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- Why was Nan Youngman’s autobiography (held in the Tate Archive) unpublished?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?
I’m very excited to have been invited to speak at Oxford University about my PhD research into Nan Youngman and Pictures for Schools as part of the Gender, Women and Culture series, which is themed ‘Gender, Women and the Arts’ this term. My talk is taking place in the History Faculty on Tuesday 19 February from 12pm-1.30pm.
One of the artists involved in Pictures for Schools who interested me most was the painter and printmaker Julian Trevelyan, whose paintings and prints were extremely popular with schools, teacher training colleges and local education authorities around the country. Trevelyan also helped organise and select work for the exhibitions.
The Christmas holidays recently provided an opportunity to visit an exhibition dedicated to Trevelyan’s work at Pallant House Gallery in Chichester. Julian Trevelyan: The Artist and His World gives an overview of his career. It begins with his early days as a Surrealist, exhibiting 2- and 3-D work inspired by the mechanisms of the inner mind and the subconscious, and making connections with peers such as Alexander Calder.
In the 1930s, Trevelyan spent time in Bolton and in the Potteries as part of the Mass-Observation project. Highlights of the exhibition include paintings and collages from this time, which actively incorporate elements of mass culture into the urban streetscape; Trevelyan didn’t just paint the lettering of advertising hoardings, but collaged pieces of newspaper and music hall bills. Displayed alongside the pictures is a large suitcase, bursting with scraps, which Trevelyan took out into the northern streets with him as he drew and painted. A series of photographs of fellow Mass-Observation artist William Coldstream contrast the two painters’ attitudes towards observing and understanding place; whereas Coldstream perched on rooftops, taking an aerial perspective and keeping his distance from the town below, Trevelyan preferred to go out and about among his subjects and paint from a position in which he was surrounded by them.The exhibition then discusses his contributions to the war effort, where he served as a camoufleur, helping disguise buildings to confuse the enemy. Watercolours from this time, depicting life in African countries, are uncharacteristically lively and colourful compared to other pictures produced by British artists during the war.
The exhibition gives a sense of the different media in which Trevelyan worked, from oil paintings influenced by the Post-Impressionist Pierre Bonnard, to print-making experimenting with different techniques and textures, such as incorporating fabric into the backgrounds of his plates.
Above all, what comes across strongly is Trevelyan’s sense of place. With his second wife, the painter Mary Fedden (who was also involved in Pictures for Schools), he showed a zest for travel and foreign landscapes and ways of life. However, he never turned his attention away from those places closest to home; a constant in his work, and visible in the exhibition, is the Thames at Hammersmith, and its ever-constant, ever-changing vistas and traffic, which provided the backdrop for Trevelyan and Fedden’s work, life and social circle.
Shown close to Trevelyan’s work is a smaller selection of paintings by Fedden, including her characteristic still lifes which experimented with perspective. Also on show are early 1950s plans for Fedden and Trevelyan’s mural for Swallow Dell Primary School in Welwyn Garden City, Hertfordshire, one of several undertaken together in the post-war period. Depicting in detail the various activities of a bustling harbour life, this emphasises that their relationship was not just a romantic partnership, but one of artistic collaboration and mutual inspiration.
Julian Trevelyan: The Artist and His World is at Pallant House Gallery, Chichester, until Sunday 10 February 2019.
I recently fulfilled a long-held ambition to visit Cartwright Hall in Bradford, and learn more about its impressive print collection, which was partially developed through a series of International Print Biennales held at the gallery between 1968 and 1990.
A small selection is on changing display in a dedicated print room, with more works available to browse on a screen. Many of the artists who were popular and active in Pictures for Schools are represented in the collection, including Julian Trevelyan and Peter Green. I was particularly taken by two lithographs by Michael Rothenstein. They were far more modern and abstract in appearance than the work he sold at Pictures for Schools, which often focused on motifs such as cockerels. The collection is still actively acquiring prints. Although I am often underwhelmed by her work, I loved a set of recent photogravure etchings by Cornelia Parker, inspired by the Fox Talbot glass collection.Cartwright Hall has recently developed a gallery dedicated entirely to the work of Bradford’s famous son David Hockney, showing off the gallery’s Hockney works and contextualising them within his upbringing and education in Bradford. I was interested in particular in his work for the city of Bradford. ‘A Bounce for Bradford’ (1987) was printed on newsprint and distributed in the local newspaper, the Telegraph and Argus, in order that everyone in Bradford had the chance to own a Hockney. He also designed covers for a local travel guide, and the phonebook.
It was a really nice opportunity to revisit many of the previous projects I’ve done, many of which have shared an interest in place, from self-publishing ‘zines to collaborations, research projects and public events. It was also interesting to see my PhD as part of a continuum, which had both been informed by and affected the types of writing I do.
I took along lots of examples of publications which have inspired me, and we had a really good discussion about what makes us hold on to or keep a publication in a world where we’re surrounded by printed matter and information, and what effect does good writing have on us – does it make us want to learn and research more, or go out and visit an exhibition or place?
We also discussed the form and function of art writing. How and where can you be critical, and who has the space to be critical? What is the role of conversation and dialogue in criticism?
I was briefly in Harlow earlier this week, and took the opportunity to track down a couple of sculptures on residential estates, which I didn’t manage to get to on my previous visit to Harlow.
One of the sculptures I was most excited about seeing was Willi Soukop’s bronze donkey, which sits in a quiet residential estate called Pittman’s Fields.
One of the reasons I was so keen to see the donkey was that I have seen a photo of a cast of the sculpture that was exhibited at the 1949 Pictures for Schools exhibition at Whitechapel Art Gallery. Soukop was involved in Pictures for Schools for many years, and was a member of the committees that selected sculptures for display at the exhibitions.
The Donkey sculpture was originally commissioned for Dartington Hall; Soukop taught sculpture at the independent Dartington Hall School, as well as other private schools and art colleges. I believe it was installed as a play sculpture in Harlow 1955.
The sculpture was smaller than I expected, but rather sweet, and I was encouraged that local people were well aware of its existence (it was quite hidden; after walking around in circles for some time, I was directed to it by three different people).
I recently visited Tullie House to see a small exhibition of work from a collection acquired for the city of Carlisle through the Royal Academician Carel Weight, as part of nationwide events commemorating 250 years of the Royal Academy. Weight was one of the artists who was heavily involved in Pictures for Schools, and sold work through the scheme. As well as showing Weight’s own paintings, the exhibition showed work by members of Weight’s circle, including peers and students, such as Peter Blake, acquired for Tullie House. I reviewed the exhibition for Corridor8: read online here.