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CEMA) and the Development of the Arts Council in Scotland Background, Politics, Visual Art Policy 1919-1947

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CEMA) and the Development of the Arts Council in Scotland Background, Politics, Visual Art Policy 1919-1947 University of Dundee DOCTOR OF PHILOSOPHY The Council for the Encouragement of Music and the Arts (CEMA) and the development of the Arts Council in Scotland background, politics, visual art policy 1919-1947 McArthur, Euan Award date: 2005 Awarding institution: University of Dundee Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 20. Jun. 2016 DOCTOR OF PHILOSOPHY The Council for the Encouragement of Music and the Arts (CEMA) and the development of the Arts Council in Scotland background, politics, visual art policy 1919-1947 Euan McArthur 2005 University of Dundee Conditions for Use and Duplication Copyright of this work belongs to the author unless otherwise identified in the body of the thesis. It is permitted to use and duplicate this work only for personal and non-commercial research, study or criticism/review. You must obtain prior written consent from the author for any other use. Any quotation from this thesis must be acknowledged using the normal academic conventions. It is not permitted to supply the whole or part of this thesis to any other person or to post the same on any website or other online location without the prior written consent of the author. Contact the Discovery team ([email protected]) with any queries about the use or acknowledgement of this work. ,,(H 2..6 \S ::LcroS- The Council for the Encouragement of Music and the Arts (CEMA) and the Development of the Arts Council in Scotland Background, Politics, Visual Art Policy 1919-1947 A thesis submitted to the University of Dundee for the Degree of Doctor of Philosophy in the Faculty of Duncan of Jordanstone College of Art and Design Volume One Background and Politics Euan C. McArthur School of Fine Art July 2005 The Council for the Encouragement of Music and the Arts (CEMA) and the Development of the Arts Council in Scotland: Background, Politics and Policy 1919-1947 Volume One Background and Politics Volume One Contents Part One: Introduction Chapter 1 Context and Approach 1 Aims of this Study 2 Methods 6 Literature Review 12 Part Two: Background: Adult Education and the Voluntary Sector, 1919-1939 Chapter 2 The Origins of CEMA 20 Tom Jones: a Short Biography 21 The Emergence of CEMA 25 The 1919 Report 30 Chapter 3 The British Institute of Adult Education (BlAE) 39 Art for the People 44 The Scottish Connection 49 The British Art Institute 51 Chapter 4 The National Council for Social Service (NCSS) 58 The SCVOW 67 The National Youth Committee 69 Welfare and Cultural Education 72 Part Three: Overview: CEMA and the Arts Council, 1940-43 Chapter 5 CEMA in Scotland, 1940-43 79 Relations with the Carnegie UK Trust 82 Administration, 1940-43 83 Training for Citizenship 86 Chapter 6 Planning CEMA's Future 91 Keynes as Chairman 97 Part Four: Politics: CEMA and the Arts Council in Scotland, 1940-47 Chapter 7 Why CEMA was a Threat 103 The Autonomy of Scottish Art Institutions 104 CEMA and Scottish Nationalism 107 Chapter 8 First Reactions to CEMA in Scotland 111 Scottish Representation 1 (April-May 1940) 117 Scottish Representation 2 (June-August 1940) 125 Chapter 9 The Emergence of the Scottish Committee, 1941-42 129 Trouble with Cursiter (May-August 1942) 132 Trouble with Cursiter (August-November 1942) 144 Osborne Mavor becomes Scottish Chairman 146 Chapter 10 Creating the Scottish Committee 153 The Scottish Three Arts Council 156 To Advise and Assist 161 Chapter 11 Relations with London, 1943-44 170 The Art Advisory Committee 174 Scottish Ambitions; London Resistance 175 Chapter 12 Keynes's Plans for CEMA's Future 180 Mavor's Nationalist Sympathies 183 Scottish Reaction to Keynes's Plans 186 The Arts Council and Transfer to the Treasury 190 Mavor and Honeyman's Debate 193 Approaching Crisis 198 Keynes's Stratagem and Compromise 207 Chapter 13 Reaching Agreement, 1946-47 215 Keynes's Death and Mavor's Resignation 220 James Welsh becomes Chairman 222 The 1947 Agreement 226 Volume Two Contents Part Five: Visual Art Policy and Activities, 1940-47 Chapter 14 Reaction and Initiative 231 Policy Objectives 234 Visual Art Policy 236 Policy and its Discontents 238 Chapter 15 Visual Art Activities, 1940-47 248 Exhibitions Overview, 1940-46 249 Gallery Exhibitions 257 Geographical Range 259 Schools as Venues 262 Exhibitions, 1946-47 264 Exhibitions of Reproductions, 1940-46 264 Exhibitions and Artists 267 Attaining Policy Aims 277 Encouraging Higher Standards 278 Improving Accessibility 279 Attendance 286 Part Six: Conclusion Chapter 16 CEMA and the Arts Council in Scotland 295 CEMA's Scottish Affinities 296 CEMA and the Politics of Identity 299 CEMA and the Politics of Education 304 Osborne Mavor as Chairman 309 Hegemony or Assimilation? 313 Scottish Visual Art and Modernism 322 Appendices, Bibliography and Archives Appendix One: Council and Scottish Committee Members 1 Appendix Two: Tables 3 Appendix Three: Scottish Finance, 1940-47 19 Appendix Four: Selective Biographies 24 Appendix Five: Idealism and Citizenship 36 Bibliography 74 Archives (acronyms) 88 Tables (Appendix Two) Table 1 Exhibitions in Scotland, 1940-46 Table 2 Total new exhibitions, showings, venues and centres, 1940-46 Table 3 New exhibitions by producer, 1940-46 Table 4 New exhibitions shown in Scotland, as percentages compared to British totals, 1940-45 Table 5 Scottish-produced new exhibitions compared to London­ produced exhibitions shown in Scotland, 1940-45 Table 6 Identifiable showings in Scotland as percentages of England and Wales totals, 1940-45 Table 7 BIAE/Scottish Branch and CEMAIScottish committee share of showings in Scotland, 1940-46 Table 8 Annual total of identifiable showings by producer, 1940-46 Table 9 Exhibitions with particular Scottish content, 1940-46 Table 10 Breakdown of exhibitions by content, 1940-46 Table 11 Individual main gallery totals, 1940-46 Table 12 Major gallery showings, 1940-46 Table 13 Exhibitions by gallery, 1940-46 Table 14 Exhibitions shown in art galleries only, 1940-46 Table 15 Identifiable Scottish centres where exhibitions (other than reproductions) were shown, 1940-46 Table 16 Identifiable counties where exhibitions (other than reproductions) were shown, 1940-46 Table 17 Venues unidentified with any location where exhibitions (other than reproductions) were shown, 1940-46 Table 18 Showings by geographical area, 1940-46 Table 19 Showings related to Populations of Burghs and Counties Table 20 Counties that had no identifiable exhibitions, 1940-46 Table 21 Ratios of Exhibitions to Populations (major cities) Table 22 Identifiable schools used for exhibitions, 1940-46 Table 23 Exhibitions shown in Scottish schools, 1940-46 Table 24 Identifiable exhibitions of reproductions, 1940-46 Table 25 Scottish schools that showed reproductions, 1940-46 Table 26 Total identifiable sets and showings of reproductions In Scotland, 1940-46 Acknowledgements I would like to thank my supervisors, Professor Murdo Macdonald and Professor Lindsay Paterson, for their interest in my work over an unconscionably long time, and for their encouragement and always constructive criticism. I would also like to thank the School of Fine Art for providing me with financial support to carry out my research and my colleagues for their patience when they made the mistake of asking me what my research was about. Finally, I would like to thank the University of Dundee for enabling me, as a member of staff, to undertake this work. Declaration I, Euan C. McArthur, am the sole author of this thesis. Unless otherwise stated, I have personally consulted all references cited herein. The work in this thesis is an accurate record of research carried out by me and has not been previously accepted for a higher degree. Euan C. McArthur Summary This work is a history of how the arts council system of public funding of contemporary art developed in Scotland between 1919 and 1947, with a specific focus on the visual arts. It treats that history as belonging, primarily, to the history of education and, through its origins in the voluntary sector, to the history of the emerging welfare state. The thesis explores the significance of philosophical Idealism, both as social theory and aesthetic theory. It argues that Idealism had a profound, if in some respects conflicting, influence on the processes described here, including the seminal importance of The 1919 Report and in forming then-contemporary ideas ofnational cultural identity. Central to the purpose of the thesis is an account of the political and administrative context within which this development took place, especially in relation to the Scottish Education Department. The thesis presents in effect a case study in the negotiation of administrative devolution, to secure a Scottish dimension while preserving an over-arching British unity. The conclusion is that the success of Scottish demands for devolution in the face of strong resistance in London was crucial to preserving the Arts Council's British identity, but that this was a Pyrrhic victory for those Scots who believed that devolution would be a brief interlude before full independence was achieved under Home Rule. The third part of the thesis examines visual art policy and activities between 1940 and 1947.
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