The High Street Oxford By William Turner Found Via Artful For Mac

8 High Street: Eckington: 1893-1900: Cabinet Card known from Eckington; also at Nottingham (1901-1904) & Leicester (1903-1916); (Adamson, 1997) Leonhardt, Lewis: 8 High Street: Eckington: 1893-1897 (Adamson, 1997) Leuchars, William: High Street (1895-1907) 13 Market Place (1904-1915) Market Place (1917, 26-27) Chesterfield: 1895 (Kelly) 1912. Missing You was founded in March 1998. The service is free to people posting and responding to. Our website is well indexed by all the major search engines. This means messages posted to our site may also appear in. Search engine results for some time after they have been. Deleted from our system. We can't get individual entries removed from a.

Categorized & AnnotatedPaintings in Museums and Public Art Galleries Worldwide: NEW!, Washington D.C. NEW!Most but not all artists in the NGA database have works online, London, UK, UK7 paintings online, Ohio, London, UK, MassachusettsHarvard have works in their collections, but unfortunately you have to type in the search yourself, KansasTintagel, 1836National Art Databases and Museum Inventories:5 works online when last checkedArt Market:(e.g. Records of past sales at auction; sites providing examples of the artist's signature)(database goes as far back as 1991; images go about as far back as 1999)(database goes as far back as 1998; images where permitted by copyright go about as far back as 2001)Pictures from Image Archives:Additional Image Search Tools:(SafeSearch set to 'strict'; go to Advanced Search (Flickr/Google) or Preferences (Bing) to change)Flickr: 'William Turner of Oxford'.

What about the unspoken rule that New Yorkers simply don't wear color, a notion satirized in the 1957 Audrey Hepburn musical Funny Face. Maggie Prescott, the fictitious editor of a fashion magazine, said to be inspired by Vreeland, bursts into song proclaiming pink to be the season's color du jour. After the number - ' - a colleague asks if she'll be donning the saccharine shade. 'I wouldn't be caught dead.'

From Coco Chanel's legendary 1926 through to Helmut Lang's '90s minimalism and Olivier Rousteing's penchant for black's all-out sexiness at, fashion has been obsessed with black for aeons. This hasn't always been the case, though, and throughout fashion history color tells a rich story of class, politics, consumerism and self-expression. Although it's difficult to pin down an exact moment in time when humans started employing color in garments, a look through art history shows how vital color was in making a statement about its wearer.

'Color in clothing, especially bright, saturated and vibrant colors, were often highly symbolical and reflected the status of those wearing the clothes,' Dr. Alexandra Loske, art historian, curator at the Royal Pavilion & Brighton Museums, and author of upcoming book ',' explains. The color purple, for instance, Loske says, was worn by emperors and empresses, as well as the heads of churches. 'The Byzantine Empress Theodora is often depicted wearing a purple robe, the dye a Tyrian purple made painstakingly from the secretions of Murex snails.

Unsurprisingly, the dye and color is called 'Imperial' or 'Royal' purple. It reigned supreme until the chemist William Henry Perkin invented 'Mauveine', an artificial purple, in 1856, when it became purely a color of fashion.'

Red was typically worn by those in royal positions, Loske explains, thanks to its allusion to expensive cochineal dyes, while the Virgin Mary is often depicted in religious paintings wearing blue: 'A wondrous, exotic, and expensive pigment ultramarine, made from the gemstone lapis lazuli.' While we associate white with 'purity, virtue and perfection', Loske highlights its reservation for the refined upper and middle classes, because it wasn't suitable attire for those working in laborious - and thus dirty - industries. 'Think of the gauzy neo-classic dresses worn by women in the early 19th century - greetings from Jane Austen's characters! - or the frilly white shirts worn by men in the romantic period,' she says. Now, white retains its moral connotations (it is still the color expected of most brides) but finds itself workplace-appropriate - albeit a very different kind of work. Historical class associations of color can be seen in even the most interchangeable hues. Loske highlights the difference between indigo and black: 'Curious, given how close they are in chromatic terms, that they are miles apart when we think of 'blue collar workers' and blue jeans as the epitome of 'working class' yet black suits or LBDs are associated with elegance, success, sophistication and formality.'

Significant meaning can be found in every nuance of color, proving that what we wear is never simply about taste. With the turn of the 19th century came the availability of synthetic dyes, and with it, the age of consumerism and the inevitable boom of the high street.

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While the rise of accessible colorful clothing was progress for the democratisation of self-expression, it sometimes backfired. 'Green was popular in women's clothing through the 19th century,' Loske explains, 'but many of the 'modern' green dyes were arsenic-based, and copious cases were reported of women dying of the poison being released once they started sweating in their clothes.' While there's no danger of being poisoned by your favorite pea green in 2018, our renewed appetite for color mirrors the dawn of consumerism, over 100 years ago. From, the brand that brought acid yellow silk dresses, electric blue suiting and burnt knitwear to a previously pitch-dark New York Fashion Week schedule, through to Kenzo's use of paintbox-bright color-blocking separates, via Delpozo's milky pastel hues, scene-stealing color has made waves from the catwalks to the high street over the past few seasons. 'Roksanda's collections are always full of color,' Natalie Kingham, fashion and buying director of Matches Fashion, explains.

'The AW17 show comes to mind, which featured beautiful reds, mustards, and blue tones. Richard Quinn and Halpern also use color well; their collections are always bright and unforgettable.' And it's not just designer collections that are awash with color; stroll down Oxford Street and you'd be hard pressed not to find a fuchsia blazer or duck egg blue. What exactly has made us brave the bold and ditch black in favor of a kaleidoscopic wardrobe? Like all things, it may be shaped by our relationship with social media.

'I think that Instagram has made our customers braver in their color choices, and given them guidance on how best to clash color and wear it confidently in everyday situations,' Kingham states. Steeped as we are in a digital alternate reality that trades in the currency of aesthetics and peacocking, is it any wonder that the brightest colors receive the most likes? When highly saturated unicorns, rainbows and glitter rule the Instagram grid, it makes sense that we'd step up our sartorial game to cultivate the most aesthetically pleasing feed.

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'Social media suits and perhaps demands color,' Loske says. 'How else to stand out?' For Leatrice Eiseman, executive director at the Pantone Color Institute, the high-riding wave of color is down to the kids.

'Our relationship with color has changed hugely,' she explains. 'Today, people are more open - especially younger people, or people who think young - to defying the old and absolute color rules about what is appropriate for certain uses. I think this is all to the good - using color is a creative exercise and shouldn't be bound by too much dogma.' Could it be that, in the face of dark and heavy clouds over the political, social and environmental aspects of our lives, we're embracing color as an act of defiant optimism?

Eiseman certainly believes so: 'Just as we reached for colored crayons as children, giving us the freedom to create, color still offers the opportunity for creative expression and enables us to escape and fantasize.' This, too, could be reflected in the:. As millennial pink was first employed by a switched-on, smart generation of young women to reclaim the femininity of a new wave of feminism, yellow represents the hopeful outlook of the activist teens of Gen Z.

'Millennials are very aware of how pink has become a color that is no longer meant for women only, but can be worn by men, too,' she says. 'Gen Z yellow speaks to hope and optimism - something so necessary in thinking about the future.' Elizabeth von der Goltz, global buying director at Net-A-Porter, says that sales of both hues have increased significantly over the last year.

'There's something very uplifting about both colorways, something we're seeing more often,' she explains. Within color's triumphant return to fashion, which other shades have stood out, dominating both the catwalks and high street?

Was created by and Pantone to honor the life of late designer Richard Nicoll, who often used the duck egg hue in his collections. While it was created in 2017, the soft pastel has enjoyed a renaissance this year, appearing on the catwalks of SS18, from Eckhaus Latta to J.W.Anderson. And have emerged as joyful favorites over the past few seasons, with the former featuring heavily on the streets of fashion month AW17 via inspired by vivid collections from Ashish, Dior, Balenciaga and Valentino. The steady influence of streetwear, meanwhile, where the mundane - and bizarre - becomes elevated, may explain the popularization of the latter, once the preserve of builders and baggage handlers.

Fenty x Puma and Raf Simons presented very tongue-in-cheek takes on hi-vis orange jackets at AW18, which resulted in the shade multiplying across the high street this summer. Finally, one that has shaped much of our collective consciousness this year is Pantone's color of the year 2018:. Pantone draws inspiration for its selection everywhere, from the natural world to art and film. 'Even strong social issues, such as causes and movements can inspire specific colors,' Eiseman explains. While many attributed ultraviolet to the Purple Rain musician and creative force Prince, who died the previous year, it was, in fact, inspired by new scientific research.

'Ultraviolet was inspired in part by new research on anthocyanins, as they are found in purple foods and we now know how beneficial they are in the human diet.' Could the aubergine emoji have been responsible? Our relationship with color is constantly evolving. Perhaps millennial pink won't mean what it means today in 50 years' time; after all, feminine connotations only came about after the Disney-fication of the color in children's clothing. Who knows what the colors that have shaped the past few years will come to mean in the future.

This changing story may see the prevalence of black return to fashion, too. A classic, flattering and multifaceted color, it manages to be both mysterious and self-important, anonymous and attention-drawing. And while that return may be inevitable, history guarantees that color will prevail in its prismatic and joyful way.