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.
I also used the Easter holidays as an opportunity to visit the Fry Art Gallery in Saffron Walden, Essex, along with the nearby village of Great Bardfield, in the north of the county. The Fry houses works by the group of artists associated with Great Bardfield from the 1930s until the 1960s, including Eric Ravilious, Edward Bawden, Kenneth Rowntree, John Aldridge, Sheila Robinson, Michael Rothenstein, George Chapman and Walter Hoyle, with the artists famously passing on not just techniques to each other but decorating their homes and furniture. Saffron Walden is fairly close to Cambridge, where Pictures for Schools founder Nan Youngman lived and socialised and many of the Great Bardfield artists, along with others from across the wider area of East Anglia, were involved with and sold work through Pictures for Schools. The museum was smaller-scale than I expected, but I spotted several of the artworks which were sold at Pictures for Schools, including Sheila Robinson’s print ‘Knife Grinder’, a vivid and personable portrait of a now exotic profession, and the softer ‘Trent Bridge’, which shows her own children sitting on a bridge. One work, a busy cockerel by Michael Rothenstein, was produced for schools in collaboration with the London County Council and another of his works was sold through the School Prints. There were a lot of works depicting the local area in colourful detail, from market squares to country paths, churches and the artists’ homes – although the large, fuzzy shapes of Michael Rothenstein’s more abstract prints were among my favourites – alongside material relating to the artists’ sociable village life in Great Bardfield and the open houses that were held in the artists’ homes and studios.
As well as artworks, there were commercial products, from printed fabrics to book covers and illustrations for books such as the Shell Guides to Britain as well as the quaint Life in an English Village, which depicts places still familiar today such as local shops and the schoolroom. There were also designs for murals in public places such as ships and the Festival of Britain, along with Bawden’s humorous, cartoonish advertisements for companies such as Twinings tea and Fortnum and Mason. Among my favourites were pieces of pottery designed by Bawden and Ravilious and produced by Wedgwood, and pottery produced for P&O liners. I particularly loved a series of plates, bowls, etc themed around the garden and depicting leisurely uses of the garden in light lines and a hazy yellow palette, from weeding and picking produce to lazing under a tree, along with a set using a collection of garden implements to decorative effect.
Although I associate the eastern side of the country, and Essex in particular, with a flat landscape, the countryside around Saffron Walden was surprisingly hilly, with lots of windy country lanes. It felt unlike anywhere else I had visited in England, a small and unrepresentative pocket living up to the olde-worlde image so many people associate with England. Saffron Walden, like many of the villages around it, comprised narrow, slightly tilting, streets of old buildings, painted in pastel colours, many of them adorned with swirling patterned paint and tiles, interspersed with thatched cottages, with the centre dominated by a large church. Directly behind the museum was a large formal park with a walled garden, rose garden, ornamental hedges and greenhouses, one of several well-maintained green spaces, with others including a very large village green. Today, the narrow streets of Saffron Walden are congested with traffic, and the town centre is full of gastropubs, craft shops and clothes boutiques.
It must have been an adventure for Edward Bawden and co, when they moved into their homes without electricity in the 1930s, although they maintained one foot in London, catching the daily bus to London to teach at various art schools. For me, it felt cut off, islanded in the middle of fields. It was all very pleasant, but as a city dweller it all felt too enclosed, too pretty and picturesque, too quiet and idyllic. It felt like looking in from the outside, where one would always remain in relation to that kind of place, the type of place one goes to forget about the real world, and I found myself yearning for the life and variety of the city. Yet, conversely, maybe that is why the work of these artists and the moment in mid-twentieth century life and culture associated with them is still so appealing and in many ways still and timeless. These paintings and prints represent places and buildings that have been there for centuries, and will continue to be there long after we are gone, as life changes to a greater or lesser extent around them.
I also enjoyed this Radio 3 programme about Bawden and Ravilious’ friendship, presented by Alexandra Harris, which was on a couple of months ago.
Further to the reference in my last blog post about the fascinating stories behind some of the artists submitting and selling work through Pictures for Schools, and the frustrations of trying to find information about some of these artists, many of whose names are no longer known, I recently received an email from Professor Robin Alexander, Chair of the Cambridge Primary Review Trust, whose mother, the painter Isabel Alexander, submitted several paintings and lithographs to Pictures for Schools over a five-year period in the 1960s. Professor Alexander told me that though she exhibited widely at the time and attracted “quite a following”, with her work represented in public collections, she remains relatively unknown today. I was able to tell Professor Alexander about some of the buyers of his mother’s work (primarily landscapes, although she had moved towards more abstract work by this point), which included Godolphin and Latymer School in Hammersmith, Nottingham Education Committee and Cambridge Education Committee (which still appears to have the work in its collection) and in return he sent me some images of her bold, vibrant paintings and illustrations and a brief biography.
Isabel Alexander had a long and interesting life and I wad pleased to hear about her story. After Birmingham School of Art she taught briefly and then attended the Slade, before returning to teaching in Bromley, Banbury and Rotherham and later lecturing at Saffron Walden Training College. Professor Alexander told me that she was a member of the Society for Education through Art and subscribed to its journal Athene, so was well aware of developments in education. She travelled in Europe and went on to work in the documentary film movement in the 1940s. Her painting and illustrative work included drawing for Mass Observation, social documentary work of Welsh towns and miners and illustrating Puffin picture books. Pictures for Schools had strong links with East Anglia and Essex (with the Great Bardfield group of artists being closely involved with the scheme), and Isabel Alexander lived in Thaxted in Essex. Along with Pictures for Schools, she also contributed to a scheme for Pictures in Essex Hospitals.
After corresponding about my research and the work of Isabel Alexander over email, Professor Alexander invited me to contribute a guest blog post to the CPRT blog, partly to raise awareness and partly to try and stimulate debate about the role of original artworks in schools today and the value of the creative curriculum, which has now been published at http://cprtrust.org.uk/cprt-blog/pictures-for-schools-a-brilliant-idea-worth-reviving-or-an-expensive-luxury.
During my visits to the Nan Youngman collection at the University of Reading I had seen various references to BBC radio programmes which discussed Pictures for Schools. After following this up with archivists at the BBC I arranged a visit to the BBC Written Archives, tucked away in a bungalow in a residential area of Caversham in Reading, where they found me out several scripts on microfilm as well as material relating to other post-war BBC programming on art education.
Among the programmes was an extensive review of the 1955 Pictures for Schools exhibition on Children’s Hour by in-house art critic WR Dalzell (also a senior art master at independent Bedford School), who spent a considerable amount of time discussing and describing individual works, their subject matter and their effects – including painting, sculpture and embroidery – in detail, as well as explaining different artistic methods and media such as lithograph prints, and linking these techniques with children’s own work at school. Dalzell urged listeners to visit the exhibition for themselves, discussing the voting system for children to choose their favourite artworks, and ended by offering detailed public transport directions to get to the exhibition.
An episode of Today also included a brief segment on the 1965 Pictures for Schools exhibition, alongside an eclectic mix of items including George Melly on Nat King Cole and features on Esperanto, Dungeness Fish, falcons and an Islington building row, with Nan Youngman quizzed on students’ seeming preferences for abstract art that might be regarded as incomprehensible to their parents.
Another programme, a 1963 episode of World of Books, featured Nan Youngman interviewing Sybil Marshall about her 1963 book An Experiment in Education, which drew on her experiences in Cambridgeshire. Marshall was a teacher in a tiny village school in rural Cambridgeshire during Youngman’s time as county art advisor (1944-1954) and also attended Youngman’s classes for amateur painters and teachers. Youngman found Marshall’s work inspiring and encouraging, and took groups of overseas teachers to visit her students at school. The discussion encompassed the influence of educators such as Marion Richardson and Herbert Read, the pace of educational change and the extent to which educational innovation and experiment received acceptance or met with indifference or acceptance depending on the attitudes of individual teachers or heads.
I was also able to see correspondence regarding other programmes which were under discussion, including a proposed collaboration between writer Colin MacInnes and Nan Youngman on a programme about the British Council’s art education work overseas (Youngman acted as a lecturer and inspector for the British Council in various African and Caribbean countries) which appears never to have come to fruition.
Although I didn’t see any scripts, and it didn’t relate explicitly to Pictures for Schools, another file which absolutely fascinated me was a set of memos and reports dating from the late-1940s to the 1960s relating to a long-running radio series called Looking at Things. Designed as an educational course, the series appears to have been aimed primarily at secondary modern schools (though junior schools also made use of it) and accompanied by pamphlets which contained pictures of the ‘things’ under discussion as well as preparatory and writing activities for children to do in class. In keeping with a central theme I have identified in post-war discourse around education and reconstruction, the programme aimed to raise children’s standards of taste by encouraging them to look closely at everyday objects and places, from changes in fashion and interior decoration to modes and design of public transport, the style and function of buildings ranging from village churches and gothic cathedrals to new schools and civic centres, environments ranging from market or port towns and cathedral cities to new towns such as Peterlee, and new materials for manufacture and building. Experts were approached and enlisted to explain and present the topics under discussion, from eminent modern architects and professors to members of the Council for Industrial Design and furniture designers, although sometimes it was felt that the programme was too middle class, that experts did not fully understand the limitations of their audience, and that some of the language was unfamiliar to children, especially those from more deprived or urban backgrounds, to whom these objects or places may be out of reach. Although the programmes only occasionally seemed to refer directly to art per se, I felt that there were interesting educational parallels with Pictures for Schools, particularly in the way the programme really aimed to encourage children’s skills of close looking and seeing, particularly with reference to their future consumer purchases. There was also discussion of the series building links with Alexander Barclay Russell of the Society for Education through Art, under whose name Pictures for Schools was organised.
This week I made my fourth and final visit to see Nan Youngman’s papers at the University of Reading. It felt very much like a finishing up and plugging the gaps visit, and I know feel like I’ve looked at everything in the collection and seen the full scope of what’s there. I found out about some more minor details of the Pictures for Schools exhibitions such as how they were publicised – this included advertising at underground stations, and writing to London borough libraries to ask them to display leaflets.
One of the things I got from the trip was a real sense of who the educational buyers were from Pictures for Schools, and what types of artworks and which artists were particularly popular, through looking at a series of invoice books from 1949 to 1968 (although there are some gaps where invoice books are missing, including a long period in the 1950s).
Schools of all kinds, including secondary moderns, grammars, junior schools and independent schools purchased work from Pictures for Schools, sometimes on a one-off basis and sometimes as repeat buyers, with Manchester Grammar School being a particularly regular buyer (this interested me as Mrs Rutherston was frustrated that it failed to make use of Manchester Art Gallery’s Rutherston Loan Scheme, and seemed generally unimpressed with the quality of art teaching at the school). Other regular buyers included Greenwich Library in the 1960s, as well as various training colleges around the country, and occasionally adult, further and higher education establishments. Other buyers included county or city loan services linked with museums, including Reading Museum and Art Gallery (this service is still in operation and embroideries by artists including Constance Howard and Sadie Allen purchased through Pictures for Schools in the 1960s are still available for schools to borrow), Ferens Art Gallery, who made purchases on behalf of Hull Education Committee and the Leeds Loan Collection which was linked both with Leeds College of Art and Leeds Art Gallery.
Although, as I already knew, Derbyshire Museum Service made regular and extensive purchases, I revised my opinion a little about the number of local authorities making use of the scheme, who seem to be slightly less numerous and widespread than I thought, although Essex County Council, Kent, Cambridgeshire, Great Yarmouth, Cumberland/Carlisle, Northumberland/Newcastle, Lancashire, City of Coventry, Cambridgeshire/City of Cambridge, West Bromwich, City of Manchester, Shropshire, Worcestershire, Buckinghamshire, Oxford, Rochdale, the London County Council and later Nottingham and Scunthorpe and Bromley were enthusiastic and regular buyers from the scheme, with West Sussex, East Sussex, Norfolk, Bristol, Somerset, Devon, Dorset, East Yorkshire, Gloucester, Southampton, Bradford, Croydon, Kingston upon Thames, Rotherham, Birmingham and Harrow Schools Art Library making purchases more intermittently. I also realised I may have overstated the links between Pictures for Schools and counties such as the West Riding, Hertfordshire and Leicestershire, who I know to have had extensive loan collections and to have valued art in schools. Whilst they did certainly support Pictures for Schools in its early years, they appear to have stopped being regular purchasers by the late-1950s and 1960s, perhaps because they had become accustomed to buying art on a more year-round basis and approaching and liaising with artists and galleries direct. Educational buyers from Wales (and very occasionally Scotland) also made occasional purchases, although Wales had its own Pictures for Welsh Schools exhibitions from 1951 and a one-off Pictures for Scottish Schools exhibition was held in 1967. One thing I am interested in finding out more about are the art advisers who visited Pictures for Schools on behalf of county education committees, some of whom seem to have had interesting artistic careers and involvement in their own right, including Robert Washington, long-running art advisor for Essex.
I noticed that prints were by far the most popular item, probably due to their affordability (many buyers purchased prints unframed) with embroidery also popular and sculpture noticeably unpopular. One name which really stood out was the print-maker Peter Green, who seemed to make extensive sales at each exhibition, as did fellow print-makers Philip Greenwood, Michael Stokoe and Richard Tavener. Something else I noticed was that buyers often stuck with one artist and continued to collect their work year on year. As I’d observed previously, I also came across more correspondence from schools and local authorities which had purchased work from artists and wished to follow up by contacting the artists to ask for biographical or other information to complement the use of the works as learning resources, and sometimes to arrange local exhibitions of particular artists’ work.
Although I talked about my PhD project at an internal research seminar for my school at UCLan (the Grenfell-Baines School of Architecture, Construction and Environment) earlier this year, the paper I presented at the RGS-IBG (Royal Geographical Society – Institute of British Geographers) annual summer conference was a great opportunity to share my research and get more specialist feedback among researchers in my field – cultural and historical geography.
Despite only attending one day of the three-day conference (partly due to cost and partly so I could use my time in London to spend a day in the Tate Archives either side), which was spread out over the premises of the RGS and Imperial College around Exhibition Road in London, I was able to spend a stimulating and enjoyable day dipping in and out of other sessions. Whether or not they related directly to my research, this gave me a real flavour of the diversity of practitioners, topics and approaches encompassed within geographical research, from hearing about different methodologies such as walking, and how it can inform experiences and understandings of place, to learning more about the study of ‘childhood geographies’. I particularly enjoyed some of the sessions in smaller meeting rooms, which had a more informal feel than those which took place in lecture theatres.
The session I took part in, which was one of three entitled ‘New and emerging research in historical geography’ and organised by the Historical Geography Research Group (my Director of Studies, Dr Hannah Neate, is on the committee of this group), was specifically aimed at researchers at a similar stage to me. It was beneficial to hear and see how other PhD students both went about undertaking research in historical geography, and presenting their research – I was relieved to discover that I was not the only presenter to read from a script, although I did feel that the one paper in my session which was not read out benefited from a more natural and less stilted style, and I hope that I will have the confidence to do this in future without relying on a written-out paper. Another thing I observed was that other presentations dwelt far more on archival research and empirical findings, whereas I really tried to explicitly situate my research in a wider thematic context, in relation to previous or similar research in the field, something which other speakers seemed to focus upon less.
As my presentation was only fifteen minutes long (I think it actually lasted slightly less time than this, maybe 12/13 minutes) I aimed to really focus on one aspect of my research, calling my paper ‘Pictures for Schools: Educating the aesthetic citizen 1947-1969′. In this, I discussed Pictures for Schools and art education in relation to ideas of taste and aesthetic appreciation. Despite a phone going off for what seemed like ages during my paper (every presenter’s worst nightmare!) people commented that they found my paper really interesting, and I received some perceptive questions. Although I only had five minutes to answer questions, so could not provide answers as fully as I would have liked, they have given me useful points of consideration to bear in mind as I start to write up my research. These included questions about how many children were involved in Pictures for Schools over its lifespan and how the success of the project can be evaluated; whether I had looked at similar schemes such as the Victoria and Albert Museum’s ‘Circ’ collection, and notions of engaging with art through schemes such as Pictures for Schools and how this differed from owning art; how Pictures for Schools was linked to or differed from schemes circulating reproductions of artworks and what happened to the artworks sold through Pictures for Schools. It was also great to hear from an audience member who had attended one of the Cambridgeshire Village Colleges set up by innovative Director of Education Henry Morris, who I discussed in my presentation – Comberton School – in the 1980s (the school was the last village college to be built, opening in 1960, a year before Morris’ death in 1961). He commented that he didn’t like it at the time, but that since he left the school he has had memories of being surrounded by sculptures and other artworks which gave the impression of a cared-for environment, which was crafted and designed. He asked whether there was a legacy of this kind of approach being taken forward after Morris died. I have also continued conversations started at the conference over email, and have been invited to contribute a collaborative piece of writing for the Visit 1862 research blog, drawing parallels between post-war ideas of taste and nineteenth century ideas of raising standards of taste through exhibitions of design.
All in all the RGS-IBG conference provided a really valuable and useful introduction to presenting at conferences and has given me lots of ideas and pointers to put into practice in future – I look forward to the next time!