Education resource Teachers notes

The Edwardians: Secrets and desires displays 140 paintings, Other resources available to enhance your visit to this sculptures, costumes and fan designs by select British, Irish, exhibition American, New Zealand and Australian artists who worked • Information for education materials has been drawn from in Europe from 1900 to 1914. This resource is designed to the The Edwardians exhibition catalogue. Edited by complement a visit to The Edwardians. It has been prepared Dr Anne Gray, Assistant Director, at the to assist with the appreciation of works of art within the National Gallery of , the catalogue is fully exhibition and to provide a variety of contexts within which illustrated and contains comprehensive essays they can be understood. The resource can be adapted to suit investigating the works of art and the era, and the age level of the class and can be integrated into curriculum biographical information on each artist. The catalogue areas other than the visual arts including English, Technology, is available for $39.95 (10% discount for schools Studies of Society and Environment (SOSE) and Languages purchase) from the NGA Shop. Phone 1800 808 337 Other Than English (LOTE). (freecall) or (02) 6240 6420, email [email protected] The resource contains: or shop online at ngashop.com.au or at the Art Gallery of South Australia Bookshop, tel 08 82077029 (10% discount • 12 cards with full-colour images of works of art in on school orders), email [email protected] The Edwardians and contextual information on the artists • Free children’s trail and the time in which they lived and worked • Audio guides • A timeline including selected important events and • Postcards and posters inventions of the Edwardian era • nga.gov.au/TheEdwardians • A series of discussion points for primary and secondary students. Prepared by Education, National Gallery of Australia © National Gallery of Australia Planning your visit All groups must be booked through the Education office; Free entry for children 16 years old and under and teachers accompanying groups of twenty students at NGA; $20 per John Singer Sargent 1856–1925 class size group (Category 1–4 and country schools free Sir Frank Swettenham 1904 entry) at AGSA; Professional development is available for oil on canvas 259.0 x 143.0 cm teachers at both venues. Singapore History Museum The website nga.gov.au/TheEdwardians has useful information to assist in pre-visit preparation, including 30 key works Frank Athelstane Swettenham (1850–1946) was a colonial with additional text; teachers can download study sheets for administrator. In this portrait by John Singer Sargent, the primary and secondary students to use with the exhibition. artist has captured Swettenham’s public persona and love of Tours available by Gallery Educators and Voluntary Guides. pomp. He is portrayed dressed in an immaculate white uniform with the KCMG star, surrounded by the emblems of empire: National Gallery of Australia bookings his white helmet and the ivory baton, his badge of office. His Phone (02) 6240 6519 right arm rests on a piece of richly carved furniture draped Fax: (02) 6240 6560 with a rug and a length of Malaysian silk, while behind him an Email: [email protected] immense globe is turned to display the Malay States. Website: nga.gov.au Discussion point: Art Gallery of South Australia bookings • Look closely at the portrait of Sir Frank Swettenham. Phone: (08) 8207 7033 What he is wearing and what are the objects surrounding Fax: (08) 8207 7070 him in the room? Using these visual clues, describe his Email: [email protected] personality. Website: artgallery.sa.gov.au Introduction The Edwardian Era

he Edwardian period encompasses the decade of King George Lambert 1873–1930 T Edward VII’s reign in Great Britain from 1901–10 until King Edward VII 1910 the outbreak of the First World War in 1914. It is often thought oil on canvas 303.5 x 243.0 cm of as a time of extravagance, excess, peace and prosperity, Historic Memorials Collection, Parliament House, Canberra, a respite between the atrocities of the Boer War (1899–1902) gift of Amy Lambert in 1930 and the First World War. George Lambert depicted King Edward VII in the uniform of a The eldest son of Queen Victoria and Prince Albert, Edward VII, field marshal, standing beside his favourite bay horse. Lambert, was born in 1841 and ascended to the throne on the death of an Australian artist, worked from a few pencil sketches of the his mother in 1901. While the Victorian era was characterised King, and then from a model who closely resembled him, by strict moral codes, the period under Edwardian VII—who dressed in the monarch’s uniform. Critics pronounced this had a somewhat decadent reputation—was known for its portrait as one of the best of the King, the Studio critic enjoyment of the good life and conspicuous consumption. commenting in March 1910: ‘Mr. Lambert’s portrait of the He surrounded himself with rich and famous people, King is a wonderful piece of design, and the energy and including influential businessmen and socialites. precision of statement, the assurance and knowledge which his art displays, put his canvas, as court portraiture, on a plane The British Empire expanded under Victoria, and continued above recent contemporary work of the kind.’ It was one of the to do so under Edward. Many citizens of former colonies, last depictions of the King, who died shortly after this portrait including Australia which became federated in 1901, still was completed. considered themselves to be subjects of Great Britain, and referred to England as ‘home’. In spite of the perceived Discussion point: economic wealth, Britain was facing external competition from • Look closely at the items and accessories Lambert has growing manufacturing and mining industries in Germany and included in this portrait of Edward VII. Why do you think the United States, and internal ruptures were also beginning he is depicted in this way? to show. The Edwardian era, typified by privilege and • Discuss how people earn medals. Create a medal for an elegance, was equally fraught with internal inequalities and imagined deed. impoverishment. The lifestyle enjoyed by the upper classes was made possible by servants. Women still did not have the right to vote in elections. Class distinctions seemed insurmountable and social mobility impossible. Pomp and ceremony Society, fashion, glamour and dining

he privileged classes of the Edwardian era rarely George Lambert 1873–1930 T acknowledged the harsher and darker side of life lived Lotty and a lady 1906 by servants, factory workers and farm labourers. Artists often oil on canvas 103.0 x 128.3cm dramatised their subjects to portray the glamour and artifice National Gallery of Victoria, , of aristocratic lives. People with well-established social Felton Bequest in 1910 pedigrees who wanted to affirm their long-standing ancestry asked for their portraits to be painted in the grand manner Affluent Edwardians lived glamorous lives, attending numerous of earlier artists such as Sir Joshua Reynolds (1723–1792) and social engagements that required elaborate dress codes, rituals Thomas Gainsborough (1727–1788), in order to demonstrate and etiquette. Formal dinners were an important means by their continuing family tradition. Newly rich industrialists, which wealth and social standing could be achieved and successful businessmen and professionals—as well as artists, dinners often consisted of many courses, requiring up to 50 musicians and singers—wanted social credibility and believed pieces of silverware and china per person. Wealthy people that images which showed them and their families in a could afford the luxury of servants to cook, serve and clean, historical style would provide this. and legions of men and women—well over a million British subjects—were in service. They rarely lived the carefree life pictured in images of their masters and mistresses.

Discussion point: • Look at how Lambert has depicted the two women in Lotty and a lady. Describe the differences in their appearance and why the artist may have depicted them in this way. • Have a class debate about the merits of social mobility. Choose some of the class to act as members of the aristocracy—the ‘upstairs’ members of the household— and others as servants ‘downstairs’. Art and travel

he Far East (now Southeast Asia) was opened up to Ethel Carrick 1872–1952 TEurope during Queen Victoria’s reign and the Edwardians’ Arabs bargaining c.1911 curiosity for these exotic cultures was insatiable. This fascination oil on canvas 64.5 x 81.0cm for the Orient became known as ‘orientalism’ and was explored Fosters Group, Melbourne in art, theatre and music. Those who could afford to do so regularly travelled abroad. Artists visited places such as the By 1911, when Ethel Carrick and her husband, E. Phillips Far East and North Africa, and portrayed these experiences in Fox (1865–1915), first visited North Africa, it was already their paintings. They admired the beauty, the uniqueness of the a well-established painting destination for western artists. dress, the brilliance of the light and the unaccustomed scale of For Carrick, the intense light and colourful costumes of the colours that they found there. It had an enormous impact on Arab people provided a rich visual spectacle that allowed her their work. In the 1910s, the Australians Ethel Carrick, E. Philips to experiment with ever more intense blocks of colour and Fox and Hilda Rix Nicholas all visited Morocco, and some of pattern in her work. In Arabs bargaining, Carrick’s interest is these paintings can be seen in the exhibition. as much in describing this commonplace market scene as in constructing a painting of abstract elements and high-keyed and vibrant colours.

Discussion point: • Compare Arabs bargaining by Ethel Carrick with another Edwardian painting in the exhibition, perhaps John Lavery’s In Morocco, and then a painting that is very different, such as an interior scene. Describe the colours each artist has used, and the effect of light on the subject matter. Orientalism and fashion

dwardians who did not travel could still experience the J.D. Fergusson 1874–1961 Efascination of unfamiliar cultures in the many expositions, Le Manteau chinois 1909 fairs and shows exhibiting imported artefacts and material oil on canvas 195.5 x 97.0cm culture for their enjoyment and education. Some of the The Fergusson Gallery, Perth and Kinross Council, Scotland most popular exhibits featured Japanese and Chinese objets d’art and ceremonial dress, both of which fed the fashions Initially influenced by Whistler, the Scottish painter and for Japonisme and Chinoiserie. Capitalising on the popular sculptor J. D. Fergusson became inspired by Diaghilev’s Ballets ‘Orientalism’ theme, Parisian designers began to adapt key Russes and evolved a more modernist style, characterised motifs from Eastern clothing for Western fashions. Elaborate by flat areas of vivid colour. In the full-length portrait embroideries of chrysanthemums and other exotic flowers Le Manteau chinois Fergusson has used a flat, decorative appeared on expensive couture and kimono-shaped gowns style more attuned to Fauvism, emphasising basic shapes and began to appear. Fashion designers were very sensitive to the bright colours, linked to the fashion for Japanese prints, rather mood of society and some were directly influenced by Léon than tonality and modelling. In this work, he painted the Bakst’s costume designs in the , introducing Irish-American artist Anne Estelle Rice (1877–1959) standing bright colours and brilliant hues whilst the pastel colours of in mid-turn surrounded by panels decorated with swirling the Edwardian era were still very fashionable. By the end of red roses and Chinese symbols. She wears a flatly painted the Edwardian era designers had embraced fashion inspired by ‘manteau’, or coat, that emphasises her dramatically pale face the Orient and stylish women wore harem pants, lampshade and red lips. tunics and turbans in vibrant colours, wearing Eastern bejewelled slippers as accessories. Discussion point: • Why would fashionable Edwardians want to dress up? What does their style of dress reveal about them? • Can you find examples of contemporary fashion that use design elements or motifs from Japan or China? • In the exhibition, compare the paintings using orientalist themes to the costumes from the Ballets Russes. Look at colour, design and fabric. Music and culture

dwardian entertainment was a component of a turbulent Philip Connard 1875–1958 Eera whose preoccupations echo those of our own day. The guitar player c.1909 The meteoric rise of popular forms of mass entertainment oil on canvas 62.2 x 50.8cm including musical comedy, variety theatre and the cinema Art Gallery of South Australia, Adelaide, Morgan Thomas appealed to new audiences eager to be amused. The politics Bequest Fund in 1933 of theatre were not restricted to satirical stage plays that took politics, the inequities of society and the suffrage movement In The guitar player, Philip Connard has depicted a small group as their subject, but play-going formed a great part of the which includes his daughters, Jane and Helen, a guitarist social scene—who was seen with whom, what they were (thought to be the children’s nursemaid, Evelyn) and his wife, wearing, where were they seen—all impacted on a person’s standing behind the group. The artist has also included his own social standing. image, reflected in the mirror to the right. The guitar player depicts more than a charming family scene, it shows a debt to previous works by artists such as Diego Velasquez (1599–1660) From 1909 the Ballets Russes caused a theatrical sensation and Edouard Manet (1832–1883). with their brilliant vision of exotic cultures that integrated design, costume, music and dance. Led by Russian émigré, Discussion point: ballet producer and creative director Sergei Diaghilev (1872– 1929), the Ballets Russes were a pivotal force in changing • Find an image of Velasquez’s Las Meninas 1656 in an art people’s perceptions of elegance and taste. During this time history book and compare it with The guitar player. the Australian-born soprano Dame (born Helen • Think of the painting as having different planes that Porter) rose to the height of her career, recede into the picture. Each vertical surface (couch, composed works based on popular English folk music and wall, mirror reflection) would represent a different plane George Bernard Shaw wrote Pygmalion (later to be made into and he has depicted each person in relation to these the film My Fair Lady). planes. Look at where Connard has placed each person in this artificial space. • How has he achieved a sense of unity in the painting? Artistic influence ‘Art should be independent of clap-trap—should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism and the like.’ James McNeill Whistler

any artists were influential during the Edwardian James McNeill Whistler 1834–1903 Mperiod, but none more so than the American artist James Mother of pearl and silver: The Andalusian 1888(?)–1900 McNeill Whistler (1834–1903). Whistler was a lecturer, teacher, oil on canvas 191.5 x 89.8cm writer, painter, printmaker, designer and collector, who was National Gallery of Art, Washington, considered to have directly influenced many early twentieth- Harris Whittemore Collection century artists in Europe and America, changing the approach and attitude towards visual art and its cultural meaning. His Mother of pearl and silver: The Andalusian depicts Whistler’s paintings of the 1870s, most famously his ‘Nocturnes’ and sister-in-law, Ethel Birnie Philip (1861–1920), his favourite other works with musical titles, were studies of tone, colour model in the 1890s. In this painting, Whistler has used fluid and atmosphere, which he regarded as tone poems in paint, oil paint, brushing it onto the canvas almost as if it were and which emphasised his interest in ‘art for its own sake’ watercolour. By understating Ethel’s profile and, in the way he rather than for its subject. portrayed the train of her gown and the expanse of the floor, he has created the sense of someone slowly turning, about to Whistler had left America in 1855, arriving in England in move away. His use of cool greys and warm tans has created a 1860 via Paris, where he had met the realist painter Gustave Spanish mood, in keeping with the works title, The Andalusian Courbet. He took lodgings at Wapping, a seedy part of the which refers to the evening dress intended to resemble a city, and began to paint and etch scenes of the London docks. traditional Adalusian costume. At this time, couturiers gave Walter Sickert became his pupil and assistant. Sickert himself their dresses names so that customers could ask to view the was involved with the Camden Town Group of artists that ‘Andalusian’ design, and then request their dressmakers to continued painting the darker side of Edwardian London. In make replicas. The Andalusian is as much a portrait of a dress 1898, Whistler established the Académie Carmen in Paris, where as of a person. Gwen John was a student. That year, he was elected president of the International Society of Sculptors, Painters and Gravers Discussion point: and played a key role in its affairs over the next two years. • Look at Whistler’s paintings (there are several in the His friends Monet and Rodin sent work to the International exhibition). Can you find Whistler’s signature butterfly Society’s exhibitions. His art had a powerful influence on the in any of his works? generation of artists that followed. He wrote The gentle art of • Compare his paintings to those by Sickert, Ramsay and making enemies (1890), letters and pamphlets on art. Bunny. What differences or similarities can you see? • What do you think Whistler meant by ‘art for art’s sake’? • Can you think of contemporary artists who are as influential today as Whistler was in his day? Who do you think are the main arbiters of visual art imagery today? Expatriate artists

t was typical of many young artists who had studied art in Hugh Ramsay 1877–1906 Itheir own country to make the journey to Europe and Britain, Portrait of the artist standing before easel 1901–02 often at the urging of their art teachers. Some were fortunate oil on canvas 128.0.4 x 86.4cm to be granted a scholarship that enabled a living allowance, National Gallery of Victoria, Melbourne, bequest of the others embarked with family inheritance or assistance, while executors on behalf of Miss E.D. Ramsay others simply took a chance, boarded a steamer and followed their dream. In Europe their experience was broadened Hugh Ramsay painted a large number of self-portraits, often through further study, mixing with other artists, and learning as private works, not Salon pictures. In Portrait of the artist from the many galleries and museums available to them. standing before easel, he depicted himself in the studio he Many artists found the life of an expatriate difficult, without shared with J.S. MacDonald in Paris. He showed himself in the family support and often with very little money. They tended act of painting, brush and palette in hand, at the moment of to gather together, sharing studios, friendships, clients and drawing back from the easel to look at his work. Behind him is commissions. the hired piano which he and MacDonald played to entertain friends such as Bunny, Lambert and Meldrum. The room, which Amy Lambert described as being insanitary, served as the When Hugh Ramsay travelled to Europe in 1900, he met artists’ studio, sitting room, bedroom and kitchen. George and Amy Lambert on the boat. He studied in Paris at the Académie Colarossi and Académie Delécluze, where Discussion point: Lambert and Ambrose Patterson were also students, and he moved in the same circles as other expatriate Australian artists • Look for works in the exhibition by artists who studied, including , and Max Meldrum. were friends or shared studios together, such as Ramsay, Patterson arranged for Hugh Ramsay to meet his brother’s Bunny and Patterson. Can you see any similarities in their sister-in-law, Nellie Melba, and she commissioned him to paint works? her portrait when he moved to London in April 1902. • Find works by artists of their friends and family. How are they painted differently to commissioned, society portraits? Women and society feminism, changing roles of women, work

dwardian women lived very different lives to women of Henry Tonks 1862–1937 Etoday. Where equal rights and pay are today considered to After the bath 1910–11 be the norm in our society, in Edwardian times women were oil on canvas 106.7 x 96.5cm treated very differently to men: they were educated differently, private collection had fewer rights both in and out of marriage and, importantly, were not permitted to vote in elections. Much of this Henry Tonks favoured painting tender, domestic interiors. stemmed from the view that marriage was considered a In After the bath he created a modern-day Madonna and Child woman’s ‘natural destiny’, that a husband would look after in an everyday setting, with a lively baby and adoring sisters. a woman and provide all she required, and that if a woman Tonks replaced the traditional shepherd with a young girl did not marry, her life was considered in some way a failure. presenting a toy sheep to the baby. The central figure shows a controlled strength and presence, modelling the epitome of Emmeline Pankhust and the Suffragettes appropriate behaviour for an Edwardian mother.

New Zealand had granted women the right to vote in 1893 Discussion point: and Australia followed soon after in 1902. However in other • Look closely at the composition of After the bath. countries Edwardian women led a campaign for suffrage Can you identify how Tonks has created a sense of (the right to vote) that lasted for years. In 1903, Emmeline strength in the central figure? Pankhurst founded the Women’s Social and Political Union (WSPU) which was to be a very different type of women’s • This is a complex group portrait. Has the artist painted organisation. Rather than campaign by polite political each of the subjects the same way? Describe any pressure, the WSPU’s motto was ‘deeds not words’ and its difference you may see. members, called ‘Suffragettes’, lived up to their motto. These women threw eggs, chained themselves to railings, scattered marbles under police horses’ hooves and set fire to pillar boxes. Determined to win the battle for universal suffrage, many were imprisoned, injured or went on hunger strikes for their cause. In one notorious incident, the suffragette Emily Davison ran in front of the King’s horse during the Derby in June 1913 and was killed while campaigning for the suffragette cause. It was not until after the First World War that their persistent campaign had results. In the Representation of the People Act of 1918, all women over 30 were given the right to vote alongside adult males. The shifting ideals of art

dwardian artists—like many contemporary artists— Rupert Bunny 1864–1947 Eregarded themselves as part of a continuing tradition, An idyll 1901 referring to works of earlier artists in their own paintings and oil on canvas 62.7 x 131.3cm sculptures. They shared a British aesthetic concerned with Art Gallery of South Australia, Adelaide studio technique and artifice, but also enjoyed a new, modified form of and painting outdoors (en plein air). In An idyll, Rupert Bunny followed the tradition of the Italian Paintings and sculptures of the early Edwardian era reveal and French masters in adopting mythological and allegorical artists’ interests in traditional themes, naturalistic colours themes. His parents introduced him to myths and legends, to and classical forms. These artists often used allegoric themes the gods and goddesses of classical times, and throughout to convey something universal and ageless, such as Rupert his life he retuned to mythological themes as in this painting. Bunny’s allegory of love An idyll, or Harold Parker’s Orpheus. This image conveys a dream of a golden time, of Olympian gods and goddesses, of Adam and Eve before the Fall and of As the Edwardian era progressed, artists in London began using eternal man and woman. It conveys a very common human bold colours, shapes and surfaces. This was partly a response experience, but idealised and sweetened by being located in to the impact of , partly because of artists’ rejection an imaginary realm. of painting society portraits in preference to pursuing ‘art for art’s sake’, and partly because groups of artists, such as the Discussion point: Camden Town Group, who lived in a gritty, working-class area of London, became dissatisfied with an approach that was • Look at the colours and the surface treatment of An idyll. only one visual mode of expressing the Edwardian time. These Can you see any brushmarks? What kind of brush would artists’ dark and impressionistic paintings and engravings were he have used? inspired by Walter Sickert, whose own work, while dramatic • Now look at the paintings of the Camden Town Group and raw, was the antithesis of an idealised view of art as in the exhibition. Describe their approach in painting the viewed by the other Salon artists. female form and discuss how their painting style affects your interpretation of the work. • Changes in sculpture were also occurring at this time. Harold Parker 1873-1962 Compare the works of Harold Parker and Orpheus modelled 1904, cast c.1909 in the exhibition looking at surface and form. bronze 43.6 x 15.0 x 17.5cm National Gallery of Australia, Canberra, gift of William Richard Cumming in 1984

Auguste Rodin 1840–1917 Study for Monument à Whistler, modelled 1910 bronze 65.5 x 33.0 x 34.0cm Art Gallery of New South Wales, Sydney, gift of David Jones Ltd in 2001 The birth of the modern age The beginning of the twentieth century was a time of rapid Vanessa Bell 1879-1961 technological and social change. During the Edwardian era Virginia Woolf c.1912 material and technological innovations were introduced that oil on board 40.0 x 34.0cm changed the face of society: the telegraph, telephone, mass- National Portrait Gallery, London produced typewriters, elevators, electric lights, the vacuum cleaner, air conditioner, fire extinguisher, household detergent, Vanessa Stephen was the daughter of literary critic, Sir Leslie electric food mixer, refrigerators, the brassiere and the bicycle Stephen, and sister of Virginia Woolf. She founded the Friday were all invented during this period. Club in 1905 as a meeting place for artists and people interested in art. Among its members were Derwent Lees, Henry Lamb and It was also a period of incredible scientific and technological Clive Bell, whom she married in 1907. She became enthused by progress: motion pictures, mass-produced automobiles, modernism after Roger Fry’s exhibition, ‘Manet and the Post- cellophane, synthetic ammonia, neon lighting, diesel Impressionists’ in 1910. She was an important designer for the locomotive, stainless steel, tear gas, AM radio, SONAR were all Omega Workshops, from its inception by Roger Fry in 1913 invented. In addition, discoveries made during the era include until its closure in 1919. Bell’s portrait of her sister captures amino acids, Vitamins A and D, hormones, radium, quantum a moment of quiet intimacy, with Virginia seated indoors in theory, relativity theory, genetic heredity, atomic structure, a large armchair, quite unselfconsciously ‘being herself’. At superconductivity and X-ray diffraction. The list of inventions this time, Bell was already simplifying her compositions and and discoveries was best captured in the ‘unsinkable’ SS Titanic, using bold colour contrasts. By bringing her subject into close the grand ocean liner which embodied human progress, focus and emphasising her head and hands, Bell captured the opulence, and the excesses of the time—but now resting on intensity of Woolf’s concentration. the ocean floor. Discussion point: Like all Edwardians, artists experienced these changes and • This painting is not a commissioned portrait, as are some innovations in their personal and professional lives. Writers, of the society portraits in the exhibition, but a painting artists and musicians all benefited from the modernisation of of the artist’s sister. As such it is a less formal portrait. their lives as mobility increased, lighting was made safer and Describe Bell’s method of painting this portrait of her more reliable, and household appliances meant that domestic sister. chores, at least in theory, were easier. Modern art exhibitions • Virginia Woolf began writing her first novel The voyage such as ‘Manet and the Post-Impressionists’ in 1910 expanded out in 1908, but it was published in 1915. Many of the audience for modern art and influenced many artists to try her short stories were experimental and some, such as this ‘new’ form of art. A room of one’s own (1929), quite political in discussing women’s writing and its historical, economic and social underpinning. Source some of Woolf’s writing and discuss it in relation to this portrait. Timeline 1901 Death of Queen Victoria; Coronation of King Edward 1911 Revolution in China, Sun Yat-sen becomes the first VII; Commonwealth of Australia created; Boxer President; Amundsen reaches the South Pole before Rebellion ends in China; R.A. Fessenden transmits the the ill-fated team led by Scott; ‘Shops Act’ legislates first human speech via radio waves; Marconi sends the for 60-hour week, all employees entitled to half-day first telegraph messages. holiday each week; ‘Ballets Russes’ perform at Covent Garden. 1902 The Boer War ends; Marie and Pierre Curie discover radiation; Australia grants women the vote; ‘Teddy’ 1912 Maternity allowance introduced; Beginning of the bears named after US President Theodore (Teddy) Irish Revolution; C.G. Jung publishes The Theory of Roosevelt. Psychoanalysis; S.S. Titanic sinks with the loss of over 1,513 lives; At Longchamps races in France, 1903 Orville and Wilbur Wright make the first successful women wear Turkish trousers á la Poiret for the first aeroplane flight; Women’s Social and Political Union time (Ascot Races in England will not permit trousers (WSPU) formed by suffragettes Emmeline and for women until 1969); Performances of Ravel’s Christabel Pankhurst; Marie Curie is the first woman Daphnis and Chloe and Stravinsky’s The Firebird. to win the Nobel Prize; Tea bags patented. 1913 Suffragette Emily Davison throws herself under the 1904 Russo-Japanese War begins; ‘Bloody Sunday’ in King’s horse at the Derby and dies from her injuries; St. Petersburg and mutiny on the battleship Potemkin The first woman magistrate is sworn in in London; mark the beginning of revolutionary Russia; Rolls- Brassiere, Zip fastener and Crosswords invented; Royce car manufacturing company formed; First Balkan War breaks out; The Armory show opens in London taxi; J.M. Barrie’s Peter Pan, or The Boy Who New York, introducing Post-Impressionism and Cubism. Wouldn’t Grow Up opens in London; New York police arrest a woman for smoking in public; 1914 Immigration, already restricted since 1905 Act, is further restricted; Over 50,000 women involved in 1905 Einstein formulates the Theory of Relativity, E=MC2; campaigning to achieve universal suffrage; Archduke Freud publishes Three Contributions to the Theory Franz Ferdinand of Austria is assassinated by a Serbian of Sex; International Workers of the World Union nationalist in Sarajevo, precipitating the First World founded; Rayon yarn manufactured commercially though the viscose process. War. 1906 Elections in Great Britain give liberals victory; ‘Line School Meals Act’ allows free dinners to school C.R.W. Nevinson 1889–1946 children; Nightshift work for women is forbidden Returning to the trenches 1914 internationally; R.A. Fessenden broadcasts the first oil on canvas 51.2 x 76.8cm radio program of voice and music. National Gallery of Canada, Ottawa, gift of the 1907 Austria declares universal direct suffrage; Paris holds Massey Collection of English Painting in 1946 first Cubist exhibition. 1908 Boy Scout movement founded by Robert Baden-Powell; C. R. W. Nevinson witnessed the heavy casualties and L.H. Baekeland invents Bakelite, the forerunner of widespread devastation of the first battles in Flanders. He plastics. wrote in the Daily Express, 25 February 1915, that he had 1909 Commonwealth introduces pensions for the aged ‘tried to express the emotion produced by the apparent (including Australia); Olympics held in London; ugliness and dullness of modern warfare. Our Futurist First purpose-built cinema opens in London; technique is the only possible medium to express the ‘Model T’ Ford produced; Sergei Diaghilev’s crudeness, violence, and brutality of the emotions seen and ‘Ballets Russes’ perform in Paris;. felt on the present battlefields of Europe … Modern art needs not beauty, or restraint, but vitality. The public cannot 1910 Death of King Edward VII, Coronation of King George V; Death of Florence Nightingale; Roger Fry’s realise too soon that the modern artist is not the puny and ‘Manet and the Post-Impressionists’ exhibition in effeminate long-haired creature of the eighties.’ London introduces post-impressionism to British audiences; Girl Guide movement founded by Baden-Powell and his sister, Agnes. Discussion point: • As an artist how would you depict war today?