Dorrit Black, Music, 1927-28
I had never heard of the Grosvenor School of Modern Art until I set foot in the Dulwich Picture Gallery.
Founded by wood engraver, Iain Macnab in 1925, the Grosvenor School was different from other London-based art schools of the time. There were no exams, students enrolled on courses when they could, and once they learned the rudiments of linocutting (the course most associated with the school), they were encouraged to develop their own style.
The emphasis on printmaking, and more specifically linocutting fell in with the ethos of key members of staff. Claude Flight, art department head, wanted cheap, easy to use materials, firm in his belief that art should be accessible to all. Not only should one produce art, irrespective of one’s standing in life, but it should be affordable, selling for no more than a few guineas.
In this forward-thinking environment the linocut, once a sombre monochrome affair, underwent a make-over and became a new, democratic art form. Colours were introduced into the printmaking process and both teachers and students, inspired by the ever-changing scenery of London, set to work recreating the energy of the capital in their compositions.
The exhibition at the Dulwich Picture Gallery is a fascinating and rare opportunity to see the work of this generation of print artists, who in the 20s and 30s captured the mood and preoccupations of the inter-war years.
I dived into the ‘Urban Living’ section and was struck by the proliferation of styles.
Ethel Spowers’s compositions stood out for me, particularly Special Edition 1938. A crowd forms in the street, each member of the public avidly reading the newspaper. Have Hitler’s troops just marched into Czechslovakia? White sheets, like billowing sails, fill the frame. Interestingly, they are principally women readers, judging by the cloche hats on show. Spowers’s repetition of plum, russet and green hues and her flattened perspective remind me of a beautiful Japanese woodcut. The traffic lights emerge from a sea of newspaper.
Equally appealing but perhaps less elegant, was another of Powers’s prints, A Gust of Wind 1930-31. A figure clutches at a newspaper being swept away in all directions. A little scene captured to perfection.
In the ‘At Work At Play’, ‘Pastoral Life’ sections, one was reminded of how, despite the reduction of working hours for many, how hard manual labour could be for those straining to produce food for the expanding cities. I was particularly struck by Sybil Andrews’s rather unnerving Fall of the Leaf 1934.
Three horses tug an obsolete, hand-held plough up a remarkably steep terrain. The fields surrounding, curve off at odd angles and the trees resemble half-opened fans. It is an extraordinary work of warped reality which makes one feel quite queasy!
On the ‘Play’ front, Dorrit Black’s Music 1927-8 (see Title Image) was a more vibrant version of Matisse’s The Dance,1909. Black’s print encapsulates the ecstasy of dance during the jazz age. Meanwhile Cyril Power’s The Concerto, 1935, is a study of an orchestra in full flow. Here it is interesting to see the old woodcut style appear in the cellos and piano strings.
Cyril Power also impresses in the room entitled, ‘On the Move’, where, in The Tube Train 1930, the printmaker captures the claustrophobic atmosphere of the commuter train, referred to as ‘The Tank’ at the time. The discomfort of its red-faced occupants is palpable, sweltering no doubt in their suits, top hats and Trilbies!
Power also sought to capture the speed and movement of the new spectator sports such as tennis, sports car and horse events. The Sport section was interesting in that it was the first time sport was captured in this way. The elongated arms of the tennis player at the net and the racing car distorted by the speed it is travelling at, are all exaggerated images and perhaps not to everyone’s taste, but they are an early record of the excitement caused by these spectator sports which were in their infancy.
This was a very satisfying show on many fronts. The art-deco age will always attract the crowds of course but what was of particular interest for me, was to see an equal input of both female and male artists. There is so much talk these days of women been underrepresented in art and this show certainly redresses the balance. It gives it a satisfying wholeness.
So what happened to the humble print priced at a couple of guineas? Well now an original Cyril Power print may go for as much as £100,000!
Highly recommended.
KH
Cutting Edge: Modernist British Printmaking runs until 8th September 2019
Meanwhile Stephen Richardson, singing Geronte, had the air of an eminent professor one minute, his elegant grey streaks and sharp suits giving him maximum allure, and mafioso, the next, in his dark shades. Wherever he was, he seemed to dominate the scene. His solid bass voice was memorable in the lower register but not allowed much space in this opera for tenors!
One of the great good things about the RA show is that it exposes you to everything, that’s its point – the excellent, the proficient; the bad, the alarming; the naff, the kitsch, the clichéd. There are, for example, at least three different ‘murmurations’ of seagulls, one of them repurposing the background to Fragonard’s Girl on a Swing. There are two works that use the
