[No title] | Gwaith Celf | Celf ar y Cyd

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Gwaith Celf Nesaf

[No title]

MURRAY, George

Mae'r wefan hon yn tynnu ar ddata casgliadau hŷn. Rydyn ni'n cydnabod y gall peth o'r wybodaeth fod wedi dyddio neu'n gwahaniaethu, ac yn gweithio i ddiweddaru ein cofnodion. Os oes gennych gwestiwn neu sylw ar ddarn o gelf, cysylltwch â ni.

Datganiad hawlfraint wedi'i ddarparu gan Amgueddfa Cymru

Manylion

Collection

Amgueddfa Cymru

Rhif yr Eitem

NMW A 4998

Creu/Cynhyrchu

1875-1933

Rôl: Artist

Cyfnod: 1904

Derbyniad

Gift, 16/11/1933

Mesuriadau

h(cm) frame:32.9

h(cm)

w(cm) frame:42.6

w(cm)

Uchder (cm): 26.2

Lled (cm): 36.2

Techneg

Oil on canvas

Techniques (fine art)

Art dept - fine

Fine Art - painting

Deunydd

Oil

Lleoliad

In store

Mwy

Tags

Rhannu

Mwy fel hyn

Amgueddfa Cymru

<p>Peter Finnemore - Statement of work</p> <p>This new work grew out of the Lesson 56 project, which explored hegemonic imperial narratives of Welsh history and culture through the schoolbooks of my Grandmother. Through documentation, collage and juxtaposition it mirrors an engrained narrative about how a nation gets a sense of itself through story. Education and language becomes a tool of perceptual / intellectual control.</p> <p>Like history itself, this project itself is not static or complete. In recognition of this, the Lesson 56 project continues to evolve into other artworks and new forms. This new artwork is worked from my archive of images and objects that refer to Welsh history and culture and the notion of the past overlaying a complex pattern of the past upon the present.</p> <p>This raw laser print and wash image of the castle, is a still taken from the film the Silent Village (Humphrey Jennings 1944) and is a depiction of Castell Carreg Cennen / Carreg Cennen Castle. Which in the film is fictionalized as a site of national resistance during WW2. This draws upon the rich history of the castle as a contested stronghold of overlapping resistance and occupation. Interestingly in the film the schoolteacher Miss Daniels, recites from the Lesson 56 chapter to her classroom as a means of instilling historical memory and patriotism against oncoming fascism. </p> <p>The physical ruler with its historical information of dates and the ongoing of history, becomes entangled in a double meaning word-play of ruler, meaning monarch / Head of State. The physical object of the ruler, is a tool for drawing straight lines. In relation to this, the texts on the ruler implies a logical and systematic rational. However, history itself, is not consistent and does not travel in a straight lines. This artwork is not only about the visualization of generational memory, deep history and its possible reinvention, it is equally a discussion with the language and materiality of art.</p>

FINNEMORE, Peter

(2019)

© Peter Finnemore/Amgueddfa Cymru

Amgueddfa Cymru

SETCH, Terry

(1972 ca)

© Terry Setch/Amgueddfa Cymru

Amgueddfa Cymru

SEE-PAYNTON, Colin

(1986)

© Colin See-Paynton/Amgueddfa Cymru

Amgueddfa Cymru

<p>Photo shot: Garden, Tythegston, 18th June 2002. Place and date of birth: Rugby 1960. Main occupation: Potter. First language: English. Other languages: French. Lived in Wales: 5 years.</p> <p>Joanna Howells works from her pottery in Tythegston, on the South Wales coast, creating beautiful ceramics. After reading Medicine at Cambridge, she went to the Sir John Cass School of Art London, then took a ceramics course at Harrow Art College, rekindling her youthful interest in the art form. Her work focuses on form and texture, and is influenced by the rugged and windswept coastline on which she lives. Joanna was born in Rugby and moved to south Wales five years ago.</p>

Photographer: HURN David

(2016)

© David Hurn / Magnum Photos / Amgueddfa Cymru

Amgueddfa Cymru

JOHN, Augustus

© Ystâd Augustus John. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

SEE-PAYNTON, Colin

(1992)

© Colin See-Paynton/Amgueddfa Cymru

Amgueddfa Cymru

ARNATT, Keith

© Ystâd Keith Arnatt. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

ARNATT, Keith

© Ystâd Keith Arnatt. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

SUTHERLAND, Graham Vivian

(1967)

© Ystâd Graham Sutherland/Amgueddfa Cymru

Amgueddfa Cymru

JOHN, Gwen

(1932 ca)

Trwy ganiatâd Amgueddfa Cymru

Amgueddfa Cymru

JONES, David

© Ystâd David Jones. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

SMITH, John "Warwick"

Trwy ganiatâd Amgueddfa Cymru

Amgueddfa Cymru

Photographer: HURN David

(2002)

© David Hurn / Magnum Photos / Amgueddfa Cymru

Amgueddfa Cymru

WILSON, Richard (after) WHESSELL, John

Trwy ganiatâd Amgueddfa Cymru

Amgueddfa Cymru

WILSON, Richard (after) WHESSELL, John

Trwy ganiatâd Amgueddfa Cymru

Amgueddfa Cymru

<p>Yn 2008 daeth Michal Iwanowski, yr artist a aned yng Ngwlad Pwyl ac yn byw yng Nghaerdydd, ar draws graffiti ger ei gartref yn dweud 'Go Home, Polish'. Ddeng mlynedd yn ddiweddarach, yng nghanol cefndir Brexit ac Ewrop ranedig, ymgymerodd â thaith anhygoel dros 1900km ar droed rhwng Cymru a'i bentref genedigol, Mokrzeszów yng Ngwlad Pwyl. Ei nod oedd archwilio a deall y syniad o 'gartref'. Cymerodd y daith 105 diwrnod i'w chwblhau, a thrwy hynny fe bostiodd ddyddiadur o'i brofiadau a'i gyfarfyddiadau ar Instagram.</p>

IWANOWSKI, Michal

(2020)

© Michal Iwanowski/Amgueddfa Cymru

Amgueddfa Cymru

DAVIES, Tim

(2003)

© Tim Davies/Amgueddfa Cymru

Amgueddfa Cymru

DAVIES, Tim

(2003)

© Tim Davies/Amgueddfa Cymru

Amgueddfa Cymru

PIPER, John

© Ystâd Piper/DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

<p>relief in white</p>

ADDYMAN, John

© Ystâd John Addyman/Amgueddfa Cymru