9th September – Geri Parlby – 4.00 p.m.
14th October – David Wright – 11.00 a.m.
11th November – Barry Venning – 4.00 p.m.
9th December – Brian Healey – 4.00 p.m.
Wine has been part of our global society for over 7,000 years, and the story tells of its origin and appearance in all societies across the Mediterranean and through Europe. There is rich evidence of the role wine has played in these societies and how it became an important component of faith, well-being and festivity. From the kwevris of Georgia in 5,000 B.C., the symposia in ancient Greece, the thermopolia of Pompeii, the hospices of Europe, to the dining tables of fine society wine has been ever present. Drawings, paintings, engravings, buildings, pottery and wine labels themselves all contribute to the story.
The cartoonist, Carl Giles, once said that he loved his creation, Grandma Giles – that fearsome, black-clad, gambling, drinking battleaxe – because she allowed him to say things through his cartoons that he was too polite to say in person. She helped him to poke fun at authority in all its forms, from Hitler to traffic wardens and even his employers at the Daily Express, who didn’t trust him and had sub-editors scouring his cartoons for subversive background details. His admirers included Prince Charles, Sir Malcolm Sargent and Tommy Cooper, and it was no surprise when he was voted Britain’s best-loved cartoonist in 2000. Few people realise, however, that this likeable and humane satirist was also a war correspondent who witnessed the horrors of Belsen, where he found that the camp commandant, Josef Kramer, was also a great fan of his work. Giles gave us a remarkable picture of a half-century of British life. He was also, as his editor John Gordon put it “a spreader of happiness’ and ‘a genius…with the common touch’.
Why is it that so many icons appear so similar, so dark, so primitive even? It takes a trained eye to reveal the fascinating language of icons, the symbolism of colour and line, the meaning of reverse perspective, elongated fingers and faces and desexualised features. Combine this with an understanding of the process of creating or ‘writing’ an icon and the many variations of a particular theme, and suddenly it all makes sense. Through a close look at their construction, common themes and characteristics of Russian icons in particular, this lecture will help de-mysticise these intriguing artworks and help explain why they are so central to Orthodox belief.
Preston New Road
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