標題: Titlebook: Church and Patronage in 20th Century Britain; Walter Hussey and th Peter Webster Book 2017 The Editor(s) (if applicable) and The Author(s) [打印本頁] 作者: ARSON 時間: 2025-3-21 16:52
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作者: 橢圓 時間: 2025-3-21 23:10
The Formation of a Patron, curacy in London. It also examines his early aesthetic development: as a viewer, listener, amateur musician and artist, and lays out the context for that development: of Anglican theologies of the arts of the 1920s, and the available examples of ecclesiastical patronage that others set. It argues t作者: exorbitant 時間: 2025-3-22 01:02 作者: Affectation 時間: 2025-3-22 05:24 作者: 女上癮 時間: 2025-3-22 11:57
The Religious Arts on a Rising Tide: People, Media, Networks,the nature of culture was mostly unaltered by the War, Hussey’s project was now also framed by the need for reconstruction, both physical and (as some saw it) cultural and spiritual. The chapter describes a moment at which a new settlement between the church and the arts seemed possible, supported b作者: patriarch 時間: 2025-3-22 13:06 作者: patriarch 時間: 2025-3-22 17:35 作者: 吸引力 時間: 2025-3-22 22:14
Cathedral, City and Diocese,ironments, and as destinations for tourists. The whole of Hussey’s career was a response to these challenges by one particular means; this chapter examines the rest of his record as dean, and argues that his overwhelming focus on the arts was pursued to the detriment of other areas of the cathedral’作者: patriarch 時間: 2025-3-23 01:31 作者: Mri485 時間: 2025-3-23 08:06 作者: 短程旅游 時間: 2025-3-23 11:36
978-1-349-67658-3The Editor(s) (if applicable) and The Author(s) 2017作者: 臆斷 時間: 2025-3-23 14:22 作者: SLAG 時間: 2025-3-23 18:24
https://doi.org/10.1007/978-3-8348-9491-5 curacy in London. It also examines his early aesthetic development: as a viewer, listener, amateur musician and artist, and lays out the context for that development: of Anglican theologies of the arts of the 1920s, and the available examples of ecclesiastical patronage that others set. It argues t作者: forbid 時間: 2025-3-24 01:41
https://doi.org/10.1007/978-3-8348-9491-5s local context, and as a prominent example of an Anglo-Catholic church. It then examines the four ventures that together formed the jubilee festival of the church in 1943: an organ recital from George Thalben-Ball; a concert by the BBC Orchestra; new music from Benjamin Britten (his .) and from Mic作者: Boycott 時間: 2025-3-24 03:48
https://doi.org/10.1007/978-3-8348-9491-5erland; poetry from W.H. Auden and Norman Nicholson; and music from Malcolm Arnold, Lennox Berkeley, Edmund Rubbra and Gerald Finzi amongst others, including Benjamin Britten (for a second time). Those 12?years also saw the establishment of Hussey’s characteristic modus operandi, as he created . a n作者: Folklore 時間: 2025-3-24 07:32 作者: SIT 時間: 2025-3-24 12:55
https://doi.org/10.1007/978-3-8348-9491-5amination of what cathedrals were thought to be for, since their purposes were in question in a new way in the fifties and sixties. It then examines each of the works of visual art in turn: works by Graham Sutherland, Geoffrey Clarke, John Piper, Ceri Richards, Cecil Collins and Marc Chagall. As in 作者: aviator 時間: 2025-3-24 17:00
Das Wurzelortskurven-Verfahren,gures William Walton and Lennox Berkeley, have a similarly conservative flavour to the works of visual art documented in Chap. .. However, the commissions from Bryan Kelly, James Bernard, William Albright and, in particular, from Leonard Bernstein show a more consistent engagement with contemporary 作者: 披肩 時間: 2025-3-24 22:19
https://doi.org/10.1007/978-3-8348-9491-5ironments, and as destinations for tourists. The whole of Hussey’s career was a response to these challenges by one particular means; this chapter examines the rest of his record as dean, and argues that his overwhelming focus on the arts was pursued to the detriment of other areas of the cathedral’作者: podiatrist 時間: 2025-3-24 23:22 作者: infantile 時間: 2025-3-25 07:20 作者: farewell 時間: 2025-3-25 09:29 作者: 水槽 時間: 2025-3-25 13:39 作者: LAITY 時間: 2025-3-25 19:41
Das Wurzelortskurven-Verfahren, date insofar as it has paid Hussey any attention, and sets out the several areas of the current historiography of British religion and the arts to which the study addresses itself. Finally, it outlines the argument of the book chapter by chapter, and ends with some remarks on the scope of the book and what it aims (and does not) to do.作者: Veneer 時間: 2025-3-25 20:33 作者: Antagonist 時間: 2025-3-26 01:21 作者: 無可非議 時間: 2025-3-26 07:42
Cathedral, City and Diocese,ironments, and as destinations for tourists. The whole of Hussey’s career was a response to these challenges by one particular means; this chapter examines the rest of his record as dean, and argues that his overwhelming focus on the arts was pursued to the detriment of other areas of the cathedral’s life.作者: BOLUS 時間: 2025-3-26 10:03
Das Wurzelortskurven-Verfahren,ich became hard to sustain as both the arts and the position of the churches changed during the long Sixties. Those in present day churches who would see a live tradition of ecclesiastical patronage have needed to look elsewhere for their justification.作者: ineptitude 時間: 2025-3-26 15:12
2946-3351 e book will be of interest to all those concerned with the relationship between theology and the arts, and to historians of music and the visual arts..978-1-349-67658-3978-1-137-36910-9Series ISSN 2946-3351 Series E-ISSN 2946-336X 作者: 參考書目 時間: 2025-3-26 20:15
Legacy,ich became hard to sustain as both the arts and the position of the churches changed during the long Sixties. Those in present day churches who would see a live tradition of ecclesiastical patronage have needed to look elsewhere for their justification.作者: flaggy 時間: 2025-3-26 22:29
https://doi.org/10.1007/978-3-8348-9491-5 of the arts in the period. It was Bell who brought Hussey from Northampton to Chichester in 1955: the cathedral of a diocese in which Bell had done significant work in relation to the arts, but that was itself not quite ready for a project such as Hussey’s.作者: 警告 時間: 2025-3-27 04:45
The Religious Arts on a Rising Tide: People, Media, Networks, of the arts in the period. It was Bell who brought Hussey from Northampton to Chichester in 1955: the cathedral of a diocese in which Bell had done significant work in relation to the arts, but that was itself not quite ready for a project such as Hussey’s.作者: 打算 時間: 2025-3-27 09:14
Book 2017cultural history of Britain, and of Anglo-Catholicism and the cathedrals in particular, the book will be of interest to all those concerned with the relationship between theology and the arts, and to historians of music and the visual arts..作者: 暖昧關系 時間: 2025-3-27 13:08
Book 2017thew in Northampton, and then at Chichester Cathedral. He was responsible for the most significant sequence of works of art commissioned for the British churches in the twentieth century. They included music by Benjamin Britten, Leonard Bernstein and William Walton, visual art by Henry Moore, Graham作者: 窗簾等 時間: 2025-3-27 15:49 作者: MINT 時間: 2025-3-27 20:22 作者: 四目在模仿 時間: 2025-3-28 00:52 作者: 細菌等 時間: 2025-3-28 02:15 作者: Mhc-Molecule 時間: 2025-3-28 09:50
Chichester Music,ions from Bryan Kelly, James Bernard, William Albright and, in particular, from Leonard Bernstein show a more consistent engagement with contemporary trends in composition, and, in particular, the revolution in ‘church pop’ then under way.作者: thrombus 時間: 2025-3-28 13:30
The Formation of a Patron,hat Hussey’s understanding of the arts, in relation to culture and of the right form of patronage, were both present in their essentials before he began his work at Northampton, as were his particular enthusiasms and artistic blind spots.作者: Stress 時間: 2025-3-28 18:39 作者: deviate 時間: 2025-3-28 21:53 作者: BOAST 時間: 2025-3-28 23:18 作者: extinct 時間: 2025-3-29 03:23
https://doi.org/10.1007/978-3-8348-9491-5hael Tippett; and finally (in 1944), the sculpture . by Henry Moore. It examines, in particular, the critical and public reactions to each work, and shows that the debates that the Moore sculpture provoked went to the very heart of what religious art was, and what it was for.作者: 樸素 時間: 2025-3-29 10:10
https://doi.org/10.1007/978-3-8348-9491-5Chaps. . and ., it examines both the making of the works and their reception, and argues that, whilst highly effective in their own right, the works, as a whole, strike a less radical note than the Northampton pair from 1944–1946.
