DOCSLIB.ORG

A CONTEMPORARY ART SOCIETY J REPORT 1928

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A CONTEMPORARY ART SOCIETY J REPORT 1928 (~~) t~i~) hi~) i;,~ ;;,;~ ~~)(~~) ~ CONTEMPORARY ~ ~ ~t ART SOCIETY ~ ~ t f~ J REPORT 1928 THE CONTEMPORARY ART SOCIETY For the Acquisition of Worksof Modern Art for Loan or Gift to PublicGalleries. President: LORD HOWARD DE WALDEN Treasurer: SIR, C. KENDALL-BUTLER, K.B.E. Bourton House, Shrivenham HonorarySecretary : LORD IVOR SPENCER-CHURCHILL . 9 Chelsea Embankment S.W.3 Committee : LORD HENRY BENTINCK, M.P. (Chairman) Charles Aitken St. John Hutchinson Lord Balniel Edward Marsh, C.B., C.M.G., Muirhead Bone c.v.o. Samuel Courtaul<l Ernest Marsh Roderick Meiklejohn, C.B. A. M. Daniel The Hon. Jasper Ridley Campbell Dodgson, C.B.E. Sir Michael Sadler, C.B., K.C.S.I. Anthony Eden The Earl of Sandwich Roger Fry Montague Shearman The Honorary Secretary Assiffant Secretary : Mr. H. S. EDE I TWOWOMEN Sickert Presented to the Society by Lord Howard de Walden 2 REPORT N the conviction that much of the finer artistic talent of our time was imperfectly or not at all represented in the National and Municipal Galleries, the Contemporary Art Society was initiated in the year 1909. Its aim is to encourage, by the purchase and exhibition of chosen examples of their work, painters who in other countries would enjoy a certain official patronage. During the lastcentury little or no attempt was made to secure for the nation specimens of such vital contemporary painting as has since proved to stand thetestof time, and to take a few instances, it is almost entirely due to private foresight and munificence that Alfred Stevens, the Pre-Raphaelites and the Impressionists are represented at all in the public collections. This Society, on whose committee a wide range of opinions is represented, hopes to obviate a similar reproach against hepresent age, and by discriminating purchase to fill up what would seem to posterity an inexcusable gap in our museums and galleries, overloaded as they are with ephemeral work of the time preceding our own. Side by side with the enrichment of the collections, the Society has the further aim, in the interests of the artists themselves, of supplying, so far as its means allow, the falling off in private buying which has resulted from the present financial stringency. These are difficult times for young painters and sculptors who have to live on the proceeds of their work, and the need for some form of public patronage was never greater than now. The method of purchase is as follows :- A single member of the Committee is appointed as buyer for twelve months, and has the spending of the Society's income, less 2 5 per cent., which is put into a Reserve Fund. The purchases are either retained by the Society and lent from time to time for exhibi- tions, or presented outright to some public gallery. After a certain 3 number of years it is in the power of the Committee to sell pictures which for any reason they no longer wish to keep, and buy others with the proceeds. The present Report contains a list of the acquisitions of the Society during 1928, its gifts to provincial galleries, a Statement of subscriptions and donations for 1928, and a Financial Statement for the year 1927. Separate Reports from the Print Fund and the Arts and Crafts Fund are included with this Report. Pictures have been lent in 1928 to The National Gallery, Mill- bank, London Group Retrospective Exhibition, Accrington, Bath, Buenos Aires, Bury, Leeds, Manchester, Rochdale, Swansea, Treorchy, Venice. Enthusiastic letters of thanks have been received. The Committee feels that it is not widely enough known that provincial Galleries may borrow pictures from the C.A.S., and it asks members to en- cor llris, in which they are interested, to apply for loans. The Society has also, during 1928, given pictures to most of the principal galleries and proposes to make a new selection for gift during the early part of 1929. In consequence of this, several of the provincial Galleries have raised their subscription to ten guineas, and it is hoped that with these added funds, the Society will be able to distribute pictures more regularly. It was suggested that each Gallery should collect " Friends of the Gallery " who would be willing to give at least a very small subscription each year, and that the total should be sent to the C.A.S. as a donation from the Gallery concerned. In exchange, the C.A.S. would undertake to present the Gallery with a picture of considerably greater value than the donation sent. The City of York carried out this scheme with success. The Society has started a separate fund for the purchase of work by contemporary artists of foreign nationality. It is felt that the public galleries in England are very deficient in representative works of 4 5 foreign schools, and they appeal for additional subscriptions, which can be earmarked for this purpose. I ' In February of 1928 a very successful Exhibition of Modern Foreign Painting was held by the C.A.S. at Messrs. Knoedlers. Messrs. Knoedler very kindly lent their Galleries free of charge, and over 600 people visited the Exhibition. PURCHASES BY THE FOREIGN FUND Since its formation the Foreign Fund has obtained by purchase or gift such important works as " Liseuse en plein Air " by H . Matisse, "La Mariee" by G . Rouault, "Femme assise clans un Interieur " by Vuillard, "Vieux Port, Marseille," by H. Clement, "Cows" by D. de Segonzac, "Head of a Woman" by A. Moreau, three statues and drawings by H . Gaudier-Brzeska, and will soon obtain an important work by ]\faillol. PRIVILEGES TO MEMBERS OF THE CONTEMPORARY ART SOCIETY ' It has been arranged that all members of the Contemporary Art Society may attend, free of charge, Exhibitions at the following Galleries on presentation of their Card of Membership : The French Gallery The Goupil Gallery ' The Guillaume Gallery The Independent Gallery The Lefevre Galleries The Leicester Galleries . The London Group Exhibitions The Seven and Five Exhibitions The National Gallery, Trafalgar Sq. The National Gallery, Millbank The Wallace Collection. It is hoped that in the course of the next year further privileges may be obtained. Cards of Membership have been sent to all members. The minimum Annual Subscription is placed at the figure of one guinea in order tbat as large a number of members may be enlisted as possible. Subscriptions or Donations should be sent to the Hon. Secretary, Lord Ivor Spencer-Churchill, 9 Chelsea Embankment, London, S.W.3. 8 EEASSI E T illrd Purchased by theForeign Fund 9 APPENDIX A PURCHASES DURING 1928 Title Medium A rt1'st Toulon Shops Oil W alter Bayes Emile Plantin Oil Peter Brooker The Red Lion Inn Rodney Burn The Grimsel Pastel Arnold Foster Figure Study Oil Robin Guthrie Seascape Water-colour Derwent Lees Southwold Harbour W ater-colour Mary McCrossan At the Back of the Old Inn Oil Winston McQuoid Vieux Cagnes Oil Geoffrey Nelson Vegetables Oil Louise Pickard The Mill Stream Water-colour R . V.Pitchforth Barnett Freedman Bronze S.Rabinovitch The coming Thunderstorm Oil M. K. Rolls ear Avignon Oil Eliot Seabrooke FOREIGN FUND Femme assise dans un Interieur Oil Vuillard Vieux Port, Marseille. Oil H . Clement GIFTS TO THE SOCIETY Title Medium Artist Donoror The Hammock Oil Duncan Grant Anonymously The Paddock Oil William Roberts do. Birds in Flight Brass Maurice Lambert do. Still Life Oil Keith Baynes Lord Ivor Spencer- Churchill The Passage Oil R. d'Este Burford do. Girl's Head Oil Mark Gertler do. La T ache Rouge W.-C. Fred. Mayor do. In a Window Temp'ra E. Polunin do. Fruit Oil V. Polunin do. Bananas in Flower Oil The L ady Patricia do. Ramsay Reclining N ude Oil Sickert do. Street Oil VanOss do. In the Baltic Oil Keith Baynes Mr. Edward Marsh The Chess Players Oil Pitchfforth do. Fishers Oil Neville Lewis do. Still Life Oil Meninsky do. The Farm Oil Cedric Morris do. The Strength of Samson W.-C. Tom ash do. Cumberland Landscape Oil Christopher Wood do. The Bather (tempera) Oil Walter Bayes Lord Howard de Walden Head Oil Ferguson do. Head of a Girl Oil Ferguson do. Landscape Oil Ginner do. Gloucestershire Landscape Oil Fairlie H armer do. Newington Oil Miss Hudson do. 10 GIFTS TO THE SOCIETY-(cont.) Title Medium A rtist Donor Two Women Oil Walter Sickert Lord Howard de ln Street Oil Walter Sickert do. Alverscot W .-C. Miss R. A . West do. Landscape s.w. Barnett Freedman Mr. 0. Simon W. Staite Murray D.P. Mukul Dey Miss Helen Sutherland Flowers Oil Ivon Hitchens do. Landscape W.-C. Ivon Hitchens do. Birds Oil Cedric Morris do. Flowers Etch. W. Staite Murray do. Landscape W.-C. Winifred Nicholson do. FOREIGN FUND 4 designs for costume W .-C. Bakst Lord Howard de Walden Head Oil Philip aviasky do. OldWoman Oil Philip Naviasky do. Still Life Oil Bissiere Sir Joseph Duveen Harbour Oil A. Fraye do. ALake Oil Le Sidaner Lord Ivor Spencer- Chmchil l GIFTS FROM THE SOCIETY TO PROVINCIAL GALLERIES, 1928 Town Title Artist Birmingham Dublin ight J.B. Yeats Bradford The Potman Thompson Bootle A Soldier of Sikkim F . Helps Brighton The Last Ride J . B. Yeats Bristol Peasant Girl Currie Cardiff Les Bains Chauds Cundell Glasgow Breton Peasant H. Lamb Harrogate Venice P. Naze Huddersfield Still Life C . Cole Leeds Jazz W. Roberts Manchester Boats at St.Tropez Duncan Grant Ships in Dock E. Wadsworth :Manchester Still Life Gertler Rutherston Loan Collection Whitworth Institute Study of a Woman A. E. John Landscape Paul Nash The Family Gaudie1-Brzeska The Lascar Wyndham Lewis Merthyr Tydfil Littlehampton F.
Load more

Recommended publications
  • Paul Mellon Centre for Studies in British Art Library: New Accessions March 2017
    Paul Mellon Centre for Studies in British Art Library: New accessions March 2017 0730807886 Art Gallery Board of Claude Lorrain : Caprice with ruins of the Roman forum Adelaide: Art Gallery Board of South Australia, C1986 (44)7 CLAU South Australia (PAMPHLET) 8836633846 Schmidt, Arnika Nino Costa, 1826-1903 : transnational exchange in Milan: Silvana Editoriale, 2016 (450)7 COST(N).S European landscape painting 0854882502 Whitechapel Art William Kentridge : thick time London: Whitechapel Gallery, 2016 (63)7 KENT(W).B Gallery 0956276377 Carey, Louise Art researchers' guide to Cardiff & South Wales [London]: ARLIS UK & Ireland, 2015 026 ART D12598 Petti, Bernadette English rose : feminine beauty from Van Dyck to Sargent [Barnard Castle]: Bowes Museum, [2016] 062 BAN-BOW 0903679108 Holburne Museum of Modern British pictures from the Target collection Bath: Holburne Museum of Art, 2005 062 BAT-HOL Art D10085 Kettle's Yard Gallery Artists at war, 1914-1918 : paintings and drawings by Cambridge: Kettle's Yard Gallery, 1974 062 CAM-KET Muirhead Bone, James McBey, Francis Dodd, William Orpen, Eric Kennington, Paul Nash and C R W Nevinson D10274 Herbert Read Gallery, Surrealism in England : 1936 and after : an exhibition to Canterbury: Herbert Read Gallery, Canterbury College of Art, 1986 062 CAN-HER Canterbury College of celebrate the 50th anniversary of the First International Art Surrealist Exhibition in London in June 1936 : catalogue D12434 Crawford Art Gallery The language of dreams : dreams and the unconscious in Cork: Crawford Art Gallery,
    [Show full text]
  • The Porta Del Popolo, Rome Pen and Brown Ink on Buff Paper
    Muirhead BONE (Glasgow 1876 - Oxford 1953) The Porta del Popolo, Rome Pen and brown ink on buff paper. Signed Muirhead Bone at the lower right. 222 x 170 mm. (8 3/4 x 6 5/8 in.) One of the first trips that Muirhead Bone made outside Britain was a long stay of two years - from October 1910 to October 1912 – in central and northern Italy, accompanied by his wife Gertrude and their children. After spending several weeks in Florence, the Bone family settled in Rome in the early months of 1911, and from October 1911 lived in a flat overlooking the Piazza del Popolo. During his time in Italy Bone produced thirty-two copper plates and numerous fine drawings, several of which were sent from Italy to London and Glasgow to be sold by his dealers. A number of Bone’s drawings of Italy were exhibited at the Colnaghi and Obach gallery in London in 1914, to very positive reviews. The present sheet depicts part of the outer façade of the city gate known as the Porta del Popolo, a section part of the Aurelian Walls encircling the city of Rome. The gate was the main entrance to Rome from the Via Flaminia and the north, and was used by most travellers arriving into the city for the first time. Built by Pope Sixtus IV for the Jubilee year of 1475, the Porta del Popolo was remodelled in the 16th century under Pope Pius IV. The Pope had asked Michelangelo to design the new outer façade of the Porta, but the elderly artist passed the commission on to the architect Nanni di Baccio Bigio, who completed the work between 1562 and 1565.
    [Show full text]
  • Art and the Greatwar
    PRE FACE HE purpose of this book has been to chronicle the part played in the Great War b a nt rs llustrators etch rs l tho ra hers and scul r y p i e , i , e , i g p p The r serv s w r o r at valu nd cer tors act n in th se ca ac t s . c a f , i g e p i ie i i e e e f g e e h s h r , tainly deserved to be recorded . Speaking of t e ervice rendered by t e a t ists the Honorabl Cart r Glass S cr tar o the Tr asur has sa d : , e e , e e y f e y, i r w s h n s t h rt sts Futur The whole civiliz ed wo ld o e t a k o t e a i of America . e history would be incomplete without adequate recognition of the mighty concrete values which the artists of the war wrung from thefabrics of their dreams and devoted to the rescue of humanity from further bloodshed and sacrifice. I hav ndeavor d to show what the art sts o the Un t d Stat s Gr at e e e i f i e e , e Br ta n anada and Franc hav don both in de ct n sc nes at the i i , C e e e, pi i g e actual ront and beh nd the l n s in r cord n the wor o the nav s and f i i e , e i g k f ie the av at on cor s as well as de ct n scen s in the sh ards mun t on i i p , pi i g e ipy , i i t r s n u tr l l nts an w r n n I hav too tr d to ac o d s a a d o o the la d .
    [Show full text]
  • A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War M
    Bold Impressions: A Comparative Analysis of Artist Prints and Print Collecting at the Imperial War Museum and Australian War Memorial Alexandra Fae Walton A thesis submitted for the degree of Doctor of Philosophy of the Australian National University, June 2017. © Copyright by Alexandra Fae Walton, 2017 DECLARATION PAGE I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgement, the work presented is entirely my own. Acknowledgements I was inspired to write about the two print collections while working in the Art Section at the Australian War Memorial. The many striking and varied prints in that collection made me wonder about their place in that museum – it being such a special yet conservative institution in the minds of many Australians. The prints themselves always sustained my interest in the topic, but I was also fortunate to have guidance and assistance from a number of people during my research, and to make new friends. Firstly, I would like to say thank you to my supervisors: Dr Peter Londey who gave such helpful advice on all my chapters, and who saw me through the final year of the PhD; Dr Kylie Message who guided and supported me for the bulk of the project; Dr Caroline Turner who gave excellent feedback on chapters and my final oral presentation; and also Dr Sarah Scott and Roger Butler who gave good advice from a prints perspective. Thank you to Professor Joan Beaumont, Professor Helen Ennis and Professor Diane Davis from the Australian National University (ANU) for making the time to discuss my thesis with me, and for their advice.
    [Show full text]
  • Fttfe MUSEUM of MODERN1 ART
    jr. ,•&-*- t~ V* *«4* /C^v i* 41336 - 2Z f± **e y^^A-^-^p, fttfE MUSEUM OF MODERN1 ART P WEST 53RD STREET, NEW YORK -uEPHONE: CIRCLE 5-89CO FOE IMMEDIATE RELEASE (Note* Photographs of paintings available) BRITAIN DELIVERS WAR PAINTINGS TO MUSEUMxOF MODERN ART. LORD HALIFAX TO OPEN EXHIBITION. On Thursday evening, May 22, Lord Halifax, Great Britain's Ambassador to the United States, will formally open at the Museum of Modern Art an exhibition of the Art of Britain At War, designed to show the wartime roles England assigns to her artists and de­ signers. It will be composed of oils, watercolors, drawings, prints, posters, cartoons, films, photographs, architecture and camouflage of the present war as well as work of British artists during the first World War. The exhibition will open to the public Friday morning, May 23, and will remain on view throughout the summer. It will then be sent by the Museum to other cities in the United States and Canada, The nucleus of the exhibition opening in May will be the group of paintings, watercolors and prints which the Museum expected to open as a much smaller exhibition in November 1940. After several postponments the Museum was finally forced to abandon it as, due to wartime shipping conditions, the pictures did not arrive although word had been received that the shipment had left London early in November. The Museum received the shipment late in January. After weeks of further negotiation with British officials in this country and by cable with London the Museum decided that it would be possible to augment the material already received with other work done by British artists since the first material was sent.
    [Show full text]
  • Etchings Dry Points Muirhead Bone
    Two hun d red and seventy - five copies of this catalo ue w hich tw en t : g have been printed , of y fi ve are for presentation . a u u -n o o7 This c opy is N o . o c 0 0 0 o o ¢ List of Con ten ts . Prefac e I ntroduction Catal ogue Appendi x I ndex of Titl es PREFA E C . T HE fi rst volume of this catalogue records the work ’ M r fi rst of . Bone s ten years as an etcher , and does 1 8 not include the plates of 9 0 . Four subj ects published e Ar undel South Coast East latchin ton in that y ar , , , B g , and ’ he New Str and m T . fifth , may be na ed here A , the artist s fi r st . portrait , is published in this book Other plates , h unfi n is ed . , have for the present been laid aside m A . 1 8 brief epito e of this catalogue , down to N o 5 , appeared in a provisional form at Vienna in The order then adopted has been strictly preserved , except in . 1 1 the following cases N os 7 and 9 have been transposed , on the discovery of a state of Distant Dumbar ton dated 1 8 . 1 1 0 99 N os 49 and 5 have been transposed , to restore the order in which these subj ects stood in the set of Ten Dry Points , as published ; they were unintentionally misplaced . 1 f in 1 90 6 .
    [Show full text]
  • Contemporary Art Society Report 1934-1935
    CONTEMPORARY ART SOCIETY REPORT 1934-1935 THE CONTEMPORARY ART SOCIETY For the Acquisition of Works of Modern Art for Loan or Gift to Public Galleries President: LORD HOWARD DE WALDEN Treasttrer and Chairman: SIR C. KENDALL-BUTLER, K.B.E. Bourton House, Shrivenham Honorary Secretary : LORD IVOR SPENCER-CHURCHILL 4 John Street, Mayfair, W. 1 Committee : SIR C. KENDALL-BUTLER, K.B.E. (Chairman) Lord Balniel, M.P. Edward Marsh, C.B., C.M.G., Muirhead Bone C.V.O. Samuel Courtauld Ernest Marsh Sir A. M. Daniel, K.B.E. The Hon. Jasper Ridley Campbell Dodgson, C.B.E. Sir Michael Sadler, K.C.S.I., C.B. A. M. Hind, O.B.E. Earl of Sandwich St. John Hutchinson, K.C. Montague Shearman J. Maynard Keynes, C.B. Lord Ivor Spencer-Churchill J. B. Manson C. L. Stocks, C.B. Assiffant Secretary: Mr. H. S. EDE I THF. BLUE BARGE, WEYMOUTH Richard Eurich REPORT THIS Report of the activities of the Society during the past two years is circulated in the hope that it may encourage members to talk about the Society, and make it widely known amongst their friends. In these days of economy, when people hesitate to spend much on pictures, it should at least be possible for them, if they are interested in art and artists, to spend a guinea on becoming a member of the Society. By so doing, they would be helping to acquire works of art to be given eventually to the Nation's public galleries, and at the same time they would be assisting artists.
    [Show full text]
  • Contemporary Art Society Report 1932-33
    ~ ,., -- , ,,, 4' • ~" 7 ,, CONTEMPORARY ,, ART SOCIETY , REPORT 1932-1933 ., "- ,,, ..... -- Yi -·"''' ..... -·"'' THE CONTEMPORARY ART SOCIETY For the Acquisition of Works of Modern Art for Loan , or Gift to Public Galleries President : LORD HOWARD DE WALDEN T reasurer and Chairman : SIR C. KENDALL-BUTLER, K.B.E. Bourton House, Shrivenham HonorarySecretary: LORD IVOR SPENCER-CHURCHILL . 4 John Street, Mayfair, W. 1 Committee : SIR C. KENDALL-BUTLER, K.B.E. (Chairman) Lord Balniel Edward Marsh, C.B., C.M.G., Muirhead Bone C.V.O. Samuel Courtauld Ernest Marsh Sir A. M. Daniel, K.B.E. The Hon. Jasper Ridley Campbell Dodgson, C.B.E. Sir Michael Sadler, C.B., K.C.S.I. Roger Fry The Earl of Sandwich Ernest Gye (1932) Montague Shearman St. John Hutchinson C. L. Stocks J. Maynard Keynes The Honorary Secretary J.B. Manson Assis1ant Secretary : Mr. H. S. EDE I GWEN FFRA GCON-DAVIES Sickert Presented to the Tate Gallery through the aid of the C. A.S., the N.A.C.F. and Mr. Frank Stoop REPORT THISReport of the activities of the Society during the past two years is being circulated in the hope that it may encourage members to talk about the Society, and make it widely known amongst: their friends. In these days of economy, when people hesitate to spend much on pictures, it should at least be possible for them, if they are interested in art and artists, to spend a guinea on becoming a member of the Society. By so doing, they would be helping to acquire works ofart to be given eventually to the Nation's public galleries, and at the same time they would be assisting artists who, owing to the difficult times, are less able to sell to individual purchasers.
    [Show full text]
  • The City Re-Imagined
    La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum Spring 2007 The itC y Re-Imagined La Salle University Art Museum Madeleine Viljoen Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum and Viljoen, Madeleine, "The itC y Re-Imagined" (2007). Art Museum Exhibition Catalogues. 3. http://digitalcommons.lasalle.edu/exhibition_catalogues/3 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. 1. Charles Meryon (1821-1868), French La Galerie Notre Dame, Paris, 1853 Etching Gift of Dr. William K. Sherwin La Galerie Notre Dame, Paris, is one of several views Meryon created depicting Notre Dame de Paris. Meryon was an admirer of the writings of Edgar Allan Poe and it is from Poe’s poem “The Raven” (1845) that the artist takes the motif of the raven for this work. Meryon picks the vantage point of the interior of the gallery in Notre Dame looking out. The interior space is closed-in yet perforated, and the black birds add a certain malevolent presence. Victor Hugo’s novel, Notre Dame de Paris (1831), published in English as The Hunchback o f Notre Dame, renewed interest in Paris’s Gothic Cathedral.
    [Show full text]
  • Contemporary Art Society Report 1938-39
    Contemporary Art Society REPORT 1958-9 THE CONTEMPORARY ART SOCIETY For the Acquisition of Works of Modern Art for Loan or Gift to Public Galleries President: LORD HOWARD DE WALDEN Chairman: SIR EDWARD MARSH, K.C.V.O., C.B., C . .M.G. Treasurer: THE HoN. ]ASPER RIDLEY 440 Strand, W.C.2 Joint Hon. Secretaries: LORD IVOR SPENCER-CHURCHILL g Chelsea Embankment, S.W.3 ST. JOHN HUTCHINSON, K.C. 3 Albert Road, N.W.I Committee: SIR EDWARD MARSH K.c.v.o., c.B., c.M.G. (Chairman) The Earl of Crawford and J. Maynard Keynes, c.B. Balcarres J.B. Manson Sir Muirhead Bone Ernest Marsh Miss Thelma Cazalet, M.P. The Hon. Jasper Ridley Sir Kenneth Clark, K.C.B. J. K. M. Rothenstein Samuel Courtauld Sir Michael Sadler, Sir A. M. Daniel, K.B.E. K.c.s.I., c.B. Campbell Dodgson, C.B.E. Earl of Sandwich A. M. Hind, o.B.E. Lord I vor Spencer-Churchill St. John Hutchinson, K.C. C. L. Stocks, c.B. Assistant Secretary: MR. R. C. IRONSIDE . Printed in England at The Curwen Press Speech by the Chairman at the Ninth Ordinary General Meeting of the C.A.S. held at the Tate Gallery on 18 April 1940 ' Ladies and Gentlemen, This is, I think, the fourth time it has been my duty to address you on this annual occasion. My second and third speeches were nothing but attempts to disguise the fact that they were the first one over again, for I had little to do but rehearse the objects of the Society, which were as simple and salutary and stale as the Ten Commandments, and apt to wear thin.
    [Show full text]
  • Visual Narratives of History a Close Reading Into the Portrayal of World
    International Journal of Art and Art History December 2017, Vol. 5, No. 2, pp. 44-105 ISSN: 2374-2321 (Print), 2374-233X (Online) Copyright © The Author(s).All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijaah.v5n2p5 URL: https://doi.org/10.15640/ijaah.v5n2p5 Visual Narratives of History A Close Reading into the Portrayal of World War II in the Paintings of Paul Nash, Eric Kennington and Graham Sutherland: Aptitude for Report or Tendency to Mislead. Nada Ben Hammouda1 Abstract The present thesis aims at providing an insight on the extent to which official British war paintings were capable of producing a pictorial record of Britain during World War Two. Through a qualitative research approach and a comprehensive analysis of selected paintings, this dissertation will point out the strengths and weaknesses of using art as a tool of reportage. The focus will be mainly centralized on three painters: Paul Nash, Eric Kennington and Graham Sutherland who signed contracts as official artists for the War Artists Advisory Committee. A comprehensive analysis will allude to both the propagandist as well as the informative task these paintings carried on. The analysis of selected paintings will be the backbone of this dissertation. Iconology will be applied to read artworks and assess their historical value. This study will also involve a comparison between artists in terms of style, backgrounds and experiences. Similarities as well as disparities will be pointed out and their effect on the artistic output will be examined. Despite not being the focal point of this research, this comparison will highlight the reasons why some art may be referred to as a record of events and other may not.
    [Show full text]
  • 'A War of the Imagination'
    Paul Gough, „A Terrible Beauty‟, 2010, ISBN-10: 1906593000 This is the opening Chapter of PAUL GOUGH, A Terrible Beauty: British Artists in the First World War, Sansom, Bristol, 2010, ISBN-10: 1906593000, and ISBN-13: 978-1906593001 INTRODUCTION Like many other professions caught up in the heady first months of the war, painters and sculptors –professional and amateur, famous and obscure – were called upon to enlist in the armed services. Some thirty artists joined the RAMC en bloc following a single recruitment visit to the bar of the Chelsea Arts Club by the commandant of the 3rd London General Hospital. (1) The Studio – a popular arts and crafts magazine – ran page-long lists of those who had signed up; many joined the Artists‟ Rifles, an officer-training unit, which attracted painters, poets, architects, writers, and many others with artistic aspirations – if not the talent. (2) Some chose to ignore the call to arms. Many had little choice: war was bad for business. The art market shrivelled, prices tumbled, artist‟s materials became scarce. While emerging artists wrestled with their patriotic consciences, established artists were expected to donate items of work to patriotic causes or to offer up blank canvases for auctions organised by the Red Cross and other charities. (3) However, not everyone in Britain thought the onset of war an unmitigated catastrophe. Many on the right of the political spectrum saw it not as the end of the golden period of Victorian and Edwardian eminence, but an opportunity to purge the nation of social maladies – amongst them feminism, industrialization, modernism, and futurism – which they felt had blighted the country in the previous decade.
    [Show full text]