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It looks as though what you offer in lectures may be of interest to us.
Thank you for your interest but I am fully booked for next year. The lectures and courses will be posted on http://www.shafe.co.uk/home/art-courses-lectures/ nearer the time.
I am currently writing an MA History dissertation which is looking into the way in which the commemoration of women changed in England c.1400 – c.1600 and came across your site whilst looking at Torrigiano’s work at Westminster Abbey. This abstract; ‘Some years ago art historians criticized Torrigiano for his conservative style but by examining such documents we can see that he was simply following the contractual agreement. At the time an artist was regarded as an artisan or simply as a technician’ from this part of your website ‘http://www.shafe.co.uk/home/art-history/tudor_contents/tudor_02_-_early_tudor_sculpture/’ came up in my search. I just wondered if you could possibly point me in the right direction concerning 1. which art historians held/published this point of view and 2. which documents (aside from the contract for Margaret Beaufort’s tomb) support the statement that Torrigiano was following contractual agreement, and where can I find these?
It would be of great help to me as I am not as familiar with the art history world as I am the history one!
I also forgot to mention, I will of course credit your site in my work too, I just wanted to source the original criteria and read it for myself to further my research.
Dear Dr. Shafe; I’ve enjoyed your Art History website and am interested to find out if you’ve published your notes on the Introduction to Modern Art: New York School presentation as yet. Obviously you’ve chosen a number of slides to feature in whatever format the talk/lectures are, but is it possible to obtain the written manuscript?
Thank you very much,
I have added my notes to the slides which were from a lecture I attended in 2004. The lecture was given by Dr Gavin Parkinson who, at the time, was at Birkbeck College, University of London. I am not currently lecturing on this area so I will not be extending the notes. Over the next twelve months I am working on a lecture series titled ‘300 Years of British Art: 1500 to 1800’.
I have been looking at the Miniature of the 9th Earl of Northumberland and think I may have uncovered an additional symbol – in addition to those you identify in your article. I would appreciate your thoughts and views on this and how the miniature may inform a new architectural proposal.
I am sure there are many aspects of the miniature that I have overlooked. What is the additional symbol you have in mind?
If you could email me at the above address then I will send you an annotated image which shows the philosopher’s stone.
I could really do with your help on some images I have recieved from a relative, I’ve taken them to a local auctioneer and they are not sure what they are. If there is a way in which you could contact me I’d be very greatful
I tweet independently about The Queen’s House at Greenwich… just wanted to say thanks for the PDF you posted from your Inigo Jones lecture – referenced your notes here in a tweet.
I am pleased you found my notes useful.
Hi Laurence… Just wondered if you had ever considered doing an Inigo Jones ‘city walking tour’. ?
Strikes me that there is a shed-load of material to work with. I’ve been thinking myself about this for quite a while.
I am cutting the number of lectures and tours I do to the minimum but I hope my notes encourage others to give talks and tours on this fascinating architect and set designer.
Very pleased to have discovered your tours. Tried to follow up on your reference to a documentary on William Roberts and found only this disappointing house exploration (https://www.youtube.com/watch?v=l280Lj4JYNQ&t=172s). Is there in fact a documentary on him that merits your standards and nourishings>
There is the William Roberts page at Tate https://www.tate.org.uk/art/artists/william-roberts-1855 and the William Roberts website http://www.englishcubist.co.uk Most of the YouTube videos are very short and I haven’t given a long talk on Roberts.
we´re currently restoring an early 20th century building depicting a satyr and a satyress on its main porch (in a position where Atlantes would be common). Since this female representation is rare, we wonder what was the architect´s intention on including this rare figures.
Thanks for the attention,
PS: We coulg forward some pictures, shall you be willing to address this issue
I am sorry but it is not my area of expertise.
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