Viva survivor

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; and the extent to which I maintained a critical distance from Nan Youngman, despite my admiration of her as the founder of Pictures for Schools.

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.

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Interesting journal article about Alec Clegg

Following on from my last article, about the School Prints at the Hepworth Gallery in Wakefield and their place in the history of the provision of artworks in schools in the West Riding of Yorkshire, I came across this interesting article by Cathy Burke in the History of Education journal about Alec Clegg, and the way in which his ideas of progressive education were shared among educators internationally.

To read visit http://www.tandfonline.com/eprint/vb7bXMd6GsTqz7JBvDpk/full.


Exhibition visit: ‘School Prints’, Hepworth Gallery, Wakefield

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.


Exhibition visit: ‘Marion Adnams: A Singular Woman’, Derby Museum and Art Gallery

Yesterday I went to visit an exhibition at Derby Art Gallery of a selection of artworks by the artist Marion Adnams, and an accompanying talk by the independent researcher Val Wood, who co-curated the exhibition. Spending most of her life in Derby, Adnams has been billed as something of a ‘forgotten’ artist. Like many women of her generation, Pictures for Schools founder Nan Youngman included, Adnams went into teaching; she taught art for many years at a girls’ school in Derby, where she borrowed artworks to hold an exhibition in school, and later became head of art at a teacher training college in Derby.

The work shown in Derby, primarily paintings, fits into a surrealist lineage. Demonstrating great technical skill, Adnams created fantastical imagery and imagined landscapes from found objects such as rocks and branches (a selection of these objects were on display alongside the paintings), and museum objects from Derby Museum, as well as everyday buildings such as a gas tower, and aspects of country life such as wagons, showing how the mysterious could be found in the everyday. One series incorporates model-like figures based on paper dolls she made as a child. Several of these paintings are on loan from public collections, including Salford Art Gallery, Manchester Art Gallery – where they were purchased as part of the Rutherston Collection for loan to schools (two of these paintings were displayed in Manchester Art Gallery’s 2010 exhibition of women surrealists, ‘Angels of Anarchy’) – and the Derbyshire School Museum Service, where one of the paintings was purchased by Evelyn Gibbs, who acted as art adviser to several local education authorities.

Although Adnams’ life was grounded in Derby, Woods focused on the wider artistic milieu of which she was part, which included friendships with other artists as well as with writers and poets such as John Betjeman – whom she advised on church buildings in Derbyshire, the subject of several early woodcuts – and the socialist and feminist poet Audrey Beecham. She exhibited in London, with the support of the gallerist Jack Bilbo. From 1939, she was supported by the friendship and encouragement of the director and curator at Manchester Art Gallery. She exhibited with the Artists’ International Association in 1945. She forged connections more locally, too; in 1946-47, she joined the Midland Group, which was set up by the artist-educationalist Evelyn Gibbs, and which aimed to educate and develop the public’s appreciation of art – this included running a picture hire scheme for businesses, schools and universities, as well as holding a Nottingham edition of Pictures for Schools. Adnams exhibited alongside artists such as Dorothie Field, who had been a student of Nan Youngman’s at Highbury Hill High School for Girls. Field was highly politically engaged and painted social realist scenes inspired by mining communities and incidents such as the Aberfan disaster. Later, Adnams developed a friendship with the writer and broadcaster Ray Gosling, who wrote a catalogue essay for a 1971 retrospective.

Adnams studied modern foreign languages at university as a young woman and embraced foreign travel; objects found in Mediterranean destinations such as Provence were also the inspiration for her work.

Adnams’ work was sold to a number of educational collections, in Leicestershire, Derbyshire and Manchester. I will be exploring the history and ethos of some of these collections in a talk at a symposium to be held about Adnams in Derby on Wednesday 7 March. For more information visit www.eventbrite.co.uk/e/marion-adnams-symposium-tickets-42085404578.

‘Marion Adnams: A Singular Woman’ is at Derby Museum and Art Gallery until Sunday 4 March. For more information visit www.derbymuseums.org/whats-on/marion-adnams-a-singular-woman.


Consultations on the future of art loan services in Derbyshire and Hertfordshire

I was dismayed to hear last week that two of the (very few) remaining local authority art loan collections for schools, in Hertfordshire and Derbyshire, are currently consulting on their future and are at risk of closure.

Both are significant collections of twentieth century art, encompassing paintings, prints, sculptures, textiles and ceramics, with a particular strength in post-war British art. Both collections are also closely linked to significant figures in the history of British education, who took a keen interest in their development and use as part of an education and educational environment in which art was valued not just in its own right, but for its potential to enrich the child culturally, socially and emotionally.

Both LEAs purchased work from Pictures for Schools and supported the scheme in other ways, such as assisting with the selection of the artworks; in the post-war period, both Hertfordshire and Derbyshire were regarded as running flagship museum services for other local education authorities to emulate. Both collections have continued to actively acquire new work from contemporary artists.

Hertfordshire’s collection was established alongside an extensive and highly regarded school building programme which took place after the Second World War, which used innovative building techniques and saw artworks bought and commissioned for new school buildings. Director of Education Sir John Newsom, author of the 1963 Newsom Report, was an influential figure in post-war educational reform, who advocated for the importance of the arts in schools as part of a rounded education. Pictures for Schools founder Nan Youngman turned down a job as Newsom’s art adviser in order to work for Henry Morris in Cambridgeshire; this position was held instead by artists Audrey Martin and Mary Hoad, both of whom were active in the Society for Education through Art and interested in new ideas about art education (Hoad was also Principal of St Albans School of Art). For more about the history of the collection see www.hertsmemories.org.uk/content/herts-history/topics/art-and-artists/hertfordshires-county-art-collection/the-hertfordshire-county-art-collection.

Derbyshire’s collection dates back to a Carnegie Trust grant in the 1930s, yet reached its heyday in the post-war period under another progressive Director of Education, Jack Longland, who had been Newsom’s deputy in Hertfordshire and was inspired by Henry Morris’ village colleges model, and Museum Service Organiser Barbara Winstanley. Both Longland and Winstanley took an active interest in Pictures for Schools, by serving on organising, planning and selection committees, and giving feedback and other support to the scheme.

Sadly, it appears that the collections have fallen victim to the challenges that have faced such services in other locations. These include a squeeze on school finances, pressures on council budgets, and the rising values and associated insurance costs of many of the artworks, coupled with a lack of specialist understanding and staff resources to enable schools to make optimal use of these artworks.

For more information about the potential sale of the Hertfordshire collection, much of which has been in storage for several years, visit www.hertfordshiremercury.co.uk/news/hertfordshire-news/council-dispose-of-over-1600-1106692.

The consultation about the ‘disposal’ of Hertfordshire’s work is being done in stages; the first round of the consultation shuts on Sunday 4 February. The council proposes selling those artworks which are not considered to have ‘relevance’ to Hertfordshire. For more information, and to add your views, visit www.hertfordshire.gov.uk/about-the-council/consultations/property/art-collection-consultation.aspx#.

The Derbyshire consultation closes on Sunday 11 February.


Interesting event in Liverpool next week: Conversation and Exchange: Talking with Children

I’m looking forward to attending a discussion about creating art and gallery experiences for children, which takes place at the Bluecoat in Liverpool next Thursday (18 January, 6pm, free). It’s the second in a series of panel discussions entitled ‘What We Talk About When We Talk About Work’, bringing together UK and international artists, curators and other practitioners.

For more information and to book visit www.thebluecoat.org.uk/events/view/events/3798.


Isabel Alexander (1910-1996): Artist and Illustrator, Mercer Art Gallery, Harrogate

51mofsqxqjl-_sx258_bo1204203200_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.