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By the end of John Cecil Stephenson's art school training - first a
scholarship to Leeds Art School then to The Royal College of Art -
he was in a position to produce still lives, landscapes and
portraits in a professional capacity. Like many painters of his
generation, who had received similarly conventional instruction, he
became a competent teacher, appointed in 1922, as Head of Art at
The Northern Polytechnic. In this mould Stephenson might have
remained a largely undistinguished painter - but in the early 1930s
he found himself at the centre of a group of artists with
avant-garde credentials, and his own art underwent a remarkable
transformation. By 1934 he was exhibiting groundbreaking works such
as Mask (CAT. 7), at the 7 & 5 Society, and in 1937 was a key
contributor to the watershed publication and exhibition Circle,
where his work was showcased alongside that of luminaries such as
Kazimir Malevich, Le Corbusier, Fernand Leger, Alberto Giacometti
and Pablo Picasso. What led Stephenson to become, in the words of
the celebrated art critic Herbert Read, 'one of the earliest
artists in the country to develop a completely abstract style'?
Between March 1919 and November 1965, John Cecil Stephenson lived
in London at No. 6 Mall Studios, off Tasker Road, Hampstead. As the
father figure of what Read christened 'a nest of gentle artists',
his next door neighbours included, during the course of the decade
leading up to World War II, Barbara Hepworth, John Skeaping, Ben
Nicholson and Henry Moore. Such fertile ground was further enriched
by visits from artists fleeing persecution - including Piet, Laszlo
Moholy-Nagy and Alexander Calder - just a few of the many
internationally acclaimed artists who, whilst passing through
London, formed part of the art set who congregated around Read's
house at No. 3 Mall Studios.
WOW - a collaboration between Liss Llewellyn and the Laing Art
Gallery - showcases 38 British women artists working on paper
between 1905 and 1975, a transformative period for women in the
arts. The featured artists approached the medium in vari ous ways,
using traditional as well as innovative techniques to transform
paper into beautiful and complex works of art. The exhibition
celebrates the diversity of these approaches and highlights the
ways in which paper provided artists with a rich arena for artistic
innovation. Paper's adaptability allows for a multitude of
techniques. Using paper in its traditional role as a support for
drawings and prints, or creating collage and sculpture, the fea
tured artists responded to the medium's inherent qualities -
malleable, smooth and sensuous - to test ideas, express feelings or
create a finished work. It is often in the more formative moments
that the works in this exhibition most resonate; through these
studies we bear witness to the seed of an idea in germination, as
in Clare Leigh ton's iconic Southern Harvest, or Evelyn Dunbar's
celebrated works for the War Artist's Advisory Committee. Selecting
hand-made, mould-made or machine-made papers in various weights,
tex tures and tints - depending on their intentions - artists
worked with a variety of media from pencil, ink and pastel, to
watercolour, tempera and oil, sometimes incorporating extraneous
elements such as gold leaf and metallic forms. Working on
monumental sheets, such as Winifred Knights' cartoon for St
Martin's Altarpiece or tiny pages such as Edith Granger-Taylor's
Small Grey Abstract, women's choices were nevertheless some times
dictated by circumstance: the propensity of Frances Richards and
Tirzah Gar wood - by no means isolated cases - to work on paper on
a small scale was in part a result of not having access to a
studio. From portraits, landscapes, botanical studies and genre
scenes, many of the works in WOW highlight the artist's skill and
dexterity in drawing on paper, which was at the core of artistic
training and practice. Some artists have used the traditional
techniques of etching, screen printing and woodblock to create a
diverse range of images. Others highlight the ethereal properties
of paper through precise cuts, resulting in elaborate collages
combining shapes, patterns and designs, or compact and manipulate
paper to create inventive and surprising sculptures. Featuring both
famous and lesser-known talents, WOW celebrates the many ways in
which women artists expressed themselves through works on, and with
paper and highlights their unique contribution to the graphic arts
in 20th century Britain.
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British Drawings 1890-1990
Paul Liss; Contributions by George Richards
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R298
R242
Discovery Miles 2 420
Save R56 (19%)
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Ships in 9 - 15 working days
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Which artists in British 20th century art painted religious images?
Broadly speaking there seem to have been two categories: The first
concerns artists who created religious images when the religious
content was in response to a set subject, for example The Deluge in
the 1920 Rome Scholarship in Decorative Painting, or who responded
to a specific commission, for example Thomas Monnington's works for
The Ormond Chapel, Bradford, Kippen Church and Stations of the
Cross for Brede Church in Hastings. The second category concerns a
small minority off artists who were committed believers such as
Frank Brangwyn, Eric Gill and Stanley Spencer. No account of 20th
Century British art can overlook the numerous works of the period
that were essentially "religious" in their content. Art, Faith&
Modernity examines this question in Paul Liss' and Alan Powers'
essays and demonstrates the wide range of expression in more than
200 colour reproductions.
This publication examines how artist's portray themselves in
self-portraits and how they portray their fellow artists. The
artist's studio, models and milieu (friends, family etc) are also
considered. Most of Liss Llewellyn's projects in the last twenty
five years have involved working directly with artists' studios.
Amongst the thousands and thousands of images that until now had
lain undisturbed, often hardly seen since the day they were
created, some occasionally stand out. Often modest in size and not
obviously works of importance; a scrap of paper recording the
intense introspective gaze of an artist, or a moment of intimacy
suggesting the artist was in love with his subject - be it his or
her spouse, model or children. This portrait of an artist is the
result of twenty years of collecting and brings together a
remarkable group of works which, large or small, minor or major all
have in common one quality - the ability to transport the viewer
momentarily into the artist's milieu.
Originating from Berlin Hagedorn moved to Manchester in 1905 to
train in textile production. Having studied art under Adolphe
Valette at the local Manchester School ofArt and then The Slade
School of Art, his training was completed by a period in1912-13
where, working under Maurice Denis, he absorbed a range of
avant-garde styles. On his return to England, he made a consciously
pioneering attempt to introduce Modernism into Manchester through
his work as both painter and designer, exhibiting at the Manchester
Society of Modern Painters, RA, RBA, RSMA and with the NEAC.. He
became a British subject in 1914 and served as a Lance-Corporal in
the Middlesex Regiment during World War I. In 1925 he received the
Grand Prix at the International Exhibition of Decorative Art, Paris
and in 1935 he was elected RBA. He exhibited at a number of leading
galleries in London and the provinces, and was elected to the Royal
Society of British Artists, the Royal Institute of Painters in
Water Colours, the Royal Society of Marine Artists, the New English
Art Club and the NS. Hagedorn has only been the subject of one
exhibition and publication: 'Manchester's First Modernist', a
catalogue produced by the Chris Beetles Gallery on the occasion of
the retrospective organised in conjunction with the Whitworth Art
Gallery, Manchester.
Hugh Finney was a painter, draughtsman and teacher who trained
initially at Bromley School of Art, where he attended evening
classes from 1915, and then at Beckenham School of Art to where he
won a trade scholarship in 1918. He studied painting with Amy
Katherine Browning and etching with Eric Gill. Around 1927 he won a
scholarship to the Royal College of Art, where he studied under
William Rothenstein. Horton, Houthuesen, Ososki and Freedman were
amongst his friends at the college. In 1929 after graduation he
took up a travelling scholarship to Rome returning to teach
part-time at Chelsea School of Art under Percy Jowett and later
Harold Sandys Williamson. From 1927-1934 he exhibited at the NEAC.
In 1935 his painting Mother and Child was acquired by Carlisle Art
Gallery. During WW2 Finney worked for the light rescue service of
the Civil Defense. After the war he taught part time under Anthony
Betts at Reading University and was in charge of life drawing there
when he retired in 1970. Although he was reclusive and reluctant to
show his work he did exhibit at the RA Summer exhibition (in 1950
and 1954) and the Portrait Society and at The Paris Salon. A large
solo exhibition took place at the University of Oxford's Institute
of Education in 1964.
The role of mural and decorative painting has been largely
neglected in accounts of twentieth-century British art. In this
collection of specially commissioned studies, leading experts shine
the spotlight on some of the most important and enduring, along
with neglected images of the period. These include previously
unpublished Festival of Britain designs as well as little-known
masterpieces from the first generation of Rome Scholars Colin Gill,
Edward Halliday, Glyn Jones, Winifred Knights and Tom Monnington.
Many of these works are reproduced in color for the first time.
More than 30 mural projects discussed and illustrated include
Stanley Spencer's Sandham Memorial Chapel, Burghclere from the
1920s; Rex Whistler's Tate Restaurant; Edward Wadsworth's study for
a mural at De La Warr Pavilion at Bexhill; Frank Brangwyn's
Rockefeller Plaza, New York; The English Pub, by Edward Bawden;
Telecinema Designs by John Armstrong; John Piper's The Englishman s
Home; Thomas Monnington's ceiling for the New Council House,
Bristol, and the Porthmeor Mural by Peter Lanyon, 1962/63.
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