I’m really pleased to announce that I passed my viva on Friday, at the University of Central Lancashire.
I was examined by Dr Sarah Mills from the University of Loughborough, who has done a lot of work about the history of twentieth century British youth movements in relationship to informal education and citizenship, and Dr Keith Vernon from UCLan, whose work I had come across in the context of adult education and the co-operative movement.
I talked them through my research and methodologies, at the same time as giving them more detail about how the scheme worked in practice, including the voluntary involvement of the artists involved and the ways in which the artists chose the pictures that they submitted to be exhibited. They asked me some interesting questions about the ways in which I framed my research – including the extent to which the ideas which informed Pictures for Schools were new ideas, or the extent to which they were older ideas that found a receptive environment for implementation in the post-war period; the extent to which the recent interest in post-war Britain is informed by nostalgia; and critical reactions to Pictures for Schools, and the extent to which I maintained a critical distance from Nan Youngman, despite my admiration of her as the founder of the scheme.
I spoke to several former PhD students before my viva, and the best bit of advice I was given was to try to enjoy my viva, and to bear in mind that it was a one-off opportunity to discuss my work in-depth with people who had read it more thoroughly than it is likely to be read by anyone else. I certainly felt really encouraged by my examiners’ interest in and enthusiasm for Pictures for Schools.
I recently visited a small exhibition at the Hepworth Gallery in Wakefield about the School Prints, which emerged at a similar time to Pictures for Schools. The School Prints commissioned work by many of the artists who sold work at Pictures for Schools, including Julian Trevelyan, Kenneth Rowntree, Michael Rothenstein and LS Lowry, and several of those involved in Pictures for Schools, including Nan Youngman, Herbert Read and Audrey Martin, were on its advisory panel. Ultimately, however, Pictures for Schools, and supporters such as Henry Morris, Director of Education in Cambridgeshire, reacted against the School Prints, believing that it did not go far enough, and that ‘original’ artworks such as paintings, sculptures and textiles were of more value to schools.
Some of the prints on display at the Hepworth had been accessioned from the West Yorkshire education service, although there was no mention in the exhibition of the fact that the West Riding, under Director of Education Alec Clegg, had once been regarded as one of the leading local education authorities for the provision of artworks to schools, and had created one of the country’s largest county loan collections. However, these efforts to provide artworks to local schools clearly still played some part in the cultural memory of the area. During my visit, a woman turned to the woman she was with and reminisced about attending a brand new school which had opened in 1952, and had a large, bright work of art on the wall which, she speculated, ‘must have had something to do with this’.
I was pleased to see quotes from students from a local secondary school, who had been trained as ‘art ambassadors’, on display alongside the artworks. My favourite comes from 13-year-old Alison Alute, who said: “All the different things going on in this painting makes a little voice in my head scream with excitement!”
I have reviewed the School Prints exhibition for Corridor8 at http://corridor8.co.uk/article/school-prints.
Lynda Nead – The Tiger in the Smoke: Art and Culture in Post-War Britain (Yale, 2017)
Lynda Nead’s new history of art and culture in post-war Britain borrows its title from a novel by crime fiction writer Margery Allingham. Whilst Allingham’s ‘tiger’ was a vicious killer who lurked in the grimy shadows of post-war London, it’s the smoke that is the important word here; Nead frames her study within the fog of 1950s Britain, beginning with the ‘Great Smog’ that hung over London for five days towards the end of 1952, the year The Tiger in the Smoke was published.
It’s significant, too, that Nead borrows from the mass cultural form of the detective novel to set the tone of the book, which emphasises the ordinariness and continuity of experience that characterised much of life in post-war Britain. Nead’s early focus on the atmospheric qualities of smog begins a search for…
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‘Woman’s Outlook’ book chapter in ‘Women’s Periodicals and Print Culture in Britain, 1918-1939: The Interwar Period’Posted: February 8, 2018
Unrelated to Pictures for Schools (but related to historical, archival and educational research): I’m really delighted to have a chapter about the twentieth century co-operative women’s magazine Woman’s Outlook in the new collection Women’s Periodicals and Print Culture in Britain, 1918-1939: The Interwar Period, published by Edinburgh University Press (I’m also really pleased that the book features an image of Woman’s Outlook on its cover!).
Woman’s Outlook, a magazine for the campaigning women of the co-operative movement, was published by the Co-operative Press in Manchester between 1919 and 1967 and combined information about political and social issues with domestic tips and advice. The chapter is based on research into the magazine in the National Co-operative Archive in Manchester, which holds a complete set of the publication.
To find out more about the book and other contributors, visit https://edinburghuniversitypress.com/book-women-039-s-periodicals-and-print-culture-in-britain-1918-1939.html.