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The article presents a list of books on art. The books include "Giorgio Morandi: The Art of Silence," by Janet Abramowicz, "Building the Bank of England: Money, Architecture, Society 1694-1942," by Daniel M. Abramson, and "Real Photo Postcards: Unbelievable. Images from the Collection of Harvey Tulcensky," by Todd Alden and edited by Laetitia Wolff.

Background: BRIGHTLIGHT is a national evaluation of cancer services for young people aged 13–24 years in England. It is a mixed methods study with six interlinked studies aiming to answer the question: do specialist cancer services for teenagers and young adults add value? http://www.brightlightstudy.com/. Young people have been integral to study development and management, working as co-researchers, consultants and collaborators throughout. We aimed to share results in a way that was meaningful to young people, the public, and multidisciplinary professionals. This paper reports the development of 'There is a Light: BRIGHTLIGHT', a theatrical interpretation of study results by young people, and offers insight into the impact on the cast, researchers and audiences. Methods: The BRIGHTLIGHT team collaborated with Contact Young Company, a youth theatre group in Manchester. Twenty members of Contact Young Company and four young people with cancer worked together over an eight-week period during which BRIGHTLIGHT results were shared along with explanations of cancer, healthcare policy and models of care in interactive workshops. Through their interpretation, the cast developed the script for the performance. The impact of the process and performance on the cast was evaluated through video diaries. The research team completed reflective diaries and audiences completed a survey. Results: 'There is a Light' contained five acts and lasted just over an hour. It played 11 performances in six cities in the United Kingdom, to approximately 1377 people. After nine performances, a 30-min talk-back between members of the cast, creative team, an expert healthcare professional, and the audience was conducted, which was attended by at least half the audience. Analysis of cast diaries identified six themes: initial anxieties; personal development; connections; cancer in young people; personal impact; interacting with professionals. The cast developed strong trusting relationships with the team. Professionals stated they felt part of the process rather than sitting on the periphery sharing results. Both professional and lay audiences described the performance as meaningful and understandable. Feedback was particularly positive from those who had experienced cancer themselves. Conclusions: Using theatre to present research enabled BRIGHTLIGHT results to be accessible to a larger, more diverse audience. [ABSTRACT FROM AUTHOR]

Visual documentation of Native American visitors to England during the eighteenth century represents, in part, a record of colonial contact. Native Americans came to England for diplomatic and political reasons. This paper uncovers patterns of representation and misrepresentation regarding these delegations, as witnessed by the visual arts. The focus for this paper is the visit of 1762 by a group of 'Upper' Cherokee to the court of King George III. It took place in order to seal the treaty made at Williamsburg at the cessation of the hostilities of 1760 61. My interest stems largely from the types of visual representations made of these men and the impact their presence had on the popular imagination of that time. I also wish to address the nature of the portrait image itself as an act of negotiation between Native American reality and European expectation. In an even broader vein I wish to investigate these images to determine how the 'other peoples' of the Empire found spaces of representation within the colonial sphere, and how these recognitions were themselves bound up with the changing relations of Britain and its American colonies. [ABSTRACT FROM AUTHOR]

Richard Waller, Fellow and Secretary of the Royal Society, is probably best remembered for editing Robert Hooke's posthumously published works. Yet, Waller also created numerous drawings, paintings, and engravings for his own work and the Society's publications. From precisely observed grasses to allegorical frontispieces, Waller's images not only contained a diverse range of content, they are some of the most beautiful, colorful, and striking from the Society's early years. This article argues that Waller played a distinctly important role in shaping the visual program of the Royal Society by virtue of his multiple functions as reliable administrator and translator, competent natural philosopher, and skilled image-maker. It analyzes Waller's visual works in the context of his graphic training—in part influenced by his mother Mary More—and situates them within the context of English image-making traditions and Waller's own natural philosophical interests. Examined as a functional whole, Waller's career as a Fellow of the Royal Society emerges as an important case study in the fusion of visual and scientific practices in early-modern England. [ABSTRACT FROM AUTHOR]

Studing the relationship of rock art to its landscape context can contribute to a better understanding of how it was used. This paper discusses the methods of the study of open-air rock art, using as a case study the Neolithic rock art from the county of Northumberland (northern England). A GIS analysis is employed with three primary objectives: to create a systematic and objective description of the landscape in which these rock art sites are located, to identify trends and recurrences in the location of rock art sites in relation to distinctive landscape features, and to explore the association of rock art sites with other components of the landscape in terms of intervisibility and movement. Preliminary results of this analysis indicate that variables such as relative elevation and slope were significant in the placement of rock art in Northumberland, and rock art panels appear to have been located to maximize visibility from natural routes of movement between uplands and lowlands. [ABSTRACT FROM AUTHOR]

In studies of manuscripts illuminated in England during the late thirteenth and early fourteenth centuries scholars have long identified distinctively English characteristics of "boldness and virility," and even coarseness and crudeness, to which they have contrasted French "delicacy and refinement." Manuscripts produced in England during this period, such as the Alphonso Psalter of 1283-1284, that exhibit "exquisite finish '" (all these quotations are from the writings of Eric G. Millar) are said to have been executed under the influence of French art. These characterizations rest on the concept, often unacknowledged, of inbred national character. The interwoven questions of artistic influence and national character are examined in this paper historiographically, by tracing and evaluating the development of the concept of French influence on English manuscript illumination of the period, and comparatively, by testing the idea of French influence through side-by-side juxtapositions of works of known date. The results of this examination suggest that the concept of French influence and the concept of "Frenchness" and "Englishness" should be modified in favor of alternative ways of explaining commonalities and differences between illuminated manuscripts produced in the late thirteenth and early fourteenth centuries on either side of the Channel. [ABSTRACT FROM AUTHOR]

Discusses the life and works of Mary Delany in England. Impact of Delany's sexual orientation to her arts works and accomplishments; Marriages and her intimate relationships with other women; Influences of the English gardener to Delany's Irish garden.

Background: Our study aimed to evaluate to what extent Zero2 Expo's 'Birthing a Better Future', a co‐created multimedia exhibition, was effective in raising awareness on the importance of the first 1001 days of life and explore what refinements would help to optimize the impact of future exhibitions. Methods: We conducted a mixed‐methods evaluation of the exhibition delivered in the John Radcliffe Hospital, Oxford. Through convenience sampling, 14 participants were selected to participate in 12 structured interviews and 19 participants completed a questionnaire. Interviews were thematically analysed alongside quantitative analysis of questionnaire responses through Likert scales. Results: The majority (78.6%, n = 11/14) of participants who completed the questionnaire either agreed or strongly agreed that the exhibition raised their awareness about the first 1001 days of life. This was supported by the analysis of interviews. The use of art was found to provoke an emotional engagement from participants. Participants felt that the length of the written pieces and location of the exhibition were important factors for designers to consider in future exhibitions. Conclusion: This study demonstrated that multimedia exhibitions, combining science with art, may be an effective way to raise awareness of public health messages. Engaging with key stakeholders will be an essential step in order to improve future public health exhibitions. Public Contribution: When designing the study, the public reviewed the study tools, which were refined based on their feedback. At every phase of the study, members of the public who are artists co‐created the exhibition content. [ABSTRACT FROM AUTHOR]

Background: Quality in healthcare has many potential meanings and interpretations. The case has been made for conceptualisations of quality that place more emphasis on describing quality and less on measuring it through structured, vertically oriented metrics. Through discussion of an interdisciplinary community arts project we explore and challenge the dominant reductionist meanings of quality in healthcare. Discussion: The model for structured participatory arts workshops such as ours is ‘art as conversation'. In creating textile art works, women involved in the sewing workshops engaged at a personal level, developing confidence through sharing ideas, experiences and humour. Group discussions built on the self-assurance gained from doing craft work together and talking in a relaxed way with a common purpose, exploring the health themes which were the focus of the art. For example, working on a textile about vitamin D created a framework which stimulated the emergence of a common discourse about different cultural practices around ‘going out in the sun'. These conversations have value as ‘bridging work', between the culture of medicine, with its current emphasis on lifestyle change to prevent illness, and patients' life worlds. Such bridges allow for innovation and flexibility to reflect local public health needs and community concerns. They also enable us to view care from a horizontally oriented perspective, so that the interface in which social worlds and the biomedical model meet and interpenetrate is made visible. Summary: Through this interdisciplinary art project involving academics, health professionals and the local community we have become more sensitised to conceptualising one aspect of health care quality as ensuring a ‘space for the story' in health care encounters. This space gives precedence to the patient narratives, but acknowledges the importance of enabling clinicians to have time to share stories about care. [ABSTRACT FROM AUTHOR]

The article provides information on the exhibition of Rembrandt's works over the Internet. The Ashmolean Museum in Oxford, England arranged the exhibit in celebration of the artist's 400th birthday. Apart from Rembrandt's works, also featured are his pupils' masterpieces that shall cover various early states and impressions on Japanese and oriental papers as well as their origin. All of Rembrandt's works that are presented in the web site represent various significant aspects of collecting Rembrandt in England during the late eighteenth to mid-nineteenth centuries. The exhibition may be accessed at http://www.ashmolean.org/collections/?type=resources&id=121.

The article reviews the exhibition "The Railway: Art in the Age of Steam," at the Walker Art Gallery in Liverpool, England from April 18-August 10, 2008.

This article focuses on the "dealer-critic system" or relationship between the periodical and the art market in Victorian England. It states that the "dealer-critic system" is sociologists Cynthia White and Harrison White's term for depicting the mutual dependence between the art maker and the press, which has been recognized by scholars as a new and critically significant characteristic of the 19th century art world.

This article explores the Georgian interior as represented in conversation, piece portraits. It discusses the relationship between real and depicted rooms and furnishings and considers the meanings and values conveyed by painted interiors. The article begins by examining the relatively bare settings of Arthur Devis, which emphasized restrained good taste, in contrast to William Hogarth's more lavish scenes of refined consumption. It then discusses the implications of Devis's reuse of the same interiors for different patrons. Such settings were not intended to represent specific spaces. Rather, like the interiors of Hogarth's modem moral subject paintings, they were to be understood as signifiers of abstract virtues--their generic quality enhancing their legibility. Moving on to the 1760s, the article considers Johan Zoffany's revitalization of the conversation piece, combining lavish description of things with a new sense of intimacy and affect. In contrast to Devis, Zoffany notably depicted rooms and objects owned by his patrons, albeit combined in invented ways and with fictive possessions in order to strengthen their iconographic power. The article ends by speculating about some of the reasons for this distinction, including the social status of their patrons, the changing nature of the art world and developments in the luxury debate. [ABSTRACT FROM AUTHOR]

This article examines the role of graphic satire as a tool of agitation and criticism during the early 1640's, taking as its case study the treatment of the archbishop of Canterbury and his episcopal associates at the hands of engravers, etchers, and pamphlet illustrators. Previous research into the political ephemera of early modem England has been inclined to sideline its pictorial aspects in favour of predominantly textual material, employing engravings and woodcuts in a merely illustrative capacity. Similarly, studies into the contemporary relationship between art, politics, and power have marginalized certain forms of visual media, in particular the engravings and woodcuts which commonly constitute graphic satire, focusing instead on elite displays of authority and promoting the concept of a distinct dichotomy between 'high' and 'low' culture and their consumers. It is argued here that the pictorial, and in particular graphic, arts formed an integral part of a wider culture of propaganda and critique during this period, incorporating drama, satire, reportage, and verse, manipulating and appropriating ideas and imagery familiar to a diverse audience. It is further proposed that such a culture was both in its own time and at present only fully understood and appreciated when consumed and considered in these interdisciplinary terms. [ABSTRACT FROM AUTHOR]

In this article, the authors address a number of issues concerning the history of design. The authors begin with the relationship between design, craft and art. They explore the artifacts to examine their relationships. They also explore the evolving nature of design practice which defies categorization. The authors then recall the exhibition "Objects of Our Time" held at the Crafts Council in England in 1996. In addition, the authors explain the institutionalization of craft discourse as a historical and theoretical discipline.

The Medical Society of London was founded in 1773 by the Quaker physician and philanthropist, Dr John Coakley Lettsom, who was convinced that a combined membership of physicians, surgeons, and apothecaries would prove productive. His revolutionary idea met with success and the Society has provided a forum for all branches of the medical profession for the last 231 years. Situated at the heart of London's medical community at Lettsom House, Chandos Street, near Cavendish Square, this is the oldest medical society in the United Kingdom. [ABSTRACT FROM AUTHOR]

An account of a questionnaire study conducted by the authors to gather evidence about the present state of art vandalism in public art galleries in England, Scotland, and Wales is followed by a brief discussion of historical and contemporary accounts of destructive attacks on works of art. In this study a pattern of high prevalence of minor acts of destruction was reported, with a less frequent but substantial prevalence of major acts of destructiveness. The types of art works likely to be vandalized and some of the assumed psychological and psychiatric characteristics of the perpetrators are discussed. [ABSTRACT FROM AUTHOR]

Presents comments on articles which deal with art. Design of the Wellington Monument in Somersetshire, England; Identification of the Divina Sapienza fresco.

The article discusses the author's experience of attending the International Federation of Library Associations Section of Art Libraries 4th European Conference held in London, England from April 13 to 16, 1992. The superiority of art libraries was emphasized during the event. The idea for the conference was the brainchild of Jan van der Wateren, director of the National Art Library in London. Lecturer Trevor Fawcett discusses several issues about art books.