Inexpensive Progress on Pictures for Schools in Cambridgeshire

This fascinating blog post by Inexpensive Progress, a Cambridgeshire-based writer and collector, sheds some light on the fate of some of the work from the Cambridgeshire Collection of Original Artworks for Children, as well as giving details about the scheme’s history in Cambridge and some of the artists involved.

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Interesting upcoming talks in Leeds for fans of twentieth century art and design

Henry Moore Institute in Leeds is holding three talks this month which look like they’ll be of great interest to fans of twentieth century art and design. The first, on Wednesday 13 June at 6pm, is by Lynda Nead, author of the recent, excellent book Tiger in the Smoke. The second, on Wednesday 20 June, is by Margaret Garlake, author of the essential book New Art, New World, and concerns emigre artists and their work for patrons such as the London County Council as part of the post-war reconstruction effort in Britain. Finally, on Wednesday 27 September, Gordon Johnston will discuss the work of the sculptor Peter Peri, whose work was exhibited at Pictures for Schools as well as in numerous public contexts.


Enid Marx in the news

I’ve been pleased to see a couple of articles recently shining a light on the print-maker Enid Marx, who exhibited linocuts and woodcuts at Pictures for Schools in the late-1950s and early 1960s, and sold to work to schools and local education authorities through the scheme.

The Guardian and the Twentieth Society Century magazine have both featured articles on her career, which encompassed both art and design, to coincide with a new exhibition of her work at the House of Illustration in London, and a new book about her by Alan Powers.

I hope to get chance to visit the exhibition in London, which is on until 23 September.


Exhibition visit: ‘Radical Clay’, Bristol Museum & Art Gallery

This week I visited Bristol to catch ‘Radical Clay’, a small but thoughtfully done exhibition showcasing some of the ceramic pieces which were acquired as educational resources for the city’s schools. The exhibition posed the question: ‘Is investing in children’s creativity by showing them the very best still something to aspire to?’

Now mostly accessioned into the Bristol Art Gallery collection, more than 400 examples of studio pottery were purchased to be lent to schools across Bristol in the post-war period. Pictures for Schools was one of the places from which Bristol, along with a small number of other local education authorities and museum services, bought pottery, as well as purchasing work directly from galleries such as Primavera in London.

Bristol developed an impressive collection containing work by some of the leading potters of the time, including Bernard and Janet Leach, Hans Coper, Lucy Rie, Helen Pincombe and Peter O’Malley, as well as potters with more local connections, including to the local art schools. Pieces ranged from abstract sculptural objects, such as a stoneware vase by Hans Coper (1970), to more functional items such as bowls, teapots, cups and vases, to crafted object such as an earthenware dove by Ewart Uncles (1969).

Whilst some were chosen to appeal to children, incorporating imagery such as fish, cockerels and birds, the exhibition usefully drew out some of the other ways in which the pieces might have been used in schools, such as demonstrating particular techniques, ways of forming shapes, and of creating decorative patterns.

The pieces were lent to schools until 1990 when the service, consisting of increasingly valuable and hard-to-insure artworks, closed. However, ‘Radical Clay’ gave some idea of how the artworks might have been used in schools, reproducing photographs of ceramic pieces displayed in school alongside students’ own work, alongside testimonies from those who had studied and taught in Bristol’s post-war schools about the influence that creative education had had on their future careers.

As well as placing the collection within the post-war educational context of Britain’s post-war schools, as a tool for fostering first-hand learning and the development of creativity, the exhibition explored wider trends in studio pottery at that time, partly through the use of archival documentary films demonstrating particular schools, studios/production contexts and techniques. The exhibition drew connections not just to a fashion for Mediterranean dining, and to artists’ and craftspeople’s ambitions that their work should be affordable and enjoyed as part of everyday life, but to countercultural movements which reacted against mass culture and consumerism and placed renewed value on the handmade at that time.

‘Radical Clay’ is at Bristol Museum & Art Gallery until Sunday 10 June. For more information visit www.bristolmuseums.org.uk/bristol-museum-and-art-gallery/whats-on/radical-clay.


Exhibition of Argyll County Council’s school art collection

I’ve received an email about an upcoming exhibition of work by Scottish artists from Argyll County Council’s art collection for schools, dating from the 1960s to the 1980s, organised by Cowal Open Studios.

The exhibition Paintings are for People — the Argyll Art Collection takes place at Dunoon Burgh Hall from 21 April-2 June and Tighnabruaich Gallery from 28 April-3 June.


Warpaint by Alicia Foster

I was recently recommended Warpaint by Alicia Foster, a historical novel inspired by the War Artists Advisory Committee (WAAC), and the work of a propaganda unit putting artists to work finding creative ways to demoralise the enemy.

The WAAC was established by Kenneth Clark, broadcaster and Director of the National Gallery, during the Second World War in order to provide employment for some of the country’s leading artists away from direct action. Whilst big male names were involved in documenting the war, Warpaint takes its inspiration from a small number of women artists – who, unlike the men employed, were not salaried but instead received commissions for artworks. Several of the artists at Pictures for Schools had been employed as war artists, either abroad or on the home front, including the women artists Evelyn Gibbs and Evelyn Dunbar.

Although some characters in Warpaint correspond to real-life personalities – including Kenneth Clark, who appears as a larger-than-life, womanising caricature, and the painter Dame Laura Knight, the oldest and most established of the artists featured in Warpaint – the plot develops through interconnected and fictional stories imagining the lives and love lives of lesser-known painters living in London and the home counties, based very loosely on Isabel Delmer, Grace Golden and Evelyn Dunbar (here reimagined as Vivienne Thayer, Faith Farr and Cecily Browne).

Warpaint is an engrossing and page-turning read, with elements of romance, thriller, tragedy and espionage, and period detail. However, it’s not merely an easy read. Underlying Warpaint are questions about attitudes towards women at the time, their role in society and the art world, and the type of work that was considered suitable for women.

As well as institutional and individual sexism, Warpaint conveys an atmosphere of state and establishment paternalism: if the role of male painters in the WAAC was to document action on the front line, and women’s place was to portray life on the home front, there was also a ‘right’ kind of observation, and a ‘wrong’ kind of subject. Some of the artists in Warpaint are naturally drawn towards destitute: the ragged, hungry families eating in municipal canteens for those left without kitchen facilities due to bombing raids. This is discouraged, in favour of pictures of scenes such as upper-class ladies knitting army socks, that will ‘make people feel better’, and give an impression of togetherness across the class divide. In another episode in the book, an artist finds herself practising self-censorship, in order to produce the kind of picture that will go down well with the Ministry: a lace slip, silk sockings and a clandestine pregnancy are edited out of a scene depicting landgirls in a dormitory, in order to make it appear more wholesome.

For this reason, the most interesting story artistically is that of Laura Knight, who manages to get prolonged access to an airfield in order to paint a longed-for ‘serious subject’. Rather than the abstracted shapes of planes in the sky, observed from afar, she develops an intimacy with the pilots, getting to know how they work and how they experience the cramped cockpit of the plane, working as individuals and a unit alongside the machinery of war.

 


Reflections on Marion Adnams Symposium, University of Derby

Something I’ve really not done enough of during my PhD has been speaking about my research – which is a shame as it’s been one of the aspects of my work I’ve found the most rewarding. For this reason, I was really pleased to be invited to speak at a symposium at the University of Derby exploring the surrealist painter Marion Adnams, as part of the university’s International Women’s Day celebrations.

The symposium brought together academics and practitioners in order to explore both Adnams’ life and work in detail, and the artistic milieu of which she was a part, as well as issues around collecting and exhibiting women’s work more broadly.

My paper was more loosely connected with Adnams than some of the other presentations. As Adnams sold work to school loan collections in Manchester, Derbyshire and Leicestershire, I used Pictures for Schools and the work of Nan Youngman as a way to introduce some of the ideas and motivations behind the development of post-war educational art collections. My presentation attracted a lot of interest. Partly this was due to the local connection, and concerns about current-day threats to these types of resources; I was even interrupted by a local keen to point out that the Derbyshire School Museum Service was under threat of closure! It also prompted some discussion about the extent to which my discussion of progressive post-war education tallied with the experiences of those in the room who had been at school in the post-war period. Whilst one man said he didn’t benefit from the supposed educational reforms which took place in post-war schools, a woman who had been at school in rural Leicestershire said she looked back on her schooldays now and was ‘amazed’ at what she did in school, saying it had a ‘profound effect’ on her, and that her teachers believed passionately in the arts and educational reforms at that time. Another man, who had been at school in Hertfordshire in the 1960s, told me that art had been a huge part of his education. I also got some good questions, asking why I think my research is pertinent now, and how I feel education today contrasts with post-war attitudes to creativity.

For me the highlight of the day was a presentation by Jane Stanton, Head of Design at the University of Derby, which showed the value of personal experiences, storytelling and biographical approaches to historical and artistic research. Stanton knew Adnams, who was a friend of her family, as a young woman growing up in Derby. Her presentation was centred on a journey, as a learner driver, with her father to the south of France to collect Adnams from her second home there in the early 1970s. It was illustrated with photographs of Stanton – at that time just eighteen, and about to embark on a foundation degree and career in art – hand-in-hand with an elderly and almost-blind Adnams. It told the story not just of Adnams’ impact on Stanton, the significance of which is becoming apparent decades later, but of intergenerational exchange and friendship, and the ways in which we frame and reflect on our work and experiences at different stages of our lives. Stanton’s presentation prompted some interesting questions about provinciality – Adnams spent her entire life living and working in Derby, and the day’s presentations gave both a sense of her connectivity within the East Midlands, as part of the Midland Group in Nottingham and the Derby cultural scene, and her sense of distance from London, and desire to escape the constraints imposed at different stages of her life, from the war, to the necessity of earning a living through teaching, to caring responsibilities. As someone who was sometimes characterised as a ‘difficult’ character, the presentations also raised the issue of personality – as one person asked, was every woman of that generation defined by her relationships with others?

I also particularly enjoyed hearing from Colette Griffin, Assistant Curator at Nottingham Castle Museum and Art Gallery, about the challenges of curating a woman-only show from a collection containing only a small percentage of artworks by women, and the factors which influence the ongoing acquisition of more work by female artists.

The symposium was a starting point for further explorations into Adnams and other artists by the newly established Women Artists in History Research Group at the University of Derby; I’m really looking forward to seeing how it develops.