An English Perspective was a collection of all of William Henry Marcello Parente's personal art collection. William is one of the current owners of Welbeck Abbey. The piece's of artwork are normally on the walls of the family room of the Abbey. There are many different types of artwork they are all by British artists and were painted between 1911 and the most recent was 2007. Each picture has William Parente's thoughts next to it which give an insight into why he purchased the painting, print or drawing.
Edward Burra (1905- 1976)
Zona Industriale, Firenze, 1965-67
William Parente's thoughts: Burra sometimes painted transparent people. 'Well dearie', he said 'Don't you find that as you get older it gets easier to see through people?' He didn't interrupt, he saw like this. Here he sees the harsh reality of an industrial suburb of Florence. But there is still a magic of life, and perhaps something more, that only Burra saw, which he has the ability to make us briefly see too.
My thoughts: I was most interested in this piece because I have always liked painting that are black and white with small bits of colour. I saw some work like this in a shop and it was in a cartoon type style with streets that were gray scale and there was an ice-cream van that was bright and colourful and then on another there was children and they were also in colour.
William Parente's thoughts: David Spiller with his love of the Sixties, is the perfect interpreter of the world of Tintin. Like the best Pop Art, his work reminds us that we can also be fun, and playful, and kind.
My thoughts: This was one of the first paintings you see and I think it shows people that William Parente's likes art that is a bit more fun.
John Napper (1916 - 2001)
Kitchen and Aga, 1996
William Parente's thoughts: This composition is a tremendous technical tour de force - a tightrope act of watercolour. John painted pots and pans endlessly, but he was really painting an imaginary landscape in which the balance of colours, shapes and weights said something about the eternal forces which, as he saw it, ran through our world.
My thoughts: I liked this one because it looks like perspective has been used all over the painting but infact it has only been used in certain areas.
John Napper (1916 -2001)
Alison - Child 1988
William Parente's thoughts: These two paintings go together, John Napper knew Alison since she was a child, and here he paints her gaily, infusing the picture with the joy and love her parents had for their child.
On the other hand, is a considered, careful portrait:Alison as an adult, no longer free from care - now she is within a context, within her life. She has grown up. And so has John's art - it is precise, controlled. it invites though, with it powerful planes and suggestive symbols. The two works show the change from the innocence to experience.
My thoughts: I think the painting of Alison as a child looks really nice and I can see where the artist is coming from with the not a care in the world thought. Alison as an adult looks quite serious but happy at the same time.
George Clausen (1852 - 1944)
Study for 'Planting a tree'
William Parente's thoughts: I love this drawing as it evokes pleasant feeling associated with planting trees, as well as the physical act of tree planting. You also understand he relationship between the man and the boy, and the hard work.
My thoughts: I have always loved quick sketches like this.
Edward Burra (1905 - 1976)
Approaching Storm, 1968 - 1969
William Parente's thoughts: This railway line always looks Italian to me, perhaps because it is a long flat stretch and is obviously electrified. The storm itself is somehow foreign too: too big and colourful to be British. But then ordinary things often - no, always - do look alien to Burra.
An English Perspective could relate to the heritage project because all of the paintings are by british artists and I'm looking at the surrounding area and all of these paintings live in Welbeck Abbey which is a big piece of history in Worksop.
Sleeping Beauty Exhibition was about a bed that has been restored by Fiona Wemyss and twenty specialist crafts people, the decision was made two years ago and shows that traditional skills are still needed today. The bed was first owned by French Politician Prince de Talleyrand back in the 1800 and was thought that he bought it back in 1803. The bed was then sold onto the 6th Duke of Portland after being sold at Morants, a furniture dealer in London. The duke bought it in 1900 and was a centre piece for a new state bedroom. The duke and duchess were great entertainers and people who have slept in it include, Edward VII, the Sultan of Zanzibar, Queen Elizabeth and the Queen Mother.
The restored bed
The Talleyrand Bed at Welbeck Abbey, about 1920
Fiona Wemyss at work
The new trimmings for the bed
Cutting the fabric
The Talleyrand Bed before restoration began
Mike Howden and his work on the Talleyrand Bed
The restoration in progress
I thought that the 'Sleeping Beauty' Exhibition was more interesting because I like the fact that they used traditional skills to restore the bed and the history behind it but I do feel the exhibitions relate because they both have history incorporated. 'An English Perspective' gives an insight into why William Parente bought and liked the paintings over the years and the 'Sleeping Beauty' exhibition gives us details on the history of the bed. I also think both exhibitions are quite sentimental to the owner.
This exhibition could relate to my heritage project also because I want to look at traditional skills and how I can make them more modern.
This exhibition could relate to my heritage project also because I want to look at traditional skills and how I can make them more modern.
'An English Perspective' pictures were taken my me
'Sleeping Beauty' pictures are from Harley Gallery website
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