#bridewell gallery

[thetldrplace]

A Dialogue of Self and Soul: Plain Jane's Progress- Sandra Gilbert and Susan Gubar 

The following is my selective retyping of this essay found in the back of the Norton Critical edition of Jane Eyre.

Jane Eyre is a novel looking at the female realities around her: confinement, orphanhood, starvation, and rage even to madness. Jane becomes the emblem of a passionate, barely disguised rebelliousness. Victorian critics understood this and disliked the "anti-Christian" refusal to accept the forms, customs, and standards of society. Jane refuses to submit to her social destiny, of which Elizabeth Rigby said: it pleased God to make her an orphan, friendless, and penniless. What horrified the Victorians was Jane's anger. 

The story is of enclosure and escape. Everywoman in patriarchal society must meet and overcome oppression, starvation, madness, coldness. Jane's confrontation with Bertha is an encounter with her own hunger, rebellion, and rage. 

Jane is on a pilgrim's progress towards maturity, and there are problems she has to solve on the way to maturity. At Gateshead, the book opens with the remark that there was no possibility of taking a walk that day. Jane is excluded from the family, so she sits in the window behind the curtain. This is emblematic of the choice- stay behind the oppressive curtain, or go out into the cold loveless world. 

John Reed comes on the scene though and it results in his fat lip and Jane's sentence to the red room. 

As Jane meditates on the injustice, she is faced with the option of escape through flight or escape through starvation, which will recur in the novel. But Jane finds a third possible escape: madness, through seeing ghosts. This opens up a larger drama that we find throughout the book. Jane's anomalous, orphaned position in society, her enclosure in stultifying roles and houses, and her attempts to escape through flight, starvation, and... madness.  

It is her eagerness for a new servitude that brings Jane to Thornfield, where she will confront the demon of rage that has haunted her since her afternoon in the red room. Before the appearance of Rochester, she explores Thornfield. It is the house of Jane's life. There is a long, cold gallery, where portraits of unknown ancestors hang the way the specter of Mr Reed hovered in the red room. Mrs Fairfax is assumed to be her employer when in fact she is just the housekeeper, the surrogate of an absent master, as Mrs Reed was for Mr Reed. But the third floor  holds enigmatic locked rooms guarding secrets. In the attic, Jane looks out over the world and articulates her desire for liberty. 

Many of Jane's problems can be traced to her status as governess at Thornfield. Governesses were, and were not, members of the family, were, and were not, servants. The women at Thornfield represent negative role-models. The most important are Adele, Blanche, and Grace Poole. While Adele isn't yet a woman, she is a little woman; cunning and doll-like. She longs for fashionable gowns rather than love or freedom, as her mother would. Where Miss Temple's was the way of the lady, and Helen's was the way of the saint, Adele and Celine's are the way of vanity fair. 

Blanche is also a denizen of vanity fair, but Blanche teaches Jane that conventional marriage can be a prison, through the charade of Bridewell. But the charade also suggests that the marriage market is a game even scheming women are doomed to lose. 

Finally there is Grace, who, acting as an agent for men, may be the keeper of other women, but both are prisoners in the same chains. 

Jane's meeting with Rochester is a fairy-tale, but his first action is to fall on the ice. He acknowledges her power, and though they begin as master/servant in one sense, in another they are spiritual equals. In time Jane falls in love with him because she feels them equals. 

After his long revelation of his past love life, Jane is shown to be his equal, and in fact he notices her unseduceable independence in a world of self-marketing Celines and Blanches. 

Jane, in a moment of despair upon hearing about Blanche, asserts that though she is poor, obscure, plain, and little, she has as much soul and heart as he does. 

Rochester then casts away his own disguise and professes that Jane is his equal. 

The Victorians were upset because the novel here is asserting that Jane is his democratic equal. 

But there were impediments. Rochester, despite some attempts to cast off the masks or disguises that give him mastery, still does need to cast it off, because the inequality exists.  

Once Rochester has secured Jane's love, he almost immediately begins to treat her as an inferior. She senses this and resolves to keep him in check. His ultimate secret is of course Bertha, the literal impediment to his wedding. After the aborted ceremony, Jane learns that he had married her for status, sex, money, everything but love and equality. He regrets it, but Jane says she would have spurned such a union. 

Jane's impediments are other. While she loves Rochester the man, she has doubts about Rochester the husband. She tells him that after 6 months the excitement of her love would dwindle. Jane's life pilgrimage has prepared her to be angry at Rochester's, and society's, concept of marriage. As her fears and anger about marriage intensify, she is drawn back into her own past to re-experience the sense of doubleness that had begun in the red room. The first sign of this is the recurring dream of a child. The child represents Jane's own childhood, her being orphaned. Until she reaches maturity, independence, and true equality with Rochester, she can't let go of the orphaned alter-ego so easily, despite love-making, silk dresses, jewelry and a new name.  Another sign of this doubleness is Jane's reflection in the mirror on her wedding day where she says she seems the image of a stranger. 

Finally, in the appearance of Bertha, the most threatening avatar, Jane sees the Bertha does what Jane wants to do: Jane secretly wants to tear the garments up, Bertha does it. Jane would like to put off the wedding day, Bertha does it. Resenting the mastery of Rochester, she wishes to be his equal in size and strength, Bertha is nearly that. Bertha, in other words, is Jane's truest and darkest double- the angry aspect of the orphan child, the ferocious secret self that Jane has been trying to repress ever since Gateshead- these two characters represent the socially acceptable, conventional personality and the free, uninhibited, and sometimes criminal self. 

Jane's desire to destroy Thornfield, the symbol of Rochester's mastery and her own servitude, will be carried out by Bertha.  

Some writers have noted that Bertha is the symbol of what happens to a woman who tries to be the fleshly version of the masculine élan. Just as Jane's instinct for self-preservation saves her from earlier temptations, it must save her from becoming this woman by curbing her imagination at the limits of what is bearable for a powerless woman in the England of the 1840's. While Bertha acts out Jane's secret fantasies, she at least provides her a lesson of what not to do. 

But Bertha also acts like Jane in ways. She is imprisoned, running backwards and forwards, like Jane pacing backwards and forwards on the third story.... and she is also the 'bad animal' like ten-year old Jane, imprisoned in the red room. Bertha's appearance- goblin, half dream, half reality, recalls Rochester's epithets for Jane as a malicious elf, sprite, changeling. 

Despite all the habits of harmony she gained in her years at Lowood, that on her arrival at Thornfield, she only appeared disciplined and subdued. She has repressed her rage and it will not be exorcised until the death of Bertha frees her from the furies that torment her and make a marriage of equality possible- and a wholeness within herself. 

Her pilgrimage away from Thornfield is signaled by the rising of the moon, which accompanies other events in the novel. Her wanderings on the road are a symbolic summary of the wanderings of the poor orphan child which constitute her entire life's pilgrimage. Jane wanders far and lonely; starving, freezing, stumbling, abandoning her few possessions, her name, and even her self-respect, in search of a new home. But here she meets the Rivers- good relatives that free her from the angry memories of the wicked step-family. She has also torn off the crown of thorns that Rochester offered and rejected the unequal marriage he proposed. She has now gained the strength to discover her real place in the world. She concludes she was right when she adhered to principle and law. But her progress will not be complete until she learns that principle and law in the abstract don't always coincide with the deepest principles and laws of her own being. Her earlier sense that Miss Temple's teachings had only been superimposed on her native vitality has already suggested this to her. But her encounter with St John Rivers cements in thoroughly. 

Where Rochester offers a life of pleasure, a marriage of passion, and a path of roses (with concealed thorns); St John offers a life of principle, a marriage of spirituality, and a path of thorns (with concealed roses). If she follows St John, she will replace love with labor. But Jane's repudiation of both Helen's and Miss Temple's spiritual harmonies hint that she will not accept St John's offer. 

Rochester represents fire, and St John represents ice. But Jane, who has struggled all her life, like a sane version of Bertha, against the cold of a loveless world, ice will not do. St John, like Brocklehurst, is a pillar of patriarchy. Brocklehurst removed Jane form imprisonment only to immure her in a valley of starvation. Rochester tied to make her a slave of passion. St John wants to imprison her soul in the ultimate cell- the iron shroud of principle. 

This attempt to imprison was certainly difficult to resist, especially on the heels of Jane congratulating herself on her adherence to principle. But her escape is facilitated by two events: she finds her true family, and comes into her inheritance. Now she is literally an independent woman. But her freedom is also signaled by the death of Bertha. The plot device of hearing each other's voices is the sign that the relationship for which both lovers had longed is finally possible. 

Ferndean is stripped and asocial, buried deep in the woods out of the way. This suggests isolation of the lovers in a world where egalitarian marriages are rare, if not impossible. Perhaps Bronte was unable to envision a viable solution to patriarchal oppression, and the only thing to do was isolate oneself from it as much as possible. 

While I don't know if this analysis is on point or not, I the points I've rewritten here interesting. Clearly a lot of thought has gone into the analysis, and it was interesting to read symbols and connections that I'd never thought of. It's the reason I bought the Norton critical edition- because I was hoping to read what other people had thought about the novel. I thought it was interesting 

[artistopencalls]

🟤⚪️ @drawingpapershow LAST DAY! You have until midnight to apply. APPLY to exhibit in The Drawing (Paper) Show The Bridewell Studios and Gallery, Liverpool @bridewellstudiosliverpool, during Liverpool Biennial ‘23 (Friday 21st July until Sunday 13th August) and feature in the 9th Edition of Drawing Paper. Apply via Instagram: Follow @drawingpapershow Post your image Tag @drawingpapershow Add location In the description include medium & size Only one ‘work’ to be submitted per artist, first tagged image will be accepted. For live or site-specific work post image/video of previous work/examples of what you would propose to do in description. Your account must be public. Cost: Free. Who can apply: International open call to all drawers. There are two categories: North West regions and the rest of the world. We aim to provide opportunities for all artists while ensuring the representation for local North West regional based artists. Deadline: Midnight (GMT) 10th April 2023. Successful applicants will be notified by the 18th April. Unfortunately we will be unable to notify or provide feedback on unsuccessful applications. For more information and terms and conditions see: www.drawingpapershow.com The Drawing (Paper) Show is Supported by the Ulrike Michal Foundation for the Arts. Cefnogwyd gan Sylfaen Ulrike Michal i’r Celfyddydau. . . . #drawings #drawingskills #leanringtodraw #artistopportunities #artopps #artist #drawing #drawingartist #artofdrawing #drawingprocess #drawdaily #drawdrawdraw #pencildrawing #pendrawing #penandink #opencall #artcontest #artcompetition #artopportunity #emergingartist #callforsubmissions #callforartists #callforart #artists #drawing #opencallforartists #callforentries #artmagazine #artpublication #DrawingPaperShow23 (at Bridewell Studios) https://www.instagram.com/p/Cq2eYjpomSF/?igshid=NGJjMDIxMWI=

[ghostofatree]

Another of the reliquary objects on show at the 7 exhibition at @bridewellstudiosliverpool - it’s still open today and tomorrow 12-4pm. This one is not assemblage but altered found photo from a little later than the ones I have shown recently. I had found a framed photo of a boy (who looked very like me when I was his age). It was in the old Red brick Vintage when it was really good there, (before they tragically made the disappointing decision to pass the best space in to some developer of other and move the antiques and collectibles into a stall area which lost most of its charm). There was this young lad who’s photo was for sale as bric-à-brac. It was hand tinted and I guessed very old. (Possibly my previous incarnation). A portrait photo then would have been very expensive and demonstrated how loved he was. The fact that it was now sold as curio spoke of the end of his line and him having been forgotten. I had to rescue him. My traditional offering of a gold-leaf halo was applied and I wanted to letraset a dedication. All this time I had been reading stats on levels of homelessness and substance dependency in the LGBT community. Much of this arose from rejection, often from parents and family when the previously very loved child came out and revealed their queer identity. The two things became entangled in my narrative approach and this beautiful kid became the patron saint of abandoned boys and blessed me with the recognition of how tolerant and supportive my own parents had been. Pueri Sancti Patroni Relicta Ora Pro Nobis - Omni Sancti Innocentes Orate Pro Nobis. (Patron Saint of Abandoned Boys Pray for Us, All You Holy Innocents Pray For Us). As though in comment on his own grief, after how ever many years intact, the ancient glass slid from its frame and shattered into sharp tears on the floor of the gallery. The making of relics is the telling of stories in physical form. #martyrs #saintsebastian #arrows #groupshow #exhibition #relic #reliquary #assemblage #foundphoto #adjustedphotograph #goldleaf #goldfinger #letraset #queerart #queerartist #bridewellstudios #blessthechild #stophomophobia #protecttranskids #translivesmatter #abandonment_issues (at Bridewell Studios) https://www.instagram.com/p/ClOROhPsfD7/?igshid=NGJjMDIxMWI=

[thewhitemaliceshadowproject]

BRIDEWELL GALLERY INDEPENDENT EXHIBITION

‘CAN I FORGET YOUR FACE?’

Several students and I exhibited our work in the Bridewell Gallery (independent [outside of university])

Having been inspired by Angelo Madonna’s work in the Bridewell, I decided to also exhibit my work in the cells. I thought my art worked well in the prison as the portrait paintings were of a criminal I knew from the past who had not been caught (NO JUSTICE TO THOSE HARMED BY HIM). Due to him committing suicide before the police could put him in a trial to send to jail, I decided to sentence him myself via paintings. 

It was a very interesting space and overall, I thought the exhibition went very well. Despite my lack of inspiration and ideas for this semester, I think I did well, and the mark making for the paintings were very fun (but also frustrating because art is god damned hard) and I have Jasmir Creed to thank for the inspirational work she did.

[nellygwyn]

Because many of the relevant building accounts have been lost, it is difficult to say much more about the impact Anne had on the development of Whitehall [Palace]. Not so at Hampton Court, where much of the documentation survives. Thus we know from a bill for broken windows that she had her own lodging there by June 1529, if not earlier. While Katherine was still nominally queen, Henry built there only for himself, pointedly leaving his first wife in the rooms Wolsey had provided for her in 1526. However, once living with Anne, he put a new queen's suite in hand immediately; indeed, since the foundations were being measured out in January 1533, planning must have begun very soon after the couple returned from Calais. Henry and Anne kept a constant eye on progress, and in November bricklayers were on overtime to finish the walls before the next royal visit. And the king kept on designing. When the couple were staying there the following July, the payhouse provided papers for 'sundry platts drawn at the king's commandment'.

Anne's new suite broke completely with the recent past. At Richmond, rebuilt after a 1497 fire, Henry's parents had rooms one above another. At Eltham, modernized between 1519 and 1522, Katherine and Henry had lodgings on opposite sides of the courtyard, though the king seems to have had a bedroom reserved in her suite; at Hampton Court the consort's rooms were on the floor above the king, and at Bridewell on the floor below and across the inner courtyard. In sharp contrast, Anne's new apartments at Hampton Court were constructed on the same floor as the king's (the first) and with direct private access to his suite. Although swept away in 1689 by Christopher Wren, it is known that they were erected on the east face of the palace, looking out on the park and backing on an internal gallery. The main entry was at the northern end of the gallery and led to the watching chamber, the presence chamber and the privy or withdrawing chamber and then to the more private rooms, ending with the queen's bedchamber and her jewel chamber. The connection with Henry's existing suite was achieved by extending his privy gallery to link with the southern end of Anne's corridor and to open into a magnificent bedroom for Henry, close to Anne's. At the same time a new privy stair was installed near the junction of the two corridors to give the couple access to the privy garden on the south. The ground floor below Anne's personal suite was a service area including her wardrobe, kitchen, larder and a nursery, all set behind an arcade fronting the park.

The decision to build Anne's rooms over an arcade raises the interesting possibility of French influence. An obvious inspiration could have been 'the façade of the loggias' at Blois which was constructed during Anne's residence there with Queen Claude. On the other hand, considerable caution needs to be exercised when claiming 'artistic influence', and the arcade may simply have echoed existing structures elsewhere in the palace. Where we can rule out Anne's experience at the French court is in the decision to place the suites for king and queen contiguously on the same floor. The rooms Queen Claude occupied at Blois were above those of King Francis, who had access by a private circular stair. As a source for the innovation at Hampton Court, an immediate possibility is the juxtaposed accommodation which Anne and Henry probably occupied during their 1532 visit to Calais. This could well have taught them the advantages of greater intimacy. Alternatively, the Hampton Court plan could simply reflect that rarity in royal marriages: a love match.

~ on Henry VIII's and Anne Boleyn's rooms at Hampton Court Palace

The Life and Death of Anne Boleyn // Eric Ives

[beardofkamenev]

1. Photo of the Great Gatehouse of Richmond Palace at Richmond Green, London 2. Sketch of Richmond Palace by Antony van den Wyngaerde (1562) 3. Engraving by James Basire, “based on an ancient drawing” (1765)

In some circles, Henry VII has a reputation for being miserly, but several expenditures contradict this image, including his luxury items and his domestic building works. The Tudor royal residence that most strongly stated magnificence was Sheen Palace, which Henry VII renamed “Richmond” in honour of the earldom that he held when he won the crown at Bosworth Field. The original stone keep, with its stacked royal living quarters, stood apart as the heart of the complex. However, on 21 December 1498, as Henry VII’s family gathered for Christmas, a fire broke out that destroyed many of the buildings, along with untold valuable possessions.

Henry VII’s reconstruction, modelled after Burgundian architecture and employing many Burgundian artisans, largely followed the inward focus of medieval castles, with towers, turrets, crenellations, and a leaden roof. A magnificent great hall with an ornate hammer-beam ceiling – finished by 1501 and measuring 4000 sq. feet (1219 sq. metres) – formed the centrepiece of the new complex. Significantly, the palace also followed Burgundian innovations in the building material: brick. The expediency of brick construction and the standardisation that Henry VII imposed on its production enabled him to rebuild the palace in two years. Distinguishing the new construction from medieval buildings was not only the ornate brickwork, with complex mouldings and patterns, but also the profusion of large oriel windows filled with leaded glass panes – a highly visible sign of wealth. Richmond was the last such royal palace. Only a fraction of it now remains, including a brick gate emblazoned with Henry VII’s coat-of-arms of and some of the wardrobe buildings.

The most innovative feature of the palace included a stone, two-storey passageway that linked the Great Hall and the chapel. This enclosed, fenestrated gallery extended 200 feet long (24.4 metres), and successfully combined utilitarian and recreational uses with magnificence. From the north side, guests could watch jousts and other court events; on the south side, they could enjoy a fine view of the river Thames. The gallery also provided a pleasant place for exercise in inclement weather. Confirmation of Richmond’s exceptional magnificence exists from a guest at the wedding of Katherine of Aragon and Henry’s eldest son, Prince Arthur, who described Richmond’s “commodious” galleries with their many windows on each side of the court. Contemporary chroniclers also described the palace’s exotic gardens, fountains, sculptures, and tapestries, most notably a series depicting the Trojan War. 

Henry VII and his son, Henry VIII, would replicate Richmond’s double-storey, multi-purpose galleries at other royal residences, such as Bridewell, Hampton Court, and Nonsuch. Although Richmond now represents the end of an era, the palace boasted all of the most up-to-date conveniences and innovations which set the trend for English palatial living for the next 30 years.

Source: Sara N. James, Art in England: The Saxons to the Tudors: 600-1600 (2016)

[akitania]

in the staightforward fashion we’ve come to expect from FATT, the first appearance of a song that doesn’t have “touchpaper” in the name is in the scene with touchpaper.

for @atamajakki!

Austin: Clementine Kesh, it is the morning after Cymbidium’s wake, and your face is lit by the sun as a servant pulls open the curtains in your bedroom. Before you can even protest, a tray is placed on your lap, and the steam that rises from it carries the smell of a posh and hearty morning breakfast to your nose. 

As you gain your bearings and look down, you see that the tray also holds a silver platter, on which a pair of envelopes rest, both embellished with metallic trim and sealed with your mother’s official emblem. Each envelope also features a trio of very simple ideograms, symbols that convey complex meaning despite their plainness.

On the first envelope there is a fist, the reverse side of a coin, and a shipwreck, which you would wager means that it carries a mission about retrieving some sort of secret information about the destruction of Past. The other, which features icons of an iron gate, the flame of a candle, and the simple curve of a hill, is certainly about protecting some vulnerable people on their way somewhere, but — and maybe this speaks to a deficiency of knowledge — you aren’t really sure who exactly on Partizan qualifies as “vulnerable people.”

Which envelope do you take?

Jack: I think Clem leans forward and takes the second envelope.

[Music: BRIDEWELL. CANDLEFLAME. BARROW. by Jack de Quidt]

Austin: As you pick it  up, the servant takes away the platter with the other letter, and when you open the envelope that you chose, first the seal and then the metallic trim begin to burn very slowly, almost like a fuse, and as it does, the sizzling of the fire coalesces into bright, clear sound. It’s as if it’s a record that is destroying itself as it plays.

And the sound it makes is the sound of your mother’s voice.

“Do you know the Church of the Resin Heart, Clementine? They also go by the Friends of Gur Sevraq or the Disciples of Logos, but whatever you call them, they are a small and devout sect, which traces its lineage back to the founding of Progressive Asterism. 

And they say that this month marks the thousandth year since the prophet Logos Kantel first arrived on Partizan and brought life to this world. As part of their millennial celebration, the church’s leader, the aforementioned Sevraq, will lead pilgrimage across the Prophet’s Path from its barren western wastes to its tropical eastern coast, where they will take a ship to the Isles of Logos for the final ritual.

We have good intelligence that this pilgrimage is being targeted by a house of Stel Orion. The Disciples have recently added a pair of Hollows to their armory, and will provide additional ground security, but two machines and a few rifles cannot protect a caravan of hundreds from a determined Stel. However minority the progressives are in Stel Kesh, their freedom to pursue their beliefs is paramount to the accord of Divinity, and this particular congregation’s historical significance grants it serious import, all to say nothing of Gur Sevraq’s particular value. They say he does miracles, you know.

You will secure their safety, and you will do it without being identified. We cannot send you as open escort. Your presence, if discovered and tied to Kesh, will further Apostolosian hostilities in the region. But if you can protect the pilgrimage until it reaches the sea, you will be doing the Principality a great service. And if you find that you cannot protect it, you must do this at least: Extract Gur Sevraq from the fray, and bring them to a secure location here, in Cruciat.

If you have any further questions, try to answer them yourself. If, and only if, you cannot, I’ll be in the north gallery.”

And just like that, the rest of the envelope goes up in smoke. Like flashpaper.

[misslisterkeepsajournal]

1828 Monday 26 May

9 12

Incurred a cross just before getting up after she left me having been foolish on Saturday night made a point of being better last night and hardly touched but she lies close to me always

Breakfast at 10 - Miss Sarah Riddle called - a nice ladylike sort of person - Colonel Thackeray came at 11 10/60 - left Miss Mc.L- [Maclean] and went out with him at 11 20/60 - 1st. to the jail - about 70 prisoners - all in good health - tolerably airy - the prisoners allowed a bottle of ale a day, if they could pay for it, but in no case more - then to the Bridewell, close by - like 5 stories of wild beast-cages round a small court - no air - no place for exercise - 3 tread mills - only 1 working - women not put put upon it now - men some times on it 9 hours a day - 194 prisoners, 27 sick - obliged to work a certain task - for all done above that, received one fifth of the gain on going out, and another fifth, or the other 4 fifths if they did not return to Bridwell of 6 months and had a good character from some employer - the cells or bedrooms very clean here and at the jail -

Began to rain heavily - went to see some wretchedly bad waxwork figures in Waterloo place - then when fair walked to Holyrood house - heavy rain while there - nothing worth seeing but for historic associations - the gallery of the fancied portraits of all the Scottish Kings 150 feet by 24 and 18 feet high - the throne room when the present King came was 3 rooms - all done in 9 days - 70 workmen worked by turns night and day - done in such a hurry the crimson cloth against the walls spoilt from the damp of the new plaster - then as soon as fair, walked up to the castle, but so thick, no view - did not think of the regalia - returned by Princes Street gardens - very pretty - and got home just as it began to rain again at 2 3/4 -

Sat talking to Miss Mc.L- [Maclean] at 4 hair dressed - at got to Lady Seaforths to dinner - dinner at about 5 1/2 - the party the Misses Charlotte and Augusta Mc.Kenzie [Mackenzie], their oldest sister Mrs. Stuart Mc.K- [Mackenzie] and a Miss Cadell, who was ward to Dr. Coulthurst's brother Mr. Matthew C- [Coulthurst] Lady S- [Seaforth] did not appear till after dinner looking like death but a very ladylike old person - the Misses Mc.K- [Mackenzie] very pious ones, - but tea about 9, all began to talk, and the evening passed pleased - Mrs. Stuart Mc.K- [Mackenzie] was Lady Hood, and in India with her then husband - a clever pleasant woman - talked of druids, and dreams -

Miss Augusta thanked me for making them spend such a pleasant evening and all seemed pleased with me Lady S [Seaforth] told Miss Macl [Maclean] I was very ladylike Miss Augusta told me I had best take Miss Macl [Maclean] to Paris and that she was of quite a different grade from all her family I have asked her to spend next winter with us in Paris and tho she says she cannot leave her father I think she will for they do not seem to want her at home. Got home at 10 1/2 - fair at 5 and apparently all the rest of the evening -  

Reference: SH:7/ML/E/10/0164

[joseandrestabarnia]

Título: El progreso de una ramera: lámina 4, 1732

Artista: William Hogarth (Inglaterra, 10 de noviembre de 1697-25 o 26 de octubre de 1764)

Acerca de

Hogarth se formó como grabador de plata y estaba practicando como grabador en 1720. Después de estudiar en las Academias de Vanderbank y Thornhill, se convirtió en un pintor activo hacia 1728; en 1735 fundó su propia academia de dibujo en St Martin's Lane. Al principio pintó piezas de conversación, pero logró su mayor éxito con los "temas morales modernos" (comenzando con el 'Progreso de la ramera') que él mismo grabó y vendió por suscripción a un amplio público. También pintó temas de historia y, en la década de 1740, se dedicó al retrato. En 1757 fue nombrado pintor sargento del rey. Hogarth expuso en la Sociedad de Artistas Británicos en 1761 y fue elegido miembro del comité de la Sociedad ese mismo año. Su 'Análisis de la belleza' se publicó en 1753.

La reputación de Hogarth como artista se ha basado casi exclusivamente en sus grabados más que en sus pinturas. Lo establecieron como una fuerza completamente original en el arte inglés y marcaron el comienzo de una tradición inigualable de sátira visual. Al organizar las imágenes en series que cuentan una historia completa de la vida contemporánea, Hogarth creó un nuevo tipo de obra de arte, que tiene su contraparte en las páginas de Defoe, Swift y el amigo y admirador de Hogarth, Henry Fielding.

'A Harlot's Progress', la historia de una niña que llega a Londres y es llevada a la prostitución, fue la primera de las series impresas de Hogarth. Apareció en abril de 1732. Aunque la serie se vendió por suscripción, el método de marketing era nuevo e ingenioso. La base fue una serie de versiones pintadas que estaban disponibles para su visualización en su estudio en Covent Garden. (Las pinturas fueron destruidas por un incendio en 1755). Las contribuciones se recaudaron inicialmente mediante un boleto de suscripción grabado como forma de obtener la mitad del pago por adelantado de la serie.

Según George Vertue, un grabador rival y cronista de la época, Hogarth hizo la serie debido a las reacciones favorables de los visitantes de su estudio cuando se les mostró una pintura tentadora de una 'ramera común, que se suponía que habitaba en un carril de drenaje, que se levantaba hacia el mediodía. fuera de la cama ', y que' esta puta desabille descuidada y Semblante y aire 'había resultado atractivo para los visitantes que le instaban a que le añadiera otras pinturas. Por las razones que sean, la suscripción fue un gran éxito y Vertue señala que "las personas de la moda y los artistas" obtuvieron 1240 suscripciones a una guinea cada una.

Esta placa muestra a Moll dentro de la prisión de Bridewell, donde se ve obligada bajo la amenaza de un terrible castigo a golpear el cáñamo junto con los otros habitantes, que en su mayoría son prostitutas. El recluso junto a ella es un jugador, con una de sus cartas rotas tirada en el suelo frente a él.

Detalles:

Fecha: 1732

Categoría de medios: Impresión

Materiales usados: aguafuerte y grabado

Dimensiones: Marca de placa de 31,5 x 38,6 cm; Hoja de 47,0 x 59,2 cm

Crédito: Adquirido 2006

Información Art Gallery NSW.

[thedayoffduo-blog]

Hello everyone! Last week we went to visit Norwich (UK) and found it a very interesting city. From the middle ages until the industrial revolution, Norwich was the second largest city in england. Right on top of a hill, in the heart of the city, you can find one of the best examples of norman architecture, Norwich Castle. The castle was originally built out of wood between 1066 and 1075, then re-built out of stone between 1834 and 1839. It is now a museum and art gallery!

The Norwich Cathedral (built between 1096 and 1045) , is something we’ve never seen before due to it’s odd structure. The nave is longer than usual and the transepts have no aisles. It’s a must if you find youself nearby.

Bridewell museum was a surprise. The building has gone through many changes since the early fourteenth century. It went from a normal house to a prison, a tobacco and snuff factory, a leather warehouse and in the end, a shoe factory. The museum displays objects, clothes and equipment starting from the midieval period to modern time.

Watch the video, comment and subscribe if you like! :D 

[shannonsfineart]

Bridewell Exhibtion - Territory: The Collective

It was a wonderful experience to display my work with such a talented group of artists. The building was once a police station/prison and has been left to naturally decay - giving a reminder of the ‘curse’ of time and a sense of decay. I used a particular colour palette to create paintings to reflect this theme.

There is also the juxtaposition of the white cube gallery space in one of the areas - it simply doesn’t ‘fit’ and neither does my paintings in this space.

[artistopencalls]

💚➡️ @drawingpapershow 8 Days to go!  Open Call.  APPLY to exhibit in The Drawing (Paper) Show The Bridewell Studios and Gallery, Liverpool @bridewellstudiosliverpool, during Liverpool Biennial ‘23 (Friday 21st July until Sunday 13th August) and feature in the 9th Edition of Drawing Paper. Apply via Instagram: Follow @drawingpapershow Post your image Tag @drawingpapershow Add location In the description include medium & size  Only one ‘work’ to be submitted per artist, first tagged image will be accepted. For live or site-specific work post image/video of previous work/examples of what you would propose to do in description.  Your account must be public. Cost: Free. Who can apply: International open call to all drawers.  There are two categories: North West regions and the rest of the world. We aim to provide opportunities for all artists while ensuring the representation for local North West regional based artists.   Deadline: Midnight (GMT) 10th April 2023. Successful applicants will be notified by the 18th April. Unfortunately we will be unable to notify or provide feedback on unsuccessful applications.  For more information and terms and conditions see: www.drawingpapershow.com The Drawing (Paper) Show  is Supported by the Ulrike Michal Foundation for the Arts. Cefnogwyd gan Sylfaen Ulrike Michal i’r Celfyddydau. . . . #drawings #drawingskills #leanringtodraw #artistopportunities #artopps #artist #drawing #drawingartist #artofdrawing #drawingprocess  #drawdaily #drawdrawdraw #pencildrawing #pendrawing #penandink #opencall #artcontest #artcompetition #artopportunity #emergingartist #callforsubmissions #callforartists #callforart #artists #drawing #opencallforartists #callforentries #artmagazine #artpublication #DrawingPaperShow23 (at Bridewell Studios) https://www.instagram.com/p/CqkvL1WIRxF/?igshid=NGJjMDIxMWI=

[ghostofatree]

Just finished hanging my contribution to the group show “7”, (tomorrow from 6-9 at the Bridewell big gallery) along with some artists I’ve known for ages and some I’ve only just met. Got seven small relics up on the wall, some have been shown before and a few new ones. Knackered but huge thanks to Fiona and Paul for working so hard to set the space up and I hope anyone who’s free tomorrow might join us for the PV. #privateview #bridewellstudios #groupshow #exhibition #liverpoolartists #liverpoolart #queerartist Be lovely to see anyone who’s passing x #bridewellstudios #artinliverpool #liverpoolart #liverpoolartists #groupshow #exhibition #relics #reliquary #assemblage #7 #queerartist #relics #reliquary (at Bridewell Studios) https://www.instagram.com/p/ClFDek_M4qv/?igshid=NGJjMDIxMWI=

[lsabwall-blog]

‘YOU SAID CONTRIVERSIAL’

After a tutorial with Adam we discussed my frustration with the course and how I feel uninspired and bored, I have previously understood that the bases of my work and practise stems from my frustration. I seem to become brutally honest and my attitude becomes the work more so than the actual piece. We discussed further as to why my attitude towards art can be so contrasting at time as well as indecisive. The conversation led to my parents and although they are both very liberal they have very different attitudes and approaches to art, they both love galleries and enjoy art and are very encouraging, however I have come to realise I am at conflict with myself because I am both philosophical, understanding and conceptual like my mom as well as uncertain, honest and crude about art like my dad.

I explained during this conversation about a time we went to see the Jackson Pollock exhibition at the TATE and my although we all loved the work and had a strong understanding of the conceptual context, my mom would go into depth about her thoughts and opinions and how she perceived the work and my dad would go up to the artwork and examine it from all angles and although he like the work his comments were blunt and honest. He was right and I could stand there for ages thinking about the mind-set of the artist and the new approach to the technique of painting that Pollock enforced, however at the end of the day he was just an old drunk man throwing paint of the a canvas on the floor, that just happened to look beautiful.

I feel like the ‘no bullshit’ attitude is exactly what I have habited from my dad. I also think it shows in my work, I don’t want to paint because I know I can do it and I don’t find it a challenge, my shoe shelf is what it is and that is how I present it, I feel like I have reached a block and I have given up trying to paint a concept for my work when the truth is I wanted to create something because that’s what I felt like and it has no representation of anything, it isn’t symbolic ‘it is what it is’ is the concept, title and law of my practice.

My dad always say’s ‘I could have done that’ and I always respond ‘then why didn’t you?’ he always makes comments about how he could make millions from the most basic and simplistic drawings so for the Bridewell I asked him to create something he thinks would sell for millions. He sat down and drew a picture of Gandalf in bondage at a pride festival, at first I was upset and thought he hadn’t taken it seriously and his response was ‘you said controversial’ and I argued with him because I didn’t say that, I said something he would sell for millions. Then thinking on it I realised he could think that work has to be controversial in modern art for it to be successful, which is definitely the feeling I get on this course and in tutorials with artists as well as galleries.

The other students in the Bridewell didn’t like it because it had a label with it like in the TATE, I had to explain to them that the label was the work and it was part of the concept. It also had only good reviews and people understood the comedic value of the piece and a lot of people predicted it was drawn by an older person with their less liberal views on art in society. I think it compliments my practise well and I will definitely be using and developing this further in my practice.

[fionamccall]

A ramble round old Odiham

Odiham is described as a ‘historic village’ and is full of old buildings.  It was rather too close for comfort to the action around the siege of Farnham during the Civil War.  It was reported by the Royalist newsbook Mercurius Aulicus on the 18 February 1644  that:

a party of the Rebells in Farneham Castle, came to Odiham church on Sunday last, and fetcht away master Holmes the Minister, when he was in the Pulpit. These pure Rebells not only rode into the Churchyard, but into the very Church, presenting their Pistols to him, and commanding him downe, saying with a loud impudence, Sir, you must come downe, for we do not allow of such kind of preaching; One of the party shot his Pistoll into the Church, and thereby so affrighted the Congregation , that divers Women founded and one Bushels wife fell downe dead, as pretty small evidences of this yeares Reformation.

The very pulpit survives, dating back to the sixteenth century.  It has detailed carving, described as being of the ‘Basingstoke type’.  The lower detail is very curious and I can’t for the life of me think of what it is supposed to represent.

What the action would have looked like, looking down from the galleries, which date from the 1630s.

This chest dates from 1662.  It has four initialled locks so that the vicar could only open it with three churchwardens present.  Having read of a few interregnum disputes over church keys, I can understand why.

The tower fell down in 1647.  In 1655 there were disputes recorded in the Hampshire Quarter Sessions records over the cost of repairs, presumably of the tower, which was rebuilt in 1656.There are some rather good gargoyles, all the better for being a little the worse for wear.

Original stocks and whipping post outside the church.  These are definitely going in my lecture slides on crime and punishment.

Pest house, dating from c. 1622.  There is also a bridewell.  You get the picture that life was a bit tough in those times.  However there are also some fine almshouses and a very old pub.

[jobgujnews]

Bristol’s old police headquarters is now a boutique hostel – with a social conscience | Travel

Bristol’s old police headquarters is now a boutique hostel – with a social conscience | Travel

Not so many years ago, arriving on a Friday night at Bridewell Street in the centre of Bristol (better known as The Bridewell) might have meant a night in the cells. Until 2005, this cluster of Grade II-listed buildings housed a police headquarters, police station and law courts, as well as a fire station. Since then it has been many things, including a graffiti gallery and a circus space – I…