Dame Ethel Walker 1861–1951 | Tate https://www.tate.org.uk/art/artists/dame-ethel-walker-2115
Artist page for Dame Ethel Walker (1861–1951)
There are only two kinds of artist — bad and good‘,
Dein Suchergebnis zum Thema: Bad
‘‘Letter from Erich Kahn to J.P. Hodin‘, Erich Kahn, recipient: Dr J. P. Hodin, 22 August 1958‘, Erich Kahn, recipient: Dr J. P. Hodin, 22 August 1958 – Tate Archive | Tate https://www.tate.org.uk/art/archive/items/tga-20062-4-188-5/letter-from-erich-kahn-to-j-p-hodin
[Translation/transcription] 1 Albert Studios 4 Albert Street NW1 22 August 1958 Dear Hodin, Many thanks for your kind card. The exhibition is going so so – not many reviews so far. Pierre Rouve was here for the private view, and Laurence Alloway. Eric Newton also put his name in the guest book. A well-meaning collective critique in The Times is the only thing that has been published so far (anonymously). There are no art reviews at all in the Statesman or the Spectator. I suppose none of them live in London – perhaps next week. The little self-portrait Room II …
the whole family is well and the weather not too bad
‘‘Letter from Erich Kahn to J.P. Hodin‘, Erich Kahn, recipient: Dr J. P. Hodin, 25 May 1967‘, Erich Kahn, recipient: Dr J. P. Hodin, 25 May 1967 – Tate Archive | Tate https://www.tate.org.uk/art/archive/items/tga-20062-4-188-52/letter-from-erich-kahn-to-j-p-hodin
[Translation/transcription] 1 Albert Studios 20 Albert Street NW1 25 May 1967 Many thanks for the [illegible] letter and the many other things you’ve taken in hand for me. Now you’ve gone one better by schlepping my folio of etchings over to OK, and OK has written a letter of recommendation to Apollo for his little brother. I’m sure he meant well, and who likes working without appreciation and encouragement, or who else but a hopeless introvert?! Well, the etchings (drypoints for the most part) are a by-product of my life’s work and, as is so often the case, for me …
A bad job for you.
‘Correspondence‘, collection owner: Marie-Louise Von Motesiczky, 12 April 1869–27 October 1997 – Tate Archive | Tate https://www.tate.org.uk/art/archive/tga-20129-1/von-motesiczky-correspondence?page=96
The series contains personal and professional correspondence of Marie-Louise von Motesiczky, correspondence of her mother Henriette von Motesiczky, correspondence of other family members, such as Leopold, Valla and Robert von Lieben, and Franziska von Wertheimstein, and correspondence by others.
by appointment Letter from Hugo von Hofmannsthal, Bad
‘Wood engravings and drawings by Charles Keene‘, collection owner: Charles Samuel Keene, 1846–90 – Tate Archive | Tate https://www.tate.org.uk/art/archive/tga-766/wood-engravings-and-drawings-by-charles-keene?page=8
This collection, which has now been digitised and made available to view online, includes primarily wood engravings, many of which were used to illustrate ‚Punch‘, and other similar publications, such as ‚Once a Week‘, by Charles Keene. These illustrations cover a substantial part of his career, dating from 1861 to 1888. Also available online are a number of preparatory pencil and ink studies that appear to have informed his wood engravings for ‚Punch‘, as well as etchings, including one early design for and illustration printed in Daniel Defoe’s book, ‚The Life and Surprising Adventures of Robinson Crusoe‘, published in 1847.
View by appointment Wood engraving titled ‘Too Bad
‘Wood engravings and drawings by Charles Keene‘, collection owner: Charles Samuel Keene, 1846–90 – Tate Archive | Tate https://www.tate.org.uk/art/archive/tga-766/wood-engravings-and-drawings-by-charles-keene?page=2
This collection, which has now been digitised and made available to view online, includes primarily wood engravings, many of which were used to illustrate ‚Punch‘, and other similar publications, such as ‚Once a Week‘, by Charles Keene. These illustrations cover a substantial part of his career, dating from 1861 to 1888. Also available online are a number of preparatory pencil and ink studies that appear to have informed his wood engravings for ‚Punch‘, as well as etchings, including one early design for and illustration printed in Daniel Defoe’s book, ‚The Life and Surprising Adventures of Robinson Crusoe‘, published in 1847.
1867 View by appointment Wood engraving titled ‘Bad
‘Wood engravings and drawings by Charles Keene‘, collection owner: Charles Samuel Keene, 1846–90 – Tate Archive | Tate https://www.tate.org.uk/art/archive/tga-766/wood-engravings-and-drawings-by-charles-keene?page=3
This collection, which has now been digitised and made available to view online, includes primarily wood engravings, many of which were used to illustrate ‚Punch‘, and other similar publications, such as ‚Once a Week‘, by Charles Keene. These illustrations cover a substantial part of his career, dating from 1861 to 1888. Also available online are a number of preparatory pencil and ink studies that appear to have informed his wood engravings for ‚Punch‘, as well as etchings, including one early design for and illustration printed in Daniel Defoe’s book, ‚The Life and Surprising Adventures of Robinson Crusoe‘, published in 1847.
1867 View by appointment Wood engraving titled ‘A Bad
Julian Schnabel at Tate Modern | Tate https://www.tate.org.uk/art/artists/julian-schnabel-1905/julian-schnabel-tate-modern
Interview with painter and film director Julian Schnabel
Damien was a kid, he says: ‚All my paintings were like bad
Grenville Davey: Turner Prize retrospective | Tate https://www.tate.org.uk/art/artists/grenville-davey-2295/grenville-davey-turner-prize-retrospective
film about 1992 turner prize winner Grenville Davey
art really into a very sharp focus which can’t be a bad