Artworks from the Hertfordshire school loan collection on Inexpensive Progress

The writer and collector Robjn Cantus has posted a really interesting blog about works in his collection which he purchased from the sale of the Hertfordshire County Collection; several pieces were purchased from Pictures for Schools, including prints by Alistair Grant, Michael Rothenstein and Julia Ball. It’s great to find out more about the biographies of the artists, some of whom I have heard of but many who are new to me.

Read the post at https://inexpensiveprogress.com/post/189340044940/my-pictures-for-schools-hertfordshire.


Visit to the University of Loughborough art collection

Last month I spent a very pleasant early autumn afternoon wandering around Loughborough University’s sprawling campus, guided by a map of its extensive sculpture collection.

Loughborough is a market town in Leicestershire – a county that, under longstanding Director of Education Stewart Mason, embraced patronage of the arts in educational settings in the post-war period in a big way. As well as purchasing and commissioning site-specific works for individual schools, Leicestershire’s loan collection was one of the largest in the country, and purchased artworks from Pictures for Schools among other sources. Mason advised and guided Loughborough University on some of its purchases, and his influence in the county is acknowledged in the Stewart Mason building on campus.
The university’s sculpture collection punctuates the sports grounds that dominate the campus (Loughborough has a reputation for attracting sporty students). Given university status in 1966, the campus architecture has a strong modernist feel, although it’s undergone significant expansion since then. Known as Loughborough University of Technology until 1996, there’s a strong theme of science and technology in many of the artworks, particularly around the science buildings, which feature a number of steel artworks by Paul Wagner. There was also a tradition of students producing their own furniture, much of which is still in use around campus.

Many well-known and lesser artists of the post-war period are represented on campus, including Willi Soukop, who undertook many commissions for public and educational settings; his Spirit of Adventure, which resembles an aeroplane, is the first artwork encountered on approach to the campus from the town centre, and points the way to a place of learning, discovery and enquiry. Perhaps the most famous sculptor is Lynn Chadwick, whose solemn trio of angular figures The Watchers commemorates three influential figures in the history of the university. However, my favourite artworks were those which were less conspicuous, such as Austin Wright’s kinetic sculpture, nestled in a quiet pond area between two buildings, which resembles a calmly bubbling fountain, and Peter Peri’s Spirit of Technology, a man leaping into the unknown from the side of a student residence dining hall.

The sculptures are merely the most public-facing element of a much bigger collection, which includes wall-mounted works such as prints, paintings and textiles, displayed in areas such as boardrooms, corridors and waiting areas. I managed to see a couple of works inside buildings, including prints by Bridget Riley and John Piper, as well as a number of portraits of university grandees which showed their influence on the university.

Loughborough University and the former teacher training college Loughborough Training College, which became part of the university in 1977, both purchased work from Pictures for Schools, although the only one I managed to see was Michael Stokoe’s bold, colourful silkscreen Circles & Stripes.

The collection is not static and continues to evolve, commissioning and acquiring work by students alongside established artists. One of the highlights is one of the most recent works, an interior design scheme by Giles Round for the RADAR office. Alongside furniture and Round’s selection of artworks from the collection, this includes a wallpaper which repeats images of tools from a former catalogue across the walls. Round’s design scheme acts as a subtle reminder of the university’s past and enters into dialogue with work purchased and commissioned during previous eras of the life of the institution.

To find out more about the collection visit https://www.lboro.ac.uk/arts/arts-collection/.

 


Visit to the University of Hull Art Collection

As part of my ongoing interest in educational (and specifically higher education) art collections, I recently went to visit the Hull University Art Collection at the Brynmor Jones Library. Founded in 1963, the collection was housed for many years in the university’s drama facility and concert venue Middleton Hall, designed in 1962 by Festival of Britain architect Leslie Martin, which incorporated a purpose-built exhibition space for the collection when it opened in 1967. The collection has since been returned to the library, which now has a dedicated gallery space.

Unlike other collections I have visited which set out to collect contemporary art, from the outset the collection focused on British art in the period 1890-1940. Due to the relatively minor sum allocated to purchases for the collection – £300 per year was given by philanthropist Thomas Ferens (who also gives his name to the city’s main art gallery) – the collection’s remit was by its own admission the ‘unfashionable and inexpensive’.

In spite of this, the collection gives a good sense of late-nineteenth century and early-twentieth century British art, the groupings in which painters were involved (such as the Camden Town Group and Bloomsbury Group), the types of places they travelled to (from the landscapes of Cornwall to more exotic destinations), and the educational system of which they were a part – for example, through the inclusion of paintings by Slade Professor Henry Tonks. The collection is particularly strong on portraiture, further giving a sense of networks and connections between artists (and other artistic figures at the time such as writers). The collection also includes examples of the Contemporary Lithographs, an important interwar patronage scheme: a particular highlight is the floral ‘Still Life’ by Ivon Hitchens.

Mid-twentieth century sculpture is also well-represented, including the work of Bernard Meadows and Henry Moore.

Although the collection has its own exhibition space, a small number of artworks are dispersed around the library and for me the highlights were those I saw outside the gallery: one was a relief by the émigré sculptor Willi Soukop, on one outside wall of the building, which cleverly drew on the brick in which the building is built to depict an owl (the art collection has since acquired a maquette for the piece and other work by Soukop depicting owls). The other was a large hanging tapestry by Harold Cohen, woven by Dovecot Studios in Edinburgh. Although I hadn’t come across Cohen before, he created a number of artworks for corporate clients – this one was commissioned for the new London headquarters of BP in 1966 – and was an innovator in the use of computers in his work.The collection no longer restricts itself to its time period of 1890-1940, and has continued to be added to, whether with the support of the Contemporary Arts Society, through the gifting or loan of artworks by members of staff, or through supporters and bequests.


The Fourdrinier

Jenny Steele's wallpaperIn 2019 I am one of six writers based in the north of England who are writing for new arts writing platform the Fourdrinier, which focuses on art on paper. My latest article, in June’s issue, is an interview with Manchester-based artist Jenny Steele about her new wallpaper for Crosby’s modernist library, which draws on the history of the building and discusses the changing uses of libraries and their importance as social and educational centres. Read it here.

For the April issue I interviewed Jade Montserrat about her commission for Art on the Underground, which was installed across the London Underground network. Read it here.


Football Is Art at the National Football Museum

I recently went to the launch of a new exhibition at the National Football Museum in Manchester showcasing the museum’s art collection, which has been developed with funding from the National Lottery Heritage Fund.

One of the works which has been acquired is a maquette for Peter Peri’s ‘Boys Playing Football’ (I went to see the original on the wall of an estate in Lambeth back in 2017).

Peri was one of several artists who exhibited at Pictures for Schools whose work has been acquired by the museum; football, particularly local and amateur matches, was one of the aspects of everyday life captured in the pictures shown at Pictures for Schools and bought by local education authorities for school loan collections (see Carel Weight’s lively ‘Village Cup Tie’, purchased by the London County Council, and apparently later sold to the football museum, although not on display in this exhibition and Fred Uhlman’s atmospheric painting of a game on a winter evening, recently sold at auction as part of the disposal of Hertfordshire County Council’s art collection). Like many of the artists at Pictures for Schools, as a member of the Artists’ International Association he was interested in depicting and reflecting relatable aspects of people’s lives, and presenting his art in places that was familiar and accessible to them.

The exhibition encompassed a wide variety of styles and genres, from Lowry’s iconic images of northern life, to delicate illustration by Paul Nash, to contemporary British artists such as Rose Wylie and digital artworks, to fashion and textiles, to vintage posters and advertising, to portraits of footballers and artworks by famous footballers such as George Best, and even a sculpture by Piccasso.

Far from the glitz of today’s game, with its superstar footballers on multi-million pound salaries, many of the works I liked best depicted the quieter, more personal aspect of the game and its individual and collective meanings to people as part of their sense of identity, leisure, routine, community and belonging: crowds huddled loyally in the cold of a snowy day, as in Alistair Grant’s lithograph ‘Snow at Stamford Bridge’, or behind the scenes of the game as in the Mass-Observation documentary photographer Humphrey Spender’s 1930s images of changing rooms, which suggested some of the tension and anticipation of the game.

Mid-twentieth century British art was particularly well-represented in the exhibition. I was interested to find out that several of the works had been exhibited in the Football and the Fine Arts exhibition, held in 1953, and organised by the Arts Council of Great Britain and the Football Association in order to mark the latter’s 90th anniversary. One of the highlights was the Great Bardfield artist Michael Rothenstein’s prize-winning etching and aquatint ‘Moment of Victory’, an abstract set of shapes which appeared to represent little in a literal sense, but suggested movement and celebration. Another highlight was the robotic stacked shapes of surrealist painter Ithell Colquhoun’s colourful oil painting ‘The Game of the Year’, dating from the same year as the Football and the Fine Arts exhibition.

Football Is Art is at the National Football Museum until Sunday 27 October: www.nationalfootballmuseum.com/whatson/football-is-art/

 


Exhibition visit: Julian Trevelyan: The Artist and His World, Pallant House, Chichester

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. 


Visit to Cartwright Hall

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.