Reflections on Nan Youngman seminar

I really enjoyed presenting about my research into the life and career of Nan Youngman and Pictures for Schools as part of the History Faculty’s Gender, Women and Culture Seminar series at Oxford.

I was surprised, delighted and slightly overwhelmed that several attendees had known Nan Youngman, through family and artistic connections. Attendees also had interests in history of education, social mobility and policy.

I received several really insightful questions which have given me lots to go away and think about and further avenues to pursue as I continue to disseminate this work and think about publication. Questions and comments included:

  • Is my background/training as a historian?
  • Did I like Nan Youngman?
  • Why was Nan Youngman’s autobiography (held in the Tate Archive) unpublished? Is there any opportunity to get it published today?
  • Did Youngman have to be extremely proactive in order to generate her own career, networks and opportunities at a time when opportunities for women were limited?
  • Did Nan Youngman have a private income which enabled her to do what she did?
  • Have I heard of another Artists’ International Association member, and associate of the Bloomsbury Group, Elizabeth Watson, who was a friend of Felicia Brown and painted Betty Rea?
  • At a time when art school/training was changing a lot, did anyone involved in Pictures for Schools resist this?
  • Britain was known internationally for its active education in primary schools in the 1920s and 1930s, in counties such as Leicestershire and Oxfordshire, not just in art but in other areas such as in the Singing Together movement.
  • Was Nan Youngman aware of similar work going on internationally?
  • What about the parallels going back even earlier in terms of art, craft, design and taste, to Matthew Arnold and William Morris?
  • What about the hierarchy implied by discussion of children seeing ‘great works of art’ – how did this play out across different schools and across the movement?
  • Were buyers considering/aware of the artworks’ potential as an investment?
  • Could and should Pictures for Schools be renewed today?
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