Radical Clay: an exhibition of Bristol’s former school pottery collection

Earlier this year I was contacted by the curator of an upcoming exhibition at Bristol Museum and Art Gallery of studio pottery that was previously part of the Bristol & Avon Schools Loan Service.

Bristol was among several local authorities that bought studio pottery from Pictures for Schools in the 1950s and 1960s, by some of the period’s best known studio potters, as part of collections of works of art destined for educational use in schools. At this time Bristol amassed around 400 examples of studio pottery, from Pictures for Schools and other sources, by Bernard Leach, Hans Coper, Lucy Rie, Ruth Duckworth and Gillian Lowndes among others. These were accessioned into the main museum collection after the service stopped lending in the 1980s. Other local authorities that bought stoneware, vases, dishes, bottles, bowls and pots at Pictures for Schools included education authorities in Carlisle, Derbyshire, Cornwall and Shropshire, as well as the loan service at Leeds College of Art, the National Museum of Wales Schools Service, teacher training colleges, and schools in London and Ipswich. Another buyer was the influential Cambridgeshire educationalist Henry Morris, who bought a dish by John Eaves for the Digswell Trust, a residential studio group for artists in Welwyn Garden City which supported the practice of potters and weavers alongside sculptors and printmakers. The work of Jan Ellison, Helen Pincombe, Lucy Rie and Peter O’Malley was particularly popular among educational buyers at Pictures for Schools. However, purchases of pottery seemed to tail off from the early 1960s onwards and it’s an element of the exhibition and local education authority loan services I know less about than the more conventional ‘pictures’ in the form of prints and paintings that made up the bulk of Pictures for Schools.

Radical Clay: Teaching with the greatest potters of the 1960s is at Bristol Museum and Art Gallery from Saturday 22 July 2017-8 June 2018.


Visit to the University of Salford Art Collection

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.


Sale of the Cambridgeshire Collection of Original Artworks for Schools

I was recently contacted by Cheffins Fine Art of Cambridge with the news that they are handling the sale of the Cambridgeshire local authority collection, which includes 400 pictures by artists including Malvina Cheek, Robert Tavener and Tirzah Garwood.

The collection was established in 1947 – the year the first Pictures for Schools exhibition took place – under the aegis of Pictures for Schools Chairman Nan Youngman, who worked for Director of Education Henry Morris as the county’s art adviser from 1944 to 1954.

Although not entirely unexpected – since I started my PhD I’ve had a lot of difficulty finding out about the location and status of the collection, and I understand that individual works from it have been sold previously – it’s sad if it’s true that not enough schools in Cambridgeshire are interested in making use of the service, especially as Derbyshire School Library and Museum Service is still lending pictures to schools and has been reaching out of late via a social media presence.

Read more about the rationale behind the sale in this Cambs Times article from August 2015.


Tadek Beutlich in Ditchling

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.


Exhibition visit: Picturing Faith: An Exhibition of the Methodist Modern Art Collection, the Beaney, Canterbury

Unsurprisingly for a collection of twentieth century artworks developed in the 1960s, there is some overlap in the artists represented in the Methodist Modern Art collection and Pictures for Schools. At a time when much was being down to improve the appearance of both public and corporate spaces, and attempts were being made to introduce art to a wider section of the population, the collection was developed to enhance the visual environments of Methodist churches, and to increase the church’s visual appeal. Today it tours to venues in different towns and cities, from churches to art galleries to libraries, to ensure many people can see and access it.

Much of the work in the collection isn’t exactly to my taste, being slightly intimidating to the casual viewer not overly familiar with the stories, histories and teachings depicted. Much of it is literal and narrative, depicting scenes from the Bible, although it incorporates developments in modern art.

The freer, busy shapes and spliced up watercolour imagery of Norman Adams, whose colourful Stations of the Cross are a modernist intervention into the ornate overdecoration of catholic church St Mary’s the Hidden Gem in Manchester, is interesting, but the work that engaged me most is that which steers away from storytelling to depict emotion and expression. Among the most powerful works in the collection are Elisabeth Frink’s 1956 drawing Pieta, which presents a face full of knowledge in her signature big-nosed style, framed with a subtle crown of thorns, statuesque and suffering yet stoical. In a similar way a sombre and still oil painting by Philip Le Bas, who sold work including a painting of The Last Supper at Pictures for Schools, The Stripping of Our Lord (1962) is cracked as if betraying the experiences behind its creation.

Another highlight is Theyre Lee-Elliott’s Crucified Tree Form – the Agony (1959), in a sickly, ghastly end-of-the-world yellow and black that almost has the quality of surrealist painting or a black and white photographic documentary print. The anthropomorphic tree of the title teems with the barbs created both by humans and by nature.

A more recent highlight is Maggi Hambling’s Good Friday: Walking on Water 2006, which is dominated by the churned tumult of the waves; Christ’s small, ghostly figure floats across the water, barely perceptible in contrast to natural forces.

Some of the most significant British artists of the twentieth century are represented in the collection, including the wonky perspective of Patrick Heron’s Crucifix and Candles: Night 1950, Ceri Richards’ caricature-esque The Supper at Emmaus (1958), Graham Sutherland’s skeletal, entombed Christ in the Deposition (1947) and Craigie Aicheson’s starkly floating yet pop figure on a cross, Pink Crucifixion (2004).

One artist who sold artworks at Pictures for Schools is Dennis Hawkins, long-serving art teacher at Repton School, who transforms the lid of a school desk into Pentecost I (1962) with the deceptively simple depiction of a large circle and block lines, suggesting the intervention of Christ into everyday life. Hawkins’ paintings and reliefs, inspired by subjects such as the moon landings and space travel, were among the most modern in form and subject matter sold at Pictures for Schools, making their way into educational collections in Oxford, Carlisle, Southampton and Wales in the mid to late 1960s as well as various schools and teacher training colleges; his print Blue Night Flower still hangs in Manchester Grammar School.

However my favourite work on display is The Cross Over the City (1962), a tactile relief by the architect and artist Michael Edmunds, who worked for the Greater London Council. Reminiscent of an aerial view, the piece incorporates mosaic, repetition and pattern, suggesting rooftops in its materials and dusty colours yet remaining abstract and inviting contemplation close-up and from afar. Apparently Edmunds did an exterior relief for a church in Stockport; there are several Methodist churches in Stockport so it’s going to be a challenge to track it down!

Picturing Faith is at the Beaney, Canterbury, until Sunday 23 April.

To find out more about the collection visit www.methodist.org.uk/prayer-and-worship/mmac.


Mary Fedden and Julian Trevelyan in the Guardian

This week’s Guardian newspaper has featured an article about two popular Pictures for Schools artists, Julian Trevelyan and Mary Fedden (who also collaborated on site-specific murals for schools), and plans to sell their private collection in order to raise funds to restore their studio on the Thames in Chiswick: www.theguardian.com/artanddesign/2016/sep/05/mary-fedden-julian-trevelyan-auction-henry-moore-pablo-picasso-durham-wharf


Carel Weight’s paintings and the Folkestone art collection

Growing up near Folkestone, I loved visiting the Metropole Art Gallery, situated in a huge, horseshoe-shaped late-Victorian pile with parquet floors, polished fireplaces and large windows overlooking the English Channel. Situated on Folkestone’s cliff-top Leas promenade, and bordered by lawns and a sweeping driveway, I thought it was incredibly glamorous – this was the only area of the town where you could imagine the rich and interesting may once have stayed, partied and relaxed in the town’s heyday as a Victorian and Edwardian resort.

The Metropole regularly hosted exhibitions of emerging and established artists, from the visceral paintings of Derek Jarman to the inventive and eclectic experiments of local Foundation degree students. I was sad, therefore, that it closed in 2008, with the town’s Creative Foundation focusing instead on the new Folkestone Triennial, held for the first time that year. Although the Triennial places new commissions across the town every three years, with a small number being retained as permanent exhibits, the town now lacks a major contemporary art gallery bringing changing exhibitions to the town.

Whilst I’d always known that the politician and diarist Alan Clark lived in the secluded Saltwood Castle, just up the hill from my hometown of Hythe, it was only later that I learned more about his father, the art critic and broadcaster Kenneth Clark.

Clark supported the establishment of the New Metropole Art Centre in the 1960s, and the development of a town collection of modern art in the 1960s and 1970s. This collection contains a lot of names familiar from the Pictures for Schools exhibitions – the Surrealist print-makers Michael Rothenstein and Julian Trevelyan, the Kitchen Sink painter John Bratby, the print-makers Gertrude Hermes, Valerie Thornton and Anthony Gross, Kent-based painter Fred Cuming, who was featured in Pictures for Schools as a young artist and continues to work and take an interest in the collection today, and the sculptor and print-maker Elisabeth Frink, along with Sandra Blow and Michael Stokoe.

Among the most notable is the Royal Academician Carel Weight, who was a friend of Pictures for Schools founder Nan Youngman and helped organise and select work for the exhibitions. Like Youngman, Weight was active in the Artists International Association. As well as being professor of painting at the Royal College of Art in London, Weight periodically taught at the Adult Education Centre at the Metropole.

When the Metropole closed, it looked likely that Folkestone’s collection of modern art – which had been placed in Kent County Council storage – would be sold too, but fortunately it’s been retained by a Trust. Several paintings by Weight are now on display across the road at another huge Victorian complex – the Grand (a network of tunnels, predating both the Metropole and the Grand, linked the two buildings, and apparently treasures from the British Museum were stored for safekeeping in a tunnel underneath the Grand during the Second World War).

The Grand, with its shabby-eccentric chic, has certainly seen better days, declining in the second half of the twentieth century as Folkestone lost its status as a holiday destination for the royal and well-connected. Today, five of Weight’s works hang in the drawing room, a formal room just off the main reception and palm court restaurant with neoclassical columns, chandeliers and William Morris block-printed wallpaper featuring green-tinged birds.

Much of Weight’s work which I have seen has, like many of the artworks exhibited in Pictures for Schools, depicted very everyday places and activities, such as the small-scale excitement of a village football match. At the Grand two green-dominated country scenes, ‘Young Lovers’ and ‘Old Lovers’, offer an intimate and almost intrusive glimpse of two unassuming, guarded figures and convey the vicissitudes and tensions of a relationship at different stages of its development. ‘Portrait of a Poet’, which apparently depicts the artist in his studio, foregrounds a serious man in an overcoat. In the background are stacked paintings offering a glance of the backs of yellow-brick Georgian townhouses, viewed from their gardens.

The most interesting picture, however, is the large ‘Battersea Park Tragedy’, painted in the 1970s, split between a dark and dusky scene and a large, brushed sky sunset. Whilst at first sight portraying the mundane – the skeletal outlines of winter trees, the high fence of a tennis court, a small passageway overhung with trees and the excitement/fear-inducing twists of a deserted rollercoaster in the background – the painting introduces an element of the mystical. In one corner, an angel rises above a figure with a bowed head, blank face and clasped hands: the painting is named after the Battersea funfair disaster of 1972, in which children were killed in a fairground accident.

A small, tucked away room in a vast hotel might not be the most prominent place for these paintings, but at least they are still in a semi-public, accessible place. The paintings, created over forty years ago, and not particularly artistically adventurous or striking in their quiet realism, nevertheless form a thoughtful response, observation and reflection on then-contemporary events, public and private, as well as a document of artistic patronage and collecting at the time.

For more information about the Folkestone art collection, and to see details of upcoming exhibitions, visit http://folkestonearttrust.org.uk.