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.
Artist Tirzah Garwood’s autobiography Long Live Great Bardfield, republished by Persephone Books in 2016 more than 60 years after her death with a new introduction by her daughter Anne Ullmann and illustrated with photographs and engravings, is a weighty and satisfying read. Born in 1908 and brought up in an upper-middle-class family in genteel Eastbourne, it’s a glimpse into a different time, when middle-class women’s main role was to marry well.
Often snobbish in her descriptions of those she meets, and strange and apparently naïve in some of the ways she looked at the world – for example, Garwood was keen to have children in order to stop the monthly inconveniences of menstruation – at other times Garwood writes about sex and relationships with a surprising frankness, even going as far as to liken the birth of her third child to orgasm. She also writes honestly and maturely about her husband, Eric Ravilious’ love affairs. The book is made poignant not just by Ravilious’ loss in a plane over Iceland in 1942, but by Garwood’s documentation of operations for recurrent breast cancer, from which she eventually died at the age of 43, leaving behind three young children.
Though Garwood writes little about her practice as an artist in her own right – she was too busy being a wife, mother and lover – her autobiography places her at the heart of an artistic circle that included the Great Bardfield group of artists in Essex, as well as the friendship group based around Peggy Angus’ country cottage the Furlongs in East Sussex.
Ullman makes a brief reference at the end to her mother’s contributions to Pictures for Schools towards the end of her life; she took up painting and collaging, creating 3D works in boxes inspired by houses in Essex villages. These works were popular at Pictures for Schools, and the 1952 exhibition paid tribute to her with a special display of her work.
To buy Long Live Great Bardfield visit www.persephonebooks.co.uk/long-live-great-bardfield.html.
“A marvellous scheme which was a tremendous source of encouragement in very lean times”: Fred Cuming RA on Pictures for SchoolsPosted: October 25, 2013
I had a chat on the phone this week with Fred Cuming, a painter who submitted artworks to several of the Pictures for Schools exhibitions in the 1950s and 1960s, mainly at the Royal Academy (Cuming recalls at the time he was already interested in the Royal Academy’s work; later, in 1974, he became the youngest member to ever be elected Royal Academician). Cuming describes Pictures for Schools as a “marvellous scheme” which was “a tremendous source of encouragement in very lean times”.
Cuming became involved in Pictures for Schools in the mid-1950s as a recent graduate from the Royal College of Art, and continued to submit work until the scheme ended in 1969. He remembers that a whole generation of young painters, from London art colleges, including the Slade, the Royal Academy Schools and Goldsmiths, would send work as it was a ‘means of earning a bit of money’. He recalls: “It was common knowledge as somewhere you could sell a few pictures.” Artworks were sold at small, reasonable prices, and Cuming managed to sell an artwork or two every year. He isn’t sure where his paintings ended up, as artworks sold to the scheme went to education authorities across the country and found their way into public collections, but recalls that some work went up North to Kendal and Scunthorpe, and that one painting was purchased by the Museum of Wales.
For many young painters, Pictures for Schools was their first chance to exhibit their work and get their name known. Cuming explains: “It was very important to young painters, a lovely opportunity. It did me a world of good, that little exhibition. When you first come out of whatever college you’ve been to, not many galleries are interested in you, but lots of education authorities and a lot of the public visited, who were interested in what young artists were doing. It was also an introduction to exhibiting for local authorities. They ought to do it again.” The exhibitions also benefited children, by giving them an opportunity to see young artists’ work which was of a good quality – Cuming recalls that the standard of the exhibitions was always very good.
Cuming is primarily a painter of landscapes and interiors, often depicting the coastal landscapes of Kent, Romney Marsh and East Sussex in impressionistic, atmospheric style, with a particular interest in the effects of light. He is also interested in depicting interiors, for example in a number of paintings of his studio. He explains: “I painted the pictures I was interested in at the time – I didn’t try to paint to meet a market.” He remembers that painting was dominated by the so-called Kitchen Sink School of realist painters, centred around artists such as John Bratby, at the time, and that, although some abstract art was beginning to come in, painting was very much figurative-based. Cuming attributes this to the ‘very academic’ training painters received at art school.
To find out more and see pictures of Cuming’s work, visit www.fredcuming.com/index.html.