I was pleased to spot some post-war murals in the entrances to some educational buildings on a recent short break in Reykjavik – a city where the sun rarely breaks through a sky filled with low-hanging clouds, yet which is still full of visual interest and colour in the form of colourful and inventive contemporary street art murals.
There are post-war murals in two separate entrances to the technical school in the centre of Reykjavik, in the shadow of grand lava-inspired church Hallgrímskirkja, which towers over the city – through the windows of the school you can see rooms full of mannequins, wigs and hair dressers’ equipment. You can also just about make out some colourful, painted pop-style murals on the walls of the entrance and staircase.
Dating from 1954, and signed Ferró, I assume the mosaics outside are by the Icelandic pop artist Erró, who studied mosaic technique in Italy in the 1950s and apparently had to change his name while living in France due to ‘Ferró”s similarity to the pronunciation of the name of another artist, Ferraud.
A recent large-scale, comic-strip style mural by Erró can be seen in Keflavik airport, but I much prefer the abstract, textural shapes of the technical school mosaics, and the imagery of many hands at work, although sadly tagged over in places, which brighten the entrance ways to an otherwise grey and unremarkable building.
In suburban Reykjavik, meanwhile – next to this 1950s church (one of many quirky and unusual twentieth century churches in suburban Reykjavik) I found a 1964 mosaic attributed to Valtyr in the foyer of Iceland’s Institute of Education. I assume ‘Valtyr’ is the Icelandic geometric abstractionist painter Valtýr Pétursson who, like Erró, studied mosaic technique abroad.
Last week’s post looked at the ideals which generated Harlow New Town’s unique programme of public art works and its early years. Frederick Gibberd, Harlow’s architect-planner, had envisaged its civic centre as ‘home to the finest works of art’ – both a homage to the past and its Renaissance glories and a mark of the cultured urbanism aspired to in England’s new Elizabethan age.
This is a record of my visit last year, an eclectic mix therefore, rather than a comprehensive record – a sympathetic attempt to see and understand the works in situ and in the context of the mission Gibberd proclaimed.
By the early sixties, Harlow town centre – Gibberd’s broadly conceived civic centre – was taking off. FE McWilliam’s Portrait Figure, stands in West Walk, bought by the Harlow Art Trust in 1957 after featuring in the London County Council’s open-air sculpture exhibition that year. It’s a portrayal…
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The 1951 Festival of Britain showcased achievements in science, technology, industry, architecture and the arts in venues across the country. Much of what was built for the Festival was dismantled at the end – but there are some remarkable remnants.
As well as personal memories and mementos passed through families, the Festival survives in a number of intriguing and unexpected places.
Reg and Joy Bond, who had come to the festival from New Malden, Surrey. Image kindly supplied by their granddaughter, Becky.
Here we take a look at 8 examples:
1. Susan Lawrence and Elizabeth Lansbury Schools, London Grade II listed
Part of the Festival of Britain was a ‘Live Architecture’ exhibition in the Stepney / Poplar area of London. Nearly a quarter of buildings in the area…
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I recently spent some time in the store of the University of Salford Art Collection, which has been acquiring contemporary art since the university’s inauguration in the late-1960s, and finding out about its history and future plans from curator and assistant curator Lindsay Taylor and Steph Fletcher.
To read my interview visit http://theshriekingviolets.blogspot.co.uk/2017/05/an-education-through-art-university-of.html.
There aren’t too many people perhaps who would compare Harlow to Florence, or at least not favourably, but withhold the cynicism because the Italian city did inspire an important part of the New Town’s founding vision. Frederick Gibberd, Harlow’s architect-planner, believed that the ‘Civic Centre should be home to the finest works of art, as it is in Florence and other splendid cities’. Later, his book Town Design set out his vision of the ‘kind of environment he hoped to achieve, one in which the creative arts were to be valued and given an important role in the community’. (1)
Gerda Rubinstein, Portrait bust – Sir Frederick Gibberd (1979) in the Gibberd Gallery, Harlow Civic Centre
What follows is a roughly chronological run-through of some of the sculptures and art works dotted around Harlow which aimed to fulfil the ideals of Gibberd and those who supported him. It’s not a…
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