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University' Microrilrns International 300N.Zaeb Road Ann Arbor, Ml 48106 8318357 Forrest, Erik Harrowcr HARRY THUBRON: HIS CONTRIBUTION TO FOUNDATION STUDIES IN ART EDUCATION The Ohio Stale University PH.D. 1983 University Microfilms International 300 N. Zeeb Road, Ann Arbor. M l 48106 Copyright 1983 by Forrest, Erik Harrower All Rights Reserved PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a checK mark V . 1. Glossy photographs or pages______ 2. Colored illustrations, paper or print_____ 3. Photographs with dark background_____ i 4.j Illustrations are ooor copy _ _ i 5. Pages with black marks, not original copy______ B. Print shows through as there Is text on both sides of page______ 7. Indistinct, broken or small print on several pages_____ 6. Print exceeds margin requirements _____ j " ™ ' r " 9. Tightly bound copy with print lost In spine______ 10. Computer printout pages with indistinct print______ 11. Page(s) ^3 lacking when material received, and not available from school or author. il 2. Page(s)____________ seem to be missing In numbering only as text follows. 13. Two pages numbered ___________ . Text follows. 14. Curling and wrinkled pages ______ 15. Other ___________________________________________________________________ University ' Microfilms International HARRY THUBRON: HIS CONTRIBUTION TO FOUNDATION STUDIES IN ART EDUCATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Erik H. Forrest, D.A., A.T.D. ***** The Ohio State University 1983 Reading Committee: Approved By Kenneth Marantz Arthur Efland Adviser George Weckman Department of Art Education ACKNOWLEDGEMENTS I wish to express my appreciation to Professors Kenneth Marantz, Arthur Efland, George Weckman and Ross Norris for their help, advice and suggestions. My thanks, too, to ex-colleagues and students in England, and especially to Harry and-Elma Thubron for their willingness to cooperate through discussion and review of written materials. ii VITA January 13, 1925..............Born, Edinburgh, Scotland. 19A7.......................... D.A. (Edin.), College of Art, Edinburgh, Scotland. 1949.......................... A.T.D. , University of Edinburgh, Scotland. 1949-1962..................... Lecturer in Art Education, College of Art, Leeds, England. 1962-1969..................... Principal Lecturer, College of Art, Birmingham, England. 1969-1977..................... Associate Professor of Art, University of Wisconsin- Parkside, Kenosha, Wisconsin. 1977-1980..................... Director, School of Art, Ohio University, Athens, Ohio. 1980-......................... Associate Professor of Art, Ohio University, Athens, Ohio. PUBLICATIONS "A Basis for Art Education.1' Educational Review. Vol. 17, No. 2, February, 1965. "Issues and Problems in the Education of Art Teachers." Art Education. Vol 18, No. 5, 1965. "What Kind of Art in Secondary Education." Journal of Curriculum Studies. Vo. 1, No. 3, 1969. "Three Apples, a Milk Churn and a Broken Doll." Arts in Society, Summer/Fall 1974. "A Systems-Based Approach to Art Education." Art Education. February. 1975. "Modular Serendipity." Leonardo. Autumn, 1980. iii FIELD OF STUDY Major Field: Art Education Studies in Art Education. Professors Kenneth Marantz, Arthur Efland and Ross Norris Studies in Philosphy. Professors George Weckman and Warren Ruchti. iv Table of Contents ACKNOWLEDGMENTS ........................................ ii VITA ................................................... .iii LIST OF P L A T E S .......................................... viii INTRODUCTION ............................................ 1 Chapter I. ENGLISH ART SCHOOLS AFTER WORLD WAR II . 7 The schools and colleges of a r t ....... 16 The curriculum ........................ 19 The art world of the forties— Continental abstraction and English Romanticism............................ 23 Museums and galleries in the late f o r t i e s ................................ 26 Publications on design and design e ducation.............................. 27 The student b o d y ......................29 Implications for art e d u c a t i o n ....... 32 II. EARLY BASIC COURSE DEVELOPMENTS IN ENGLAND . 42 The beginnings in London and the North . 43 A beginning in the North E a s t ......... 45 Thubron--early teaching ................ 46 Hudson— early teaching ................. 48 London and Newcastle— Richard Hamilton . 51 Victor Pasmore ......................... 53 A combining of forces ................... 55 Thubron--a "secondary modern" interlude . 59 The move to L e e d s ......................61 III. LEEDS COLLEGE OF ART— 1950-1955 ............ 68 A Northern industrial city ............ 69 The Leeds college of art students .... 71 Curriculum and teaching............... 73 v IV. LEEDS COLLEGE OF ART— 1955-1960 .............. 84 The "foundation" studio ................. 85 Analysis and synthesis ................. 90 Observation...............................95 Complementary studies................... 101 The critique ............................106 The students ............................109 Thubron1s teaching ..................... 110 An interview with Thubron, October, 1959 118 The contribution of the Gregory Fellows .125 Conclusions.............................. 130 V. RESPONSES AND EXTENSIONS .................... 134 Some written reactions and justifications .......... ...... .136 Short c o u r s e s............................145 Drawing with the figure ................. 151 Drawing with the figure f i l m ...........156 The Bishop Stortford films ............. 157 VI. SOME IMPORTANT INFLUENCES.................... 164 Herbert R e a d ............................166 Anton Ehrenzweig ........................177 John H o o d ................................ 184 The debt to the B a u h a u s................. 190 VII. AFTER LEEDS .................................. 198 Leaving Leeds ............................198 Lancaster................................ 201 The University of Illinois-Urbana . .210 Leicester................................ 212 S p a i n .................................... 213 J a m a i c a .................................. 214 Atkinson and Hudson— later developments .217 VIII. THUBRON AT LEEDS— ARTIST AND EDUCATOR . .225 Thubron as an a r t i s t ................... 228 IX. THE THUBRON CONTRIBUTION .................... 236 Change— art, science, and art education .239 Change in a r t ............................241 Change in science........................250 Change in art education at Leeds . .253 Objectivity, drawing and verisimilitude .259 vi X. ART AND LANGUAGE ........................... 271 Is visual art a language?............... 272 XI. THUBRON AND TODAY'S ART EDUCATION.......... 298 Art education, 1977— a political dimension................................299 A continuing process ................. 309 Art and technique....................... 316 The purpose of higher education in art .324 BIBLIOGRAPHY............................................ 335 APPENDICES A. A Thubron interview......................... 341 B. An interview with John W o o d .................346 C. Biographical data ........................... 355 D. P l a t e s ......................................358 vii LIST OF PLATES 1. Leeds College of Art. 2. Drawings from the Leeds Foundation course. 3. Drawings from Leeds College of Art. A. Drawings from Leeds College of Art. 5. Drawings from