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Francis Henry Newbery and the Glasgow School of Art

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Francis Henry Newbery and the Glasgow School of Art Rawson, George Mansell (1996) Francis Henry Newbery and The Glasgow School of Art. PhD thesis. http://radar.gsa.ac.uk/5419 Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given RADAR http://radar.gsa.ac.uk/ [email protected] FRANCIS HENRY NEWBERY AND THE GLASGOW SCHOOL OF ART Thesis presented to the Department of Architecture of the University of Glasgow for the Degree of Doctor of Philosophy by GEORGE MANSELL RAWSON October 1996 © George Rawson This is a one volume 1216 edition of the original two volume thesis held in Glasgow University Library with slightly different pagination. 1 ABSTRACT This thesis takes the form of a biographical study of the art teacher and painter Francis Henry Newbery. Its focus is Newbery’s thirty-three year association with the Glasgow School of Art. The first two chapters examine Newbery’s early life and his educational background in Dorset and London where he attended the National Art Training School at South Kensington. John Beard, Newbery’s headmaster at the Bridport General School in Dorset, the educational theory of Friedrich Froebel and the modern approach to art teaching of Edward Poynter the Principal of the National Art Training School are all identified as formative influences in the development of Newbery’s own approach to pedagogy at Glasgow. The first two chapters are also concerned with Newbery’s training as a student and an art master under the Department of Science and Art and examine how the Department’s system operated in Bridport School of Art, a small school in a rural county. This acts as an introduction to Chapter 3 in which the development of the very different Glasgow School of Art in the years preceding Newbery’s arrival is examined. Chapters 4 and 5 are both concerned with Newbery’s adaptation of a pupil-centred approach to the requirements of the Department of Science and Art’s regime. Chapter 6 discusses Newbery’s association with the Arts and Crafts movement and views his introduction of craft studios at Glasgow School of Art against a national and local educational background. Chapter 7 looks at the development of the Glasgow Style in the Glasgow School of Art and identifies Newbery’s role as an encourager and promoter of the style. It sees the Style as growing out of the design ideology and teaching which was available in the School. The Arts and Crafts movement, however, with the new exhibition opportunities which it made available is seen more as a context in which the new form language could thrive rather than a source for the style itself. Chapter 8 reviews Newbery’s part in the building of a new School of Art to the design of Charles Rennie Mackintosh and demonstrates the headmaster’s crucial role in the planning of the building and his overriding concern for functional accommodation. Chapter 9 examines Newbery’s development of his own educational regime after the School had severed its links with South Kensington in 1901. It shows how he was able to build on his School’s reputation through its association with the 2 Glasgow Style to attract highly capable practical artists and craftspeople to teach on its staff. It also examines how Newbery and his governors sought to develop a teaching practice based on the best British and continental models with varying degrees of success. Chapter 10 discusses the measures that Newbery took to increase and develop the artistic culture of Glasgow and Scotland through the medium of the School and its influence. Chapter 11 looks at Newbery’s work as an artist and examines his oeuvre in the context of his educational ideas and late nineteenth century movements. The years of Newbery’s retirement in which he was extremely active are also examined in this context. 3 CONTENTS page Abstract 2 Contents volume 1 4 Contents volume 2 6 Figures 7 Dedication 8 Acknowledgements 9 Abbreviations 10 Chapter 1: Bridport 11 The Bridport General Schools 12 The Bridport School of Art 17 Notes 28 Chapter 2: London 1875-1885 32 London Middle Class Schools 1875-1881 32 The National Art Training School 1877-1885 34 Notes 44 Chapter 3: Glasgow School of Art 1870-1885 49 The School and its Students 49 The Years of Relative Decline: Robert Greenlees and the late 1870s 52 The Regime of Thomas Simmonds 1881-1885 56 Notes 63 Chapter 4: Newbery as a Head Master under the Department of Science and Art, Part 1 69 Newbery’s Character and his Relationship with his Committee 69 Newbery’s Educational Philosophy 70 Newbery’s Approach to Teaching 74 Newbery and Staffing: the Artist Teacher 77 Notes 83 Chapter 5: Newbery as a Head Master under the Department of Science and Art, Part 2 88 Students and the Curriculum 88 Newbery’s Relations with the Department 90 The School’s Relations with other Institutions in Glasgow 96 Finance 103 Notes 106 4 Chapter 6: The Arts and Crafts Movement and Glasgow School of Art 112 The National Context 112 Newbery and the Arts and Crafts in Scotland 1885-1893 115 Newbery and English Arts and Crafts Ideology 118 The Technical Studios 125 Women in the Arts and Crafts Classes 130 Technical Art Teaching in other Institutions in Glasgow 136 Notes 139 Chapter 7: Newbery and the Glasgow Style 147 The Glasgow School of Art Club 148 Design at Glasgow School of Art before the Glasgow Style 150 The Development of the Glasgow Style 152 Newbery’s Promotion of the Four’s work 156 The Glasgow Style, Continental Art Nouveau and the English Critics 161 Notes 163 Chapter 8: The Building of a New School 169 Background Negotiations and Money Raising 169 Newbery’s Plan 171 The Competition 173 The 1897 Plans Compared with Existing Major British Schools of Art 174 Newbery’s Arrangement of the Accommodation 1899-1906 180 The Completed Building 183 Notes 190 Chapter 9: The University for Art Part 1, Glasgow School of Art 1901-1918 194 Drawing and Painting 197 Modelling and Sculpture 202 Architecture 204 Design and Decorative Art 208 Notes 217 Chapter 10: The University for Art Part 2: The School and the Wider Community 227 Courses for Teachers 227 The Central Institution and the University 233 Relations with other Scottish Central Art Institutions 235 Artistic and Cultural Education in the Wider Community 236 Newbery’s Retirement from Glasgow School of Art 238 Notes 240 Chapter 11: Newbery as an Artist 246 Newbery’s Influences 1875-1890 246 Newbery’s Paintings 1890-1914 250 The Glasgow Masques 1903-1909 262 5 Newbery’s Later Work 1915-1938 266 Notes 287 Chapter 12: Newbery: An Assessment 296 Notes 320 CONTENTS VOLUME II Contents Bibliography 322 Appendices 341 1. The National Course of Instruction 342 2. Arts and Crafts Classes at Glasgow School of Art 1893-1915 345 Tables 348 List of Plates 351 Plates 355 6 List of Figures 1. Glasgow School of Art, floor plans, 1897 (adapted from Glasgow School of Art, Prospectus (1907-8) to comply with 1897 plans in Glasgow City Archives) 184 2. Birmingham Municipal School of Art and Crafts, floor plans, 1884-90 - not to scale (supplied by Professor John Swift, University of Central England). 186 3. Manchester School of Art, floor plans, designed 1878, opened 1881 (Stuart Macdonald, The History and Philosophy of Art Education (London: University of London Press, 1970), p.184) 187 4. Glasgow school of Art, floor plans, 1900, showing Newbery’s use of the rooms, 1899-1907 (adapted from Glasgow School of Art, Prospectus (1907-8)). 189 5. Glasgow school of Art, floor plans, 1909, (adapted from Glasgow School of Art, Calendar (1909-10)). 193 6.a. Edinburgh College of Art, floor plans of first phase of building including projected second phase (Edinburgh College of Art Archive Collection, Edinburgh College of Art, Prospectus (1908-9)). 196 6b. Edinburgh College of Art, floor plans of the completed building (Edinburgh College of Art Archive Collection, Edinburgh College of Art, Prospectus (1914-15)). 197 7. Glasgow School of Art, projected plan of second floor, April 1907 (Glasgow School of Art Collection). 198 7 8 ACKNOWLEDGEMENTS I am indebted to my supervisors, Dr James Macaulay, Ray McKenzie and Professor Emeritus Andy MacMillan for guidance in the preparation of this study, also to Tony Vogt and Bill Buchanan for help in its early stages. I would also like to thank members of the Newbery family for their help with information and for allowing me access to the artist’s work in their possession. I would also acknowledge the help and assistance of the staff of a multitude of libraries and archives with which this country is so liberally endowed and without which work of this nature would be impossible. Most important of these is the Glasgow School of Art Library and the newly formed Glasgow School of Art Archives with its two successive archivists Kate Hutcheson and Clare McGread. In addition I am grateful to the staff of the Glasgow City Archives, the Mitchell Library, in particular its Glasgow Room, the Strathclyde University Archive, the Glasgow University Library, the Guildhall Library, the Bridport Library, the Bridport News, the Dorset County Record Office, the National Art Library, the Archive of Art and Design, Devon County Library, Derby Central Library, the National Library of Scotland, Edinburgh Central Library, the Scottish Record Office, Edinburgh College of Art and the University of Central England.
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