The 2021 Liberation Literature Lecture will take place online on Tuesday the 27th of April, 2021, from 6pm to 7pm UK time. Professor Laurence Bertrand Dorléac, the acclaimed art historian and exhibition curator, will speak on ‘Why the story changes : new understandings of art in occupied France’. Professor Dorléac’s talk and subsequent Q&A with Professor Nick White of Cambridge’s MMLL Faculty will be in French with simultaneous English translation. All are very welcome.
The lecture series is generously supported by the charitable trust of Sir Charles Chadwyck-Healey, who is of course also the donor of the extraordinary Liberation Collection which inspires the series.
Among the artists who continued to produce work in occupied France (and who will be a focus in Professor Dorléac’s talk) was Pablo Picasso. The image shown here is the front cover of the Picasso libre exhibition catalogue which stands in the Chadwyck-Healey Liberation Collection at Liberation.a.232. The exhibition was held in the summer of 1945 at Galerie Louis Carré in Paris, showing paintings largely carried out under Nazi occupation before the Liberation of Paris in August 1944. The catalogue is large in terms of height (just under 29 cm) but brief: 63 pages of text and 21 plates. The plates are in black and white. I will update this post in due course with a couple of images when I am next in the Library. Current staff and students can look at an online version of the book via HathiTrust, through the temporary ETAS “check out” service: please see this other record in iDiscover.
Booking for the 2021 Liberation Liberation Lecture is now open, at this link [NB there is no need to enter a password, only an email address]. Further details about the event, in English and in French, can be found on this page, as well as contact details for the Library’s External Engagement team who are coordinating arrangements.
We have written previously about art books donated to the University Library by Professor Jean Michel Massing. One resulting addition is a slight 1935 doctoral thesis from the University of Hamburg on Rembrandt’s influence on 18th century England. The author was Ursula Hoff from London, under the supervision of Erwin Panofsky (one of the most influential art historians of the 20th century) and Fritz Saxl (equally well known as the director of the Warburg Institute and instrumental in moving it from Hamburg to London in 1933). The examiners at her oral examination in May 1935 were the less well known Werner Burmeister and Ludwig Heinrich Heydenreich. In this post I will look in more detail at the people behind these names and the connections between them. It’s a fascinating story with many twists and turns.
General view of the Museo del Prado, by Outisnn (via Wikipedia)
Last November 19, the museum celebrated the 200 year anniversary of its opening. The University Library regularly receives Spanish art catalogues – including the ones issued by the Prado – but this time we have also acquired a selection of recent books (listed below) commemorating this occasion. Among them we can highlight Museo del Prado, 1819-2019: un lugar de memoria (C202.b.3782), catalogue of an exhibition focused on the museum’s history, organised by the institution. Continue reading →
The introduction to the 1945 ‘Select classes classification’
The University Library’s classification schemes can sometimes seem designed to hinder rather than aid the reader. This post looks at some recent and lovely East European additions to the S3-figure class and briefly explains its history and current use.
In the past, the Library produced publications about specific classification schemes, chiefly for staff but apparently also for sale (many have prices printed on them!). From my predecessor as head of department, David Lowe, I inherited a third edition of Select books classification, published in 1945 in a print run of 100 copies following a first edition in 1925 and a second very shortly thereafter in 1926.
The S3-figure class was designed for ‘select books’ which didn’t already fall into one of the other ‘select classes’ covered by the pamphlet. Most commonly, a ‘select book’ was, and still is, something extensively illustrated or very heavy (archaeology books and art catalogues often tick both boxes) which the Library would want to provide access to only in a supervised reading room. The class traditionally held only hardbacks but we now add sturdy paperbacks to the sequence too. The S3-figure class was originally applied in combination with a simplified version of the open-shelf 3-figure scheme, so a book about Russian history which would count as ‘select’ would have been given a classmark starting with S586 (since 586 is the main Russian history class). About 15 years ago, the decision was made to stop the subject classification of S3-figure books, and now the classmark is standardly S950 and otherwise reflects only size and date of publications with a running number (eg S950.c.201.1). As is the case with many classes in the UL, then, readers need to use the subject headings in catalogue records to trace subjects for titles added to the S3-figure class since that time. This post looks at three new additions to the class which relate to East European art. Continue reading →
The exhibition Sorolla: Spanish master of light (S950.a.201.6770) that inspired this post is coming to an end at the National Gallery (London) on 7 July, but will open at the National Gallery of Ireland in Dublin between 10 August and 3 November.
Although probably not known to the English-speaking educated public, Sorolla was the most internationally well-known Spanish artist of his time. A painter with a style close to impressionism, and without any doubt, a master at capturing light.
Joaquín Sorolla y Bastida (1863-1923) was born in Valencia, the son of a tradesman, but became an orphan at a young age. Joaquín and his sister were taken under the care of their aunt and uncle, who was a locksmith. Sorolla showed an early interest in painting. He started taking drawing classes in 1874, later followed by studies at the Fine arts school in Valencia. With the support of the photographer Antonio García Peris (see S950.c.201.1204), his future father-in-law, he was able to set up his first studio. Continue reading →