DOCSLIB.ORG

The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Role of the Royal Academy in English Art 1918-1930. COWDELL, Theophilus P The role of the Royal Academy in English art 1918-1930. COWDELL, Theophilus P. Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20673/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version COWDELL, Theophilus P. (1980). The role of the Royal Academy in English art 1918-1930. Doctoral, Sheffield Hallam University (United Kingdom).. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk onemeia u-ny roiyiecnmc 100185400 4 Mill CC rJ o x n n Author Class Title Sheffield Hallam University Learning and IT Services Adsetts Centre City Campus Sheffield S1 1WB NOT FOR LOAN Return to Learning Centre of issue Fines are charged at 50p per hour Sheffield Haller* University Learning snd »T Services Adsetts Centre City Csmous Sheffield SI 1WB ^ AUG 2008 S I2 J T 1 REFERENCE ProQuest Number: 10702010 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10702010 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 THE ROLE OF THE ROYAL ACADEMY ID ENGLISH ART 1916-1930 THEOPHILUS PAUL COPPELL Ph.D. Volume I 1 V ' v i i.j .ounayii jl UU1.K ui out; xiu,y<aj. jlucilu eni.y in Dnfjriisn -nrx xy IQ —xy Abstract The Royal Academy*s promotion of the ’Arts of Design’, the edu­ cation of its students and its annual exhibitions have been subject to many forms of criticism. Despite the absorption of many older avant-garde figures into its membership the Academy maintained a conservative reputation* During and after the Great War the Academy and its members were involved in many forms of activities which gave indirect support to the war effort and commemorated the nation’s achievements. The Academy introduced a policy of inter-national ex­ hibitions and was regarded abroad as an important representative of British art. The Royal Fine Arts Commission was largely the result of the Royal Academy’s initiative: and. the Academy contributed to the general post-war interest in mural painting,and the decorative'arts. The Royal Academy Schools, having recovered from the war, adop­ ted a more liberal policy of education during the keepership of Charles Sims between: 1920 and 1926. The scheme for a Royal Academy State School of Art was never adopted, , but Sims made a number of changes within the Academy Schools which gave-more freedom to the individual student. During Sir Frank Dicksee’s presidency, however, the Schools were criticised from within the institution and after 1926 returned to a more traditional art-training, in competition with the Royal College of Art and the Slade School. The extent of the Royal Academy’s artistic conservatism is assessed by an analysis of the Diploma Works deposited by Academicians and the Chantrey Bequest purchases made during the period. The Burlington House Summer Exhibitions were also deemed conservative despite attempts at introducing a more liberal exhibition policy between 1920 and 1927. The dominating realism of Royal Academy work during the 1920s may be seen as a twentieth century development of academic practice. 2 Volume I Page The Character, History and Functions of the Royal Academy 1918-30 5 The Royal Academy Schools 38 The Royal Academy Schools, TheSlade andthe Royal College of Art 6l ’Academic’ Art and Theory 73 The Chantrey Bequest 84 Royal Academy Elections and Diploma Works 130 Royal Academy Exhibitions 173 Criticism of the Institution 213 Assessment and Conclusions The Role of the Royal Academy 220 Appendices: A Chantrey Bequest Purchases - 231 B; Analysis of prices paid.for Chantrey Bequest purchases 236 C Artists and Architects of the Royal Academy 239 D Royal Academy members ’specially employed as war artists’ 1914-1918 243 E Royal Academy Diploma Works 244 F Autumn and Winter Exhibitions 246 G Honorary Members of the Royal Academy 247 R A note upon the probationary student system employed by the Royal Academy 248 I Royal Academy Deaths, Elections and Retirements 249 J Members of the Council of the Royal Academy 1918-1930 252 JC Royal Academy Summer Exhibitions* Eumbera of works and attendances 254 L Royal Academy Schools Competition subjects 255 M Quotations used on title pages of Summer Exhibition catalogues 259 IT 1918 State School of Art syllabus 260 0 . Royal Academy elections: ages of successful candidates 270 Bibliography 272 Volume II List of Illustrations 2 Illustrations 6 3 Acknowl edgement s I would like to express my gratitude for the encouragement, help and advice given me by many individuals and institutions. I would especially like to thank Alan Bowness, Director of the Tate Gallery, Killbank, Mr S .C .Hutchison and Kiss C.A.Parker of the Royal Academy of Arts, Dr J.T.Brighton and Kr J.Kirby of the Faculty of Art and.Design, Sheffield City Polytechnic. Kr Alan Sims, Mr John Fry-Boume, Mrs Margaret Noble and Mr William. Reeves have been most helpful in providing their recollections of the period described in this thesis. I would also like to thank the staff ox the following libraries; The Courtauld Institute of Art Library, The National Art Library of the Victox*ia and Albert Museum, The D.M.S.Watson Library of University College London, The Royal College of Art Library and the Sheffield City Polytechnic Faculty of Art and Design Library. I am also indebted to Mr and Mrs Lowther Robinson of South wick, Sussex and to Mr H.Cowdell for his time and assistance in the pres­ entation of this thesis. 4 The Character, History and functions of the Royal Academy 1918-1930 In 1937 Mary Chamot stated categorically"*" that the Boyal Acad­ emy exhibitions were not representative of contemporary painting, and that the institution’s primary functions were those of providing a free art school, carrying on the social business of organizing ex­ hibitions and dinners, and finding artists to execute presentation portraits. The author’s own ’understanding of the real state of the arts' led her to sanction the Royal Academy's existence by virtue of the fact that '. there is a traditional technique of painting; it is as well that- this tradition should be kept alive, and it is appro- piate.that it,should be kept alive in the Academy.’■ Yet she was convinced that ’Academic success does no good artisti­ cally’ and wished to see the ’pure’ artist 'free' to do his work, A more detailed analysis of this and other forms of criticism will be found below (p 213) but Mary Chamot' s stress upon the official, nat- 4 ure of the institution deserves comment, - , As originally defined in the Royal Academy’s Instrument of 2 Foundation the institution was intended to 'promote the Arts, of Resign’, to provide Instruction for students ’under the direction of the ablest artists’ and to hold annual.exhibitions of 'Paintings, Sculpture and designs, which shall be open to all Artists- of distinguished merit.’ . Under the provision made in Clause xxii for the introduction of alt­ erations and additions the laws of the Royal Academy have been , modi­ fied on many occasions since 1768, but their main principles have , been retained. By the early twentieth century, notwithstanding a constant flow of criticism, the Royal Academy continued to provide a focus on contemporary British art. Sir Walter Lamb described the annual exhibition as a ’challenge to public opinion and criticism . a healthy ex­ ercise that distinguishes the Academy from other educational institutions whose authority and activities are generally taken on trust by the laymen' • Commencing in I87O with an exhibition of Old Masteigand works by 1 Mary Chamot M o d e m Painting in England London, 1937* Chapter VII, The Royal Academy and Some Traditional Painters’, pp 80-93* 2 Signed by George IIT'at St James's, December 10, 1768 .' 3 Sir Walter R.M.Lamb (Secretary to the Royal Academy 1913-195-) The Royal Academy, London 1951 PP IO5-IO6 . 5 x C.R.Leslie R.A. and Clarkson Stanfield R.A. the Royal Academy had also introduced the public to a range of work from British collec­ tions which foreshadowed the foreign art Winter Exhibitions which were to start in 1920, Both types of exhibition were seen as educ­ ative exercises intended to encourage public awareness of the arts. The Royal Academy Dinner at which the principal guest was a member of the Royal Family was still attended by diplomats, cabinet minis­ ters and important patrons of the arts. If the Royal Academy’s promotion of the arts was (and is) seen in the form of its exhibitions, the pedagogic role of the Royal Academy Schools, if less publicly evident, remained a most import­ ant part of the institution. The Schools, moreover, gave free tui­ tion to all students, being funded by the proceeds from exhibitions 2 and from various bequests. The Keeper of the Royal Academy is res­ ponsible for the direction of the Schools, and was originally assis­ ted by the holders of Professorships in Painting, Sculpture, Archi­ tecture, Perspective and Anatomy.
Load more

Recommended publications
  • Uncovering the Underground's Role in the Formation of Modern London, 1855-1945
    University of Kentucky UKnowledge Theses and Dissertations--History History 2016 Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945 Danielle K. Dodson University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.339 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Dodson, Danielle K., "Minding the Gap: Uncovering the Underground's Role in the Formation of Modern London, 1855-1945" (2016). Theses and Dissertations--History. 40. https://uknowledge.uky.edu/history_etds/40 This Doctoral Dissertation is brought to you for free and open access by the History at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--History by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • TURNER PRIZE: Most Prestigious— Yet Also Controversial
    TURNER PRIZE: Most prestigious— yet also controversial Since its inception, the Turner Prize has been synonymous with new British art – and with lively debate. For while the prize has helped to build the careers of a great many young British artists, it has also generated controversy. Yet it has survived endless media attacks, changes of terms and sponsor, and even a year of suspension, to arrive at its current status as one of the most significant contemporary art awards in the world. How has this controversial event shaped the development of British art? What has been its role in transforming the new art being made in Britain into an essential part of the country’s cultural landscape? The Beginning The Turner Prize was set up in 1984 by the Patrons of New Art (PNA), a group of Tate Gallery benefactors committed to raising the profile of contemporary art. 1 The prize was to be awarded each year to “the person who, in the opinion of the jury, has made the greatest contribution to art in Britain in the previous twelve months”. Shortlisted artists would present a selection of their works in an exhibition at the Tate Gallery. The brainchild of Tate Gallery director Alan Bowness, the prize was conceived with the explicit aim of stimulating public interest in contemporary art, and promoting contemporary British artists through broadening the audience base. At that time, few people were interested in contemporary art. It rarely featured in non-specialist publications, let alone in the everyday conversations of ordinary members of the public. The Turner Prize was named after the famous British painter J.
    [Show full text]
  • Art Gallery of Ballarat Annual Report 10-11 Annual Report
    Art Gallery of Ballarat Annual Report 10-11 Annual Report 2010-11 ISSN 0726-5530 Chair’s Report .................................................................................................4 Art Gallery of Ballarat ACN: 145 246 224 Director’s Report .........................................................................................6 ABN: 28 145 246 224 Association Report .....................................................................................8 40 Lydiard Street North Ballarat Victoria 3350 Women’s Association Report ............................................................10 T 03 5320 5858 F 03 5320 5791 Gallery Guides Report ...........................................................................11 [email protected] Acquisitions ...................................................................................................13 www.artgalleryofballarat.com.au Outward Loan ..............................................................................................27 Exhibitions ......................................................................................................31 Public Programs ........................................................................................35 Education Visits and Programs ..........................................................37 Adopt an Artwork ......................................................................................40 Donations, Gifts and Bequests .........................................................41 Gallery Staff and Volunteers
    [Show full text]
  • Appendices 2011–12
    Art GAllery of New South wAleS appendices 2011–12 Sponsorship 73 Philanthropy and bequests received 73 Art prizes, grants and scholarships 75 Gallery publications for sale 75 Visitor numbers 76 Exhibitions listing 77 Aged and disability access programs and services 78 Aboriginal and Torres Strait Islander programs and services 79 Multicultural policies and services plan 80 Electronic service delivery 81 Overseas travel 82 Collection – purchases 83 Collection – gifts 85 Collection – loans 88 Staff, volunteers and interns 94 Staff publications, presentations and related activities 96 Customer service delivery 101 Compliance reporting 101 Image details and credits 102 masterpieces from the Musée Grants received SPONSORSHIP National Picasso, Paris During 2011–12 the following funding was received: UBS Contemporary galleries program partner entity Project $ amount VisAsia Council of the Art Sponsors Gallery of New South Wales Nelson Meers foundation Barry Pearce curator emeritus project 75,000 as at 30 June 2012 Asian exhibition program partner CAf America Conservation work The flood in 44,292 the Darling 1890 by wC Piguenit ANZ Principal sponsor: Archibald, Japan foundation Contemporary Asia 2,273 wynne and Sulman Prizes 2012 President’s Council TOTAL 121,565 Avant Card Support sponsor: general Members of the President’s Council as at 30 June 2012 Bank of America Merill Lynch Conservation support for The flood Steven lowy AM, Westfield PHILANTHROPY AC; Kenneth r reed; Charles in the Darling 1890 by wC Piguenit Holdings, President & Denyse
    [Show full text]
  • DAME BARBARA HEPWORTH 1903 Wakefield - St
    LE CLAIRE KUNST SEIT 1982 DAME BARBARA HEPWORTH 1903 Wakefield - St. Ives 1975 Marble Form Oil and pencil over gesso-prepared board. Signed and dated lower left Barbara Hepworth 1963. Further signed, titled, dated and inscribed on the reverse. 455 x 660 mm PROVENANCE: Mr and Mrs H. Davidson, Toronto – Private collection, U.S.A. EXHIBITIONS: Barbara Hepworth: Sculpture and Drawings, Gimpel-Hanover Galerie, Zurich, 16 November 1963 - 11 January 1964 (drawings not listed) – Barbara Hepworth: Sculptures and Drawings, Gimpel Fils, London, 2 - 27 June 1964 (drawings not listed) – Focus on Drawings, Art Gallery of Toronto, Toronto, 15 October – 7 November 1965, cat. no. 117. RELATED DRAWINGS IN PUBLIC COLLECTIONS: Art Gallery of Ontario, Toronto – Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. – National Gallery of Australia, Canberra – Manchester City Art Gallery – Milwaukee Art Gallery – Piers Art Centre, Stromness, Orkney Islands – Rijksmuseum Kröller-Müller, Otterlo – Tate, London Vision is not sight ‒ it is the perception of the mind. It is the discernment of the reality of life, a piercing of the superficial surfaces of material existence that gives a work of art its own life and purpose and significant power.1 (Barbara Hepworth, 1937) In 1966, in her autobiographical essay A Sculptor’s Landscape, Barbara Hepworth reiterated the mental, rather than the visual inspiration that informed virtually all of her abstract, sculptural drawings from the early 1940s onwards, when she wrote: I rarely draw what I see – I draw what I feel in my body.2 By sculp- tural, I mean that the drawings echoed, were a two-dimensional exploration of her current three- dimensional obsessions.
    [Show full text]
  • Sculpting Lives S1E1, Barbara Hepworth
    Sculpting Lives podcast transcript Series 1, Episode 1: Barbara Hepworth This document is an accessible transcript of the podcast audio. Subscribe and listen: https://audioboom.com/posts/7525504-sculpting-lives-barbara-hepworth [music] Sara Matson: She managed her brand, fair play. Eleanor Clayton: A normal person from Wakefield; A remarkable artist but a remarkable woman. Stephen Feeke: Hepworth was odd because she didn't see herself as a feminist at all and didn't see herself as “I'm a pioneering woman”. She just felt she was a pioneering sculptor. Barbara Hepworth: I was born with the ideas of certain shapes in my mind. At least I remember as far back as seven. The whole time one's been working at it and working, trying to simplify and make more mature, get the right scale, and develop it according to the development of society. [music] Jo Baring: Hello, and welcome to Sculpting Lives the podcast by me, Jo Baring. Sarah Victoria Turner: And me, Sarah Turner. Jo, this is our first podcast and episode. Why are we doing this? Jo Baring: We met in our professional lives. You are Deputy Director of the Paul Mellon Centre, and I am Director of the Ingram Collection. We have a shared interest in art, but we realised when we met that we are really fascinated by sculpture in particular. Also, during the course of our discussions, we realised that women artists and women sculptors, in general, are less commercially successful than men, less represented in national institutions, museums, possibly have less gallery shows and we really wanted to unpick why that happens.
    [Show full text]
  • VN Volume 9 (Entire Issue)
    Kate Flint 1 How Do We See? Kate Flint, Provost Professor of Art History and English (University of Southern California, USA) How do we see? And how do we learn to see? These two questions, despite being highly similar, are far from identical. An increasing number of mid-Victorian commentators, who considered the act of looKing from the entwined perspectives of science and culture, investigated them. They explored and explained connections between the physiology and psychology of vision; the relationship between looking, attention, and ocular selection; and the variations in modes of seeing that come about through occupation, environment, and the spaces of sight. These, too, are the issues at the heart of the stimulating essays in this issue of Victorian Network. In 1871, the journalist Richard Hengist Horne brought out a strangely hybrid volume: The Poor Artist; or, Seven Eye-Sights and One Object. The narrative of a struggling painter, first published in 1850, was now prefaced by a ‘Preliminary Essay. On Varieties of Vision in Man.’ Horne acknowledges that the passages strung together into the essay ‘have been jotted down at various intervals, and in various parts of the globe’.1 Indeed, they constitute a collection of musings on the subject rather than a sustained argument, as though Horne’s own attention was incapable of resting steadily on a designated object. But he also recognizes that the variety of examples and exceptions he discusses precludes arriving at any firm generaliZations concerning the act of visualiZation – apart from the fact that we may extend the principle of variety in vision to the other senses.
    [Show full text]
  • International Art
    International Art Collectors’ List No. 168, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Cecil Aldin (Brit., 1870-1935). Miss Camp­ JOSEF LEBOVIC GALLERY bell’s “April Lady” & “Dame Marigold” Babies, Established 1977 Mr Frank Harrison’s “Champion Angelo” & 103a Anzac Parade, Kensington (Sydney) NSW Mr Duerdin Dutton’s “Starboard” [St Bernard Dogs], 1893. Ink and wash with white highlight, Post: PO Box 93, Kensington NSW 2033, Australia captioned left and right, signed and dated lower Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) left, publishing annotations in pencil in various hands with two stamps verso, 44.1 x 29.7cm. Email: [email protected] • Web: joseflebovicgallery.com Foxing, slight stains, soiling over all. $2,900 Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Stamps read “Horace Cox, Brear’s Buildings, E. C. The Member of • Association of International Photography Art Dealers Inc. Queen” and “C. Robertson & Co. Artist’s Colourmen. 99 Long Acre and 154 Piccadilly, London.” International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 168, 2013 International Art On exhibition from Sat., 9 November 2013 to Sat., 1 February 2014. All items will be illustrated on our website from 16 November. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $0.96¢; UK £0.59p © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka 2.
    [Show full text]
  • Copyright Statement
    COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
    [Show full text]
  • The Turner Family Magazine : Genealogical, Historical and Biographical
    • ^u/i- /f. r Turner faznil;; nrf^aj^lne . Ceesed publlcetlon rith A^ril 1917 ins"'ie, Pubr SoDt . e, 1920. Cf)e burner Jf amtl|) i^laga^tne Genealogical, Historical and Biographical EDITED BY WILLIAM MONTGOMERY CLEMENS VOLUMES ONE AND TWO SIX NUMBERS JANUARY 1916, TO APRIL 1917 WILLIAM M. CLEMENS PUBLISHER NEW YORK \ c 918^21 ASTOn, LENOX AND TTLDKN fOUNDATION* PRINCIPAL CONTENTS Page Boston, Mass., Records 31 Connecticut Early Settlers 2 Connecticut Marriages 76-96 Dorchester, Mass., Records 94 Hanover, Mass., Births 61 Harry Turner of Virginia 71 Humphrey Turner's Descendants 33 Jesse Turner of Arkansas 57 Lemuel Turner of Maine 5 Maine Marriages 23-48-60 Maryland Marriages 64-67 Massachusetts Marriages 81 Micah Turner of Weymouth 59 Missouri Marriages 7 9 New Jersey Marriages 43 New York Marriages 19 New York Wills 47 North Carolina Marriages 39 Ohio Marriages 27 Pennsylvania Marriages 53 Philadelphia Marriages 73 Revolutionary Records 11-49-65 Rhode Island Marriages 89 Scituate, Mass., Baptisms 92 Turner Lines of Descent 13 Virginia Marriages 7-4 8 Virginia Records 86 Virginia Wills 6 The Turner Family MAGAZINE JANUARY. 1916 J THE FAMILY OF TURNER •n An ancient house of Norman-French origin, the Turn- ers appear in England at the time of the Conquest. In the thirty-five different branches of the British family there are as many varied coats-of-arms. The distinguishing feature of a majority of these is the mill rind in which the center of the millstone is set, indicating that the early Turners were millwrights or millers.
    [Show full text]
  • 'Art of a Second Order': the First World War from the British Home Front Perspective
    ‘ART OF A SECOND ORDER’ The First World War From The British Home Front Perspective by RICHENDA M. ROBERTS A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham September 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Little art-historical scholarship has been dedicated to fine art responding to the British home front during the First World War. Within pre-war British society concepts of sexual difference functioned to promote masculine authority. Nevertheless in Britain during wartime enlarged female employment alongside the presence of injured servicemen suggested feminine authority and masculine weakness, thereby temporarily destabilizing pre-war values. Adopting a socio-historical perspective, this thesis argues that artworks engaging with the home front have been largely excluded from art history because of partiality shown towards masculine authority within the matrices of British society. Furthermore, this situation has been supported by the writing of art history, which has, arguably, followed similar premise.
    [Show full text]
  • Secondary and FE Teacher Resource for Teaching Key Stages 3–5 Sculpture in the RA Collection a Sculpture Student at Work in the RA Schools in 1953
    Secondary and FE Teacher Resource For teaching key stages 3–5 Sculpture in the RA Collection A sculpture student at work in the RA Schools in 1953. © Estate of Russell Westwood Contents Introduction Illustrated key works with information, quotes, key words, questions, useful links and art activities for the classroom Glossary Further reading To book your visit Email studentgroups@ royalacademy.org.uk or call 020 7300 5995 roy.ac/teachers ‘...we live in a world where images are in abundance and they’re moving, [...] they’re doing all kinds of things, very speedily. Whereas sculpture needs to be given time, you need to just wait with it and become the moving object that it isn’t, so this action between the still and the moving is incredibly demanding for all. ’ Phyllida Barlow RA The Council of the Royal Academy selecting Pictures for the Exhibition, 1875, Russel Cope RA (1876). Photo: John Hammond Introduction What is the Royal Academy of Arts? The Royal Academy (RA) was Every newly elected Royal set up in 1768 and 2018 was Academician donates a work of art, its 250th anniversary. A group of known as a ‘Diploma Work’, to the artists and architects called Royal RA Collection and in return receives Academicians (or RAs) are in charge a Diploma signed by the Queen. The of governing the Academy. artist is now an Academician, an important new voice for the future of There are a maximum of 80 RAs the Academy. at any one time, and spaces for new Members only come up when In 1769, the RA Schools was an existing RA becomes a Senior founded as a school of fine art.
    [Show full text]