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Download Publication -,,~COUNCIL =;1 V + r 'Sir Kenneth Clark, K .C .B., LL .D . F .B .A . (Chairman ) *Wyn Griffith, O .B.E ., D .Litt . Wise-Chrrirrnan l The Countess of Albemarle Captain Sir Cecil Graves, K .C .M .G ., M .C . Richard Capell, 0-B .E ., M .M- Benn Levy . M .S .E . *Professor William Coldstream, C .B .E. Captain Sir John McEwen, Bt ., D . L ., J .P . 'Joseph Compton, C.B .E . Professor Anthony Lewis, Mus . B . •Edric Cundell, C .B.F . George T . McGlashan, C .B.E ., J .P . B. Ifor Evans, D .Lit ., F .R .S .L . John Newso m The Lady Fermoy, O .B .E . Lady Ogitvi c • Member gfL.xeturive CanimWee SCOTTISH CONt!~fiTTE E George T . McG€ashan . C .B .L ., J .P . (Chairorari ) D . K . BaKandu€€ Robert Kemp Mrs. Rona May or Colin Chandler Captain Sir John McEwen . Bt . John Nobl e Ian Finlay D, L ., J .P . J. R . Peddic, C .B .E ., D .Litt . Captain Sir Cecil Graves, The Rev . George F . MacLeod, Miss Isabel L . Sinclai r K .C_M .G ., M .C . M .C ., D .D . William Wilson, R .S .A . J . A . Henderson Hugh Marshal l WELSH CONUMITTE E Wyn Griffith, O .B .E ., D .Litt . IChairman l The Marquess of Anglesey David Dilwyn John, T .D ., Manse] Thomas, B .Mus. , Mrs . Irene Edwards D . Sc ., F.M .A . F .R .A . M . T . L Ellis Professor Gwyn Jones Sir Wynn Wheldon . K .B .E . , C. E . Gitlins Saunders Lewis D .S,O ., LL .D . County Alderman Llewellyn D . H . I . Powell D . F . Parry Williams . D .Mus . , Heycock, J .P . Miss Frances Roes, O .B.E . B .Sc . Ceri Richards The Very Rev . C. Wilton-Davics ART PANE L Professor William Coldstream, C .B .F . (Chairman ) Sir Leigh Ashton, F.S .A . Lynlon Lamb Mrs . Somervill e Howard Bliss Professor Rodrigo Moynihan . John Summcrson, C.B_E . , Oliver Brown C .B .E ., A .R.A . F .S .A . A .R .I .B .A . S . D . Cleveland, F .M .A . John Piper Professor Ellis K . Waterhouse . Jacob Epstein, LL .D . Sir Herbert Read, D .S .O . M .C ., M .B .E . Brins]ey Ford D .Litt . Carel Weight, R .B .A . Professor Lawrence Gowing, Gordon Russell, C .B .E ., M .C ., Charles Wheeler, C.B .E ., R .A . , C .B.E . R .D .F . F .S .LA . F .R .B .S . Basil Gray Robert 1 . Sainsbury, A .C .A . DRALIA PANE L Wyn Griffith . O .B .F. D .Litt . (C'huirmun ) Miss Peggy Ashcroft, C .B .F. Sir John Giclgud, LL . D . Sir Ralph Richardso n Michael Benthall Hugh Hunt Miss Flora Robson, C,B .F . Ivor Brown, LL .D ., F .R .S .L . Laurence Irving, U, B .E ., R .D .1 . Ronald Russel l D .Litt . T. C . Kemp Derek Salber g John Clements Charles Landstone, O .B .E . Glen Byam Sha w Aice Clunes Henn Levy, M .H .F Stephen Thoma s Robert Digby Michael MaCOwan Peter Ustino v MUSIC PANE L Uric Lundell, C .B .E . (Chairman t Herbert Bardgell, U.B.F ., B .Mus . Miss Astra Desmond, C .B .E . Professor Anthony Lewis . Mus .B. T . E, Bean Alan Frank Denis Matthews Mervyn Bruxner Peter Racine Fricker Dr. Edmund Rubbra, D .Mus . Sir Ernest Bullock, C' .V,O ., Ambrose Gauntlet[ Professor W . K . Stanton . D .Mus. Mus .D . Frank Howes Miss Seymour Whinyates, 0,B-E . POETRY PANE L Joseph Compton, C .B .L . (Chairtnan ) Richard Church Christopher Hassall C . Day Lewis . C' .B .E. F .R .S .L . G . S . Fraser John Hayward, C .B.E . W . R . Rodgers Sir George Rosircvor Hamilton John Lehmann L . A . G . Strong, F .R .S .L. Pcec(4 (J ~-' Co p y T H E A R T S C O U N C I L OF G R E A T B R I TAI N EIGHT H ANNUAL REPORT 1952-195 3 ARTS COUNCIL OF GREAT BRITAIN REFERENCE ONLY DO NOT REMOVE . FROM THE LIBRARY 4 S T . J A M E S ' S S Q U A R E L O N D O N S . W . 1 CONTENTS Page 1 . A PATTERN FOR PATRONAGE 3 2. NOTES OF THE YEAR 14 3. ART 30 4. MUSIC 36 5. DRAMA 40 6. OPERA AND BALLET 43 7. POETRY 46 8. SCOTLAND 48 9. WALES 51 APPENDICES : A Note on the Accounts 57 Appendix A The Arts Council of Great Britain : Audited Accounts 58 Appendix B The Arts Council's Committee in Scotland : Audited Accounts 70 Appendix C Selected Instances of Action taken in connection with the Arts by Local Authorities under the Local Government Act, 1948 74 Appendix D Arts Council Exhibitions held in Great Britain during th e period April 1952-March 1953 83 THE COLOUR DIAGRAMS IN THIS REPORT HAVE BEEN SPECIALLY DESIGNED BY MISS G. DRUMMOND MCEERROW 1 A PATTERN FOR PATRONAGE RIVATE patrons of the arts are not extinct in modern society, bu t they become scarcer every year . They are diminishing not only in numbers but also in their capacity to subscribe more than toke n support to art collections, orchestral societies or theatre projects . If the arts are to survive somebody must pay for them, and if the burden of subsidy, purchase or guarantee has become too heavy P for the private patron it must be shouldered by the public . The new pattern of patronage is, in fact, determined by the general design fo r living which modern democracies have elected to adopt . The health, th e education, the social welfare, the national defence of the people have al l become the collective responsibility of the people, and no taxpayer or rate- payer can contract out of the obligation to contribute to the upkeep of th e necessities and amenities of the Welfare State . The preservation of the fine arts is another of these collective responsibilities ; not a brand-new one, by any means, but one which has only in recent years won conscious accept- ance by our national and municipal legislators . The principle of collective patronage, like many other principles of British behaviour, has become accepted in a piece-meal, almost absent - minded, fashion. There have been milestones, of course, in its development : such as the creation of the Arts Council, by Royal Charter, in 1946, and th e inclusion in the Local Government Act of 1948 of a brief but significan t clause empowering local authorities to devote up to a 6d . rate* on enter- tainment and the arts . But the notion of public responsibility for the arts has been growing a long time in this country, like the grain of mustard seed. For many decades, for example, some municipalities have made bye-laws to the advantage (though not invariably so) of art galleries o r orchestras; voluntary bodies, such as the National Art-Collections Fun d and the Contemporary Art Society, have proclaimed and practised the virtues of collective responsibility for the arts. Although the British, * 41d. in Scotland . unlike the French, the Italians and the Germans, are not born with this principle in their bones, they are learning it, as they do so many of thei r other lessons, by the force of example and experience . VARIETIES OF PATRONAG E If public patronage has come not only to stay but to grow, how shoul d it be manifested and organised? In several countries the problem has been entrusted to a Ministry of Fine Arts . But as our national lack of logic is more than balanced by our native good sense we are seeking a more empirical solution in Britain . In this country public patronage of the arts is vested in many bodies, and thereby assumes that diversity of interest and style with which the private patrons, in their time, were able to endow th e arts. Unless public patronage can be as catholic and resilient as its privat e predecessors were, it will impoverish, and finally destroy, the arts b y reducing them to a mere official pattern. We can fairly claim that there is little sign of such regimentation in the publicly-supported arts of Britain . The City Councils of Birmingham or Bristol do not prescribe what plays shall be performed in the theatres they subsidise . The L.C.C. imposes no artistic sanctions upon the Open-Air Sculpture Exhibitions it organises in Battersea Park, or upon the concerts it presents in the Royal Festival Hall. The four `Counties of Cities' which contribute so handsomely to the Scottish National Orchestra exert no influence on the artistic policy of that body. The same principle is apparent, at many levels, in the attitude of th e scores of Local Authorities which assist, in cash or in kind, the provisio n of concerts, plays and art exhibitions in their territories . This principle of free trade in the arts is fostered, too, by the numerou s voluntary bodies which have been created to diffuse and improve th e practice of music or drama in the professional or amateur fields : the National Federation of Music Societies, the British Drama League, the English Folk Dance and Song Society, the National Eisteddfod of Wales, the Rural Music Schools Association, the various Philharmonic Societie s -to name but a few. By the modest subscriptions of their members - aided, sometimes, by grants from the Arts Council-such bodies as thes e have built up a substantial patronage for the arts at many levels . But valuable and essential as such bodies are, they are pigmies compare d with that Colossus of collective consumption, the B .B.C., which represents yet another kind of modern patronage .
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