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Rachel Rose Smith Modern Art Movements and St Ives 1939-49.Pdf MODERN ART MOVEMENTS AND ST IVES 1939–49 RACHEL ROSE SMITH PH.D. UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2015 ABSTRACT This thesis provides a view of modern art in St Ives between 1939 and 1949 by focusing on two interlinked concerns: the movement of objects, people and ideas through communication and transport networks, and the modern art movements which were developed by artists working in the town during this period. Drawing especially from studies of place, hybridity and mobility, Chapter 1 provides an account of two artists’ migration to St Ives in 1939: Naum Gabo and Barbara Hepworth. It considers the foundational importance of movement to the narrative of modern art in St Ives and examines the factors which contributed to artists’ decisions to relocate. Using this information, it probes presumptions surrounding St Ives as an artists’ ‘colony’ and proposes it as a site of ‘coastal modernism’. Chapters 2 and 3 examine the contribution by artists in St Ives to two developing art movements: Constructivism and Cubism. Both investigations show how artists participated in wide-reaching artistic networks within which ideas and objects were shared. Each chapter also particularly reveals the value of art movements for providing temporal scales through which artists could reflect upon and establish the connections of their work to the past, present and future. Chapter Two focuses on the Constructive project associated with the publication of Circle: International Survey of Constructive Art (1937), revealing how modern art in St Ives inherited ideas and styles from earlier movements and continued to reflect upon the value of the ‘Constructive spirit’ as Europe changed. Chapter Three is an examination of Nicholson’s connections to the Cubist movement and an analysis of the long-standing impact this had on his work and critical reception both before and after the Second World War. To conclude this thesis, two narratives centred on 1964, the year often used to define the end of an artistic period in St Ives, suggest how the internationalism of artists and artist groups in St Ives changed during the period which followed 1949. 2 TABLE OF CONTENTS ABSTRACT .................................................................................................................................. 2 TABLE OF CONTENTS .............................................................................................................. 3 LIST OF ILLUSTRATIONS ........................................................................................................ 4 ACKNOWLEDGEMENTS .......................................................................................................... 8 AUTHOR’S DECLARATION ..................................................................................................... 9 INTRODUCTION ...................................................................................................................... 10 i. LITERATURE AND DISPLAYS .............................................................................. 10 ii. PLACE, HYBRIDITY, MOBILITY .......................................................................... 22 iii. MOVEMENTS AND TIME ....................................................................................... 28 iv. METHODOLOGY AND TERMS .............................................................................. 34 v. STRUCTURE AND LIMITATIONS ......................................................................... 40 1. 1939..................................................................................................................................... 44 i. WARTIME MIGRATION: GABO AND HEPWORTH ........................................... 45 ii. THE COASTAL COLONY AS SITE OF MODERNITY ......................................... 60 2 WIDENING CIRCLE: CONSTRUCTIVE GROUND ....................................................... 65 i. TRANSFER POINTS ................................................................................................. 67 ii. CONSTRUCTIVISM ACROSS EUROPE ................................................................ 87 iii. NEW GROUND: DISPERSAL AND ASSEMBLAGE FROM 1937........................ 94 iv. TOWARDS RECONSTRUCTION .......................................................................... 112 3 NICHOLSON’S CUBISM: TABLEAU, TEXT AND TABLE TOPS ............................. 120 i. LITERALNESS AND OBJECTHOOD ................................................................... 124 ii. EARLY ENCOUNTERS: ABSTRACTION AND PAPIER-COLLÉ ..................... 130 iii. FRAMES OF REFERENCE: LINE AND TEXT IN THE THIRTIES .................... 136 iv. NEOPLASTIC TABLES .......................................................................................... 146 v. OPENING THE VIEW: ST IVES AND TRANSATLANTIC EXCHANGE .......... 157 CONCLUSION: 1949–64 ......................................................................................................... 177 APPENDIX: ILLUSTRATIONS .............................................................................................. 191 BIBLIOGRAPHY ..................................................................................................................... 233 3 LIST OF ILLUSTRATIONS 1. Photograph of Tate St Ives behind Porthmeor Beach (Tate website). 2. Examples of early exhibition catalogues, Tate St Ives: Tate St Ives: An Illustrated Companion (1993), Alison Wilding (1994), Paul Feiler (1995-6), Rothko (1996). 3. Installation shot of ‘Gesture’ in Object, Gesture, Grid: St Ives and the International Avant-garde, Tate St Ives, 2010. 4. Installation shot of Patrick Heron, Window for Tate Gallery St Ives (1992-93) and Yto Barrada, Palm Sign (2010) in The Far and The Near: St Ives and International Art, Tate St Ives, 2013. 5. Installation shot of the ‘Constructive Ideas’ gallery in International Exchanges: Modern Art and St Ives 1915-1965, Tate St Ives, 2014. 6. As above. 7. Archive display in the ‘Constructive Ideas’ gallery in International Exchanges: Modern Art and St Ives 1915-1965, Tate St Ives, 2014. Material selected with and arranged by Enrico Tassi. 8. Alfred Barr, diagram representing Cubism and Abstract Art, Museum of Modern Art, New York, 1936. 9. Diagram representing Inventing Abstraction 1910-1925, Museum of Modern Art, New York, 2013. 10. Stephen Bann, Diagram representing ‘A Brief Chronology’ (Bann, 1974). 11. John Willett, Diagram representing ‘1. The main movements’ (Willett, 1978). 12. John Willett, Diagram representing ‘2. Organizations and political links’ (Willett, 1978). 13. Paul Klee, Angelus Novus, 1920, Israel Museum, Jerusalem. Ink, chalk and wash on paper, 318 x 242 mm. 14. Barbara Hepworth, Two Heads, 1932, Pier Arts Centre, Orkney. Cumberland alabaster, 300 x 375 x 227 mm. 15. Ben Nicholson, St Rémy, 1933, Tate. Oil on canvas, 273 x 168 mm. 16. Barbara Hepworth, photograph of works by Hepworth, Nicholson and Calder at the Mall Studio, c.1935. 17. Naum Gabo, Experimental Photograph, 1941, Tate Archive. 18. Naum Gabo, Spiral Theme, 1941, Tate. Cellulose acetate and Perspex, 140 x 244 x 244 mm. 19. El Lissitzky, Proun A1, Bridge 1, 1919-20, Museu Coleção Berardo. Pencil and gouache on paper, 150 x 195 mm. 4 20. Naum Gabo, Construction: Stone with a Collar, 1933, this version c. 1936-7, Tate. Limestone, cellulose acetate and brass on slate base, 370 x 720 x 550 mm. 21. El Lissitzky and Hans Arp (eds), Die Kunstismen: Les ismes de l'Art: The Isms of Art, 1925. 22. Naum Gabo, Leslie Martin and Ben Nicholson (eds), Circle: International Survey of Constructive Art, 1937. 23. Barbara Hepworth, Monumental Stele, 1936, destroyed in war. 24. Naum Gabo, Construction in Space: Arch, 1937, Guggenheim collection. Plexiglass, 476 x 810 x 241 mm. 25. Postcard from Marcel Breuer, Walter Gropius, László Moholy-Nagy, Alexander Dorner and Herbert Bayer to Ben Nicholson, 1 September 1937 [postmarked], Ben Nicholson Papers, Tate Archive. 26. Postcard from Nicholson to Leslie Martin, 4 September 1939 [postmarked], Leslie Martin Papers, Scottish National Gallery of Modern Art Archive. 27. Peter Lanyon, Box Construction No. 1, 1939-40, Pier Arts Centre, Orkney. Wood, glass, cardboard and gelatine filter in a wooden box, 327 x 404 x 55 mm. 28. Photograph of Peter Lanyon’s Box Construction No. 1, 1939-40, Conway Collections, Courtauld Institute of Art. 29. Photograph of Lanyon’s studio, late 1939 or early 1940 (Stephens, 2000: 33). 30. László Moholy-Nagy, K VII, 1922, Tate. Oil on canvas, 1153 x 1359 mm. 31. Peter Lanyon, Untitled [piston rings], 1940, destroyed. 32. Joost Schmidt, Hyperboloid Sculpture, 1928. (Moholy-Nagy, 1932). 33. John Wells, Construction, 1940-41, Tate. Aluminium, steel, wood, copper wire and rubber on stone base, 221 x 240 x 200 mm. 34. Aleksandr Rodchenko, Spatial Construction no. 12, c. 1920, Museum of Modern Art, New York. Plywood, open construction partially painted with aluminium paint, and wire, 610 x 837 x 470 mm. 35. Peter Lanyon, Blue Glass Airscape, 1960, private collection. Glass, ceramic, plaster and paint on cork, 311 x 311 mm. 36. Ben Nicholson to Leslie Martin, 21 May [1936], Leslie Martin Papers, Scottish National Gallery of Modern Art Archive. 37. Ben Nicholson, 1924 (first abstract painting, Chelsea), c.1923-4, Tate. Oil paint and graphite on canvas, 554 x 612 mm. 38. Pablo Picasso, Musical Score and Guitar, autumn 1912, Centre Pompidou, Musée national d'art moderne, Paris. Cut, pasted, and pinned coloured paper, sheet music, and paper, and charcoal on coloured paper, 425 x 480
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