The York Art Gallery is not large but it has a wide range of interesting pieces on display. I especially liked the collection of ceramics. The gallery is located next to the ghostly museum gardens.
Chris Levine (born 1960)
Equanimity 2004
In a culture of paparazzi and selfies, many contemporary artists seek to challenge the inherent artificiality of the traditional formal portrait. When commissioned by Jersey Heritage Trust to photograph Queen Elizabeth II, Chris Levine used 8-second-long exposures to capture the Queen in a moment of quiet stillness and reflection. In this way, he presents us with a fresh perspective of one of the most widely reproduced faces on the planet. In 2012, this image appeared on the cover of TIME magazine and it featured on a new £100 note in Jersey to commemorate Queen Elizabeth's Diamond Jubilee.
Holographic print
Chris Levine (born 1960)
Equanimity 2004
In a culture of paparazzi and selfies, many contemporary artists seek to challenge the inherent artificiality of the traditional formal portrait. When commissioned by Jersey Heritage Trust to photograph Queen Elizabeth II, Chris Levine used 8-second-long exposures to capture the Queen in a moment of quiet stillness and reflection. In this way, he presents us with a fresh perspective of one of the most widely reproduced faces on the planet. In 2012, this image appeared on the cover of TIME magazine and it featured on a new £100 note in Jersey to commemorate Queen Elizabeth's Diamond Jubilee.
Holographic print
Chris Levine (born 1960)
Equanimity 2004
In a culture of paparazzi and selfies, many contemporary artists seek to challenge the inherent artificiality of the traditional formal portrait. When commissioned by Jersey Heritage Trust to photograph Queen Elizabeth II, Chris Levine used 8-second-long exposures to capture the Queen in a moment of quiet stillness and reflection. In this way, he presents us with a fresh perspective of one of the most widely reproduced faces on the planet. In 2012, this image appeared on the cover of TIME magazine and it featured on a new £100 note in Jersey to commemorate Queen Elizabeth's Diamond Jubilee.
Holographic print
Letitia Marion Hamilton (1878 - 1964)
Ouse Bridge, York, c. 1928
An Irish artist and illustrator, in 1920 Hamilton became a founding member of the Dublin Painters Society, a group described by one critic as 'the liveliest of living painters, the explorers, the experimentalists'. She travelled widely in Europe and was influenced by the Impressionists, as revealed by a painterly concern for texture. This unusual view - captured in chalky pastel colours - shows a busy Ouse Bridge with the warehouses of Queen's Staith beyond. The tower of the church of St Mary Bishophill Junior can be seen on the skyline.
Letitia Marion Hamilton (1878 - 1964)
Ouse Bridge, York, c. 1928
An Irish artist and illustrator, in 1920 Hamilton became a founding member of the Dublin Painters Society, a group described by one critic as 'the liveliest of living painters, the explorers, the experimentalists'. She travelled widely in Europe and was influenced by the Impressionists, as revealed by a painterly concern for texture. This unusual view - captured in chalky pastel colours - shows a busy Ouse Bridge with the warehouses of Queen's Staith beyond. The tower of the church of St Mary Bishophill Junior can be seen on the skyline.
Letitia Marion Hamilton (1878 - 1964)
Ouse Bridge, York, c. 1928
An Irish artist and illustrator, in 1920 Hamilton became a founding member of the Dublin Painters Society, a group described by one critic as 'the liveliest of living painters, the explorers, the experimentalists'. She travelled widely in Europe and was influenced by the Impressionists, as revealed by a painterly concern for texture. This unusual view - captured in chalky pastel colours - shows a busy Ouse Bridge with the warehouses of Queen's Staith beyond. The tower of the church of St Mary Bishophill Junior can be seen on the skyline.
Laurence Stephen Lowry (1887 - 1976)
Clifford's Tower, York, 1952-53
In his idiosyncratic view of York's skyline, Lowry shows how medieval Clifford's Tower sits alongside the modern cooling tower and chimney of the Foss Island power station. He draws attention to the visual echoes in the geometry of these structures and contrasts them with the pointed spire of the church. Lowry visited York in the winter of 1952, at a time when he was just starting to enjoy professional success. Here he employs his customary plain white sky, which, together with the shadow-less 'matchstick' people for which he is famous, cast an ethereal quality over the urban landscape.
Laurence Stephen Lowry (1887 - 1976)
Clifford's Tower, York, 1952-53
In his idiosyncratic view of York's skyline, Lowry shows how medieval Clifford's Tower sits alongside the modern cooling tower and chimney of the Foss Island power station. He draws attention to the visual echoes in the geometry of these structures and contrasts them with the pointed spire of the church. Lowry visited York in the winter of 1952, at a time when he was just starting to enjoy professional success. Here he employs his customary plain white sky, which, together with the shadow-less 'matchstick' people for which he is famous, cast an ethereal quality over the urban landscape.
Laurence Stephen Lowry (1887 - 1976)
Clifford's Tower, York, 1952-53
In his idiosyncratic view of York's skyline, Lowry shows how medieval Clifford's Tower sits alongside the modern cooling tower and chimney of the Foss Island power station. He draws attention to the visual echoes in the geometry of these structures and contrasts them with the pointed spire of the church. Lowry visited York in the winter of 1952, at a time when he was just starting to enjoy professional success. Here he employs his customary plain white sky, which, together with the shadow-less 'matchstick' people for which he is famous, cast an ethereal quality over the urban landscape.
Marion Grace Hocken (1922 - 1987)
My Room, St Ives, Cornwall, possibly 1950s
Hocken was a Cornish artist who was part of the artistic community in St Ives. Her life-long interest in natural history provided inspiration for her painting and she was best known for her flower studies. This lively depiction of her home in St Ives provides an insight into her vibrant approach to interior design. Hocken achieves a sense of movement through her dramatic rendering of the shadows produced by the chair, lidded dish and the items spilling out from the cupboard in the background. The chair and fruit bowl appear in other paintings of the period.
Marion Grace Hocken (1922 - 1987)
My Room, St Ives, Cornwall, possibly 1950s
Hocken was a Cornish artist who was part of the artistic community in St Ives. Her life-long interest in natural history provided inspiration for her painting and she was best known for her flower studies. This lively depiction of her home in St Ives provides an insight into her vibrant approach to interior design. Hocken achieves a sense of movement through her dramatic rendering of the shadows produced by the chair, lidded dish and the items spilling out from the cupboard in the background. The chair and fruit bowl appear in other paintings of the period.
Marion Grace Hocken (1922 - 1987)
My Room, St Ives, Cornwall, possibly 1950s
Hocken was a Cornish artist who was part of the artistic community in St Ives. Her life-long interest in natural history provided inspiration for her painting and she was best known for her flower studies. This lively depiction of her home in St Ives provides an insight into her vibrant approach to interior design. Hocken achieves a sense of movement through her dramatic rendering of the shadows produced by the chair, lidded dish and the items spilling out from the cupboard in the background. The chair and fruit bowl appear in other paintings of the period.
