teithiau – -Translation – Keybot Dictionary

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  Oriel Davies yn cyhoedd...  
yn cynnwys lleoliadau a dyddiadau'r teithiau www.flora.orieldavies.org
including venues and tour dates. www.flora.orieldavies.org
  The Scenery is Very Won...  
Wrth gyfuno gweithiau ffotograffig gwreiddiol gyda chardiau post archifol, teithiau cerdded tywys, deunydd testunol wedi’u harchifo ac effemera cyffredinol, mae’r artist yn archwilio natur wneuthuredig Parc Cenedlaethol Eryri a’i ffiniau i archwilio chwedloniaeth gynhenid ‘prydferthwch naturiol’
Combining original photographic works with archival postcards, walking guides, archived textual material and general ephemera, the artist investigates the manufactured nature of the Snowdonia National Park and its boundaries to expose the inherent myth of ‘natural beauty’.
  Lines of Desire | Oriel...  
Ehangwyd y syniad hwn gan y Curaduron Ifanc i ddatblygu brîff ysbrydoledig oedd yn croesawu ystod o bosibiliadau, yn cynnwys: teithiau, ymylon, hydredion, lledredau, llinellau caneuon, storïau a thraciau.
The term ‘line of desire’ describes a pathway worn away by people or animals in finding the shortest distance between two points. The Young Curators expanded this concept to develop an inspired brief that embraced a range of possibilities, including: journeys, borders, longitudes, latitudes, songlines, storylines and tracks.
  Blasu moderniaeth: y ch...  
Ond yn anghyffredin, mynychodd Margaret gyfres o ddarlithoedd ar hanes celf yn Dresden ym 1907. Mae ei nodiadau wedi goroesi o’r teithiau hyn ond mae’r rhain yn dangos cynneddf feirniadol nad oedd eto wedi datblygu (“Adriaen Brower - athrylith ond mae bob amser yn cymryd teipiau cwrs”).
The formulation of their taste(s) is one that has been the subject of much discussion. Their early art history training was unremarkable and typical of monied young ladies of the period – their schooling focused on cultural pursuits and they undertook several educational trips abroad. Unusually though, Margaret attended a series of art history lectures in Dresden in 1907 from which her notes survive, yet these betray an as yet undeveloped critical faculty - (“Adriaen Brower – a genius but takes always coarse types”). Educated as they were within such a culturally constructed framework of taste and value, there is no doubt that they were guided initially in what to look at and why it was ‘good’, bringing to mind E. M. Forster’s 1908 description, in A Room with a View, of Lucy Honeychurch abandoned in Santa Croce, without Baedeker:
  Y Gofod Rhwng: Camadnab...  
Pwnc ymddangosiadol Grennan a Sperandio yw teithiau Gwendoline a Margaret Davies yn yr Eidal ym 1909. Ond gallem ddweud mai pwnc mwy'r peintiadau hyn yw hanes ei hun, ac yn arbennig hanes problematig y rhagdybiaeth broblematig fod gwirionedd sefydlog mewn celf.
Grennan & Sperandio’s ostensible subject is Gwendoline and Margaret Davies’ travels in Italy in 1909. But we might say that the bigger subject of these paintings is history itself, and in particular the problematic history of the problematic assumption that there is stable truth in art. The trip to Italy – the sisters’ second - might be seen as continuing an education in art history that had earlier taken Margaret to study in Dresden. Although Gwendoline and Margaret were already collectors, these tours were very much concerned with learning. The Davies sisters were both the embodiment and the enactment of a significant historical shift. If the pillaging of Italian art treasures by Northern European margraves and baronets during the Enlightenment was, if tangentially, implicated in the founding of a philosophy of aesthetic judgement (in the writing of Emmanuel Kant) and a history of the production of images (developed in the eighteenth century through the work of Winkelmann) by the early twentieth century the discourses associated with philosophy and history had displaced the discourses of acquisition. Indeed, the haphazard gathering of objects that characterised eighteenth century ‘acquisition’ had been supplanted in the late nineteenth century by ‘collecting’, where historic and contemporary art was purchased on the basis of an already acquired knowledge and taste, instilled through formal tuition, and undertaken with the counsel of skilled advisors. Gwendoline and Margaret Davies, then, are part of that sea-change in human identity in the nineteenth century identified by Michel Foucault, where one’s identity is understood, by the self, and measured out, by others, in the quasi-scientific terms of ‘knowledge’. They belong to, indeed they help define, a culture in which knowledge of things may make a moral shift: exposure to, understanding of, culture will make you a ‘better’ human being. One collected truth the way one might collect paintings.
  Y Gofod Rhwng: Camadnab...  
Pwnc ymddangosiadol Grennan a Sperandio yw teithiau Gwendoline a Margaret Davies yn yr Eidal ym 1909. Ond gallem ddweud mai pwnc mwy'r peintiadau hyn yw hanes ei hun, ac yn arbennig hanes problematig y rhagdybiaeth broblematig fod gwirionedd sefydlog mewn celf.
Grennan & Sperandio’s ostensible subject is Gwendoline and Margaret Davies’ travels in Italy in 1909. But we might say that the bigger subject of these paintings is history itself, and in particular the problematic history of the problematic assumption that there is stable truth in art. The trip to Italy – the sisters’ second - might be seen as continuing an education in art history that had earlier taken Margaret to study in Dresden. Although Gwendoline and Margaret were already collectors, these tours were very much concerned with learning. The Davies sisters were both the embodiment and the enactment of a significant historical shift. If the pillaging of Italian art treasures by Northern European margraves and baronets during the Enlightenment was, if tangentially, implicated in the founding of a philosophy of aesthetic judgement (in the writing of Emmanuel Kant) and a history of the production of images (developed in the eighteenth century through the work of Winkelmann) by the early twentieth century the discourses associated with philosophy and history had displaced the discourses of acquisition. Indeed, the haphazard gathering of objects that characterised eighteenth century ‘acquisition’ had been supplanted in the late nineteenth century by ‘collecting’, where historic and contemporary art was purchased on the basis of an already acquired knowledge and taste, instilled through formal tuition, and undertaken with the counsel of skilled advisors. Gwendoline and Margaret Davies, then, are part of that sea-change in human identity in the nineteenth century identified by Michel Foucault, where one’s identity is understood, by the self, and measured out, by others, in the quasi-scientific terms of ‘knowledge’. They belong to, indeed they help define, a culture in which knowledge of things may make a moral shift: exposure to, understanding of, culture will make you a ‘better’ human being. One collected truth the way one might collect paintings.