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.
The story of Isabel Alexander is by no means an uncommon one. Born into a middle-class, educated family in Birmingham in 1910, as a daughter she was denied her first choice of an education, to train at the Slade. Instead, she attended Birmingham School of Art in the 1920s before finding employment in schools and at Saffron Walden teacher training college in order to pursue her training and practice as an artist. This determination to work and exhibit enabled self-funded studies at the Slade, and a fifty-year career as an artist, pursued at the same time as being a single mother.
After the Slade Alexander went on to work in the burgeoning British documentary film movement of the 1930s and as a commercial illustrator. She designed book tokens vividly illustrating rural life and occupations in East Anglia, Kent and the Cotswolds (1953) and undertook botanical illustrations for the educational Puffin picture book series, such as the close-up study ‘Penicillum’ (1948) from the unpublished follow-up to the Story of Plants, where aspects of nature are observed in a way that exaggerates and exacerbates their qualities and form.
Alexander succeeds at documentary and narrative, as in her 1944 portraits of disabled miners. She also aptly captures place: highlights include ‘Pinnacle, Thaxted Church’, a 1951 linoprint of a church spire in which natural and architectural details are intertwined and ‘Bardfield Landscape III’, a subtly abstract, yellow-hued watercolour of 1950. Both are inspired by the Essex landscape; she settled in the picturesque and historic village of Thaxted, on the border with Suffolk, before relocating to North Yorkshire for the final years of her life.
In the 1960s Alexander exhibited drawings and paintings at the Pictures for Schools exhibitions, selling work to schools including Godolphin and Latymer School in London and Cambridgeshire and Nottinghamshire education committees. She maintained a commitment not just to exhibiting herself, but to keeping up with visits to exhibitions and maintaining an ongoing interest in contemporary and historical art movements.
A new exhibition of Alexander’s work in Harrogate, bringing together work from private collections and accompanied by a book by Janet McKenzie, aims to highlight her legacy and expose the barriers she faced as a woman seeking a career as an artist. It also traces Alexander’s journey from realism to a growing focus on abstraction and experimentation with media and form.
However, the work in the exhibition suggests Alexander’s transition between realism and abstraction was not clear-cut, and a sense of abstraction and experimentation underlies much of her apparently realistic and naturalistic work. For example, the use of an unexpectedly lurid crayon introduces an ominous element into the otherwise murkily coloured landscape of ‘Condemned Houses, Blaencwm’ (1943), as does the skewed perspective of ‘Miners’ Houses, Trealaw’ (1944).
Displayed side by side at the Mercer Art Gallery, the watercolours ‘Moorland Larches, Yorkshire’ (1983) and ‘Winter Trees I’ (1971) hint at abstraction in their use of starkly outlined shape and colour, at the same time as conveying the particulars of landscape and season in a way that is sensory and atmospheric if not quite realistic and naturalistic.
Also not quite natural, but based in observable phenomena such as the flickering shapes and suggestive shadows of twilight and the transition to darkness, is the 1958 study ‘Moonlight’.
Other highlights include her pencil studies of weather phenomena and later, more large-scale and obviously abstract work in which experiences, natural phenomena and sensations elide, as in ‘Weeds and Water’ (1984) and ‘Gannet’ (1985) in which oils on newspaper explore the bird’s movement at the same time as suggesting watery flows.
Whilst much of her work documents places, landscapes and experiences close and familiar to her, Alexander maintained a commitment to travel and observation of new places, from a series inspired by the natural and manmade landscapes of the Isle of Aran to painting trips to France and Spain. Far from following the well-trodden genre of straightforward pastoralism, beneath Alexander’s work lies a tension between nature and artifice, implying a subtle critique of ways of working, living and using the landscape that that are alienating, exploitative or unnatural.
Isabel Alexander: Artist and Illustrator is at the Mercer Art Gallery, Harrogate until 4 June.
A large number of images of Isabel Alexander’s works have been added to the Bridgeman Art Library and can be explored alongside the exhibition.
The Hampstead home of the modernist architect Ernő Goldfinger at 2 Willow Road, built for his young family in the 1930s, is chic and elegant with its parquet flooring, large windows overlooking Hampstead Heath and bespoke furnishings. Whilst giving the impression of space, light and flexibility, it’s also surprisingly homely and ordinary. It’s not overly large or flashy, but family sized and bears the marks of a place that’s been lived in and worked in, from collections of bedside books to children’s toys to scraps and pages ripped from publications and displayed on the wall of Goldfinger’s studio above his tools and plans. Aside from a catalogue for the seminal post-war exhibition This is Tomorrow, displayed on the wall, one of the indicators of the artistic and intellectual circles in which the Goldfingers moved is the art collection spread throughout the house. It’s eclectic in its style, subject matter and media, ranging from British surrealism and collage to sculpture and kinetic art to painted pebbles by Max Ernst and photographic portraiture. One of the artists Goldfinger appears to have taken a particular shine to, who also showed work at Pictures for Schools, is the painter Prunella Clough. On face value, Clough’s dense and textural studies of industrial landscapes such as slag heaps couldn’t seem further from the genteel setting of the home in suburban, villagey Hampstead.
Though much of Clough’s work depicted scenes of this nature, however, a show currently on display at the Jerwood Gallery in Hastings draws out Clough’s interest in abstraction and the reuse of found objects as well as her starting point in the everyday. The viewer is invited to make connections between the murky outlined shapes of industrial towns – structures such as cooling towers, roof tops, docks and machinery, ladders and lorries – and abstract shapes, using colour and form to draw attention to these places. Clough visited factories with fellow artist (and Pictures for Schools contributor) Ghisha Koenig, and many of her figurative paintings are reminiscent of repeated movements and labour that has become second nature, dwelling on the faces and forms of those overseeing production and transportation.
Although much of her work focuses on the urban, in dark, overworked tones, the beachfront Jerwood Gallery highlights the inspiration she took from the activities and occupations of the coast. From boats and fishing equipment to fishermen cocooned against the elements in heavy waterproof clothing, here the impression is of light and transience, nets and yellow-lit beaches.
Other works make use of pattern, from the spidery black marks of ‘White’ to the swirls, soft outlines and light, off-white dribbles of ‘Electrical Installation 1’, which are reminiscent of circuits and blue jelly.
Much of the accompanying information in the show is drawn from interviews and essays by peers and critics, such as Patrick Heron, who suggest that Clough’s work is significant in the way it asks the viewer to look again at, and see the strangeness of the everyday. As Heron suggests (in a quote from the show I particularly liked), Clough’s work offers paintings as machines for seeing with, as tools to change the way we look at the world.
Prunella Clough: Unknown Paintings is on at the Jerwood Gallery, Hastings, until 6 July.
The beachfront Jerwood Gallery, which sits among black-painted, newly renovated fishing huts in the rapidly gentrifying seaside town of Hastings, is currently showing two very different exhibitions by two twentieth century artists. Both are called John, but the contrast between John Bratby and John Piper couldn’t be greater.
The starting points for John Piper’s paintings, prints and ceramics are often British places, imagery and customs, from country churches and seaside buildings and occupations to the folky Green Man and the strange foliate style of church decoration. His work presents not so much representations of things as an exploration and juxtaposition of forms, colours and sensations through effects such as collage, mosaic and marbling.
Despite his abstraction of experiences and environments and the avant-garde circles in which he moved, the exhibition shows that Piper’s work was firmly part of the establishment of twentieth century British publishing, art and music. On display are his sketchy nautical nursery prints for Contemporary Lithographs, his drawings and paintings for Recording Britain and as a war artist, Shell book designs, and a Benjamin Britten record cover, as well as collaborations with Heal’s, a book on the installation of electricity on churches (produced with John Betjeman) and stained glass commissions for churches in Harlow and Coventry. Ranging from the 1930s to the post-war decades, it’s notable that despite his popularity in private and public commissions little in way of Piper’s style of modernism made it into Pictures for Schools.
By contrast, the paintings of the other artist on show at the Jerwood, John Bratby, fit seamlessly into the type of Britain and the representations of it which predominated at Pictures for Schools; indeed, Bratby, as well as other ‘Kitchen Sink school’ artists, regularly exhibited and sold portraits and still lifes at the exhibitions.
Whereas Piper made ordinary places and images mysterious, Bratby’s paintings appear to magnify the normal, intensifying the banality of everyday life and routines through dark outlines and thick brushmarks. His paintings, in a manner reminiscent of pop-art, incorporate and highlight brand names and throwaway packaging, from cereal packets to washing up bottles, and celebrate icons of popular culture such as Paul McCartney. His subjects suggest familiarity and intimacy, from flower arrangements to family life. Lounging nudes, the bathroom sink, a muddled collection of tools, are rendered unremarkable and unnoteworthy.
Bratby’s paintings make us contemplate vantage points and perspectives, both literal and metaphorical. They invite us to look in, at the now and the past, at the domestic and comforting, and outwards, to imagine a possible future and transformation of our lives. This is Britain viewed tentatively, through net curtains and decaying window frames, from a homely setting of wooden floorboards and kitchen tables. He portrays a country which is still drab, grey and brown, poised somewhere between post-war austerity and the promise of the cultural and social freedoms of a new consumer age. Hastings, too, where Bratby spent the last years of his life living and painting (and where it is still possible to imagine him working, amid the entropy of buildings and industries that still somehow cling on despite decades of decline), is a town on the verge of becoming something very different from the rundown resort it was formerly. The Jerwood, with its £9 entry fee, is a symbol of coastal regeneration, mimicking in its appearance yet irrevocably distanced from the traditional fishing huts and occupations it overlooks.
‘John Bratby: Everything but the Kitchen Sink Including the Kitchen Sink’ is at the Jerwood Gallery until Sunday 17 April.
‘John Piper: An Eye for the Modern’ is at the Jerwood Gallery until Sunday 8 May.
An interesting article in the Guardian about contested ownership and custodianship of paintings by Mary Fedden, apparently gifted to a school in Brent. Fedden, along with her husband Julian Trevelyan, also sold work through Pictures for Schools.
Right at the beginning of my PhD, one of the books that excited me most on the list of reading I was given as a starting point was David Crouch’s Flirting with Space: Journeys and Creativity. The book contains a chapter by my second supervisor, Mark Toogood, on the Cornish abstract artist Peter Lanyon (1918-1964) and the ways he experienced and engaged with landscape.
I was, therefore, excited to discover that Lanyon had exhibited paintings several times at the Pictures for Schools exhibitions – although I’ve not seen any evidence that he actually sold anything to schools through the scheme, being one of the more abstract and unconventional artists involved.
After investigating Lanyon further, I went to see his large-scale 1960 mural ‘The Conflict of Man with the Tides and the Sands’ in Fry and Drew’s Civil Engineering building at the University of Liverpool. Textured, enamelled tiles depict the forces of waves, and a sense of life, power and movement is captured not just through the use of colour and form, but through the physicality of the tiles themselves and the acts of mark-making encapsulated within them. It is one of my favourite ever pieces of public art. I saw more of Lanyon’s work at Tate St Ives, both paintings and 3D constructions of landscapes, when I visited in June 2014, where he was represented alongside other artists who had lived in, worked in and visited the town.
I finished 2015 by going to see an exhibition of Lanyon’s paintings and constructions at the Courtauld Gallery in London. Based on his experiences of gliding over the Cornish coast, they push the notion of landscape towards ‘airscapes’, depicting not just visual scenes but tracking movements through them in rich, dark blues and greens and swirling brush marks, engrossing the viewer in their colours, textures and mood.
Shortly before Christmas I also went to an exhibition of prints, sculptures and book illustrations by Gertrude Hermes (1901-1983) at the Hepworth Gallery in Wakefield. Hermes did sell a lot of work at Pictures for Schools, as well as serving on selection committees to choose artworks, and had a long-term involvement with the scheme. I was keen to find out more about her life and work.
Much of the work in the exhibition took the form of small and very intricate engravings and wood cuts, drawing on Biblical, mythical and natural imagery, and themes of fertility, repetition and reproduction. I found much of it very strange, heavy and unsettling and preferred her less allusive and referential work. Among my favourites were the cascading angles of ‘The Waterfall’; 1924 engraving ‘The Swimmers’, where the supple organic forms of swimmers intermingle with swirls of water; and ‘Through the Wind-Screen’, a 1929 wood engraving which ably uses shading to capture the mood of night-time driving along tree-lined country roads, where branches reach out to create something resembling dense tunnels and the beams of the headlights illuminate each section of the road ahead.
Like much of the work which was popular at Pictures for Schools, the work Hermes sold to schools often depicts animals, including the wintry 1955 linocut ‘Owls’, with its sparse, icy-looking trees; the 1965 linocut ‘Starlings’, which creates delicate pattern from natural forms and activity; and her 1958 linocut ‘The Ram’. Other work sold at Pictures for Schools shows places, such as Stonehenge. In differing versions of Stonehenge shown at the Hepworth, Hermes shows a talent for animating this set of rocks and their surroundings, not just through bringing their surface to life with expressive mark-making, but by creating brooding skies that almost appear to move before the viewer’s eyes. I felt that the power of these works was in the way they surpassed the observer’s expectations. We might think we know Stonehenge, Hermes seems to be saying, as something very English, ancient and static, but in fact it is constantly changing according to not just the light, the weather and the environment around it, but the experiences and perspectives the viewer brings to it and the way in which it is seen when it is really looked at.
I particularly enjoyed those works that incorporate vivid colour, such as her larger-scale linocuts, especially the blues and purples of ‘Ring Net Fishers (1955), in which the small, anonymous figures of the eponymous fishers are rendered almost unnoticeable in comparison with the intricacies of a large net cast over the crests of a tumultuous sea.
I also found Hermes’ sculpture, for which she was less well-known, to be of great interest, particularly that which incorporated elements of the found or makeshift – including sculptures atop bowling balls, or carved from pub skittles. Her design commissions also intrigued me, from a carved lectern for a school to car mascots to a range of doorknockers – particularly one which stylistically incorporated a frog.
I have long wanted to know what happened to the artworks sold at Pictures for Schools once they had left the exhibitions, and tried to contact schools which purchased work. This always been unfruitful as many schools have closed, merged, changed name or changed location and premises since the 1960s. Though most of the buyers were local education authorities and education committees, there were a number of primary, secondary and independent schools across the country that bought work from the exhibitions. Unfortunately, those schools which do still exist are often unaware that they once owned original works of art.
I was pleased to discover, through a chance conversation with their Head of Art, Lisa Murphy, that Manchester Grammar School (MGS) is an exception and still has several, though perhaps not all, of the artworks it purchased at Pictures for Schools. Lisa, who has been at the school since 1998, is keen to use original works with students, whether through direct observation, as part of project work, or as the basis for reinterpretation.
Manchester Grammar School Art Collection Fund was suggested by an old boy in 1956 for the purchase of original and contemporary works of art, and governors, old boys and friends of the school contributed. The collection was not just limited to works on paper, but was intended to encompass ceramics and sculpture, though this was not in evidence when I visited. In 1960, an exhibition of the collection was held. The catalogue explained that:
“The aim has been to buy pictures that are good of their kind by modern artists, known and unknown.”
In the 1980s, an Ivon Hitchens work was sold to enable new purchases to be made. Aside from the Art Collection, other work belongs to the school Common Room. Some works were purchased through a bequest and some were gifts. There are also remnants of an earlier collection, and other work includes a 1945 John Skeaping print of a mare and foal which was part of the School Prints series. In addition to its own collection, the school also made use of Manchester Art Gallery’s Rutherston loan scheme for educational institutions in the north of England.
The Pictures for Schools invoice books held in Nan Youngman’s papers at the University of Reading, though incomplete, reveal that Manchester Grammar School was a regular buyer from Pictures for Schools in the 1950s and 1960s. Invoices were made out to the bursar on behalf of Art Master JH Bell, and on occasion on behalf of the ‘High Master’. John Henry Bell joined in 1951 and served as Head of Art from 1956-81. An Oxford-educated historian and scholar, he also painted landscapes, with a particular interest in mountains. He was known for an extensive collection of art and architecture slides, and recorded talks for BBC radio. At that time, the historical and critical aspects of art were emphasised in the school more than the practical aspects.
I recently visited MGS, a large and still academically oriented independent school in suburban south Manchester, to see what remains of the collection, and to get a sense of these artworks in a school setting, The artworks are scattered around the school, which is based around an extensive and disorientating 1930s building. In general, the school gives the impression of being filled with art and visual stimulation. Students’ work is displayed throughout the large and impressively resourced art department, as well as in the shared spaces of the school such as hallways and corridors. Changing and themed exhibitions of students’ work take place in a small gallery space next to the main reception, and there is also a small sculpture garden containing students’ work. Staff rooms, common rooms, reception, offices and classrooms also have pictures on display, ranging from formal and old-fashioned portraits of former grandees to architectural drawings of the school to work by local artists and artists who have been in residence in the school, including modern photography and graffiti-style stencil work. Some of the original mid-twentieth century works of art purchased by the school can be found among this, and highlights of the collection are on display in a wide corridor area. These include Edwin La Dell’s 1960 lithograph ‘Priddy Nine Barrows’, a green, rolling rural landscape. Though I had seen photographs of the print before, I much preferred it in ‘real life’, seeing its mark-making close-up and its colour choices appearing more vibrant.
Like many school buyers, Manchester Grammar School bought a large number of prints from Pictures for Schools, although it did also purchase paintings. Many of the artists involved in Pictures for Schools, and represented in the MGS collection, were themselves involved in art education, at secondary or university level.
Paintings at MGS include Gordon Bradshaw’s ‘Essex Landscape’ (1962), an unusual and stylised perspective on a townscape which is reminiscent of a briefly glimpsed view of a town looking down from a railway viaduct as the surrounding countryside stretches out behind it. Susan Horsfield’s ‘Boxes of Fish’ (1961) is a detailed oil painting. Horsfield met Pictures for Schools founder Nan Youngman through their involvement in the Women’s International Art Club and was invited by Youngman to submit work to the scheme. Peter Midgley’s humdrum oil painting ‘Still Life’ (1958), meanwhile, shows newspaper-wrapped grocery shopping in Kitchen Sink-style. Midgley taught at Beckenham School of Art.
Schools often had less money to spend on original works of art than local authorities. Prints, which could be purchased framed or unframed, were among the most affordable works of art at the exhibitions. Furthermore, prints such as linocuts had an obvious application in the classroom; they could be used to demonstrate to students what could be achieved in a medium they were likely to use themselves in school art lessons. There are also screen prints, etchings and lithographs. These include the bold 1966 screenprint ‘Blue Night Flower’ by Dennis Hawkins – who taught at Repton School and was a founding member of the Midland Group and the Printmakers’ Council’, which edges towards abstraction. Philip Greenwood’s, ‘Slate Street’ (1965) is a dark, sketchy, angular etching, while ‘Two Friends’ is a figurative lithograph by Alistair Grant, who studied with Edwin La Dell and taught at the RCA. Another print, ‘Barmouth’, from 1984, picking out the shapes of the town through exaggerated use of line and colour, is by John Brunsdon, who designed posters for Pictures for Schools as well as selling work through the scheme.
Perhaps the work I saw on my visit I liked the most was Euan Jennings’ highly stylised 1957 linocut ‘Essex Gravel Pit No 2’, a detailed reinterpretation of an everyday and workaday landscape in blue, black and yellow, in which contrasting textures and patterns are used to create contrast between different layers and areas of foliage, water, rock and stones. Jennings was Principal at Tunbridge Wells School of Art.
I also like Denys Delhanty’s 1959 gouache ‘Summer Landscape with Cow Parsley’, a more unconventional landscape that has something in its palette of black, white, greys and pale blues, and brush marks resembling surface scrapes and bubbles, of the quality of a photographic negative. Denys Delhanty was Head of Art at Cheltenham Ladies’ College and his work was extremely popular in the Pictures for Schools exhibitions.
Unsurprisingly, given their prominence in Pictures for Schools, a number of the artists in the MGS collection are associated with East Anglia. These include the Great Bardfield artist Edward Bawden – an artist’s proof of his linocut ‘Town Hall Yard’ (1957) is on display – as is a large, sweeping, abstracted, expressive linocut of an ‘East Coast Storm’ (1967) by Julia Ball who was, like Nan Youngman, a member of the Cambridge Society of Painters and Sculptors.
I was disappointed, however, not to see abstracted linocuts of farm machinery by Peter Green, one of the best-selling artists at Pictures for Schools, which once formed part of the collection. As Lisa Murphy is making a renewed effort to locate and catalogue the works to improve their visibility in the school, I’m hoping that perhaps they might be unearthed for a future visit.
 Information about the collection and the history of art teaching at MGS is largely drawn from the pamphlet Art at the Manchester Grammar School, edited by David Stockwell, 1993.