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Hugh Lane was a philanthropist who spent much of his life collecting fine examples of art. Having no previous knowledge of art he chose pieces based on the opinions of his friends, eventually forming his own eye for art.
Lane would raise the money for the art by asking the wealthy for donation and getting deals from artists who would offer him a lower price or even donate the work for free. Hugh Lane demanded that these works be made freely available to the public and this was upheld in his will as they were transfered into state ownership.
I noticed that the layout of the building is well designed to display works of art as the house is designed with as series of networking rooms.
This means that each room leads on to the other as was originally intended for socialising. Although this wasn't part of the original house, Hugh lane gallery essay still would of been important to Sir Hugh Lane to be able to entertain in the house.
Today is means that the progression from room to room flows naturally and allows an orders and chronological hanging of the work while allowing the viewer to focus on the paintings in a single room.
Each painting is also given its own space to focus on, with no more than two to a wall. In addition smaller painting are often hung adjacent to larger painting to put emphasis on size and scale.
Paintings are usually hung with the centre of the picture being around eye level as this allows the best view of the painting. Tags are never placed near the entrance of the room, rather than the doorway so as not to detract from the paintings themselves. The information given is usually; the title, the artist, medium, the date painted, birth and death of artist along with a brief history of the artist life and work.
To surmise, all of the above techniques mean that the work is presented in a very clear and informative manner which effectively engages the viewer. Modern technology has allowed for an even more comprehensive background of the artist, such as the interactive video screens in the Francis Bacon studio.
There is also a movie room where there is an interview with Francis Bacon shown on screen which is viewed before entering the studio. The gallery also has a book ship with an extensive range of subjects allowing patrons to learn more about the artwork after their visit.
In old galleries the walls are painted in rich victorian colours, in keeping with the period of the displayed. A number of skylights are in place to provide natural lights along with spotlights angles at the wall to prevent glare.
The newer galleries, such as the Francis Bacon studio, are generally all white with no frames on the paintings, allowing the viewer to focus on the work itself. Large skylight provide a great amount of natural light, along with artificial adjustable spots on sliding mounts.
The gallery also has certain artifacts which are highlighted so as to draw out their characteristics. For example, the Harry Clarke room is devoted entirely to displays of stained glass.
The room is almost completely dark with black walls and very soft, low lighting.
Each piece of stained glass is placed in front of its own light source, slotted into the wall. This draws out all of the unique colours of the glass and completely focuses the viewer's attention on the work. The Francis Bacon Studio is one of the only three preserved studios in the world.
To do this every detail of Bacon's studio in London was recorded, the disassembled and reassembled in the Hugh Lane Gallery. The studio gives a fantastic insight into Bacon's work and the creative processes behind it.
It is located in a newer parts of the gallery, designed with the sole purpose of highlighting Bacon's work. The studio is seen before Bacon's paintings, allowing the viewer to better appreciate the work.
While visiting the gallery there were two paintings on display that I found particularly appealing. Both were impressionist works, painted by Claude Monet. The first "Lavacourt under snow" is a landscape painting depicting a few small picturesque houses in the countryside covered by snow.
The painting is very tranquil with small quick brushstrokes, capturing the fading light and pale pinks of the sky. The painting was hung in its original frame in the style of the late 19th Century. The second painting is called "Waterloo Brigde", by Monet.
Monet spent a considerable amount of time in London. While there, he made many paintings of the Thamesenjoying the way the fog influenced the light and its effect on the water.
The painting shows waterloo bridge from an obscured angle with part of the bridge cut off and out of frame. The painting shows the bridge in the early hours of the morning with a heavy mist present. The pale pinks and reds of the rising sun can be seen distorted in the water.The Gallery Question: Considering The Francis Bacon Studio Aim of Resource Dublin City Gallery The Hugh Lane is a gallery of modern and contemporary art.
The collection of art work the gallery houses spans from mid the 19th century to the present day. All Souls College (official name: College of the souls of all the faithful departed) is a constituent college of the University of Oxford in England..
Unique to All Souls, all of its members automatically become fellows (i.e. full members of the College's governing body). It has no undergraduate members, but each year recent graduate and postgraduate students at Oxford are eligible to apply.
The Hugh Lane Gallery, officially Dublin City Gallery The Hugh Lane and originally the Municipal Gallery of Modern Art, is an art gallery operated by Dublin City Council and its subsidiary the Hugh Lane Gallery Trust.
It is located in Charlemont House (built ) on Parnell Square, Dublin, ph-vs.comon: Charlemont House,, 22 Parnell Square North, Dublin 1. DAWSON, Barbara, The Hugh Lane Dublin City Art Gallery, publication essay, May DUNNE, Aidan, 'Elizabeth Magill – Headland', Art in Focus, 13th January DUNNE, Aidan, 'In Search of Boundless Territories', Irish Times, 3rd February Paintings by Fitz Hugh Lane This catalog accompanied a comprehensive exhibition of the paintings of Fitz Hugh Lane and includes a chronology and essays on Lane’s views of Cape Ann, the Boston Harbor, and Mount Desert, as well as his depictions of vessels and an examination of his time in Maine with Frederic Edwin Church.
In Jordan's exhibition at The Hugh Lane, Tableau, her works inhabiting the rooms of Charlemont House, once domestic, now public, become a Gesamtkunstwerk – a total work of art. These paintings, like a strange mirror, are observing us, and reflecting a repetition of lives lived.