Olivia Stannard, Cataloguer

 

Olivia has been assisting the Studio team

 

What's your role at Bridgeman Images?

I’ve been interning within Bridgeman Images first, cataloguing the works of our young artists. I now work within the Content Operations Team as a full time cataloguer

What do you love most about your job? 

I love getting to see what new, young artists are producing. Bridgeman Images has its finger on the pulse, constantly trying to find new artists and contemporary work. 

What misconceptions do people most commonly have about the archive?

I think people see it as a historical collection of Old Masters. But the archive definitely welcomes up-and-coming artists. The Bridgeman Artist team has a keen eye on current trends in the current trends in the art world.

 

Olivia's top picks from our archive

 

Yi Xiao Chen, Untitled Portrait

I love this work by Studio artist Yi Xiao Chen. In all her works she uses cool tones, a clean aesthetic and minimal palette. It’s bold, sharp, and stylish. I’d recommend checking out the artist’s other images which work wonderfully as a series.

Untitled Portrait, 2017, (digital), Yi Xiao Chen / Private Collection
Untitled Portrait, 2017, (digital), Yi Xiao Chen / Private Collection

 

Ladies of the Minoan Court

The 'Ladies in Blue' fresco was reconstructed by Émile Gilliéron, a 19th century archaeologist and draftsman. Whilst the recreation's accuracy is debatable, I still love this iconic image of Bronze Age Greek painting. The image feels contemporary, showing that good design is timeless.

Ladies of the Minoan Court, from the Palace of Knossos, Minoan, c.1500 BC (fresco painting) / Archaeological Museum of Heraklion, Crete, Greece / Ancient Art and Architecture Collection Ltd.
Ladies of the Minoan Court, from the Palace of Knossos, Minoan, c.1500 BC (fresco painting) / Archaeological Museum of Heraklion, Crete, Greece / Ancient Art and Architecture Collection Ltd.

 

The Bean Eater

I admire this image mainly because the artist is Bolognese, and it’s now held in the Galleria Colonna in Rome, two cities in which I’ve lived! I love how domestic and ordinary the scene is. The subject matter is a far cry from Carracci’s work in Palazzo Farnese. This is an important document of social and food history, but it also looks a lot like the meals I ate as a student.

The Bean Eater, 1584 (oil on canvas), Annibale Carracci (1560-1609) / Galleria Colonna, Rome, Italy / © Mondadori Electa
The Bean Eater, 1584 (oil on canvas), Annibale Carracci (1560-1609) / Galleria Colonna, Rome, Italy / © Mondadori Electa

 

Marino Marini in his studio

This photograph features one of my favourite Italian artists of the 20th century. Marino Marini made art inspired by ancient Etruscan themes, but his sculpture was also despairing. The span of his work mirrors the destruction and tragedy experienced during the mid-century. This photograph is an intimate shot of the artist in reflection. It aptly expresses the tone of his sculptural work.

Marino Marini in his studio, c.1955 (b/w photo), Fedele Toscani (1909-83) / Private Collection / Alinari
Marino Marini in his studio, c.1955 (b/w photo), Fedele Toscani (1909-83) / Private Collection / Alinari

 

Faces

The more you look at this drawing, the more you see. The superimposed layers are dreamy and surreal but its simplicity of line is reminiscent of classical sculpture. I love how modernity meets classicism when figures are overlaid onto the page.

Faces, (watercolour, black chalk and pencil on paper laid down on board), Francis Picabia (1879-1953) / Private Collection / Photo © Christie's Images
Faces, (watercolour, black chalk and pencil on paper laid down on board), Francis Picabia (1879-1953) / Private Collection / Photo © Christie's Images

 

Sheffield Buffer Girls

This is an important image of working-class women in post-war Britain. I love how Maggie Herrick (right) and Jane Gill (left) are totally indifferent to being the subject of a painting. They’re not coy or self-conscious which is often the case for representations of women. Instead the viewer’s gaze has no effect on them. It reminds you to crack on and not worry about what other people think - these girls couldn’t care less!

Sheffield Buffer Girls, 1919-20 (oil on canvas), William Rothenstein (1872-1945) / Sheffield Galleries and Museums Trust, UK / Photo © Museums Sheffield
Sheffield Buffer Girls, 1919-20 (oil on canvas), William Rothenstein (1872-1945) / Sheffield Galleries and Museums Trust, UK / Photo © Museums Sheffield

 

Find out more

Need help with a project? Contact our team of in-house experts to source the cultural and historical footage and stills that you need. Our archive is growing all the time so there is always something new to discover. We also offer research and retouching services.


Back to top