Dazzle Exhibition Information

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St Barbe Exhibitions 2018/2019 DAZZLE: Disguise and Disruption in War and Art 16 June - 22 September 2018 The use of Dazzle patterning on warships was introduced during the First World War, not with the intention of helping the ships to blend in with their surroundings, but to confuse U-Boat commanders as to the direction and speed in which a vessel was travelling. The inspiration behind Dazzle painting is usually credited to British marine artist Norman Wilkinson who led the Admiralty’s Dazzle Section based at the Royal Academy in London. Wilkinson recruited a team of artists who designed patterns to be applied to warships, passenger ships and cargo ships. Dazzle’s dramatic patterning owed something to pre-war avant-garde art movements such as Futurism and Vorticism, indeed Vorticist artist Edward Wadsworth became a part of the Dazzle team. This exhibition, guest curated by art historian and author James Taylor, looks at the development of Dazzle patterning in Britain and will be based around paintings, prints and drawings made at the time by artists such as Wilkinson, Wadsworth, Fergusson and many more on loan from the Imperial War Museum, National Maritime Museum, regional and private collections. The exhibition will also feature models and plans used by the artists to prepare the patterns for painting on to the ships themselves. We are delighted that the Wilkinson Estate is supporting the development of the exhibition and that Southampton City Art Gallery will mount an exhibition on Dazzle’s influence on contemporary art and design to complement the St Barbe show. We will also be launching an art commission to bring Dazzle patterning into the heart of Lymington. We hope to work in partnership with University of Southampton to offer a study day on the subject featuring a range of authoritative speakers each bringing a fresh perspective to the Dazzle story. .

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The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period.
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