WorldCat Identities

Hughes, John

Works: 893 works in 1,095 publications in 1 language and 5,664 library holdings
Genres: Documentary films  Internet videos  Historical films  Almanacs  Handbooks and manuals  Exhibition catalogs  History 
Roles: Director, Producer, Author, Editor, Other, Performer, Collector, Author of screenplay, Contributor, Illustrator, Translator, Composer, fme, Bibliographic antecedent, Printer, Compiler, Opponent
Classifications: PN1997, E
Publication Timeline
Most widely held works about John Hughes
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Most widely held works by John Hughes
An Unstoppable Force : Betty Churcher with John Olsen( Visual )

6 editions published between 2008 and 2015 in English and held by 243 WorldCat member libraries worldwide

Widely regarded as Australia's greatest living artist, the exuberant 80-year-old John Olsen talks with acclaimed art commentator Betty Churcher about his life's work
Hidden Treasures: Inside the National Gallery of Australia( Visual )

3 editions published between 2006 and 2015 in English and Undetermined and held by 236 WorldCat member libraries worldwide

Anne Dangar left Sydney in 1930 at the age of 43 to throw in her lot with French artist Albert Gleizes, who'd set up an artists' colony in rural France. Gleizes was a second-generation cubist who wanted to introduce cubist design to the everyday life of ordinary people by applying abstract modernism to the artisan crafts of country folk. His workshop offered artists an escape from the standardisation of industrial mass-production and, for Dangar, this became almost a spiritual cause. Dangar dedicated her life selflessly to Gleizes' ideal. Trained as a painter, she mastered the art of pottery and built her own kiln using traditional peasant methods. Her own work displays a real flair for applied cubist design and exciting colour combinations. Merric Boyd chose his own way to return to nature, at his bush property at Murrumbeena on the outskirts of Melbourne. His bowls were handbuilt, his kiln woodfired, and his clay dug from the earth around his home. Unlike Dangar, he drew inspiration, not from international style, but from the bushland that surrounded his property, where he and his wife Doris established the famous Boyd dynasty of painters, potters and sculptors. Although not the first to use Australian motifs in his pottery, Merric Boyd's idiosyncratic pots and vases raised the use of Australiana in design to new levels of artistry and public popularity. Milton Moon's inspiration is also the landscape of Australia -not the things of the bush but the ancient, sunbaked, bushfire-blackened land itself. Both Moon and Boyd travelled widely but, unlike Dangar, they decided to draw their strength from the land of their birth. In a sense, regionalism and nationalism prevailed over internationalism
Hidden Treasures with Betty Churcher: Inside the National Gallery of Australia by Betty Churcher( Visual )

3 editions published between 2006 and 2015 in English and Undetermined and held by 165 WorldCat member libraries worldwide

"The National Gallery of Australia has more than 100,000 works in its collection - from decorative arts to photography and sculpture - but only a fraction of these can be exhibited at one time. In this series of micro-docs, former director of the gallery Betty Churcher presents an insider's guide to some of the "hidden treasures" that are rarely on public display. From her unique vantage point, she makes intriguing connections between a range of artworks and artists. These are fascinating tales - about the works themselves, the people who created them and the challenge of preserving them - and a tantalising look at some of the ideas and influences that have shaped modern art across the globe."--Website
Etpedia Business English : 500 ideas for Business English teachers by John Hughes( )

6 editions published in 2016 in English and held by 163 WorldCat member libraries worldwide

Positioning patients for surgery by Chris Servant( Book )

11 editions published between 2002 and 2009 in English and held by 139 WorldCat member libraries worldwide

This volume is a practical, procedure-by-procedure guide to patient positioning for about 50 of the most common surgical procedures, written by a multidisciplinary team of surgeons, nurses, ODAs and anaesthetists. Positioning for each procedure is described in detail and points of interest or potential hazards discussed where appropriate. Each procedure is clearly illustrated using photographs and explanatory line diagrams. Positioning Patients for Surgery is an invaluable guide for all theatre-based healthcare professionals
An ephemeris for the year of our Lord, 1726. Or An almanack : ... Fitted to the vertex of Philadelphia. by John Hughes( )

8 editions published in 1725 in English and held by 129 WorldCat member libraries worldwide

An almanack for the year of Christian aera, 1727. Or An ephemeris : ... Fitted to the vertex of Philadelphia. by John Hughes( )

8 editions published in 1726 in English and held by 128 WorldCat member libraries worldwide

The flower hunter by Betty Churcher( Visual )

3 editions published in 2008 in English and held by 107 WorldCat member libraries worldwide

Victorian flower painter Ellis Rowan rocked the Australian art establishment when she won the Centennial Art Prize in 1888, defeating established male artists including Tom Roberts and Frederick McCubbin and prompting a complaint by the Victorian Art Society. A feisty and tenacious adventurer, Rowan travelled Australia searching for rare and exotic species to paint before venturing into the jungles of New Guinea to find inspiration for her exquisite flower paintings. Using watercolours and gouache on coloured paper, she painted many unique varieties, on one occasion claiming to have dangled by a rope over a precipice, hundreds of metres above the rainforest below, to paint a tree orchid. The bitterness of her male rivals lasted until well after her death in 1922. Some 900 of her watercolours are now in the National Library collection
Natalia Goncharova and Alexander Exter( Visual )

1 edition published in 2006 in English and held by 103 WorldCat member libraries worldwide

The Ballet Russe attracted artists to Paris from all over Europe but particularly from Russia. The impresario, Serge Diaghilev, had been barred from employment in any service to the Russian Crown after falling out with the Imperial Theatre in St Petersburg. Instead, he dedicated his talents to promoting the arts of Russia outside Russia and introducing the Russian avant-garde to Paris. Among the first he lured there was Natalia Goncharova. The costumes she designed for his ballet Le Coq D'Or - now in the National Gallery of Australia's collection - were exactly what he wanted. The saturated colours and bold designs became the trademark of his performances. While other European modernists were looking to alternative traditions for their inspiration, to what they referred to as the 'primitive' art of Africa and Oceania, Goncharova drew on her own. She looked to early Russian religious icons and folk art. Around the time that Goncharova left Russia, Alexandra Exter was returning, keen to participate in the Bolshevik experiment of 1917. She too loved theatre design, believing it to be the most democratic and inclusive of the arts. However, her costumes were inspired by the abstract geometry of revolutionary Russian constructivism. Among her work preserved in the National Gallery is her costume design for a Martian guard in the 1924 science-fiction film Aelita†The Queen of Mars, and two marionettes that were to take the place of actors in another silent film, where they were intended to epitomise the commercialism of streetlife in New York. Although Exter died in poverty and obscurity in 1949, she still had the two marionettes with her, preserved as fond memories of her first flush of enthusiasm for the new order, a symbol of the optimism of those early days of the Russian Revolution
Hidden treasures - inside the National Gallery of Australia( Visual )

1 edition published in 2006 in English and held by 93 WorldCat member libraries worldwide

When Betty Churcher joined the National Gallery of Australia in 1990, the first "hidden treasure" she found was one of the world's finest collections of costumes from the celebrated Ballets Russes. Commissioned in Paris by Serge Diaghilev for his revolutionary troupe of dancers, many of these gorgeous costumes have been handpainted by radical young artists who were to become giants of 20th century art, among them: Henri Matisse, Giorgio de Chirico, Natalia Goncharova and Jean Cocteau. Without Diaghilev, the course of modern art could well have been different, because he had the entrepreneurial flair to hear and celebrate the drumbeat of a new century. His genius lay in spotting genius in others. He brought together in creative collaboration some of the most original, inventive and difficult young artists of the early 1900s, such as the painter Pablo Picasso, the dancer Vaslav Nijinsky and the composer Igor Stravinsky. Among the stars in the National Gallery of Australia's collection is Matisse's design for the Chief Mourner in the Song of the Nightingale. There's also Leon Baskt's costume designed for Nijinsky in The Blue God. It is marked with his make-up, which the gallery's conservators carefully preserve--for the stains are as much a part of history as the costume itself. After Diaghilev's death in 1929, a number of new groups followed his original troupe. When the Ballets Russes de Monte Carlo toured Australia in 1940, Sidney Nolan was commissioned to design the sets and costumes for Icare--adding his own brand of poetic lyricism and his Australian accent to this artistic treasure-trove
Hidden treasures - inside the National Library of Australia( Visual )

1 edition published in 2008 in English and held by 93 WorldCat member libraries worldwide

First Fleet captain John Hunter copied the work of young First Fleet midshipman George Raper to produce his famous sketchbook showing life in Botany Bay. Raper's own First Fleet paintings, begun in 1788, show his skill and fine eye for detail in capturing the birds and flowers of NSW. They were acquired by the National Library of Australia in 2004 after lying undiscovered and undisturbed for more than 200 years in an English manor. While Hunter, who became the second Governor of NSW, didn't share Raper's talents with a paintbrush, both men shared equally an excitement and enthusiasm for recording what they found in Sydney Cove in 1788
Hidden treasures - inside the National Library of Australia( Visual )

1 edition published in 2008 in English and held by 93 WorldCat member libraries worldwide

New Zealander Rex Nan Kivell was an avid collector of anything to do with 18th century exploration and the early settlement of Australia and New Zealand. His fine collection of 12,000 items ranges across a third of the globe and spans three centuries. Among its priceless treasures are one of the earliest maritime atlases of the world, Dell'Arcano del Mare (Secrets of the Sea), complied in Italy in 1643; a catalogue of sea monsters; the first map of the coastline of Australia and even a handsome silver kettle with built-in spirit lamp given by Queen Charlotte to Sir Joseph Banks. But Sir Rex de Charambec Nan Kivell, as he became, concealed a secret from the world - he was born Reginald Nankivell, the illegitimate son of a New Zealander
Art of war( Visual )

1 edition published in 2005 in English and held by 93 WorldCat member libraries worldwide

Although there were no 'official' war artists to record that most significant moment in our nation's history - the landing at Gallipoli in 1915 - there was ample artistic talent among the servicemen who fought in World War One. These soldier-artists left us eyewitness accounts, from Turkey and North Africa to Palestine and the Western Front. This episode looks at their legacy and that of CEW Bean, the inspiration behind the Australian War Memorial and Australia's official war artist scheme. In particular, it explores the work of two government-appointed war artists: George Lambert - who depicted the heroics of great battles won and lost - and Will Dyson - who focused on the horror of trench warfare
Violet Teague and Jessie Traill( Visual )

1 edition published in 2006 in English and held by 93 WorldCat member libraries worldwide

During the first two decades of the 20th century there was a spirit of emancipation among Australian women. Many now saw art as a viable career, enrolling in art schools across the country. Violet Teague and her friend Jessie Traill were part of a remarkable group of financially independent, middle-class women who never married, allowing them to devote their lives to art. From an early age both women travelled regularly overseas, which put them in touch with international trends. Jessie Traill's hand-coloured aquatint The Red Light, Harbour Bridge, June 1931 shifts the emphasis of etching from the intimate to the dramatic. It owes more to the etching revival in Europe than the brightly coloured wood and lino block prints popular in Australia in the 1930s. Violet Teague's handprinted children's book Nightfall in Ti-Tree, which she made with Geraldine Rede in 1905, uses handmade recycled paper made to look like Japanese mulberry paper and Japanese methods of binding and applying water-based ink with a brush. Even the asymmetrical placement of objects on the page is Japanese. In 1920, Teague's portrait The Boy with the Palette was exhibited in the Paris Salon, where it won a silver medal, and in the following year it attracted acclaim at an exhibition at the Royal Academy of London. It's a splendid painting, equal to any portrait painted in Australia before World War One, and Traill's etchings too hold their own. So why are both artists seldom mentioned in the story of Australian art? Perhaps because they were women, but more likely because Teague interrupted her career to look after an ailing father. And also because the independence of both women enabled them regular trips abroad, which meant they were more in touch with artists and art movements there than at home
Hidden treasures - inside the National Gallery of Australia( Visual )

1 edition published in 2011 in English and held by 93 WorldCat member libraries worldwide

The many exotic species brought back from the South Pacific by 18th century European explorers fuelled the western imagination with ideas of paradise lost (in the old world) and regained (in the new). Australian artist Fiona Hall has created a series of stunning botanical sculptures from sardine tins that she calls Paradisus Terrestris. The lids of the tins roll back to reveal tiny sculptural forms. The series alludes to the western world's notion of the Garden of Eden and to the enormous variety of botanical species, and implies that paradise may be lost if environmental degradation is allowed to continue. If, as the saying goes, money doesn't grow on trees then, in Leaf Litter, Fiona Hall seems also to be telling us that there are some things that no amount of money can buy. In this work, she again reminds us of the fragile diversity of the natural world. The series consists of 183 sheets each containing a life-size portrait of a leaf, meticulously painted in gouache over banknotes from the leaf's country of origin. The leaves are transparent in places so that the person on the note underneath shows through. These multiple sheets are then held together with paper tape on the back, which when hung on a wall, allows the lower part to flex and move. As well as displaying a whimsical imagination and a quirky sense of humour, in Fiona Hall's work there is a palpable sense of her passion for the beauty and vulnerability of all living things. Only a deep love and commitment would provide the extreme patience required to create these exquisitely delicate works of art
The Godfrey shawl( Visual )

1 edition published in 2006 in English and held by 93 WorldCat member libraries worldwide

Among the National Gallery of Australia's rarely seen treasures is an astonishing embroidered shawl from Kashmir in India - one of the finest and rarest of its kind. Made in the 19th century from the superfine 'cashmere' wool of the Himalayan mountain goat, it is actually a detailed map of Shrinigar, the former summer retreat of the Mogul emperors, showing its rivers, lakes, gardens and buildings. It's just one of a number of beautiful Indian works preserved in the gallery's textile collection. Maharana Jawan Singh Hunting was painted on cotton soon after the British took control of the great Rajput state of Mewar in 1818, attempts to recapture the golden days of the Rajput emperors. The painting has been arranged in the form of a mandala, with the emperor's tent at the centre, symbolising political power, and the Hindu temple on the right, symbolising religious power. Its rolling perspective, which suggests the rotation of the universe and all things within it, is shared by the great landscape paintings of contemporary Australian artist William Robinson. Although Robinson's Creation Landscape series comes from a very different time and place - not the jungles of Mewar but the rainforests of southeast Queensland, he also takes us on a spiralling sweep through time and space. From 19th century Rajasthan to 21st century Australia, there is a shared wonder at the universe in perpetual motion and a similar reverence for the splendour of creation
Hidden treasures - inside the National Library of Australia( Visual )

1 edition published in 2008 in English and held by 93 WorldCat member libraries worldwide

Captain James Cook's untimely return to Hawaii in 1779, 10 days after he had left, ended with his violent death, the details of which are portrayed in numerous illustrations in the National Library collection. Many artists, including the official artist for the voyage, John Webber, recreated the scene in the years following Cook's death. Each artist portrayed a different view: Cook the white knight, Cook the peacemaker, Cook the leader of a military offensive. But we know that Webber didn't witness the death so it seems likely that an engraving made from the drawings of DP Dodd and other witnesses are more likely to represent what really happened
Hidden treasures - inside the National Library of Australia( Visual )

1 edition published in 2008 in English and held by 93 WorldCat member libraries worldwide

Misadventure turned to good fortune when young English artist Augustus Earle was rescued after being marooned on a remote island and accidentally became the colony's first trained artist. Earle, who was stranded for nine months with his dog Jemmy on an island in the South Atlantic Ocean, when his ship sailed without him in March 1824, filled his time recording life on the island until his art supplies ran out. The artist and his dog appear in many of his island paintings. Earle was eventually picked up by a ship bound for Sydney and during the few years he lived in the colony he became its foremost painter. Included in the National Library's collection is a 1826 oil portrait of Bungaree, the first Aborigine to circumnavigate Australia
Hidden treasures - inside the National Gallery of Australia( Visual )

1 edition published in 2006 in English and held by 93 WorldCat member libraries worldwide

In 1884 the Municipal Council of Calais commissioned Auguste Rodin to commemorate six historical heroes of the city. These were the governors, or burghers, who gave up their lives to save their fellow citizens after Calais fell to the English in the 14th century. Dressed in sackcloth with nooses around their necks, they went to the English camp to surrender the key to the city gate and offered their lives in exchange for the usual rape and carnage that followed a medieval defeat. The six figures in Burghers of Calais were cast in bronze from clay models. There were several casts taken, and while the original is in Calais, four of the figures are in the National Gallery of Australia's collection, along with models and studies used in their development. Rodin did not want a conventional interpretation for this commission. He wanted to show the human drama, with each burgher isolated by the fear of dying. At first he thought of lining them up but later decided to place them so they all could be seen clearly from any angle. He wanted them standing on the ground, not on a pedestal, so they could rub shoulders with the people of Calais. Rodin usually modelled in clay, and you can see from the maquette in the gallery's collection how he has moulded the form with his hands before it was cast in bronze. As with a painter's sketch, the sculptor's study (or maquette) puts us in touch with the artist and their thoughts. Also at the National Gallery is a study for another municipal monument, dedicated to the Republic of France, in the Place de la Nation in Paris. This tiny terracotta figure represents artist Jules Dalou's first thought for the figure personifying the republic. It has none of the details of the finished work but it is extraordinarily personable and vulnerable, retaining the intimacy of the moment. Rodin's Burghers of Calais was inaugurated in 1895 and Dalou's Monument to the Republic in 1899. Although the completed bronzes might look back to the 19th century, to the great tradition of European sculpture, to Donatello and Michelangelo, it is the small clay moulded maquettes that bring us closer to the artists themselves and seem to look forward to the 20th century, the hallmark of which turned out to be self-expression
Hidden treasures - inside the National Library of Australia( Visual )

1 edition published in 2008 in English and held by 93 WorldCat member libraries worldwide

A young Tahitian warrior named Omai enlisted as a crew member during Captain James Cook's second circumnavigation of the world. On his arrival in London in 1774 he was welcomed into the highest social circles. England's most sought-after 18th century painter, Sir Joshua Reynolds, painted his portrait in 1774, for which a rare sketch is held in the National Library collection. While Omai eventually returned to the islands, his story inspired a spectacular pantomime at Theatre Royal in Covent Garden, with costumes designed by Philippe Jacques de Loutherbourg, which brought ethnographic realism to a somewhat farcical plot
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Positioning patients for surgery
English (82)