Cecil Beaton's Dazzling Bright Young Things Brought Together for the First
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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. -
Cecil Beaton: VALOUR in the FACE of BEAUTY
Cecil Beaton: VALOUR IN THE FACE OF BEAUTY FROM BRIGHT YOUNG THING AND DOCUMENTER OF LONDON‘S LOST GENERATION OF THE 20S TO A DOCUMENTER OF A NEW GENERATION WHO WOULD LOSE THEIR LIVES IN THE SECOND WORLD WAR, THIS IS JUST ONE SLICE OF Cecil Beaton‘s REMARKABLE LIFE THROUGH PHOTOGRAPHY. ©THE CECIL BEATON STUDIO ARCHIVE AT SOTHEBY’S. STUDIO ARCHIVE AT ©THE CECIL BEATON TEXT Mark Simpson CECIL BEATON SELF-PORTRAIT, CAMBRIDGE FOOTLIGHTS, 1925 Another Another 254 Man Summer/Autumn 2020 Man 255 CECIL BEATON In a world saturated with social me-dear surveillance and Beaton: No, no one could help me. It was up to me to find suffused with surplus selfies, being ‘interesting’ becomes ever- the sort of world that I wanted. more compulsory – just as it becomes ever-more elusive. Not Face to Face, 1962 just for artists in this brave new connected, visual, attention- seeking world, but for civilians too. Cecil Walter Hardy Beaton was born in 1904 into a Little wonder that Cecil Beaton, a man who essentially prosperous Edwardian middle-class family in Hampstead, a invented himself and his astonishing career with a portable leafy suburb of London. He was the product of true theatrical camera loaded with his ambition and longing, one of the romance: his mother Esther was a Cumbrian blacksmith’s brightest of his bright young generation of the 1920s, has daughter who was visiting London when she fell in love with become more famous, not less. As we plough relentlessly into his father Ernest, a timber merchant, after seeing him onstage a 21st century that he anticipated in many ways, long before in the lead role in an amateur dramatic production. -
An Analysis on the Novels of Evelyn Waugh and Their Adaptations Evan J
Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2016 The alueV of Attending University: An Analysis on the Novels of Evelyn Waugh and their Adaptations Evan J. Molineux Claremont McKenna College Recommended Citation Molineux, Evan J., "The alueV of Attending University: An Analysis on the Novels of Evelyn Waugh and their Adaptations" (2016). CMC Senior Theses. Paper 1407. http://scholarship.claremont.edu/cmc_theses/1407 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Claremont McKenna College The Value of Attending University: An Analysis on the Novels of Evelyn Waugh and their Adaptations submitted to Professor Kathryn Stergiopoulos by Evan Molineux for Senior Thesis Spring 2016 April 25, 2016 i Table of Contents Acknowledgements I. Introduction . 1 – 7 II. The Transformative Effects of Oxford in Brideshead Revisited . 8 - 30 III. Paul Pennyfeather’s Chaotic Journey through Decline and Fall . 31 - 55 IV. The Bright Young Things of Vile Bodies . 56 - 70 V. The Reaffirming Power of Evelyn Waugh Through Film and Television . 71 - 85 Works Cited ii Acknowledgements I would like to thank my thesis advisor, Professor Kathryn Stergiopoulos, for her patience, guidance, support, and constructive criticism over the past two semesters. Without her or her colloquiums, this thesis would not have been nearly as enjoyable to work on. I would also like to thank the rest of the literature department for helping to nurture my love for a subject that I have truly enjoyed studying over the past four years. -
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. -
John Whistler (1905–1944) Bolebec House, 7 Oving Road, Whitchurch
Reginald (Rex) John Whistler (1905–1944) Bolebec House, 7 Oving Road, Whitchurch HP22 4JF The artist Rex Whistler was born in 1905 in Eltham. He moved, with his family, to Farnham Common in Buckinghamshire in the 1920s just before he was accepted at the Royal Academy. He disliked the regime there and was ‘sacked for incompetence’. He then proceeded to study at the Slade School of Art. Upon leaving the Slade he became a professional artist. Rex’s most noted work during the early part of his career was for the café at the Tate Gallery, completed in 1927, which includes impressions of the Corinthian Arch and Boycott Pavilions at Stowe. One of the Boycott Pavilions also featured in a later self-portrait. Rex was part of a group of influential artists of the early 20th century who travelled up to the Slade art school from the commuter belts of Bucks and Berks. He painted many members of London society, including Edith Sitwell, Cecil Beaton and other members of the set to which he belonged, which became known as ‘The Bright Young Things’. Rex also produced mural and trompe l’oeil paintings at Plas Newydd, home of Lady Caroline Paget. He and Lady Caroline became close friends and he painted numerous portraits of her, including a startling nude (Whistler). His murals for Edwina Mountbatten’s 30-room luxury flat in Brook House, Park Lane, London were later installed by the Mountbattens’ son-in-law, decorator David Hicks, in his own houses. Rex also created designs for Wedgwood china and designed the scenery and costumes for Ninette de Valois and Gavin Gordon’s Hogarth-inspired 1935 ballet The Rake’s Progress as well as producing book illustrations, notably those for Hans Andersen’s Fairy Tales and Legends (Whistler). -
This Episode Appeared As Part of a Series of Three Devoted to the Cultural Revolution That Occurred in Britain in the Years Between the Wars
Newsletter_42.1 This episode appeared as part of a series of three devoted to the cultural revolution that occurred in Britain in the years between the wars. The first dealt with architecture and design, with a focus on Art Deco and modernism, the third with the influence of Hollywood films on British culture. The second was devoted to the so-called Bright Young People of the 1920s. Presenters included Philip Hoare (biographer of Stephen Tennant), Selina Hastings (biographer of Evelyn Waugh and Nancy Mitford), Lucy Moore (author of Anything Goes: A Biography of the Roaring Twenties) and D. J. Taylor (author of a cultural survey entitled The Bright Young People). Indeed, Taylor’s book (reviewed in EWNS 41.2 and 39.1) seems to have been the basis for the program’s script, which follows his description and interpretation of participants in the BYP and their cultural/historical importance. No scriptwriter is mentioned in the credits. The program follows the careers of three participants in the BYP (Stephen Tennant, Elizabeth Ponsonby and Brenda Dean Paul) and two observers and chroniclers of that movement (Evelyn Waugh and Cecil Beaton). The three examples of BYPs were all from well-established upper-class families. Philip Hoare provides most of the narrative on Stephan Tennant, whose primary talent seems to have been drawing attention to himself as a thing of beauty. Nancy Mitford drew heavily on Tennant for her character Cedric Hampton in Love in a Cold Climate and The Pursuit of Love, and Caroline Blackwood compared him to David Bowie (unfair because Bowie can sing). -
Rex Whistler 1905 - 1944
Rex Whistler Rex in front of his tank with his tank crew Rex Whistler 1905 - 1944 Christened Reginald John Whistler, but always known as Rex. He was born on June 24th 1905 in Eltham, Greater, London. From a very early age he was very good at drawing. He had a talent for drawing from memory which was quite frowned on when he was at The Royal Academy; he only lasted one term there. He was then taken on at Slade School of Art, where Professor Henry Tonks saw that he had a rare talent. He wanted his students to paint murals and that is how Rex came to paint the restaurant walls in the Tate Britain in London. Whilst at The Slade he was befriended by Stephen Tennant, son of Baron Glenconner and later on stepson of Viscount Grey. This was Rex’s introduction to the rich and famous and also to Wiltshire, which he really loved and came back time and time again. It was through Stephen that Rex came in contact with Edith Olivier, who lived at Daye House in the grounds of Wilton House. This was a platonic relationship as Edith was 33 years older than him. But she became his mentor on almost everything that was going on in his life. During his lifetime because of her and Stephen’s connections, Rex moved in the circle of the “bright young things “and painted for the rich and famous. He was not just an artist; he illustrated books, designed posters and china, did stage sets as well as the costumes. -
Baixa Descarrega El
Jacqueline Hurtley and Elizabeth Russell Universitat de Barcelona and Universitat Rovira i Virgili, Tarragona Following the fruits of the second wave of feminism fiom the 60s into the 80s, the backlash has set in (cf. Susan Faludi), with texts such as Camille Pagha's Sexual Personae intensqing the reaction. Beyond the women's movemenf we are witnesses to a growing sense of intolerante, made manifest in xenophobic attitudes and racist attacks. In The Nature of Fascism, published in 1991, Roger Grifñn spends his fúst chapter dwelling on the "conundrum" of fascism, so temed because of the lack of consensus as to how fascism might be defined. We do not propose to consider the complexities involved here but will rnake use of Griíñn's working definition: "Fascism is a genus of political ideology whose mythc core in its various permutations is a pahgenetic fom of populist ultranationalism." (Grif6n 1991,26). For our particular purpose, we wish to focus on the concept of palingenesis (fkom palin - again, anew; and genesis - creation, biríh). Fascism promulgated the idea of rebiríh: the movement would bring about "a new national community", one which would draw on, " - where posible, traditions which had supposedly remained uncontaminated by degenerative forces and whose cohesion was assured by new institutions, organisations and practices based on a new political hierarchy and a new heroic ethos" (Griíñn 1991, 45). Women became conspicuous by their absence within the new phallocentnc hierarchy. The new fascist man (hornofmcistus) wodd be intent on saaiñcing himseíf to the higher needs of the nation. In Male Fantasies Klaus Theweleit drew on case-studies produced on a number of individuals who played an active part in German proto-fascism. -
Cannibals and Catholics: Reading the Reading of Evelyn Waugh
Cannibals and Catholics: Reading the Reading of Evelyn Waugh’s Black Mischief Jonathan Greenberg I Evelyn Waugh, even more than Wyndham Lewis, is probably the most enduring satirist among British modernists, even though he rejected both labels for his own work.1 Yet while Lewis’s reputation has undergone a triumphant rehabilitation in recent decades, Waugh still suffers from the preconception that his work is minor. Symptomatically, Fredric Jameson’s Fables of Aggression, a book in part responsible for Lewis’s soaring reputation, initiated its restorative project in 1978 precisely at Waugh’s expense: “At best, in Britain today, [Lewis] retains a kind of national celebrity and is read as a more scandalous and explosive Waugh.”2 In other words, Waugh is merely a less scandalous and explosive version of Lewis – a less scandalous and explosive version, moreover, of the “old,” misread, unreconstructed Lewis, of Lewis the eccentric gadfly rather than of Lewis the radical innovator and analyst of modernity who emerges in Jameson’s compelling, if feverish, study. Perhaps because his jokes are funnier than Lewis’s, his prose more burnished, and his extra-fictional writing less theoretically challenging, Waugh has yet to find a Jameson to champion his work and bring him into wider accounts of modernism.3 Located between the high and the low, he fits awkwardly into a narrative of the modernist “great divide”; conservative but not extremist, his politics, unlike those of Lewis or Marinetti, have rarely proved interesting to dialecticians.4 But it is precisely as a satirist, I maintain, that Waugh is important to accounts of modernism. -
MISLEADING CASES Children of the Sun. a Narrative of Decadence in England After 1918
BOOK REVIEWS 85 MISLEADING CASES Children Of The Sun. A Narrative of Decadence in England After 1918. By MARTIN GREEN. Constable, 1977; £7.50. Mr. Green purports to describe the 'imaginative history' of England between 1918 and 1957, seeing it as a 'cultural Downloaded from https://academic.oup.com/eic/article/XXVIII/1/85/493747 by guest on 01 October 2021 dialectic' between the 'dandy-aesthetes' and the 'anti- dandies'. He describes the former as representing the culture's 'thesis' (dominant 'temperament') and the latter as supporting its 'antithesis'. Into the first group he puts two 'gangs', one led by Harold Acton, Brian Howard, Connolly, Quennell, Waugh and Betjeman, the other by Auden, Isherwood, Spender and John Lehmann. The anti- thesis is represented by Leavis, Orwell and, sometimes, Lawrence who, along with the Georgian and Victorian forbears of the 'gangs' and their more conventional con- temporaries, stand for 'seriousness' and 'maturity'. The argument of the book revolves around the careers of Acton and Howard as the cultural leaders of the 'thesis'. Here, however, he runs into difficulties: the 'dandyism' of Acton is different in kind from that of Auden. The first gang, then, must be termed 'dandy-aesthete'; the second, 'naif. The 'cult of the naif, he assures us, was 'at the very core of Thirties' Marxism—the image of the sun-bronzed young man with his shirt open, bringing the radiant candour of his gaze to bear on the mess the fathers have made of the world'. But even this is not comprehen- sive enough. What about Beaverbrook and Winston Churchill? What about Peter Rodd and Randolph Churchill? They must naturally form another sub-section: 'uncles' and 'rogue-rebels'. -
James S. Jaffe Rare Books Llc
JAMES S. JAFFE RARE BOOKS LLC P. O. Box 930 Deep River, CT 06417 Tel: 212-988-8042 Email: [email protected] Website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers All items are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. [ANTHOLOGY] JOYCE, James. Contact Collection of Contemporary Writers. (Edited by Robert McAlmon). 8vo, original printed wrappers. (Paris: Contact Editions Three Mountains Press, 1925). First edition, published jointly by McAlmon’s Contact Editions and William Bird’s Three Mountains Press. One of 300 copies printed in Dijon by Darantiere, who printed Joyce’s Ulysses. Slocum & Cahoon B7. With contributions by Djuna Barnes, Bryher, Mary Butts, Norman Douglas, Havelock Ellis, Ford Madox Ford, Wallace Gould, Ernest Hemingway, Marsden Hartley, H. D., John Herrman, Joyce, Mina Loy, Robert McAlmon, Ezra Pound, Dorothy Richardson, May Sinclair, Edith Sitwell, Gertrude Stein and William Carlos Williams. Includes Joyce’s “Work In Progress” from Finnegans Wake; Hemingway’s “Soldiers Home”, which first appeared in the American edition of In Our Time, Hanneman B3; and William Carlos Williams’ essay on Marianne Moore, Wallace B8. Front outer hinge cleanly split half- way up the book, not affecting integrity of the binding; bottom of spine slightly chipped, otherwise a bright clean copy. $2,250.00 BERRIGAN, Ted. The Sonnets. 4to, original pictorial wrappers, rebound in navy blue cloth with a red plastic title-label on spine. N. Y.: Published by Lorenz & Ellen Gude, 1964. First edition. Limited to 300 copies. A curious copy, one of Berrigan’s retained copies, presumably bound at his direction, and originally intended for Berrigan’s close friend and editor of this book, the poet Ron Padgett. -
Cecil Beaton (1904–80) Was One of the Great Creative Figures of the British Twentieth Century
Access Guide Please return at the end of your visit We hope this guide supports your visit. Please speak to any member of staff for more information. VERSION 2 Map Entrance Contents TBC Introduction Cecil Beaton (1904–80) was one of the great creative figures of the British twentieth century. Chiefly known as a photographer of portraits and fashion, through his work for Vogue magazine from 1924 to 1979, he was also recognised as a significant war photographer. An illustrator and caricaturist, a writer and commentator on taste and manners, Beaton was a theatre designer and art director of world renown and an influential stylist of his own homes. This exhibition focuses on Beaton’s early years. Born in Hampstead to a then prosperous timber merchant, Ernest Beaton and his wife Esther (‘Etty’), Cecil was first given a camera in 1914, aged ten. His first subjects were his mother and his willing sisters, Nancy and Barbara (‘Baba’). His transformation from middle-class suburban schoolboy to dazzling society figure against the backdrop of the Roaring Twenties and the Age of Jazz revealed a social mobility barely thinkable before the First World War. Here, then, are the Bright Young Things who brought an extraordinary era vividly to life and in so doing, nurtured and refined a remarkable photographic talent. The strength of his singular vision is such that, when we think of the Bright Young Things, we think of them in Beaton’s costumes, through Beaton’s lens and as Beaton’s friends. For full details of all events please see the What’s On guide or npg.org.uk/events Friday 20 March, 19.00 Lecture ‘When I die I want to go to Vogue’: Cecil Beaton’s Most Enduring Patron with Robin Muir Curator Robin Muir looks at the Cecil Beaton’s long working relationship with Vogue.