Jake and Dinos Chapman

 

Disasters of War: Exhibition Fitzwilliam Museum and Tate


This portfolio of 83 etchings plus 12 proofs is the Chapman brothers’ response to, and reinterpretation of, Goya’s famous series of The Disasters of War.


And 3 D models in the Tate Gallery


Frans Masereel

Frans Masereel 1889 1972 Die Passion eines Menschen 1918 ChateauBoynetAgency 2012

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The City

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Frans Masereel (31 July 1889 – 3 January 1972) was a Flemish painter and graphic artist who worked mainly in France. He is known especially for his woodcuts. His greatest work is generally said to be the wordless novel Mon Livre d’Heures (Passionate Journey). He completed over 20 other wordless novels in his career. Masereel’s woodcuts strongly influenced the work of Lynd Ward and later graphic artists such as Clifford Harper and Eric Drooker. There is a Frans Masereel Centre (Frans Masereel Centrum for Graphix) in the village of Kasterlee in Belgium.

Frans Masereel was born in the Belgian Blankenberge on 31 July 1889. He moved to Ghent in 1896, where he began to study at the École des Beaux-Arts in the class of Jean Delvin at the age of 18. In 1909 he went on trips to England and Germany, which inspired him to create his first etchings and woodcuts. In 1911 Masereel settled in Paris for four years and then emigrated to Switzerland, where he worked as a graphic artist for journals and magazines. His woodcut series, mainly of sociocritical content and of expressionistic form concept, made Masereel internationally known. Among these were the wordless novels 25 Images of a Man’s Passion (1918), Passionate Journey (1919), The Sun (1919), The Idea (1920) and Story Without Words (1920). At that time Masereel also drew illustrations for famous works of world literature by Thomas Mann, Émile Zola and Stefan Zweig. In 1921 Masereel returned to Paris, where he painted his famous street scenes, the Montmartre paintings. He lived for a time in Berlin, where his closest creative friend was George Grosz. After 1925 he lived near Boulogne-sur-Mer, where he painted predominantly coast areas, harbour views, and portraits of sailors and fishermen. During the 1930s his output declined. In 1940 he fled from Paris and lived in several cities in Southern France.

At the end of World War II Masereel was able to resume his artistic work and produced woodcuts and paintings. After 1946 he worked for several years as a teacher at the Hochschule der Bildenden Künste Saar (de) in Saarbrücken. In 1949 Masereel settled in Nice. In the following years until 1968 several series of woodcuts were published, which differ from his earlier “novels in picture'” in comprising variations of a subject instead of being a continuing narrative. He also designed decorations and costumes for numerous theatre productions. The artist was honoured in numerous exhibitions and became a member of several academies. Frans Masereel died in Avignon in 1972 and was entombed in Ghent. The cultural organizationMasereelfonds was named after him.

Influence

From Mon Livre d’Heures (A Passionate Journey, 1919)

The American graphic artist Lynd Ward was greatly influenced by Masereel in creating his novels in woodcuts. A number of cartoonists have cited Masereel as an influence on the development of the graphic novel: Art Spiegelman cited Mon Livre d’Heures as an early influence on his Maus. Will Eisner cited Masereel as an influence on his work, as has scratchboard novelist Eric Drooker.

Wordless novels

Source: edited from Wikipedia articles on Masereel and his different works, the You Tube videos and reading of his graphic novels themselves.

Grosvenor School

Claude Flight

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Walter Claude Flight (born London 1881 – died 1955) also known as Claude Flight or W. Claude Flight was a British artist who pioneered and popularised the linoleum cut technique. He also painted, illustrated and made wood cuts.

Influenced by Cubism, Futurism and Vorticism, his work expressed dynamic rhythm through bold, simple forms. His linocut prints show his interest in depicting speed and movement.

Flight was a fervent promoter of the linoleum cut technique from the time he first used it in 1919. He felt by promoting the use of the cheap and easily obtained new material he was making it possible for the masses to be exposed to art. He saw in it the potentiality of a truly democratic art form.

Flight had tried a number of different careers before settling on art. He had kept bees, farmed and also had tried engineering before studying art at Heatherley School of Fine Art from 1913–1914 and from 1918. Flight exhibited at the Royal Academy in 1921, in Paris in 1922 and in London at the R.B.A. from 1923. He also exhibited regularly at the Redfern Gallery and abroad.

Flight was a member of the Seven and Five Society in 1923 whose members included Henry Moore, Ben Nicholson and Barbara Hepworth. He was a member of the Grubb Group in 1928. He collaborated with Edith Lawrencewith whom he had an interior design business, taught at the Grosvenor School of Modern Art from 1926 and wrote and organized exhibitions on linocuts. His pupils included various now-famous print artists such as Lill Tschudi,Cyril Power, Eileen Mayo and Sybil Andrews.

He produced over 64 different prints and published 9 books on linocutting.

List of works

This print resulted from a Swiss summer holiday made by Flight and Edith Lawrence in 1933. They stayed as guests of Lill Tschudi at her family home in Schwanden.

Source: Wikipedia

Clifford S Ackley ed British Prints from the Machine Age: Rhythms of Modern Life 1914-1947 Thames and Hudson 2008

Lil Tschudi

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Lill Tschudi (1911–2004) was a Swiss artist associated with the Grosvenor School of Modern Art.

Lill Tschudi was born at Schwanden, Glarus, Switzerland. As a girl she saw an exhibit of linocut prints by Austrian artist Norbertine Bresslern Roth, and decided that she also wanted to be a printmaker.

Tschudi officially studied at the Grosvenor School of Modern Art from 1929 to 1930. From 1931 to 1933, she lived in Paris and studied with André Lhote, Gino Severini, and Fernand Léger. She returned to Switzerland in 1935, and lived mainly with her sister’s family (her sister Ida Tschudi-Schümperlin was also an artist).

Tschudi would produce over 300 linocuts in her career, exhibiting in London with Claude Flight and other printmakers. Her typical subjects included athletes, such as skiers and cyclists, transportation scenes, workers, and musicians. A wartime side project with her sister Ida involved printing illustrations for “Glarner Gemeindewappen,” a booklet of the municipal coats-of-arms for the Canton of Glarus, in 1941 (this booklet is now considered rare and quite valuable). Her 1933 print “Ice Hockey” was used for the cover illustration of Margaret Timmers, Impressions of the 20th Century: Fine Art Prints from the V&A Collection (Victoria & Albert Museum Publications 2001).

Tschudi died in Switzerland in 2004, age 93. Her work was featured in the Museum of Fine Arts, Boston and the Metropolitan Museum of Art’s joint 2008 exhibit, “British Prints from the Machine Age: Rhythms of Modern Life, 1914–1939.” Prints by Grosvenor School artists, including Tschudi, proved popular at a 2012 auction in London. Her works were part of another exhibit in spring 2013, “The Cutting Edge of Modernity: An Exhibition of Grosvenor School Linocuts” at the Osborne Samuel Gallery in London.

Source: Wikipedia

Clifford S Ackley ed British Prints from the Machine Age: Rhythms of Modern Life 1914-1947 Thames and Hudson 2008

Sybil Andrews

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Women artists: Sybil Andrews

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Sybil Andrews (19 April 1898 – 21 December 1992) was an English printmaker best known for her modernist linocuts.

Life in England

Born Sybal Andrews in Bury St Edmunds, Andrews was unable to attend art school after finishing secondary school as her family lacked the funds to pay for tuition. Andrews first apprenticed as a welder and worked at an airplane factory during World War I, where she helped in the development of the first all-metal aeroplane for the Bristol Welding Company.During this period she took an art correspondence course and after the war returned to Bury St Edmunds where she was employed as an art teacher at Portland House School. In 1922 Andrews attended Heatherley’s School of Fine Art in London. She began producing and exhibiting linocuts from 1921 until 1939, working frequently with her informal partner Cyril Power. She also helped in the establishment and became the first secretary (1925–1928) of the The Grosvenor School of Modern Art. With the beginning of World War II, Andrews resumed work as a welder for the British Power Company, constructing warships. Here she met Walter Morgan, whom she married in 1943.

In England one of the largest collections in public ownership is held by St Edmundsbury Borough Council Heritage Service Bury St Edmunds. This collection includes a number of early water-colour paintings, executed while the artist was still living in Suffolk.

Life in Canada

In 1947 she and Morgan moved to Canada and settled in Campbell River, British Columbia. Sybil Andrews was elected to the Society of Canadian Painters, Etchers and Engravers in 1951 when her linocut Indian Dance” was selected as the presentation print. In 1975 while working as a teacher and focusing on her practice she completed one of her major works”The Banner of St Edmund.” It is hand embroidered in silks on linen and was first conceived, designed and begun in 1930. This banner now hangs in the Treasury of the St James Cathedral in the town of her birth.

The Glenbow Museum in Canada houses the majority of her work with a collection of over 1000 examples of Andrews’ works, including all of her famous colour linocuts and the original linoleum blocks, oil paintings and watercolour, drawings, drypoint etchings, sketchbooks, and personal papers. In recent years her works have sold extremely well at auction with record prices being achieved primarily within Canada.

In 2015 an exhibition was held at the Art Gallery of Greater Victoria, Canada, “A Study in Contrast: Sybil Andrews and Gwenda Morgan”, comparing and contrasting the fellow Grosvenor School artists.

List of works

Source:

You Tube video

Wikipedia

Clifford S Ackley ed British Prints from the Machine Age: Rhythms of Modern Life 1914-1947 Thames and Hudson 2008

Cyril Power

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Cyril Edward Power (17 December 1872 – 25 May 1951) was an English artist best known for his linocut prints, long-standing artistic partnership with Canadian artist Sybil Andrewsand for co-founding The Grosvenor School Of Modern Art in London in 1925. He was also a successful architect and teacher.

Early years and architecture

Cyril Edward Power was born on 17 December 1872 in Redcliffe Street, Chelsea, the eldest child of Edward William Power who encouraged him to draw from an early age. This passion led to him studying architecture and working in his father’s office before being awarded the Sloane Medallion by the Royal Institute of British Architects in 1900 for his design for an art school.

During the early 1920s Power was producing watercolour landscapes and townscapes as well as the first of some 40 drypoints.

Power and Andrews enrolled at Heatherley’s School of Fine Art, London in 1925 when he was also elected a Fellow of the Royal Historical Society. Power also helped Iain McNab and Claude Flight set up The Grosvenor School of Modern Art in Warwick Square, London with Andrews becoming the School Secretary. Power was a principal lecturer, typically on the subjects of: The Form and Structure of Buildings, Historical Ornament and Symbolism and Outline of Architectural Styles and Frank Rutter, the art critic, on Modern Painters from Cézanne to Picasso.

It was here at The Grosvenor School that Claude Flight taught the art of linocutting. His classes were attended by his colleagues Power and Andrews and students that came from as far afield as Australia and New Zealand, attracted by the advertisements in The Studio magazine. Around this time he and Sybil Andrews began co-authoring prints together under the name Andrew Power.

1929 saw Claude Flight and his associates mount the first exhibition of British linocuts in June at the Redfern Gallery, London. A series of exhibitions were held annually both there and at the Ward Gallery. Further exhibitions were arranged by Flight and traveled to the United States Of America, Australia and China.

The success of these exhibitions led to a commission by Frank Pick, the Deputy Chairman of the Underground Electric Railways Company of London to design a series of posters. These were produced as chromolithographyand were based on the theme of sporting venues reached via the London Underground system and lead to further sporting posters which became stylistically influential on other artists of the era.

In 1930 Power was elected member of the Royal Society of British Artists and established a studio with Andrews in Hammersmith close to the River Thames, a location which inspired many prints by both artists, most notably ‘The Eight’ by Power and ‘Bringing in the Boat’ by Sybil Andrews.

Their first major joint exhibition was at the Redfern Gallery in 1933 which consisted of linocuts and monotypes. The following years saw many more joint exhibitions until the dissolution of their informal partnership in July 1938 when they gave up their studio. Andrews moved to her cottage ‘Pipers’, near Lymington on the Hampshire coast which Power had modernised and enlarged the previous year. She met and married shipyard worker Walter Morgan during the war in 1943, and emigrated to Canada with him four years later. Power rejoined the family who had just moved from Hertfordshire to New Malden in Surrey.

In September 1939, at the outbreak of World War II, Power was attached to a Heavy Rescue Squad as a surveyor, based at Wandsworth Town Hall. He continued drawing and painting, tending to work principally in oils using a palette knife technique. He also spent time lecturing on painting and linocutting to the local art society at New Malden and at Kingston-Upon-Thames.

During the last year of his life Power completed some eighty-nine oil paintings, a format he had grown increasingly fond of in the preceding years. These were mainly landscapes of the surrounding areas, often Helford River and the Falmouth area of Cornwall as well as some floral studies. He died in London in May 1951, aged seventy-eight.

Notable works

  • The Tube Station (1932)
  • The Tube Staircase (1929)
  • Skaters (1930)
  • The Eight (1930)
  • The Merry Go Round (1931)

Source: Wikipedia

Clifford S Ackley ed British Prints from the Machine Age: Rhythms of Modern Life 1914-1947 Thames and Hudson 2008

Edward Bawden

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Bawden is famous for his large-scale linocuts, which are masterpieces of design: bold inventive images, focussing on the basic characteristics of a subject, as seen in ‘Brighton Pier’ (1958), ‘The Pagoda, Kew Gardens’ (1963) and ‘Nine London Monuments’ (1966), which nevertheless are incredibly complex in their execution. He was experimental within a traditional medium and could create texture through a mixture of paint-stripper and use of wire brush, supplemented with an almost painterly application of ink on a roller. He might also cut small blocks to generate localised areas of colour within a print.

article on Bawden’s multiblock technique from VandA

Life

• 1903 Born at Braintree, Essex, the only child of Edward Bawden (ironmonger) and Eleanor Bawden (nee Game). His parents were Methodist Christians. A solitary child he spent much time drawing or wandering with butterfly-net and microscope.
• 1910 at the age of seven he was enrolled at Braintree High School. Later his parents paid for him to attend the Friends’ School at Saffron Walden
• 1919-1921 on leaving school at 16 he attended the Cambridge Municipal Art School (now Anglia Ruskin University).
• 1922 awarded a scholarship to the Royal College of Art School of Design in London, where he took a diploma in illustration until 1925.
• 1932 he married Charlotte Epton, who had been a fellow-student at the Royal College.They would have two children – Joanna (b. 1935) and Richard (b. 1936)both of whom would become artists. At first the couple lived in a flat in Hammersmith, but soon moved to a Georgian house in Great Bardfield, Essex, only a few miles from Braintree, where Bawden was born.
• 1970 After the death of his wife in 1970, Bawden moved to the nearby town of Saffron Walden, where he continued to work until his death.
• 1989 He died at home on 21 November, aged eighty-six.
Influences

• drawings of cats by Louis Wain,
• illustrations in boys’ and girls’ magazines
• Burne Jones’s illustrations of Malory’s Morte d’Arthur.
• calligraphy
• Aubrey Beardsley,
• Richard Doyle,
• William Morris and other Victorians.Here he met his fellow student and future collaborator, Eric Ravilious fellow student and collaborator in London
• Paul Nash his teacher in London

Early work

By 1925 Bawden was working one day a week for the Curwen Press (as was Ravilious and their former tutor, Nash), producing illustrations for leading accounts such as London Transport, Westminster Bank, Twinings, Poole Potteries and Shell-Mex.

In 1928, Bawden was commissioned by Sir Joseph Duveen at the rate of £1 per day to create a mural for the Refectory at Morley College, London with Ravilious and Charles Mahoney. The mural was opened in 1930 by former Prime Minister Stanley Baldwin, at the time leader of the opposition, having ended his premiership in 1929.

In the early 1930s he was discovered by the famous Stuart Advertising Agency, owned by H. Stuart Menzies and Marcus Brumwell. At this time Bawden produced some of his most humorous and innovative work for Fortnum & Mason and Imperial Airways. It was also in this period that Bawden produced the tiles for the London Underground, which were exhibited at the International Building Trades Exhibition at Olympia in April 1928.

1930s Following his move to the country began to paint more, in addition to his commercial design work, developing his watercolour technique. Most of his subjects were of scenes around Great Bardfield. He held an exhibition of his Essex watercolours at the Zwemmer Gallery in 1934, and another show of his paintings was held at the Leicester Galleries in 1938.

In 1938 he collaborated with John Aldridge, who also lived in the village, on a range of wallpapers, intended to be printed commercially, but from lino blocks handcut by the designers. The project left little other time for other work during the year, and war intervened, before the papers could go into production.

War artist

During the Second World War, Edward Bawden served as official war artist, first with the British army in France, and then, following the army’s evacuation from there, in the Middle East.He made many evocative watercolour paintings recording the war effort in Iraq. Some show the unique life led by the Marsh Arabs in southern Iraq, particularly their dwellings made of reeds.

Later work

While living at Bardfield he was an important member of the Great Bardfield Artists. This group of local artists were diverse in style but shared a love for figurative art, making the group distinct from the better known St Ives art community in Cornwall, who, after the war, were chiefly dominated by abstractionists.

In 1949 Bawden provided illustrations for the book “London is London – A Selection of Prose and Verse by D. M. Low”.

During the 1950s the Great Bardfield Artists organised a series of large ‘open house’ exhibitions which attracted national press attention. Positive reviews and the novelty of viewing art works in the artists own homes (including Bawden’s Brick House) led to thousands visiting the remote village during the summer exhibitions of 1954, 1955 and 1958. As well as these shows the Great Bardfield Artists held several touring exhibitions of their work in 1957, 1958 and 1959.
Bawden’s work can be seen in many major collections and is shown regularly at the Fry Art Gallery in Shelford, Cambridgeshire.