest carpet he designed; and details of his pioneering work in the field of building conservation, such as the letter he sent to the Prime Minister in an attempt to halt the energetic restoration of St. Mark's in Venice in 1879, and a petition he drew up to stop the building of additions to Westminster Hall in 1882. ...


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