ETHEL GABAIN, EVEL YN Gffibs and EVEL YN DUNBAR Volume

Total Page:16

File Type:pdf, Size:1020Kb

ETHEL GABAIN, EVEL YN Gffibs and EVEL YN DUNBAR Volume University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2006 Three officially commissioned women war artists of the Second World War : Ethel Gabain, Evelyn Gibbs and Evelyn Dunbar Strickland , Alice Marina http://hdl.handle.net/10026.1/599 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. THREE OFFICIALLY COMMISSIONED WOMEN WAR ARTISTS OF THE SECOND WORLD WAR: ETHEL GABAIN, EVEL YN GffiBS AND EVELYN DUNBAR Volume I by ALICE MARINA STRICKLAND A thesis submitted to the University ofPiymouth in partial fulfi lment for the degree of DOCTOR OF PIDLOSOPHY School of Art and Performance Faculty of Arts JULY 2006 \ . ' ';.· ; 1 L)niversit)''ofPiymouth · ! • LibrarY ' litem No _ i · Cjoo~i'i9'Lq 7-Lf · c· , . · · - · : . _..,;; ll.' She!fril~rk 0 0 1 ~~E.IS. JJit t1C\ 4:0S")i! st F ~~~~~- \,-._~,~ ~~ ~,., ~ J<- ?--~TOO~ 5 .. ~ . Abstract Alice Marina Strickland Three Officially Commissioned Women War Artists of the Second World War: Ethel Gabain, Evelyn Gibbs and Evelyn Dunbar. This thesis has been written with the intention of providing an account of the work of Ethel Gabain (1883-1950), Evelyn Gibbs (1905-1991) and Evelyn Dunbar (1906-1960). All three were commissioned as war artists during the Second World War by the War Artists Advisory Committee and are probably best known today for the work they performed as war artists, indeed, the major repository for their work is the Imperial War Museum. All three were selected on the strength of their work prior to the war and all produced work during their commissions that received critical recognition in the press. Yet their war work did not lead to an increased call in demand for their work by galleries and collectors, and their commissions did not act as catalysts in a change of style. Their work was raised on a platform that offered the chance to gamer critical significance, yet only Dunbar's war work has received the attention it deserves, and this admiration for her war work has only grown over time. Arguably their role in World War Two, as part of the war effort, gave them the first opportunity to participate in the same broad arena as their better known contemporaries. When these three became war artists in a sense they joined the populist mainstream that embraced a whole spectrum of avant-garde and conservative artists. This moment (for that's what it was) doesn't sustain them after the war, so the question must be raised as to the relationship between artistic ability, professional success and critical significance. My research seeks to appraise these artists' achievements and give them a place within the art world of the first half of the twentieth century, alongside their more critically acclaimed contemporaries. As art historians we need to look at all the components in a much larger picture of twentieth century art than that which has been widely disseminated within art historical practice. 3 List of Contents for Volume I Page Copyright Statement 2 Title Page 3 Abstract 4-5 List of Contents 6-13 List of Illustrations 14 List of Appendices 15 Acknowledgements 16 Author's Declaration 17-24 Introduction 25-35 Chapter One: Making Women Artists Visible 36-66 Chapter Two: Education and Exhibiting 67-91 Chapter Three: Ethel Gabain and the artistic revival ofLithography 92-114 Chapter Four: Evelyn Dunbar and the Brockley School and Bletchley Park Training College Murals 115-141 Chapter Five: The illustration work ofEvelyn Dunbar, Ethe/ Gabain and Evelyn Gibbs and an appreciation ofGibbs 'prints 1927-1936 142-167 Chapter Six: Evelyn Gibbs and the Teaching ofArt in Schools 4 168~198 Chapter Seyen: The: War Ar:i of the Second, World Wm: and thewoman:war!m:tist Chapter Eight: ]:he: War /lrt o/Eve{yn:iJzlflbar, Et he/ Qqhain .and 1Eve/yn Gibb:s 244~248 Conclusion 249-'257 Appendices 258"276, BibliographY' 5 List of Illustrations Fig. 2.1 Ethel Gabain, c. 1910, photograph. 2.2 Evelyn Gibbs, c.l949, photograph. 2.3 Evelyn Dun bar, c.l933-1936, photograph. 3 .I Ethel Gabain, 'The Muff, 1906, lithograph, 16'/.o x 12'/. in, private collection. 3.2 Ethel Gabain, 'The Striped Petticoat', 1911, lithograph, 9'!. x 11 in, Fine Art Society. 3.3 Ethel Gabain, 'The White Door', 1912, lithograph, 8'!. x 5% in, Fine Art Society. 3.4 Ethel Gabain, 'The Mirror', 1914, lithograph, 14'!. x 11 Yz in, Fine Art Society 3.5 Ethel Gabain, 'The Striped Chair', 1914, lithograph, 12Yz x I0'/.o in, Fine Art Society. 3.6 Ethel Gabain, 'The Wedding Mom', 1914, lithograph, 13'/s x 10'/. in, Fine Art Society. 3.7 Ethel Gabain, 'Stripes and Black·, 1914, lithograph, 14 x 9'!. in, Fine Art Society. 3.8 Ethel Gabain, 'Prolil Fin', 1914, lithograph, ISY, x 8'l's in, Fine Art Society. 3.9 EtheiGabain, 'ALadyandherKnitting', 1915,1ithograph,l7Yzx 11 in,FineArtSociety. 3.10 Ethel Gabain, 'Pierrot', 1916, lithograph, 14 x 8'/. in, Fine Art Society. 3.11 Ethel Gabain, 'La Repasseuse', 1914, lithograph, I I x 13'l's in, Fine Art Society. 3.12 Ethel Gabain, 'The Silken Wrap', 1916, lithograph, 13 x 10 in, Fine Art Society. 3.13 Ethel Gabain, 'Madame Figaro', 1917, lithograph, 13% x I oy, in, Fine Art Society. 3.14 Ethel Gabain, 'La Belle Etoile', 1918, lithograph, 13Yz x 9'1, in, Fine Art Society. 3.15 Ethcl Gabain, 'Madame X', 1918, lithograph, 12 x 6Yz in, Fine Art Society. 3.16 Ethel Gabain, 'The Chequered Scarf (Portrait of Jolm Coplcy)', 1918, lithograph, 13Vs x 8Yz in, Fine ,\rt Society 3.17 Ethel Gabain, 'The Draught Players', 1923, lithograph, 7 x 10'/. in, Fine Art Society. 3.18 Ethel Gabai.J1, 'A Mw1ition Worker', 1917, lithograph, 9 x 4 in, private collection. 3.19 Ethel Gabain, 'Le Lorgnon', 1919, lithograph, 12'/. x 6'!. in, Fine Art Society. 6 3.20 Ethel Gabain, 'The Rattle', 1920, lithograph, I OYs x 13 in, Fine Art Society. 3.21 Ethel Gabain, 'Christopher Asleep', 1923, lithograph, 2'!. x 3'!. in, Fine Art Society. 3.22 Ethel Gabain, 'The Art of Travel', 1920, lithograph, 26 x 20 in, Transport Museum, London. 3.23 Ethel Gabain, 'L'Aube', 1921, lithograph, 13 x 9 in, Fine Art Society. 3.24 Ethel Gabain, 'Choix de Bottes', 1923, lithograph, 13'!. x 10 in, Fine Art Society. 3.25 Ethel Gabain, 'Reverie Venitienne', 1931, lithograph, 13 x 9 in, Fine Art Society. 3.26 Ethel Gabain, 'Two Black Bows', 1932, lithograph, 11 x 8'!. in, Fine Art Society. 3.27 Ethel Gabain, 'Sunburnt Nymph', 1935-38, oil on canvas, 20 x 13 in, private collection. 3.28 Ethel Gabain, 'Dame Peggy Ashcroft as Juliet in Romeo and Juliet', oil on canvas, 27 x 20 in Royal Shakespeare Company. 4. I Stanley Spencer, 'Map Reading and Making Beds', 1932, oil on plaster part of mural scheme for Sandham Memorial Chapel, Burghclere. 4.2 Charles Mahoney, 'Pleasures of Life in Work and Play (Scenes of London Life)', 1928, oil on plaster, Morley College. 4.3 Charles Mahoney, 'Fortune and the Boy', 1936, oil on plaster, mural panel, 8ft x 5ft, Brockley School, Kent. 4.4 Evelyn Dunbar painting at Brockley School, Kent, c.l933-1936. 4.5 Evelyn Dunbar, 'The Country Girl and the Pail ofMilk', 1936, oil on plaster, mural panel, 8ft x 5ft, Brockley School, Kent. 4.6 Evelyn Dunbar, Spandrels under the Gallery, 1936, oil on plaster, Brockley School, Kent. 4. 7 Evelyn Dun bar, View of the School, 1936, oil on plaster, 26ft x 12ft Brockley School, Kent. 4.8 Mildred Eldridge, 1936, oil on plaster, 'Birdcatcher and the Skylark. The Traveller and the River. The Farmer and the Cranes', 8ft x 5ft, Brockley School, Kent. 7 4.9 Violet Martin, 1936, oil on plaster, 'The King and the Two Shepherds', 8ft x Sft, Brockley School Kent. 4.10 Evelyn Dunbar, 'Alpha', c.19S8-60, oil on canvas, mural panel, 40 x 26in, Bletchley Park Training College now Oxford Brookes University, Oxford. 4.11 Evelyn Dun bar, 'Omega', c. 19S8-60, oil on canvas, mural panel, 40 x 26 in, Bletchley Park Training College now Oxford Brookes University, Oxford. 4.12 Charles Mahoney, 'Autumn', oil on canvas, 36in x 24in, Paul Liss Fine Art. 4.13 Charles Mahoney, 'The Garden', oil on canvas, 36 x 24in, Paul Liss Fine Art. 4.14 Philipp Otto Runge, 'Hiisslebeck Family, ISOS-1806, 32 x 2S in, oil on canvas. 4.1S John Ward, 'Portrait ofDora Cohen', oil on canvas, 20 x 14 in, private collection. 4.16 Evelyn Dunbar, Preliminary oil sketches for the murals at Bletchley Park Training College, c.I9S8-60, 32 x !Sin, Collection of Oxford Brookes University. 4.17 Evelyn Dunbar, Preliminary oil sketches for the murals at Bletchley Park Training College, c.l958-60, 32 x !Sin, Collection of Oxford Brookes University. 5.1 Letter from Evelyn Dun bar to Charles Mahoney, September !93S, Estate of Charles Mahoney. 5.2. Evelyn Dunbar, 'Non-Human Natives', pencil, The Scot's Weekend, 3 x 2in, 1936. S.3 Evelyn Dunbar, 'Wuthering Heights', pencil, 7 x Sin, Signature 4, November 1936. S.4 Evelyn Dunbar, pencil, Gardener's Choice, 3 x 2in, 1937. S.S Evelyn Dunbar, pencil, Gardener's Choice, 3 x 2in, 1937.
Recommended publications
  • The Art Collection of Peter Watson (1908–1956)
    099-105dnh 10 Clark Watson collection_baj gs 28/09/2015 15:10 Page 101 The BRITISH ART Journal Volume XVI, No. 2 The art collection of Peter Watson (1908–1956) Adrian Clark 9 The co-author of a ously been assembled. Generally speaking, he only collected new the work of non-British artists until the War, when circum- biography of Peter stances forced him to live in London for a prolonged period and Watson identifies the he became familiar with the contemporary British art world. works of art in his collection: Adrian The Russian émigré artist Pavel Tchelitchev was one of the Clark and Jeremy first artists whose works Watson began to collect, buying a Dronfield, Peter picture by him at an exhibition in London as early as July Watson, Queer Saint. 193210 (when Watson was twenty-three).11 Then in February The cultured life of and March 1933 Watson bought pictures by him from Tooth’s Peter Watson who 12 shook 20th-century in London. Having lived in Paris for considerable periods in art and shocked high the second half of the 1930s and got to know the contempo- society, John Blake rary French art scene, Watson left Paris for London at the start Publishing Ltd, of the War and subsequently dispatched to America for safe- pp415, £25 13 ISBN 978-1784186005 keeping Picasso’s La Femme Lisant of 1934. The picture came under the control of his boyfriend Denham Fouts.14 eter Watson According to Isherwood’s thinly veiled fictional account,15 (1908–1956) Fouts sold the picture to someone he met at a party for was of consid- P $9,500.16 Watson took with him few, if any, pictures from Paris erable cultural to London and he left a Romanian friend, Sherban Sidery, to significance in the look after his empty flat at 44 rue du Bac in the VIIe mid-20th-century art arrondissement.
    [Show full text]
  • The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
    TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period.
    [Show full text]
  • The Female Art of War: to What Extent Did the Female Artists of the First World War Con- Tribute to a Change in the Position of Women in Society
    University of Bristol Department of History of Art Best undergraduate dissertations of 2015 Grace Devlin The Female Art of War: To what extent did the female artists of the First World War con- tribute to a change in the position of women in society The Department of History of Art at the University of Bristol is commit- ted to the advancement of historical knowledge and understanding, and to research of the highest order. We believe that our undergraduates are part of that endeavour. For several years, the Department has published the best of the annual dis- sertations produced by the final year undergraduates in recognition of the excellent research work being undertaken by our students. This was one of the best of this year’s final year undergraduate disserta- tions. Please note: this dissertation is published in the state it was submitted for examination. Thus the author has not been able to correct errors and/or departures from departmental guidelines for the presentation of dissertations (e.g. in the formatting of its footnotes and bibliography). © The author, 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any means without the prior permission in writing of the author, or as expressly permitted by law. All citations of this work must be properly acknowledged. Candidate Number 53468 THE FEMALE ART OF THE FIRST WORLD WAR 1914-1918 To what extent did the female artists of the First World War contribute to a change in the position of women in society? Dissertation submitted for the Degree of B.A.
    [Show full text]
  • Intangible Heritage(S): an Interplay of Design, Social and Cultural Critiques of the Built Environment
    TANGIBLE - INTANGIBLE HERITAGE(S): AN INTERPLAY OF DESIGN, SOCIAL AND CULTURAL CRITIQUES OF THE BUILT ENVIRONMENT • Paper / Proposal Title: ‘ARCHITECTS – WHERE IS YOUR VORTEX? VORTICISM, THE CITY AND URBAN EXPERIENCE • Author(s) Name: Dr. JONATHAN BLACK FRSA • University or Company Affiliation: KINGSTON SCHOOL OF ART, KINGSTON UNIVERSITY • Presentation Method. I would like to: i. present in person (with/without a written paper)* • Abstract (300 words): From its conception in the spring of 1914 the British avant garde art movement known as Vorticism was obsessed with the city and urban existence as central to the forward march of technologically innovative modernity. Indeed, the movement largely owed its very name to the American poet Ezra Pound having already identified London as the ‘great modern vortex’, the end point for all the energies of modern life and of British/Imperial power. My paper is rooted in many years of research into Vorticism and British Art before, during and after the First World War. It will focus on some of the many images that evoked the strikingly positive Vorticist vision of the city – one that as much looked to the example of vertically vertiginous New York as that by experimental thinkers on the European continent – by leading adherents of the movement such as: Wyndham Lewis, Edward Wadsworth, Frederick Etchells, Jessica Dismorr and Helen Saunders. Living in London much of their imagery was indebted to that city. However, examples will be discussed alongside a group of woodcut prints produced c. 1914-18 by Wadsworth inspired by the cities and industrial towns of his native Yorkshire such as Leeds, Bradford, Halifax and Huddersfield.
    [Show full text]
  • Autobiography of Sir George Biddell Airy by George Biddell Airy 1
    Autobiography of Sir George Biddell Airy by George Biddell Airy 1 CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. Autobiography of Sir George Biddell Airy by George Biddell Airy The Project Gutenberg EBook of Autobiography of Sir George Biddell Airy by George Biddell Airy This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg Autobiography of Sir George Biddell Airy by George Biddell Airy 2 License included with this eBook or online at www.gutenberg.net Title: Autobiography of Sir George Biddell Airy Author: George Biddell Airy Release Date: January 9, 2004 [EBook #10655] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK SIR GEORGE AIRY *** Produced by Joseph Myers and PG Distributed Proofreaders AUTOBIOGRAPHY OF SIR GEORGE BIDDELL AIRY, K.C.B., M.A., LL.D., D.C.L., F.R.S., F.R.A.S., HONORARY FELLOW OF TRINITY COLLEGE, CAMBRIDGE, ASTRONOMER ROYAL FROM 1836 TO 1881. EDITED BY WILFRID AIRY, B.A., M.Inst.C.E. 1896 PREFACE. The life of Airy was essentially that of a hard-working, business man, and differed from that of other hard-working people only in the quality and variety of his work. It was not an exciting life, but it was full of interest, and his work brought him into close relations with many scientific men, and with many men high in the State.
    [Show full text]
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
    art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard.
    [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]
  • Corey Allikas Painting the War: Artistic Depictions of World War II in Europe, 1939-1945 HIST
    Corey Allikas Painting the War: Artistic Depictions of World War II in Europe, 1939-1945 HIST 395 - Fall Semester (Galgano) World War II shaped the twentieth century, as its events and aftermath affected the entire globe. The attitudes and actions of the nations' populations determined how the war played out, and the thing that most shaped these peoples' actions was war art. War art in World War II had two important goals: mobilization of citizens and creation of accurate depictions of the battlefield. War art's intended audience was foremost the citizens, as their support for the war was crucial to success. Dependence on civilian support - both through labor and service - was much greater in World War II than in any other previous war. Many participating nations in WWII developed war art programs, with the goal of showing the warfront to garner civilian support back home. Artists ranged from active-duty soldiers, like in the United States, to civilians following troops on tours, like Great Britain. These hired artists were given specific subjects to depict, depending on where they were stationed; the first hand account ensured the most accurate depictions possible. However, the disparity between the actual war fronts and the artists' depictions was present in all major art programs. This paper looks at the war art from the major powers in World War II: Great Britain, the United States, and Germany. It examines the styles adopted by artists in these nations, the subjects artists depicted, and the war art's purpose in society. Germany, to anchor their claim of "supreme race", used traditional art forms similar to the Roman Empire.
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Summerfield, Angela (2007). Interventions : Twentieth-century art collection schemes and their impact on local authority art gallery and museum collections of twentieth- century British art in Britain. (Unpublished Doctoral thesis, City University, London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17420/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] 'INTERVENTIONS: TWENTIETH-CENTURY ART COLLECTION SCIIEMES AND TIIEIR IMPACT ON LOCAL AUTHORITY ART GALLERY AND MUSEUM COLLECTIONS OF TWENTIETII-CENTURY BRITISH ART IN BRITAIN VOLUME If Angela Summerfield Ph.D. Thesis in Museum and Gallery Management Department of Cultural Policy and Management, City University, London, August 2007 Copyright: Angela Summerfield, 2007 CONTENTS VOLUME I ABSTRA.CT.................................................................................. ii ACKNOWLEDGEMENTS •........••.••....••........•.•.•....•••.......•....•...• xi CHAPTER 1:INTRODUCTION................................................. 1 SECTION 1 THE NATURE AND PURPOSE OF PUBLIC ART GALLERIES, MUSEUMS AND THEIR ART COLLECTIONS..........................................................................
    [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]
  • Gwen John: an Artist and Her Teapot in a Man's World
    Gwen John: An Artist and Her Teapot in a Man’s World Jocelyne Fletcher A common trend in scholarly discourse about female artists is to orient them as they relate to their male counterparts. This scholarship implies that a female artist is forever trying to meet a standard set by a ‘creative genius’, a dominant male. Feminist thinking has challenged this apparent necessity: Is it not possible to focus on the artistic production of a female artist independently? Might a talented woman stand alone in critical readings of her artwork? Or must we continuously refer to Artemesia Gentileschi only as she pertains to her father Orazio? Must Lee Krasner always be compared to Jackson Pollock? Georgia O’Keefe to Alfred Steiglitz? This essay will examine the case of the British artist Gwen John (1876-1939) who is nearly always considered in relation to the significant male relationships of her life. In this essay, I consider the view that women ought to be regarded as artists independently of their relationship to men. Seeking to go beyond Victorian era gender ideals by which women artists are understood to be derivative of and dependent on their male counterparts, in this essay I show that there are other reasons why certain male relations should be included in a discussion about a woman artist. The presence of Gwen John’s brother Augustus John and her lover Auguste Rodin in the dialogue surrounding her artwork undoubtedly stems from age-old gendered norms. The real significance of these relationships, in terms of influence on her artistic output, cannot be appreciated using these antiquated models.
    [Show full text]