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Work in Progress (1999.03.07)

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Work in Progress (1999.03.07) _________________________________________________________________ WORK IN PROGRESS by Cliff Holden ______________________________ Hazelridge School of Painting Pl. 92 Langas 31193 Sweden www.cliffholden.co.uk copyright © CLIFF HOLDEN 2011 2 for Lisa 3 4 Contents Foreword 7 1 My Need to Paint 9 2 The Borough Group 13 3 The Stockholm Exhibition 28 4 Marstrand Designers 40 5 Serigraphy and Design 47 6 Relating to Clients 57 7 Cultural Exchange 70 8 Bomberg's Legacy 85 9 My Approach to Painting 97 10 Teaching and Practice 109 Joseph's Questions 132 5 6 Foreword “This is the commencement of a recording made by Cliff Holden on December 12, 1992. It is my birthday and I am 73 years old. ” It is now seven years since I made the first of the recordings which have been transcribed and edited to make the text of this book. I was persuaded to make these recordings by my friend, the art historian, Joseph Darracott. We had been friends for over forty years and finally I accepted that the project which he was proposing might be feasible and would be worth attempting. And so, in talking about my life as a painter, I applied myself to the discipline of working from a list of questions which had been prepared by Joseph. During our initial discussions about the book Joseph misunderstood my idea, which was to engage in a live dialogue with the cut and thrust of question and answer. The task of responding to questions which had been typed up in advance became much more difficult to deal with because an exercise such as this lacked the kind of stimulus which a live dialogue would have given to it. Sadly Joseph died before he could see the book completed but it was entirely due to his initiative and his encouragement that the book came to be written at all. I have no scholastic ambitions and I had hoped to present the material from the transcriptions without too many alterations. However, in adjusting the spoken word to the printed word a certain amount of editing was necessary and, while I have left in place many repetitions, which serve to emphasize important points, I have also added a number of emendations and amplifications, often in the form of letters, quotations and reviews. Perhaps I need to say that this book is only biographical in so far as it is concerned with my art life and my ideas. I have talked about my approach to painting, printing and designing and I have discussed the problem of teaching art to students. But I have also wanted to rectify various lies and distortions which have arisen over the years since the disbanding of the Borough Group. As it stands now, this page of history has been written by people who either had no direct access to Bomberg or had little understanding of his intentions. In the words of David Bomberg: "It is to this page of history that such contributions as I and my followers may make after me through the approach to mass that there should be appended a footnote - and left to posterity to judge whether it was of significance or not. " C.H. Hasslas, Sweden 7th March, 1999 7 8 1 My Need to Paint How shall I begin? It is a long story, beginning when I was a young child. In spite of being very clever at making what was called art at school, I felt intuitively that this activity was not art. At the time, I didn't know what art was. I also reacted against doing art at this stage because my ideas were fluctuating between religious fervour, political commitment and philosophical attitudes that made me ask: "What is art for and what use is it in society?" I had the conviction that one should produce food for people to eat and goods that were of use. I therefore turned to agriculture and to politics. I didn't realize at the time that the development and cultivation of the spirit was preferable and, in fact, not only desirable but essential to the well-being of both the individual and society. When I was a child my family moved from Lancashire to Yorkshire and then settled in Cheshire where we attended the Congregational Church every Sunday in Wilmslow. By the time I was 11 or 12 I was also joining my father at Quaker meetings and I came to sympathize with his commitment to Socialism and the Trade Union movement. At the age of 13 I was a Communist, which is about the right age for that sort of commitment, although I confess that I flirted with it again just before the war. My tendency from the age of 13 to the age of 19 or 20 was towards being useful to society and therefore I was gravitating from Socialism to Communism and from Quakerism to Pacifism. Later on I was to throw it all in for Anarchism. But at the age of sixteen I was under pressure from my father to choose the kind of job which people call sensible. Before I could make my own choice, I was offered and accepted an office job in an Auctioneer and Estate Agents office. The Headmaster from my school found me this position and I was considered to have made a good start in life. But after nine months, I was dismissed without notice for making chaos of the files and disturbing the boss while he fumbled his secretary. In the years when I was growing up my family always had land and livestock. I took an interest in my father's work as a farmer and I had a love for animals. So my thoughts turned to veterinary science but I failed my exams for university. After a few months loafing around I managed to get to Agricultural College and ended up with a Diploma for Poultry Keeping. In 1939 I got a job on a chicken farm in Dunsfold, near Godalming which was run by two Irish brothers, Peter and Richard Nugent. Mr. Dick, as we called him, turned to politics after the war. He was knighted and subsequently became Minister for Agriculture in Margaret Thatcher's government. He ended his career in the House of Lords as Lord Nugent. When I was living in Surrey I met an artist who ran a shop in Guildford called 'Things of Beauty and Utility,' which is rather curious because later on in my time as an artist I repudiated beauty and things of utility. The artist's name was J. Selwyn Dunn. He had a studio in Haslemere and it was called 'The Kelmscott Studio' in tribute to William Morris. He had worked with Morris as a boy, together with his father. In 1940 I was running a pacifist community farm, called Crossways Farm, in Cradley near Malvern. This farm had been bought by a Quaker called John Jenkins and the project was intended to assist military aged people who were conscientious objectors and who were being discriminated against by employers. The farm was little more than a peasant holding with a cottage and a number of out-houses which were in need of repair. We had four cows, one sow, 9 three piglets, thirty three hens and a horse. Many prominent people were our house guests including the popular radio philosopher Dr. C.E.M. Joad, who used to visit us for weekends. At the same time I attended philosophy lectures at the W.E.A. in Worcester. When I eventually decided to abandon the Community Farm project, Mr. Jenkins chose a couple to take my place and their names were Nommie and Harry Durell. Harry was an architect and Nommie was an art teacher who proved to be an aquaintance of Herbert Read and, later, she organised the National Exhibitions of Childrens Art in London. My ideas evolved slowly towards anarchism and, during a stay at an anarchist community near Stroud, I came in contact with a Hegelian philosopher who had met Prince Peter Kropotkin and Leo Tolstoy. I began to read people like Dostoevsky, Turgenev, Bakunin, P. J. Proudhon, E. Malatesta, Kant, Hegel and Nietzsche. I had moved a considerable distance in my reading away from people like Thomas Hardy, William Cobbett, Henry Williamson, Richard Jeffries and Theodore Watts-Dunton. My innate love for nature had been fostered originally during my schooldays by a very remarkable teacher J.C.W. Houghton (who we used to refer to affectionately as J.C.) and these writers bolstered my enjoyment of nature and gave me encouragement in my lifestyle as a tramp and a gypsy. As well as following this direction in my reading, I also went out deliberately to meet people like H. G. Wells, Sir Richard Ackland, Julian Simmonds, Simon Watson Taylor, E. L. T. Messens, Herbert Read, George Orwell and Dr. Alex Comfort. My commitment to Pacifism gave way to Anarchism and finally to Anarcho- Syndicalism. I led a romantic life at this time playing by turn the role of tramp, gypsy and political agitator. This led to organizing strikes and I gradually became more and more involved in a militant anarchism whose purpose was to establish a society based on anarcho-syndicalist principles. To this end I eventually found myself one of ten members of the editorial board of Freedom Press and we produced a weekly called 'War Commentary' which eventually became 'Freedom.' In 1943, three of us - Tom Brown, Ken Hawkes and myself - broke away from Freedom Press because we had huge differences of opinion on how to organize towards revolution.
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