[No title]

Amgueddfa Cymru

Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

[No title]

Photographer: MORGAN, Llew. E.

Amgueddfa Cymru

[No title]

Photographer: HURN David

(1996)

Amgueddfa Cymru

[No title]

Photographer: HURN David

(1967)

Amgueddfa Cymru

[No title]

SHEPHERD, Luke

(2004)

Amgueddfa Cymru

[No title]

COX, Richard

(1979)

Amgueddfa Cymru

Full title: Jean Straker, Photographer. Jean Straker was born in London in 1913. During the Second World War, Straker, a conscientious objector, worked as a photographer. Jean soon discovered how great the need was for detailed, speedy medical photography, particularly of surgical procedures. There were numerous emergency operations performed during the air raid years and operating techniques were changing and developing rapidly. Photographs, particularly those in sequence, were of the utmost value, as records and in the teaching hospitals as teaching aids. Abandoning commercial photography in 1951 Jean set up The "Academy of Visual Arts". Members had access to exhibitions resulting from its program of lecture-demonstrations. In 1951, he opened the Visual Arts Club at Studio House, 12 Soho Square, for "artists and photographers, amateur and professional, studying the female nude". Six years in 1961, officers from Scotland Yard, acting on a tip of from the Italian Police, visited Straker. In 1961, police raided Studio House and took a number of prints and negatives that they considered obscene. Straker stood trial in 1962, he defended himself and despite arguing that his photographs were "of artistic value", he lost the case and forfeited all the prints and negatives that were confiscated. But on appeal to The House of Lords this conviction was squashed. This case lead to changes in the Censorship Laws in 1965.

Photographer: HURN David

(1965)

Amgueddfa Cymru

Full title: Jean Straker, Photographer. Jean Straker was born in London in 1913. During the Second World War, Straker, a conscientious objector, worked as a photographer. Jean soon discovered how great the need was for detailed, speedy medical photography, particularly of surgical procedures. There were numerous emergency operations performed during the air raid years and operating techniques were changing and developing rapidly. Photographs, particularly those in sequence, were of the utmost value, as records and in the teaching hospitals as teaching aids. Abandoning commercial photography in 1951 Jean set up The "Academy of Visual Arts". Members had access to exhibitions resulting from its program of lecture-demonstrations. In 1951, he opened the Visual Arts Club at Studio House, 12 Soho Square, for "artists and photographers, amateur and professional, studying the female nude". Six years in 1961, officers from Scotland Yard, acting on a tip of from the Italian Police, visited Straker. In 1961, police raided Studio House and took a number of prints and negatives that they considered obscene. Straker stood trial in 1962, he defended himself and despite arguing that his photographs were "of artistic value", he lost the case and forfeited all the prints and negatives that were confiscated. But on appeal to The House of Lords this conviction was squashed. This case lead to changes in the Censorship Laws in 1965.

Photographer: HURN David

(2016)

Amgueddfa Cymru

[No title]

Photographer: HURN David

(2007)

Amgueddfa Cymru

[No title]

SEE-PAYNTON, Colin

Amgueddfa Cymru

[No title]

TRESS, David

(1994)

Amgueddfa Cymru

[No title]

Photographer: DWORZAK Thomas

(2002)

Amgueddfa Cymru

[No title]

SEE-PAYNTON, Colin

(1984)

Amgueddfa Cymru

[No title]

Photographer: HURN David

(1980)

Amgueddfa Cymru

Mae gennym ddyletswydd i ddiogelu ein cynulleidfa. Mae'r cofnod gwrthrych hwn yn cynnwys delweddau all beri gofid.

Rydym yn cydnabod bod y gwrthrych hwn, y dehongliad, neu ddeunyddiau ategol yn ymdrin â phynciau sensitif. Ym mhob achos posib rydym yn ceisio dangos gweithiau mewn cyd-destun ac esbonio pam eu bod yn rhan o'r casgliad cenedlaethol. Mae hon yn broses barhaus.

Photographer: FREED Leonard

(1972)

Amgueddfa Cymru

Mae Ar gyfer y Rhedwr Anhysbys gan Chris Ofili yn rhan o gyfres gyfyngedig o brintiau gan artistiaid cyfoes o Brydain a gomisiynwyd ar gyfer Gemau Olympaidd Llundain 2012. Ganwyd Chris Ofili ym Manceinion ddiwedd y 60au, ac erbyn ei fod yn 30 ef oedd yr artist Du cyntaf i ennill Gwobr Turner. Mae ei waith celf ehangach wedi ei ysbrydoli gan hip-hop a jas, cerddoriaeth sydd iddo ef yn ddathliad o ddiwylliant Du, ac mae cyfeiriadau at Dduwch yn britho ei waith. Yn y gwaith hwn mae’r corff yn toddi i’r gofod o’i gwmpas mewn mannau, ac yn diffinio’i hun â llinellau du cryf mewn eraill. Ei gryfder yw ei allu i gyfleu’r ddau. Nid yw’r ffigwr yn y llun wedi’i ddiffinio gan hil, neu ryw. Y Rhedwr Anhysbys. Mae'r ffigwr yn cael ei gau mewn fâs, gan gyfeirio at y Gemau Olympaidd Hynafol. Roeddent yn gyfle i ennill clod ym myd y campau, ond cawsant eu creu hefyd fel lle i werthfawrogi celf a diwylliant.

OFILI, Chris Paupers Press

(2011)

Amgueddfa Cymru

[No title]

Photographer: HURN David

(2016)

Amgueddfa Cymru

[No title]

Photographer: HURN David

(2016)

Amgueddfa Cymru

Jerusalem, Western Wall (Wailing Wall).1989. After the SIX DAY WAR a partition was put up in the plaza in front of the Wall to make a separation between the male and female worshippers. Women who protested and attempted to pray with Torah scrolls were attacked by ultra orthodox worshippers. Smoke greandes used by the police to disperse the crowd were caught by the demonstrators and thrown towards the women and the police.

Photographer: BAR AM Micha

(1989)

Amgueddfa Cymru

[No title]

Photographer: HURN David

(2012)

Amgueddfa Cymru

[No title]

RAVERAT, Gwendolen

(1909)

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