DOCSLIB.ORG

A Sheffield Hallam University Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Sheffield Hallam University Thesis The Royal College of Art : its influence on education, art and design 1900-1950. CUNLIFFE-CHARLESWORTH, Hilary <http://orcid.org/0000-0001-9019-3931> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/3144/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to 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. Please visit http://shura.shu.ac.uk/3144/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University Author: C u ^ /-/r('c -c^/vi6es^/i7j-/t CY Title/Thesis Number: 7?^, o^ A/er ; 4/r> /As//=<-.aAjt^c O/VJ eojom oNJ, AtO£> J > E s « S f i J „ ^ 0 0 - / 1 5 6 Degree: p ^ Year: /*=?7( Copyright Declaration Consultation for Research or Private study for Non Commercial Purposes I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I recognise that making quotations from unpublished works under 'fair dealing for criticism or review' is not permissible. Consultation for Research or Private study for Commercial Purposes I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any part of it, without the consent of the author. I recognise that making quotations from unpublished works under 'fair dealing for criticism or review' is not permissible. Readers consulting this thesis are required to complete the details below and sign to show they recognise the copyright declaration. Date Name and Institution /Organisation Signature (in block letters) ProQuest Number: 10694402 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694402 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 I THE ROYAL COLLEGE OF ART ITS INFLUENCE ON EDUCATION, ART AND DESIGN 1900-1950 by HILARY CUNLIFFE-CHARLESWORTH BA MA A thesis submitted to the Council for National Academic Awards in partial fulfilment of the requirements for the degree of Doctor of Philosophy Sponsoring Establishment: Division of Historical and Critical Studies Sheffield City Polytechnic Collaborating Establishment: The Royal College of Art August 1991 Abstract Hilary Cunliffe-Charlesworth THE ROYAL COLLEGE OF ART ITS INFLUENCE ON EDUCATION ART AND DESIGN 1900-1950 The Royal College of Art is considered through its teaching of art and design, and its work as a centre for the training of art teachers. The ideas of some of the staff are evaluated with regard to the need for art and design education. The influence of the diplomates of the College on the areas of education, art and design is appraised with a view to assessing the value of the work of the College. The relevance of government bodies to the Royal College of Art is examined in some detail, notably the Board and Ministry of Education, the Board of Trade and the Treasury. The relationship between the Civil Servants and the College Principals, Visitors and College Council are considered. The extent to which the College was prevented from achieving its original aims and objectives is explored. This is appraised together with examples of criticism the College received from government circles and external bodies. How such criticism was adapted for future educational policy at the College is also noted. When the Royal College of Art obtained independence from the Ministry of Education the College established its status as a post-graduate institution and was able to address the requirements of modern design education. The Appendices provide details of the Royal College of Art*s chronology of events, statistical information and summarised results of a questionnaire given to ex-students. Contents Acknowledgements................................................. .vii Foreword....... • viii Introduction..........................................................1 Endnotes................. 7 1 The Influence of the Royal College of Art on Education...... 11 Endnotes............. 32 2 The Influence of the Royal College of Art on Art............. 47 Endnotes...................................................... 64 3 The Influence of the Royal College of Art on Design.........84 Endnotes ..... 115 4 The Influence of Government on the Royal College of Art....136 4.1 The Influence of Government on the Royal College of Art During the Principalship of Augustus Spencer 1900-20.••137 The Departmental Committee on the Royal College of Art.146 Teacher Training............................................ 152 Student Conditions at the Royal College of Art..........153 The Recommendations of the 1911 Report................... 155 The Advisory Council for Art Education...................157 Proposed Royal Commission on the Royal College of Art..157 The Accommodation of the Royal College of Art...........158 Endnotes ............................. 164 4.2 The Influence of Government on the Royal College of Art During the Principalship of William Rothenstein 1920-38............................................... 171 Departmental Committee of the Board of Education 1929..184 The Appointment of Percy Jowett as Principal............ 188 Endnotes............... 200 4.3 The Influence of Government on the Royal College of Art During the Principalship of Percy Jowett 1935-48....... 206 The Hambleden Committee 1935.............................. 207 New Administrative Support and Registrar 1939...........210 The Effects of the Second World War...................... 211 The Board of Education and Student Health...... 213 Post War Reorganisation of Art and Craft Education 215 Committee on Industrial Art Education 1943........... ...218 The Weir Committee Report. •••••••••..••••••............ 219 The Findings of the Interdepartmental Committee.........220 The Royal College of Art Returns to London.............235 The Retirement of the Principal Percy Jowett........... 236 Endnotes •••••..........................................243 4.4 The Influence of Government on the Royal College of Art During the Principalship of Robin Darwin 1948-50....... 252 The Need for Re-Organisation at the College............. 254 Darwin arrives at the Royal College of Art.............. 256 The New Constitution. •. • .................................. 263 Darwin forces staff changes................................268 The move towards independance............................. 272 Negotiations with the Treasury............................ 280 Negotiations with the Ministry of Works............... ..282 The College Gains Independence......................... ...282 Endnotes..................................................... 285 Summary. ................... 293 Table 1: State Aid for Art- incidental expenditure...298 Table 2: State Aid for Art - graph..................... 299 Endnotes ............................ 300 Conclusion. ......... 301 Endnotes .................. 347 List of Plates................... ... ............................ 358 Plates............... 362 Bibliography...................................................... 407 Board of Education Papers. ....................... 407 Board of Trade Papers .......................... 415 Secondary Source Material.................. ....416 Appendices Introductory Note................. 425 Appendix A The Government School of Design and its Scuccessors....... 426 Endnotes ...... 440 Appendix B Members of the Board and Ministry of Education 1900-45....442 Appendix C Royal College of Art 1900-1950:Questionnaire Results.....444 Copy of Questionnaire. ............. 445 Introduction to the Results of theQuestionnaire.... ....... 450 Table A Number of Responses by Year of Entrance to R.C.A..452 Table B Number of Diplomates of the R.C.A. Total....... ...453 Table C Number of Diplomates by Subject Area............... 454 Table D Number of Diplomates by Gender.............. 455 Table E Total Number of Diplomates by Subject Area: graph.456 Table F Total Number of Diplomates by Gender: graph....... 457 Pre Art School Education.............. ....................... 458 Junior and Elementary Schools.............................. 458 Secondary Schools............................................ 459 Higher Grade and High Schools.......... ................... 459 Technical and Trade Schools...................... 460 Grammar Schools•••••........... ••••......461 Private and Public Schools.............................. ..463 Private Tutition............ •••••....... 464 Convent Schools........ ••••.......................... 464 Church of England Schools...................................464 County Schools............. 465 Other types of school.........................
Load more

Recommended publications
  • London Calling: BBC External Services, Whitehall and the Cold War 1944- 57
    London calling: BBC external services, Whitehall and the cold war 1944- 57. Webb, Alban The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1577 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] LONDON CALLING: SSC EXTERNAL SERVICES, WHITEHALL AND THE COLD WAR, 1944-57 ALBAN WEBB Queen Mary College, University of London A thesis submitted in partial fulfilment of the requirements of the University of London for the degree of Doctor of Philosophy (Ph.D) 1 Declaration: The work presented in this thesis is my own. Signed: '~"\ ~~Ue6b Alban Webb Declaration: The work presented in this thesis is my own. Signed: Alban Webb ABSTRACT The Second World War had radically changed the focus of the BBC's overseas operation from providing an imperial service in English only, to that of a global broadcaster speaking to the world in over forty different languages. The end of that conflict saw the BBC's External Services, as they became known, re-engineered for a world at peace, but it was not long before splits in the international community caused the postwar geopolitical landscape to shift, plunging the world into a cold war. At the British government's insistence a re-calibration of the External Services' broadcasting remit was undertaken, particularly in its broadcasts to Central and Eastern Europe, to adapt its output to this new and emerging world order.
    [Show full text]
  • International Art
    International Art Collectors’ List No. 168, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] Web: joseflebovicgallery.com 1. Cecil Aldin (Brit., 1870-1935). Miss Camp­ JOSEF LEBOVIC GALLERY bell’s “April Lady” & “Dame Marigold” Babies, Established 1977 Mr Frank Harrison’s “Champion Angelo” & 103a Anzac Parade, Kensington (Sydney) NSW Mr Duerdin Dutton’s “Starboard” [St Bernard Dogs], 1893. Ink and wash with white highlight, Post: PO Box 93, Kensington NSW 2033, Australia captioned left and right, signed and dated lower Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) left, publishing annotations in pencil in various hands with two stamps verso, 44.1 x 29.7cm. Email: [email protected] • Web: joseflebovicgallery.com Foxing, slight stains, soiling over all. $2,900 Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Stamps read “Horace Cox, Brear’s Buildings, E. C. The Member of • Association of International Photography Art Dealers Inc. Queen” and “C. Robertson & Co. Artist’s Colourmen. 99 Long Acre and 154 Piccadilly, London.” International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 168, 2013 International Art On exhibition from Sat., 9 November 2013 to Sat., 1 February 2014. All items will be illustrated on our website from 16 November. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $0.96¢; UK £0.59p © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka 2.
    [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]
  • Recall of Mps
    House of Commons Political and Constitutional Reform Committee Recall of MPs First Report of Session 2012–13 Report, together with formal minutes, oral and written evidence Ordered by the House of Commons to be printed 21 June 2012 HC 373 [incorporating HC 1758-i-iv, Session 2010-12] Published on 28 June 2012 by authority of the House of Commons London: The Stationery Office Limited £0.00 The Political and Constitutional Reform Committee The Political and Constitutional Reform Committee is appointed by the House of Commons to consider political and constitutional reform. Current membership Mr Graham Allen MP (Labour, Nottingham North) (Chair) Mr Christopher Chope MP (Conservative, Christchurch) Paul Flynn MP (Labour, Newport West) Sheila Gilmore MP (Labour, Edinburgh East) Andrew Griffiths MP (Conservative, Burton) Fabian Hamilton MP (Labour, Leeds North East) Simon Hart MP (Conservative, Camarthen West and South Pembrokeshire) Tristram Hunt MP (Labour, Stoke on Trent Central) Mrs Eleanor Laing MP (Conservative, Epping Forest) Mr Andrew Turner MP (Conservative, Isle of Wight) Stephen Williams MP (Liberal Democrat, Bristol West) Powers The Committee’s powers are set out in House of Commons Standing Orders, principally in Temporary Standing Order (Political and Constitutional Reform Committee). These are available on the Internet via http://www.publications.parliament.uk/pa/cm/cmstords.htm. Publication The Reports and evidence of the Committee are published by The Stationery Office by Order of the House. All publications of the Committee (including press notices) are on the internet at www.parliament.uk/pcrc. A list of Reports of the Committee in the present Parliament is at the back of this volume.
    [Show full text]
  • Design for Eltham Palace Frieze £1,750 REF: 1527 Artist: GILBERT LEDWARD
    Design for Eltham Palace Frieze £1,750 REF: 1527 Artist: GILBERT LEDWARD Height: 12.5 cm (4 1/1") Width: 49.5 cm (19 1/2") Framed Height: 36 cm - 14 1/4" Framed Width: 67 cm - 26 1/2" 1 Sarah Colegrave Fine Art By appointment only - London and North Oxfordshire | England +44 (0)77 7594 3722 https://sarahcolegrave.co.uk/design-for-eltham-palace-frieze 01/10/2021 Short Description GILBERT LEDWARD, RA, PRBS (1888-1960) Tennis, Golf, Shooting, Ice-Skating, Dreaming – Proposed Design for Decorative Frieze in the Italian Drawing Room at Eltham Palace, commissioned by Stephen Courtauld Signed and dated July 9th 1933 Watercolour and pencil 12.5 by 49.5 cm., 5 by 19 ½ in. (frame size 36 by 67 cm., 14 ¼ by 26 ¼ in.) Exhibited: The artist’s daughter; London, The Fine Art Society, A Centenary Tribute, Feb 1988, no. 43. Gilbert Ledward was born in London. He was educated at St Mark’s College, Chelsea. In 1905 he entered the Royal College of Art to study sculpture under Edouard Lanteri and in 1910 he entered the Royal Academy Schools. In 1913 he won the Prix de Rome for sculpture, the Royal Academy’s travelling award and gold medal, which allowed him to travel in Italy until the outbreak of the Wold War I. During the war he served as a lieutenant in the Royal Garrison Artillery and was appointed as an official war artist in 1918. Following the war he was largely occupied as a sculptor of war memorials including the Guards Division memorial in St James’s Park and the Household Division’s memorial in Horse Guards Parade.
    [Show full text]
  • Bristol 2005
    Bulletin 87 3§ Association of For information on advertising, membership and distribution contact: October Art Historians A AH Administrator, Claire Davies, 70 Cowcross Street, London EC1M 6EJ Tel: 020 7490 3211; Fax: 020 7490 3277; <[email protected]> 2004 Registered Charity No. 282579 Editor: Jannet King, 48 Stafford Road, Brighton BN1 5PF <[email protected]> www.aah.org.uk ART HISTORY IN CRISIS? Come and air your views ast April at the AAH AGM at the Nottingham • Is a different sort of teaching required for contextual Lconference several speakers from the floor voiced studies and service teaching from that used to teach concern at threats to art history as a discipline in some art and design students? universities; several degree courses have been closed or • What strategies can we use to halt further decline are under threat, and application numbers are low. The role of historical and critical studies on studio-based and raise the profile of the discipline? courses is being redefined - sometimes, it was felt, in Speakers will include Chris Breward (Chair, Design ways that threaten the distinctiveness of the discipline. History Society, Deputy Head of Research), Barbara Burman (Winchester School of Art, University of In response, the AAH has joined with the Design Southampton), and Fran Lloyd (Kingston University) History Society to discuss some of these pressing issues The forum will take place at Birmingham Institute of Art and to consider possible solutions at an institutional, and Design, University of Central England (Aston national and organisational level. Amongst the topics to Campus), 1.30 - 6.00 pm on 26 November 2004 .
    [Show full text]
  • Anteprima-Pionieri-Del-Football.Pdf
    Prefazione Soffiava dal mare d’Irlanda un ventaccio cattivo che attraversava prepotente tutto il corpo, gelando gli alluci dei piedi, i pollici delle mani e la punta del naso. Soffiava da giorni, spazzando le strade di Liverpool dalla polvere e dalla fuliggine delle fabbriche, attorcigliando i suoi refoli sui vecchi docks screpolati dalla salsedine, costringendo i portuali a calarsi bene il cappello sulla testa. Soffiava facendo alzare verso il cielo spirali di indolenti gabbiani rauchi, bloccandoli vertiginosi nel grigio infinito, e inoltre sembrava che quel vento facesse muovere con più rapidità le ore, le lunghe, estenuanti, prodigiose ore che separavano i bambini dall’arrivo del Natale. Insomma, soffiava via, almeno per un po’, anche le malinconie uggiose e le delusioni spiacevoli di un intero anno. La casa su due piani, locata in Ullet Road, sembrava stare là da sempre, stretta e dritta, con una bislacca torretta simile a un campanile. Una casa piena di tanti rotoli, tanti libri, tanti progetti, piccoli e grandi quaderni per gli appunti, appoggiati alla rinfusa su tavolini utili per il tè, per il bridge e per gli scacchi, oppure riposti su scaffali di mobili composti in solida radica di noce. Tutta roba di un creativo ingegnere del posto con la passione della pesca. Non aveva colori quell’edificio allampanato, solo qua e là in concomitanza con gli infissi si accendeva, più che altro durante le fulgide giornate di primavera, di un violetto tenue per via dei vasi zeppi di fiori di lavanda. John Alexander Brodie era, come detto, un ingegnere: un ingegnere di stampo civile presso i cantieri navali della Mersey.
    [Show full text]
  • Blackheath – the Epicentre of English Sport
    Blackheath – The Epicentre of English sport On the 26th October 1963 in the Freemasons Tavern on Great Queen Street in Holborn, London, the first meeting of the Football Association took place. The main item for discussion was to create a codified set of rules, that would "embrace the best and most acceptable points of all the various methods of play under one heading of Football". Eleven clubs, all based in London, attended the meeting after Ebenezer Cobb Morley, the captain and founder of Barnes, had written to Bell’s Life newspaper, suggesting that football needed set rules and a governing body similar in structure to how the Marylebone Cricket Club ruled cricket. Apart from Morley's Barnes Football Club, the other ten representatives in the put that night were Civil Service, the Crusaders, Forest of Leytonstone, No Names Club of Kilburn, Crystal Palace, Blackheath, Kensington School, Perceval House of Blackheath, Surbiton and Blackheath Proprietary School. One small area of London, Blackheath, with a population of a few thousand that provided three of the clubs who were willing to codify the game of football for the first time in the world. Up until this point, the way the game had been played had varied based on geography in the UK. The rules created by the world's oldest club, Sheffield FC, for example, differed from those used at Rugby School, whilst in London a number of private schools had their own versions. With the game becoming more popular, Morley's idea was to "form an Association with the object of establishing a definite code of rules for the regulation of the game".
    [Show full text]
  • CURRICULUM VITAE for Alison Welsh Alison Welsh Is Head Of
    CURRICULUM VITAE for Alison Welsh Alison Welsh is Head of Fashion Research at Manchester Metropolitan University, and is based within the Manchester Fashion Institute. She graduated in Fashion Design at Newcastle Polytechnic in 1981 and went on to work as a Menswear designer in London for 10 years. She was a Trend Forecaster and a MeMber of the British Textile Colour Group. Alison headed up the award-winning BA (Hons) Fashion course within the Manchester School of Art for twenty years. In addition, she has been a trustee of Graduate Fashion Week since 2004. As a practicing designer, she has a special interest in slow fashion, ethical practices, the hand-made and methods of valuing the work of those involved within garment production. Her fashion work explores the introduction of high value for conteMporary craft within garMent design, and environmentally friendly textiles, through collaborative projects, such as The Thai Lue Project, Field to Fashion exhibited in New Delhi and Hand Made, which was exhibited in Tokyo. Higher Education: 1976/77 Foundation Course in Art and Design, Bradford Art College. 1977/81 B.A. (Hons) Fashion Design, Newcastle Polytechnic. Current EmployMent Head of Fashion Research 0.5 FTE Manchester Metropolitan University. Previous EmployMent Details: 2013 – 2017 Head of DepartMent, Manchester Fashion Institute 2011 - 2013 Principle Lecturer, (International Development) Manchester School of Art 1992 - 2011 PrograMMe Leader, BA (Hons) Fashion MMU 1991 - 2011 Senior Lecturer, Manchester Metropolitan University 1985 - 1991 Design Manager, International Design Exchange, London Client list included Nike, Levis, and Laura Ashley. 1 1982 - 1985 Menswear Designer, Design Intelligence, London 1986 - 1990 Visiting Lecturer, Derby College of Further Education 1984 Visiting Lecturer, Kingston Polytechnic 1981 Part-tiMe Lecturer, North Tyneside College of Further Education 1980 PlaceMent, Designer & Pattern Cutter.
    [Show full text]
  • Disseminating Design: the Post-War Regional Impact of the Victoria & Albert Museum’S Circulation Department
    DISSEMINATING DESIGN: THE POST-WAR REGIONAL IMPACT OF THE VICTORIA & ALBERT MUSEUM’S CIRCULATION DEPARTMENT JOANNA STACEY WEDDELL A thesis submitted in partial fulfilment of the requirements of the University of Brighton in collaboration with the Victoria & Albert Museum for the degree of Doctor of Philosophy April 2018 BLANK 2 Disseminating Design: The Post-war Regional Impact of the Victoria and Albert Museum’s Circulation Department This material is unavailable due to copyright restrictions. Figure 1: Bill Lee and Arthur Blackburn, Circulation Department Manual Attendants, possibly late 1950s, MA/15/37, No. V143, V&A Archive, © Victoria and Albert Museum, London. Joanna Weddell University of Brighton with the Victoria and Albert Museum AHRC Part-time Collaborative Doctoral Award AH/I021450/1 3 BLANK 4 Thesis Abstract This thesis establishes the post-war regional impact of the Victoria and Albert Museum’s Circulation Department (Circ) which sent touring exhibitions to museums and art schools around the UK in the period 1947-1977, an area previously unexplored to any substantial depth. A simplistic stereotypical dyad of metropolitan authority and provincial deference is examined and evidence given for a more complex flow between Museum and regions. The Introduction outlines the thesis aims and the Department’s role in the dissemination of art and design. The thesis is structured around questions examining the historical significance of Circ, the display and installation of Circ’s regional exhibitions, and the flow of influence between regions and museum. Context establishes Circ not as a straightforward continuation of Cole’s Victorian mission but as historically embedded in the post-war period.
    [Show full text]
  • 1 H Downes 2019 Strawberries, Cream & Pimm's, Housman Room, 10Th July 2019 Notes from the Talk by Helen Downes on the Slad
    Strawberries, cream & Pimm’s, Housman Room, 10th July 2019 Notes from the talk by Helen Downes on the Slade School of Fine Art and UCL Art Museum – the new rehang of the Housman Room Introduction Hello, it’s nice to be here this evening and to have the opportunity to tell you more about the paintings that surround you as you spend time in the room. All the works are from UCL Art Museum’s Slade Collection and I’ve been fortunate enough to work on various projects for UCL Art Museum, the most recent of which was Spotlight on the Slade Collections, a Paul Mellon Centre funded project which ran for three years between 2015-2018 - to catalogue and research the Slade collections. But this evening, I’m going to tell you a bit about the collection and its background, and about the works in this room. My talk will be in two parts – I’ll start with a brief, 10 minute introduction to the room and the works and then give you an opportunity to have a wander around before telling you a bit more about the prize system at the Slade and the works in this room. Introduction to the room, background to the Slade Collection at UCL Art Museum and orientation with the hang: As many of you will know, the room has recently been decorated and a new painting hang was curated by Dr Nina Pearlman, Manager of the Art Collections and Dr Andrea Fredericksen, Curator of the Art Collections. All the works on display are from UCL Art Museum’s collection.
    [Show full text]