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  • Peace: Burial at sea, Square paintings -The EY Exhibition: Late Turner – Painting Set Free - the first exhibition to survey Turner’s final period of work (1835-51). From the age of 60 until his death. Highlights include: his ‘radical’ square oil paintings (pictured) in recently restored frames - at the time of their creation, these works were his most controversial and were famously subjected to a hail of abuse in the press; Bamborough Castle c.1837 – an important work from a private collection which has only been displayed in public once in 125 years; Ancient Rome and Modern Rome c.1839 – brought together for the first time in a generation; and Turner’s three final masterpieces shown in newly reconstructed frames: Mercury Sent to Admonish Aeneas, The Visit to the Tomb and The Departure of the Fleet c.1850. The show runs from 10 Sept to 25 January. Tate Britain, London, UK, 08 Sept 2014.
    Turner Tate GBPhotos 18.jpg
  • Peace: Burial at sea, Square paintings -The EY Exhibition: Late Turner – Painting Set Free - the first exhibition to survey Turner’s final period of work (1835-51). From the age of 60 until his death. Highlights include: his ‘radical’ square oil paintings (pictured) in recently restored frames - at the time of their creation, these works were his most controversial and were famously subjected to a hail of abuse in the press; Bamborough Castle c.1837 – an important work from a private collection which has only been displayed in public once in 125 years; Ancient Rome and Modern Rome c.1839 – brought together for the first time in a generation; and Turner’s three final masterpieces shown in newly reconstructed frames: Mercury Sent to Admonish Aeneas, The Visit to the Tomb and The Departure of the Fleet c.1850. The show runs from 10 Sept to 25 January. Tate Britain, London, UK, 08 Sept 2014.
    Turner Tate GBPhotos 20.jpg
  • Peace: Burial at sea, Square paintings -The EY Exhibition: Late Turner – Painting Set Free - the first exhibition to survey Turner’s final period of work (1835-51). From the age of 60 until his death. Highlights include: his ‘radical’ square oil paintings (pictured) in recently restored frames - at the time of their creation, these works were his most controversial and were famously subjected to a hail of abuse in the press; Bamborough Castle c.1837 – an important work from a private collection which has only been displayed in public once in 125 years; Ancient Rome and Modern Rome c.1839 – brought together for the first time in a generation; and Turner’s three final masterpieces shown in newly reconstructed frames: Mercury Sent to Admonish Aeneas, The Visit to the Tomb and The Departure of the Fleet c.1850. The show runs from 10 Sept to 25 January. Tate Britain, London, UK, 08 Sept 2014.
    Turner Tate GBPhotos 19.jpg
  • A disaster at sea (pictured) -The EY Exhibition: Late Turner – Painting Set Free - the first exhibition to survey Turner’s final period of work (1835-51). From the age of 60 until his death. Highlights include: his ‘radical’ square oil paintings in recently restored frames - at the time of their creation, these works were his most controversial and were famously subjected to a hail of abuse in the press; Bamborough Castle c.1837 – an important work from a private collection which has only been displayed in public once in 125 years; Ancient Rome and Modern Rome c.1839 – brought together for the first time in a generation; and Turner’s three final masterpieces shown in newly reconstructed frames: Mercury Sent to Admonish Aeneas, The Visit to the Tomb and The Departure of the Fleet c.1850. The show runs from 10 Sept to 25 January. Tate Britain, London, UK, 08 Sept 2014.
    Turner Tate GBPhotos 15.jpg
  • A disaster at sea (pictured) -The EY Exhibition: Late Turner – Painting Set Free - the first exhibition to survey Turner’s final period of work (1835-51). From the age of 60 until his death. Highlights include: his ‘radical’ square oil paintings in recently restored frames - at the time of their creation, these works were his most controversial and were famously subjected to a hail of abuse in the press; Bamborough Castle c.1837 – an important work from a private collection which has only been displayed in public once in 125 years; Ancient Rome and Modern Rome c.1839 – brought together for the first time in a generation; and Turner’s three final masterpieces shown in newly reconstructed frames: Mercury Sent to Admonish Aeneas, The Visit to the Tomb and The Departure of the Fleet c.1850. The show runs from 10 Sept to 25 January. Tate Britain, London, UK, 08 Sept 2014.
    Turner Tate GBPhotos 14.jpg
  • A disaster at sea (pictured) -The EY Exhibition: Late Turner – Painting Set Free - the first exhibition to survey Turner’s final period of work (1835-51). From the age of 60 until his death. Highlights include: his ‘radical’ square oil paintings in recently restored frames - at the time of their creation, these works were his most controversial and were famously subjected to a hail of abuse in the press; Bamborough Castle c.1837 – an important work from a private collection which has only been displayed in public once in 125 years; Ancient Rome and Modern Rome c.1839 – brought together for the first time in a generation; and Turner’s three final masterpieces shown in newly reconstructed frames: Mercury Sent to Admonish Aeneas, The Visit to the Tomb and The Departure of the Fleet c.1850. The show runs from 10 Sept to 25 January. Tate Britain, London, UK, 08 Sept 2014.
    Turner Tate GBPhotos 13.jpg
  • A disaster at sea (pictured) -The EY Exhibition: Late Turner – Painting Set Free - the first exhibition to survey Turner’s final period of work (1835-51). From the age of 60 until his death. Highlights include: his ‘radical’ square oil paintings in recently restored frames - at the time of their creation, these works were his most controversial and were famously subjected to a hail of abuse in the press; Bamborough Castle c.1837 – an important work from a private collection which has only been displayed in public once in 125 years; Ancient Rome and Modern Rome c.1839 – brought together for the first time in a generation; and Turner’s three final masterpieces shown in newly reconstructed frames: Mercury Sent to Admonish Aeneas, The Visit to the Tomb and The Departure of the Fleet c.1850. The show runs from 10 Sept to 25 January. Tate Britain, London, UK, 08 Sept 2014.
    Turner Tate GBPhotos 12.jpg
  • It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57331.jpg
  • It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57323.jpg
  • Police community support officers patrol the beach checking to see if large groups come from the same houshold- if not they ask them to observe the 2m rule. It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57309.jpg
  • The British Airways i360 stands idle above the town and beach and reflects the relatively empty beach - It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57297.jpg
  • It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57236.jpg
  • It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57232.jpg
  • It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57190.jpg
  • Police community support officers patrol the beach checking to see if large groups come from the same houshold- if not they ask them to observe the 2m rule. It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57215.jpg
  • Police community support officers patrol the beach checking to see if large groups come from the same houshold- if not they ask them to observe the 2m rule. It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57262.jpg
  • It is sunny and people come to the beach and the seaside at Brighton, during Bank holiday Monday. It is busy but still plentyu of room for social distancing. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak.
    GB57221.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11405.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 13.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 03.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 02.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11408.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11404.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11396.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11398.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 12.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 11.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 10.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 08.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 07.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 06.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 04.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 01.jpg
  • Blood Swept Lands and seas of red by Paul Cummins. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower of London to mark the centenary of the first world war. 04 Aug 2014.
    GB11402.jpg
  • Blood Swept Lands and seas of red. Last minute preparations before the official opening tomorrow. Ceramic poppies form an artwork in the moat of the Tower Of London to mark the centenary of the first world war. 04 Aug 2014. .Guy Bell, 07771 786236, guy@gbphotos.com
    Blood Swept Lands GBPhotos 09.jpg
  • Girl by the Sea - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 12.jpg
  • Fun on Sea and by the sea Gardens for Southend Council - The Hampton Court Flower Show, organised by the Royal Horticultural Society (RHS). In the grounds of the Hampton Court Palace, London.
    Hampton Court Flower Show GBPhotos 0...jpg
  • Girl by the Sea - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 11.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. Sea Power play the Obelisk Arena and cover the stage with greenery  -The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32102.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. Sea Power play the Obelisk Arena and cover the stage with greenery  -The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32097.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. Some fans traditionally bring along shrubbery to mimic the band - Sea Power play the Obelisk Arena and cover the stage with greenery  -The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32114.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. Sea Power play the Obelisk Arena and cover the stage with greenery  -The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32111.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. Some fans traditionally bring along shrubbery to mimic the band - Sea Power play the Obelisk Arena and cover the stage with greenery  -The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32095.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. Some fans traditionally bring along shrubbery to mimic the band - Sea Power play the Obelisk Arena and cover the stage with greenery  -The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32087.jpg
  • The names of the dead are read out and a bugler plays last post amid a sea of ceramic poppies. Blood Swept Lands and seas of red by Paul Cummins - an artwork in the moat of the Tower of London to mark the centenary of the first world war. 30 oct 2014.
    11.jpg
  • Passing through the sea of flags at the Glade - The 50th 2022 Glastonbury Festival, Worthy Farm. Glastonbury,
    GB87162.jpg
  • Showering with a water bottle and other preparations in the sea of tents - The 50th 2022 Glastonbury Festival, Worthy Farm. Glastonbury,
    GB87155.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. Sea Power play the Obelisk Arena -The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32134.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. The Hay Shantymen sing sea shanties to a large crowd (incl a couple with fans as the temperature is rising again) in the Lavish Lounge, a gentle start to the day - The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32030.jpg
  • Henham Park, Suffolk, UK. 23 Jul 2022. The Hay Shantymen sing sea shanties to a large crowd in the Lavish Lounge, a gentle start to the day - The 2022 Latitude Festival, Henham Park.  Credit: Guy Bell/Alamy Live News
    GB32022.jpg
  • An old man brings his own chair to sit amongst a sea of daisies and from time to time get some exercise by walking to one edge and back - Clapham Common has begun to return to some form of normality as the effects of the Government easing of restrictions and sunny weather combine to encourage people out - Lambeth Council have now removed the signs and tape that stopped people sitting on benches. The eased 'lockdown' continues for the Coronavirus (Covid 19) outbreak in London.
    D50_5288.jpg
  • Glastonbury on sea is nearly ready  -The 2019 Glastonbury Festival, Worthy Farm. Glastonbury, 26 June 2019
    GB39574.jpg
  • Dancers with dresses made out the plastic waste that is now being found in sea birds - The evening generally has a festival atmosphere - Day 3 - Protestors from Extinction Rebellion block several junctions in London as part of their ongoing protest to demand action by the UK Government on the 'climate chrisis'. The action is part of an international co-ordinated protest.
    GB35358.jpg
  • Dancers with dresses made out the plastic waste that is now being found in sea birds - The evening generally has a festival atmosphere - Day 3 - Protestors from Extinction Rebellion block several junctions in London as part of their ongoing protest to demand action by the UK Government on the 'climate chrisis'. The action is part of an international co-ordinated protest.
    GB35367.jpg
  • Figures by the sea - The EY Exhibition: Picasso 1932 – Love, Fame, Tragedy a new exhibition at the Tate Modern.  It brings together over 100 works made by Pablo Picasso (1881–1973) during 1932, one of the most intensely creative periods in his life.
    Tate Picasso GBPhotos 53.jpg
  • The march sets off, a sea of placards and messages - A march against cuts to and potential privatisation of the NHS starts in Tavistock Square and heads for Parliament Square. The march was organised by the peoples assembly and supported by most major unions and the Labour Party.
    Save NHS March GBPhotos 26.jpg
  • The march sets off, a sea of placards and messages - A march against cuts to and potential privatisation of the NHS starts in Tavistock Square and heads for Parliament Square. The march was organised by the peoples assembly and supported by most major unions and the Labour Party.
    Save NHS March GBPhotos 24.jpg
  • Anika Rice (in the international modernism room)  visits the show in preparation for a programme she will make - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 27.jpg
  • Figure of a Woman in the Carving room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 24.jpg
  • A view through Corinthos 1954-5  in the quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 17.jpg
  • Curved Form (Delphi) in The quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 16.jpg
  • A view through Corinthos 1954-5  in the quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 14.jpg
  • The quarea room - Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 13.jpg
  • Sphere with inner form in the pavilion room.  Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 12.jpg
  • Oval Form in The Pavilion room.  Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 06.jpg
  • Oval Form in The Pavilion room.  Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 05.jpg
  • Pelagos 1946 (C) -Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 04.jpg
  • Pelagos 1946 (C) -Barbara Hepworth: Sculpture for a Modern World opens at Tate Britain -  the first London museum retrospective or five decades of the work of Hepworth (1903-75), one of Britain’s greatest artists. This major retrospective opens on 24 June 2015 and will emphasise Hepworth’s prominence in the international art world. It highlights the different contexts and spaces in which Hepworth presented her work, from the studio to the landscape. Highlights include: A room dedicated to a series of sculptures Hepworth carved in the 1940s, which are characterised by the dramatic hollowing out of pieces of wood and the painting of the interior spaces she opened up. Works in this room include the famous Pelagos 1946 (‘sea’ in Greek), which was inspired by a view of the bay of St Ives, Cornwall; Imposing wooden sculptures made from huge logs of the sumptuous tropical hardwood guarea, such as Corinthos 1954-5 – a grand 1 metre x 1 metre sculpture named after the ancient Greek city in which Hepworth summed up the light and landscape of Greece. The unusually large size of guarea pieces allowed Hepworth to experiment with interior spaces through the use of string, spiralling edges, paint or rough carved surfaces to maximise the effect of light; An architectural installation inspired by the Rietveld Pavilion, originally built at the Kröller-Müller Museum, Otterlo in 1965 which housed a display of Hepworth bronzes at its opening. The structure in the exhibition explores how Hepworth presented her works and how she worked on an international stage. Barbara Hepworth: Sculpture for a Modern World is at Tate Britain from 24 June to 25 October 2015.
    Hepworth Tate GBPhotos 03.jpg
  • Dexter Dalwood, The Deluge, 2006 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 26.jpg
  • Dexter Dalwood, The Deluge, 2006 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 23.jpg
  • Francis Danby, The Deluge, 1840 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 21.jpg
  • Jeremy Deller, The Battle of Orgreave Archive (an injury to one is an injury to all), 2001 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 20.jpg
  • Jeremy Deller - the History of the World 1997-2004 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 15.jpg
  • Jeremy Deller - the History of the World 1997-2004 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 14.jpg
  • Jeremy Deller - the History of the World 1997-2004 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 11.jpg
  • Dexter Dalwood’s The Poll Tax Riots  - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 09.jpg
  • Philip James de Loutherbourg’s The Battle of the Nile 1800 with Malcolm Morley’s Trafalgar – Waterloo 2013 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 08.jpg
  • Malcolm Morley’s Trafalgar – Waterloo 2013 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 05.jpg
  • John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 04.jpg
  • John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 03.jpg
  • John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783 - Fighting History, an exhibition celebrating the enduring significance and emotional power of British history painting at the Tate Britain. The exhibition looks at how artists have transformed significant events into paintings that encourage us to reflect on our own place in history. The works in the show range from huge oil paintings from the 18th century to a recent work by Malcolm Morley which includes a canon from HMS Victory protruding from the canvas. Highlights include: John Singleton Copley’s The Death of Major Peirson, 6 January 1781 1783, a dramatic battle scene which is approximately 4 metres wide by 3 metres high; Dexter Dalwood’s famous work The Poll Tax Riots 2005 which shows a sea of angry protesters surging down Whitehall towards Big Ben; Allen Jones’ The Battle of Hastings 1961-2 juxtaposed with Philip James de Loutherbourg’s The Battle of the Nile 1800; Malcolm Morley’s Trafalgar – Waterloo 2013, a large triptych depicting Admiral Lord Nelson and the Duke of Wellington separated by a 3D cannon from the HMS Victory in the central panel. Fighting History is at Tate Britain from 9 June to 13 September 2015.
    Tate Fighting History GBPhotos 02.jpg
  • Girl Reading - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 17.jpg
  • Girl in Bed - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 15.jpg
  • Girl in Bed - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 14.jpg
  • Girl Reading - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 13.jpg
  • Girl in Bed - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 09.jpg
  • Girl in Bed - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 08.jpg
  • The Sisters - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 06.jpg
  • The Sisters - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 04.jpg
  • The Sisters - Lucian Freud  at Ordovas - Portraits chronicling the relationship of Lucian Freud and Caroline (Lady Caroline Blackwood, his second wife), dating from 1950s. The four paintings on show are - The Sisters, a delicate canvas from 1950, a life-size depiction of Caroline’s eye, which is being shown for the first time in the UK and is the earliest work in the exhibition; Girl in Bed; Girl Reading; and Girl by the Sea. They will be on show from 5 June until 1 August.
    Lucian Freud Ordovas GBPhotos 02.jpg
  • Drill, Spill, Kill - the message on a net trapping protestors like fish. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 17.jpg
  • Drill, Spill, Kill - the message on a net trapping protestors like fish. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 13.jpg
  • Protestors try to send BP a message in a bottle. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 12.jpg
  • Protestors try to send BP a message in a bottle. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 11.jpg
  • Protestors try to send BP a message in a bottle. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 09.jpg
  • Drill, Spill, Kill - the message on a net trapping protestors like fish. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 07.jpg
  • Drill, Spill, Kill - the message on a net trapping protestors like fish. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 05.jpg
  • Shareholders arrive. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 06.jpg
  • Drill, Spill, Kill - the message on a net trapping protestors like fish. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 04.jpg
  • Drill, Spill, Kill - the message on a net trapping protestors like fish. Environmental protestors outside the BP AGM at the Excel Centre. They are highlighting the dangers of deep sea drilling and the damage to the Gulf. As well as being anti tar sands oil and the general impact of burning fossil fuels on the environment.
    BP AGM protest GBPhotos 02.jpg
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