Art History

Leonard Joel Auctioneers in Melbourne provided this historical evidence, based on Royal Marines Historical Society records (see reference). The auction is on 19th May 2013.Charles A.F.N. Menzies (1783-1866) was born in Perthshire in Scotland, the son of an army captain. The young lad was educated at Stirling and, at age 15 commissioned as a second Lieutenant in the Royal Marines, serving on HMS Holden with Lord Nelson's squadron off Boulogne during the blockade of the French Invasion Fleet.In 1803 Menzies sailed on HMS Calcutta to transport convicts to Australia and shortly after was promoted to lieutenant. In 1804 he was in com­mand of a detachment of marines that crushed an uprising near Castle Hill in New South Wales by a group of Irish convicts, who were political prisoners from an earlier uprising in Ireland. The Australian skirmish must have been horrible.In March 1804 Governor Philip Gidley decided to separate the worst offenders to establish a new settlement on Coal River. He accepted Lieutenant Menzies' offer to found and take command of the new settlement. The group sailed from Sydney on the Lady Nelson and two other small ships, and soon arrived at the new settlement that Menzies initially named Kingstown, but was re-named Newcastle by Governor King. From the very beginning of this small settlement, Newcastle was to be a work camp, from which coal and timber would be taken for the benefit of the main settlement in Sydney.General Sir Charles Menzies with sword, by Daniel Cunliffe Oil on canvas, 54 x 38 cm, 1843Royal Marines Museum in Hampshire Although still only in his early 20s this Royal Marines officer acquitted himself well and by the time he resigned his position in March 1805 to return home to Britain, Newcastle was estab­lished.Menzies resumed active service soon after returning home. He commanded the Royal Marines attached to HMS Minerva and was involved in many actions. In June 1806 Menzies was in one of the Minerva's boats that were responsible for cutting out five boats from under Cape Finisterre, the Spanish scene of many naval actions during the Napoleonic wars. He led a landing party which rushed the fort; in fact because Menzies was the first to enter, it was he who lowered the enemy's colours and safely raised the British flag. In July 1806 he planned an attack on a barge that captured a Spanish privateer and was instrumental in cutting out a Spanish vessel of war, landing at the Spanish Bay of Arosa and taking prisoners. Menzies also led his men at the capture of Fort Guardia.In 1813 Menzies was promoted to Captain of the Royal Marine Artil­lery. In 1817 he married the daughter of the physician to the Duke of Gloucester and had children. His career progressed smoothly until he was the Colonel Commandant of the Portsmouth Royal Marines.Menzies was appointed aide-de-camp to Queen Victoria in 1851, then knighted and appointed General in 1857. He died peacefully in old age. Clearly he a significant military man, yet I have three important questions:1. Why was Charles Menzies given a valuable Patriotic Fund sword that displayed the crowned arms and cypher of George III?2. What was Charles Menzies’ importance to early Australian history?3. Why did the sword come to Australia?Since 1803 Lloyd’s Patriotic Fund has worked closely with armed forces charities to identify the individuals and their families who are in urgent need of support. The contributors created the fund to give grants to those wounded in service to the Crown and to set up annuities to the dependents of those killed in action. The Fund’s prizes, awarded to those British combatants who went beyond the call of duty, could be money, a sword or a piece of silver plate.Charles Menzies was an obvious candidate for a Lloyd’s Patriotic Fund award. Not only was he brave and full of leadership; Menzies also led his men at the capture of Fort Guardia in 1806 when he was severely wounded and his right arm was amputated. He received a sword from

Rain Room. Installation view at The Museum of Modern Art with dancers from WayneMcGregor | Random Dance. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Charles Roussel" /> Random International. Rain Room. Installation view at The Museum of Modern Art with dancers from WayneMcGregor | Random Dance. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Charles Roussel Rain Room. Installation view at The Museum of Modern Art with dancers from WayneMcGregor | Random Dance. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Charles Roussel" /> Random International. Rain Room. Installation view at The Museum of Modern Art with dancers from WayneMcGregor | Random Dance. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Charles Roussel Rain Room. Installation view at The Museum of Modern Art with dancers from WayneMcGregor | Random Dance. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Charles Roussel" /> Random International. Rain Room. Installation view at The Museum of Modern Art with dancers from WayneMcGregor | Random Dance. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Charles Roussel Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Kathryn Yu" /> Random International. Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Kathryn Yu Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Kathryn Yu" /> Random International. Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Kathryn Yu Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Kathryn Yu" /> Random International. Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Kathryn Yu Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Joe Holmes" /> Random International. Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Joe Holmes Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Joe Holmes" /> Random International. Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Joe Holmes Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Joe Holmes" /> Random International. Rain Room. Installation view at The Museum of Modern Art. Rain Room is part of MoMA PS1's EXPO 1: New York, 2013. Photo by Joe Holmes Rain Room‘s conception was swift. We were coming up with ideas for dropping an image from above, so each individual pixel would fall into place, using water on water-reactive ground. Considering the structure that would need to be created for this to happen, we refined the idea into something more immediate: making monumental rain through which you can walk without getting wet. Complete immersion in a unique environment has long been a driving interest of the studio. We’re intrigued by how people and objects behave and respond to one another and how that can bring a spatial sphere to life. From left: Random International. Audience. 2008. Mirror, metal cast bases, motors, custom motion tracking software, camera, computer, dimensions variable, each mirror: 150 x 250 x 150 mm. Edition of 8 + 4 AP. Carpenters Workshop Gallery; Swarm Study / III. 2011. Electronics, Corian, steel frame, 123 x 456 x 789 mm. Installation view at the Victoria and Albert Museum Our 2008 work Audienc

Filmoteca de Catalunya in Barcelona Chief film curator Rajendra Roy and I attended the 69th congress of the International Federation of Film Archives (FIAF), in Barcelona, Spain, April 21–27. Each year the member and associate film archives convene in a city where the annual congress is hosted by a local FIAF institution, and 2013’s congress was hosted by the Filmoteca de Catalunya, under the leadership of director Esteve Riambau. The International Federation of Film Archives (FIAF) was officially founded on June 17, 1938, with an agreement signed in Paris by the British Film Institute, Germany’s Reichsfilmarchiv, La Cinémathèque Française, and The Museum of Modern Art. The four original signatories remain active members 75 years later, alongside an additional 154 affiliates across 78 countries. The formation of FIAF was not only essential, but also philosophically applied an urgency and importance to the work they were doing by seeking international partnerships. There were no university film schools in 1938

Taking monumental frescos to a multitouch screen, MoMA’s eBook Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco offers a fresh exploration of three great figures in the revival of mural painting that brought modern Mexican art to international attention after the Mexican Revolution of 1910–20. Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco" /> Screenshot from Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco" /> Screenshot from Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco" /> Screenshot from Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco" /> Screenshot from Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco Diego Rivera, David Alfaro Siqueiros, and Josè Clemente Orozco" /> Screenshot from Diego Rivera, Dav

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The Still Life with Compotierby Dr. Ben Harvey The Fantasy...Manhattan. The Museum of Modern Art. I’ve come to look at one of their Cézannes. From across the gallery, I can just make out the object of my quest, his "Still-Life with Compotier." Taking care not to look at it directly, I maneuver myself in front of the painting, stand still, and close my eyes. I wait for as long as I can, but even ten seconds feels excruciating. I open my eyes and absorb the work.Read more »

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The Cousins. 1959. France. Directed by Claude Chabrol These notes accompany screenings of Claude Chabrol’s The Cousins on May 15, 16, and 17 in Theater 3. When Andrew Sarris published Interviews with Film Directors in 1967, he could already write that Claude Chabrol (1930–2010) had “quickly become one of the forgotten figures of the nouvelle vague.” Of the most prominent New Wave directors, Chabrol had been the first to complete a feature film (Le Beau Serge in 1958), resulting from an inheritance received by his then wife. The film was shot in Chabrol’s home village of Sardent, where his grandfather and father were pharmacists and where Chabrol established a film society as a young teen during World War II. This inaugurated a pattern of Chabrol setting his films in the French provinces, and, indeed, Les Cousins is largely concerned with the perennial tension between Paris and the rest of country. He brought back the two leads from his first film, Gerard Blain and Jean-Claude Brialy, both of whom

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