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Five Butch Lesbians From History

After WWI , some of our greatest female artists rejected stifling domesticity

Rebecca Birrell studies ten women artist born in the late-Victorian era in a new eye-opening book. Among them is Hannah Gluckstein, Ethel Sand and Vanessa Bell.

Hug a museum: the best exhibitions to see around the UK as restrictions ease

Hug a museum: the best exhibitions to see around the UK as restrictions ease
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How Constance Spry turned flower arranging into an art form

How Constance Spry turned flower arranging into an art form  A new exhibition at London’s Garden Museum pays a floral tribute to one of the 20th century’s most pioneering florists 16 May 2021 • 5:00am Guest curator of the exhibition Shane Connolly, pictured, shares tales of treasures unearthed, memories shared – and sleepless nights  Credit: Geoff Pugh for the Telegraph Tomorrow, a new exhibition opens at the Garden Museum in London. Its title is Constance Spry and the Fashion for Flowers and I am the lucky guest curator of the show. I should immediately lay my cards on the table and confess that this is the first exhibition I have ever curated in my life.

Constance Spry s unconventional view of the natural world turned flower arranging into an art form

Morning glory arrangement by Constance Spry (around 1930) Photo: Cowderoy & Moss Ltd; RHS Lindley Collections It is not exactly a story of rags to riches, but Constance Spry, the daughter of a railway clerk, reached the pinnacle of society through trade and art. An exhibition at London’s Garden Museum of around 100 photographs, personal items and artefacts never before exhibited will tell the story of one of the 20th century’s most colourful and influential florists. Spry was trained in bacteriology and sanitary inspection but in 1921 she became principal of a day school in London’s Hackney where poverty and deprivation were rife. Consequently, her true metier came late. It was not until she reached her early 40s that Spry gave up teaching and opened a shop, called Flower Decoration, in 1929. Her first formal patron was Granada Cinemas but it was her daring arrangements of hedgerow flowers in the window of the royal perfumer Atkinsons of New Bond Street

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