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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An artist who showed at Pictures for Schools.
Peter Laszlo Peri, the émigré artist, lived a most extraordinary life. By his death in 1967, he had left an innovative body of work that was characterised by the social awareness of his life and the spirit of the post-war years.
Peri’s most famous work, The Sunbathers, created for the Festival of Britain in 1951 was thought to be lost, but last year it was miraculously discovered in a hotel garden in London. We’re crowdfunding to secure its restoration and return to public display – find out more here.
Peter Laszlo Peri’s sculpture The Sunbathers on the north wall of Station Gate at the Festival of Britain, 17 May 1951. Image credit PA Images
Lead image: Peter Peri working outdoors with some of his sculptures around him
watched by onlookers over the garden gate, Tate Archive ©Tate, London 2017.
Peri was born in Budapest, Hungary in…
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The Manchester Modernist Society are proud to presents an exhibition of Galt toys, games, puzzles, catalogues and books. At the Manchester Central Library Commencing Tuesday 4th April running until Wednesday 31st May 2017 St Peters Square, City Centre, M2 5PD Monday: 9am-8pm Tuesday: 9am-8pm Wednesday: 9am-8pm Thursday: 9am-8pm Friday: 9am-5pm Saturday: 9am-5pm Sunday: closed Entrance […]
I’ve been thinking a lot lately about the visual atmosphere of Pictures for Schools, which was largely dominated by realism and familiarity (though there were a few more bold or abstract artists, such as Tadek Beutlich). A high proportion of the artists who sold and exhibited work had been war artists, or involved in projects such as Recording Britain, to document places at risk of disappearing due to war and modernisation. One of them (and the best-named!) was Malvina Cheek, who primarily sold and exhibited paintings of trees at Pictures for Schools. I recently found at that she died last year, at the age of 100, making her one of the longest-surviving artists of that era. Read her obituary in the Guardian here.
An artist whose work was very popular at Pictures for Schools in the 1960s is the Polish-born printmaker and weaver Tadek Beutlich (1922-2011). Between 1963 and 1969 Beutlich, along with his wife Ellen, sold work to county council and school loan collections including Buckinghamshire, Manchester, West Sussex, Hertfordshire, the London County Council, Nottingham, Cambridge and the Inner London Education Authority Circulating Pictures Scheme, as well as Sion Manning School in Ladbroke Grove, London, Dunningford County Junior School in Hornchurch, Essex and Uppingham School.
Beutlich’s colourful, striking work is among my favourite to be shown at Pictures for Schools, so I loved the chance to see it in real life at two exhibitions in the picturesque and crafty village of Ditchling, East Sussex, which sits under the spectacular green hills of the South Downs, where he lived and worked for several years in the 1960s and 1970s. Tadek Beutlich ‘Beyond Craft’ is currently on at the Ditchling Museum of Art and Craft, and shows a small selection of his prints as well as textile sculptures, drawn from the Beutlich family collection as well as the nearby Royal Pavilion in Brighton.
I was surprised by how big and vibrant the prints are when seen in person (I’d previously only seen them on a screen). Whilst some focus in on elements such as birds’ beaks, and depict insects, creating pattern from detail, many are more generalised responses to natural phenomena and processes such as radiation, germination, pollination, sun, heatwaves and sunsets, using layered relief prints from objects such as foam and wood and experimenting with the process of mark-making as the basis for imagery and composition in a limited yet effective colour palette of reds/oranges, greens and purples.
A much larger selection of Beutlich’s work and output, drawn from his studio, is on display – and for sale – for a short time only at the Jointure Studios down the road. This shows the range of Beutlich’s work and his experimentation with materials, from different types of grasses and fibres to PVA glue, to create responses to organic forms such as shoots and fungus, as well as vertical wall hangings incorporating objects such as X-Ray tape. Also on display are teaching aids used by Beutlich, who taught at Camberwell School of Art as well as later running workshops and exhibiting at the Metropole Galleries in Folkestone; his wife Ellen, a former tapestry student of his at Camberwell, still lives in the town. At Camberwell, Beutlich worked with another printmaker who sold work at Pictures for Schools, Michael Rothenstein, and devised his own inventive methods for printing that didn’t involve the use of a printing press.
Among the prints on display is Radiation II, which was sold to Buckinghamshire education committee as well as the Catholic Sion Manning School in Ladbroke Grove, London. Out of all the artists whose work was selected to hang and be sold at Pictures for Schools, Beutlich’s is the easiest to imagine capturing children’s attention and making a visual impression in post-war schools, particularly among the relatively blank slate environments of system-built schools. In its colour and bold shapes, it’s unmistakeable both as Beutlich’s work and as a product of the 1960s, when both art and science sought both new understandings of and new ways of representing the world and its natural forms.
Tadek Beutlich – Prints and Textiles is at the Jointure Studios until 12 March.
Tadek Beutlich – Beyond Craft is at Ditchling Museum of Art and Craft until 16 April.