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art, painting, and digital media

art, painting, and digital media

art, painting, and digital media

Dada: The Revolt of Art

June 14, 2009 by Roy Johnson

Modernism 1915—1925

Dada is one of those movements in modern art which had an amazingly short life but a lasting influence. It flourished for not much more than the decade between 1915 and 1925, yet some of its legacy is still with us. It’s amazing to think that this influential movement sprang up in the middle of the first world war – though there were pre-echoes of it in the work of abstract expressionism and Russian futurism which just preceded it.

DadaTristan Tzara might have thought up the name Dada, but I doubt that anyone reads a word of what he wrote these days. However, the work of visual artists such as Jean Arp and Sophie Taeuber still speaks as something of lasting value, almost 100 years later. Dadaism was certainly what we would now call a multimedia phenomenon. It involved painting and sculpture, poetry, typography, theatre, and performance art. At one point it even included a boxing match between Jack Johnson – first black world champion – and Arthur Cravan, a poet-boxer Dadist who was the nephew of Oscar Wilde.

What came out of it that will be of enduring value? Well, certainly the use of montage in graphic design is still with us, as is production in what we now call ‘mixed media’. The work of Raoul Hausmann, Georg Groz, John Heartfield, and Kurt Schwitters still seems fresh today – though Schwitters was actually refused membership of the ‘official’ Dada group, to which he responded by setting up his own one-man movement, called Merz.

As a ‘movement’ (though it was never coherent) it spread quickly from its birthplace in Zurich to Berlin, Paris, and even New York. But its principal adherents were forever disagreeing with each other or even repudiating their own former beliefs. By the early 1920s Dada was ready to be swept up by the much stronger forces of surrealism.

This monograph is beautifully illustrated and it ends with a collection of the key declarations and manifestos of the period for those who want a taste of what was thought to be radical protest in art at the time. There’s also a very good bibliography. Pocket size in format and price, it’s an excellent introduction to the subject.

© Roy Johnson 2007

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Marc Dachy, Dada: The Revolt of Art, London: Thames and Hudson, 2006, pp.127, ISBN 0500301190


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Digital Art

July 14, 2009 by Roy Johnson

illustrated survey of contemporary digital art forms

Digital technology has revolutionized the way art is now produced and viewed. Traditional forms such as painting, photography and sculpture have been transformed by digital techniques. Entirely new forms such as software art, digital installations, and virtual reality have emerged, and they are now collected by major museums, institutions, and private collectors. Christiane Paul’s book surveys the developments in digital art from its appearance in the early 1990s right up to the present day. It’s difficult for books like this to keep up with what’s being developed on the Internet, but she makes a good stab at it. She starts out with a rapid survey of the period 1940-1990, in which the foundations were laid. Then came the world wide web, which opened up the Net to Everyman.

Digital ArtAfter this comes her first main section, which deals with the digitisation of the two-dimensional surface. This yields computer-generated images which look like paintings, photographs which look like web sites, and collages which look like a combination of both – some of them even digital images which have been transferred onto canvass, to complete the illusion. There are lots of examples, all of them illustrated in full colour. It’s a visually rich book.

Most of the time her exposition is clear and straightforward, but now and again it does keep slipping into the style of Art School gobbledygook to which commentators on modern art seem irresistibly drawn:

Suggesting antagonisms, the project explores the concept of different poles in dataspace and the ways in which various forms of information can materialize in a dynamic matrix.

Whilst it is unfair to judge these complex works from a text description of them on the page, plus a screenshot, it seems that many of them go down tempting but false avenues of discovery and innovation.

Randomness, interactivity, or simultaneously viewing events from different points of the globe have no intrinsic connection with art – though it is understandable that people should want to exploit such possibilities. ‘Allowing the viewer to select/mix/choose’ is a false avenue.

Works of art are almost always the finished products of one person which we are invited to contemplate. Exploiting the possibilities of the Web and Flash animations seem much more promising routes to me. Time will tell.

Real artists will be grappling with these new digital possibilities right now – musicians making symphonies in their back bedrooms, Flash animators making the next generation of films.

The last part of the book deals with the various forms in which digital art is popularly manifest – artificial intelligence, telepresence and robotics, data visualisation and mapping, hypertextual narratives, and of course gaming.

She includes an excellent lists of artists’ web sites, digital arts organizations, networks, museums, and festivals, plus a select bibliography.

Despite any reservations I might have expressed here, this is an extraordinarily wide-ranging and thorough investigation of what is going on in digital art right now. She discusses all the key artists and works, as well as issues such as the collection, presentation and preservation of digital art, the virtual museum, and ownership and copyright. Very good value.

© Roy Johnson 2008

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Christiane Paul, Digital Art, London: Thames and Hudson, revised edition 2008, pp.256, ISBN: 0500203989


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Digital Art History

June 30, 2009 by Roy Johnson

Teaching and learning art using IT

This is a collection of academic conference papers which look at the ways in which digital art history and the use of computers is affecting the ways in which art is both taught and studied. The papers cover issues such as the storage, access, and searchability of images; ownership and copyright. iconography and classification, and the analysis of art works using Computer Aided Design. There’s an account of a multi-media project for instance, Colour and Communication in 20th-Century Abstract Art, which teaches issues of tone, tint, and hue by making comparisons with music which are included as audio files alongside interactive exercises.

Digital Art HistoryNext comes a web-based project called The Cathedral as Virtual Encyclopedia – a virtual panoramic tour of Chartes cathedral. The really interesting and ambitious feature here is that the authoring team, lead by Stephen Clancy, have been digitally manipulating the panorama shots using Macromedia Director to produce a thirteenth-century version of the tour.

This is followed by an account of creating a multimedia database of the source materials archived by Georg Morgenstiern, professor of Indo-Iranian languages at the University of Oslo, Norway. The resulting collection of photographs, sound recordings, and movie clips can be seen at www.nb.no.

There is a short encomium for computer gaming which could safely have been left out of the collection. More interesting is an account of experimental new media art at the University of the West of England in Bristol – though the emphasis is on problems of curation rather than the ‘exhibits’ themselves. This is also true of an essay on the creation of a visually searchable database of images at London Guildhall.

The centrepiece of the book shows how computer graphics and visioning techniques can be used in the scientific analysis of paintings. Once the examples have been digitised using CAD software, new versions can be generated from different points of view; partly occluded objects can be completed; shapes and objects can be analysed; and a 3D version of the scene can be generated.

They show an amazing three dimensional reconstruction of Masaccio’s Florentine fresco, The Trinity. This paper is the work of three scholars in art history and engineering science working collaboratively at the University of Oxford and is probably the highlight of the collection.

As an e-learning author myself, I would sometimes have welcomed a little more technical detail, but there’s certainly enough here to stimulate anybody who want to see what’s possible in harnessing the power of IT to the teaching and learning in visual arts.

© Roy Johnson 2005

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Anna Bentkowska-Kafel et al (eds), Digital Art History, Bristol: Intellect, 2005, pp.118, ISBN 1841501166


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Filed Under: Art, Media, Online Learning Tagged With: Art, Computers, Cultural history, Digital art, Digital Art History, Education, New media, Online learning

Dora Carrington biography

September 17, 2009 by Roy Johnson

painter, designer, bohemian, bisexual

Dora Carrington - portraitDora Carrington (1893-1932) was an artist and bohemian who loved and was loved by both men and women. She was born Dora de Houghton Carrington in Hereford, the daughter of a Liverpool merchant. As a somewhat wilful youngster, she found her family background quite stifling, adoring her father and loathing her mother. She attended Bedford High School, which emphasized sports, music, and drawing. The teachers encouraged her drawing and her parents paid for her to attend extra art classes in the afternoons. In 1910 she won a scholarship to the Slade School of Art in London and studied there with Henry Tonks.

The Slade at that time was a centre of what we would now call radical chic. She embraced the bohemian opportunity it offered – going to live in Gordon Square in Bloomsbury, and immediately becoming entangled in romantic liaisons with fellow painters Paul and John Nash, Christopher (‘Chips’) Nevinson, and Mark Gertler, who had a very strong influence on this first phase of her life as an artist.

She also teamed up with fellow artists Dorothy Brett and Barbara Bagenal, and they started a new fashion at the school by cutting their hair into the shape of pudding-basins and wearing plain, deeply unfashionable clothes. They were called the ‘crop heads’. She did well at the Slade, winning several prizes and moving quickly through the courses. Despite her bohemianism however, her style of painting and drawing was firmly traditional, and it fitted with the aesthetic of the Slade at that time.

She was unaffected by the craze for Post-Impressionism which followed Roger Fry‘s famous 1910 exhibition at the Grafton Galleries which Virginia Woolf claimed changed human nature that year. Her personal life was dominated by the tempestuous relationship she conducted with Gertler and Nevinson which resulted in a form of unhappiness for all concerned. Although she behaved in a provocative manner, she refused to choose between them, or to have a sexual relationship with either of them.

The Art of Dora CarringtonGertler introduced her to the society hostess Lady Ottoline Morrell, and thus into the Bloomsbury Group. In 1914 she met D.H. Lawrence and David Garnett, then joined Roger Fry’s new artists’ co-operative, the Omega Workshops, where was moderately successful in her decorative art work. It was while visiting Morrell at Garsington Manor in 1915 that Carrington made a connection that was to change the rest of her life.

She was introduced to the writer Lytton Strachey (who was in love with Mark Gertler at the time). Gertler felt that since Strachey was a confirmed homosexual, he could safely encourage their friendship. When Strachey made a sexual pass at her, she retaliated by going to his room at night with the intention of cutting off his long red beard. He awoke on her approach, and she immediately fell in love with him. It was a love that would last for the rest of her life and would even cause her to follow him from life into death.

Possessed of a remarkable personal fascination, she seemed to cast a spell on those around her. She figures in a number of novels, among them D.H. Lawrence‘s Women in Love (as Minette Darrington); Wyndham Lewis’ The Apes of God (as Betty Blythe); Rosamund Lehmann’s The Weather in the Streets (as Anna Corey); and Aldous Huxley’s Chrome Yellow (as Mary Bracegirdle). However, Carrington’s behaviour was viewed rather critically by another regular visitor to Garsington – D.H.Lawrence:

“She was always hating men, hating all active maleness in a man. She wanted passive maleness.”

She was not well known as a painter during her lifetime as she painted only for her own pleasure, did not sign her works, and rarely exhibited them. She painted and made woodcuts for the Hogarth Press, which was founded by Leonard Woolf as a therapeutic exercise for his wife Virginia.

The Life of Dora CarringtonAlthough she had kept Gertler at bay for five years, she gave herself to Strachey from the outset – then ended up having a sexual relationship with both men at the same time, even though Strachey was really a homosexual. But in 1917 Carrington ended her relationship with Gertler, and went to live with Strachey in a rented mill house.

Carrington’s father died in 1918 leaving her a small inheritance that allowed her to feel more independent. The following year she met Ralph Partridge, an Oxford friend of her younger brother Noel, who assisted Leonard Woolf at the Hogarth Press. Both Carrington and Lytton Strachey fell in love with Partridge, who accepted that she would not give up her platonic relationship or living arrangements with Strachey. She married Partridge in 1921, and Strachey with characteristic generosity paid for their wedding. All three of them went on the honeymoon to Venice. Strachey wrily observed:

“everything is at sixes and sevens – ladies in love with buggers and buggers in love with womanisers, and the price of coal going up too. Where will it all end?”

However, this somewhat unusual domestic arrangement seemed to work for all three parties. Carrington divided her time between looking after Strachey and her own art work. She painted on almost any medium she could find including glass, tiles, pub signs, and the walls of friends’ homes. Meanwhile, she had an affair with Gerald Brenan, who was an old army friend of Ralph Partridge.

Brenan had moved to southern Spain, where the three of them visited him (a visit he describes in South from Granada). Following this she developed a lengthy correspondence with him. The affair lasted for years, and it was painful for both of them – particularly Brenan. In 1923 she met Henrietta Bingham, the daughter of the American Ambassador to the Court of St. James. Carrington actively pursued Henrietta and they subsequently became lovers. The relationship was also another ménage à trois, since Henrietta had previously been Strachey’s lover.

Dora Carrington biography

Yes – that’s Dora Carrington

The following year Strachey purchased the lease to Ham Spray House near Hungerford in Wiltshire. Carrington, Strachey, and Partridge lived there from 1924 until 1932. Her role there was to take care of the domestic chores, care for Strachey, and decorate the house. Her decision is ironic given her early rebellion against traditional roles for women in her day.

The decision might have also robbed her of time for her own art, though by her own account she was only happy when domestically settled. During 1925, Carrington met Julia Strachey, Lytton’s niece and a novelist who had once been a Parisian model and an art student at the Slade. Julia frequently visited Ham Spray, and though she was married to Stephen Tomlin, she briefly became another of Carrington’s lovers.

In 1926 Ralph Partridge started an affair with Frances Marshall, and went to live with her in London. This more or less (but not formally) ended his marriage to Carrington, although he continued to visit her most weekends.

In 1928 Carrington met Bernard (‘Beakus’) Penrose, a friend of Partridge’s and the younger brother of the artist Roland Penrose. She experienced renewed creativity while she had an affair with him, and collaborated with him on the making of three films. However, he wanted Carrington to make an exclusive commitment to him, a demand she refused because she could not end her relationship with Strachey. The affair, her last one with a man, ended badly when Carrington became pregnant and chose to have an abortion.

In November 1931 Strachey became violently ill and in late December he took a turn for the worse. Doctors were unable to correctly diagnose the problem, and in fact he had stomach cancer. Carrington attempted suicide by shutting herself in the garage with the car running, but Partridge rescued her and she recovered enough to spend the last few days of Strachey’s life taking her turn nursing him.

He died in January after seventeen years of living with her. She became depressed, borrowed a gun from a neighbour, and shot herself. She was found before she died and Ralph Partridge, Frances Marshall, and David Garnett arrived at Ham Spray House in time to say good-bye. She was just short of her thirty-ninth birthday.


Bloomsbury Group – web links

Bloomsbury Group - web links Hogarth Press first editions
Annotated gallery of original first edition book jacket covers from the Hogarth Press, featuring designs by Vanessa Bell, Roger Fry, and others.

Bloomsbury Group - web links The Omega Workshops
A brief history of Roger Fry’s experimental Omega Workshops, which had a lasting influence on interior design in post First World War Britain.

Bloomsbury Group - web links The Bloomsbury Group and War
An essay on the largely pacifist and internationalist stance taken by Bloomsbury Group members towards the First World War.

Bloomsbury Group web links Tate Gallery Archive Journeys: Bloomsbury
Mini web site featuring photos, paintings, a timeline, sub-sections on the Omega Workshops, Roger Fry, and Duncan Grant, and biographical notes.

Bloomsbury Group - web links Bloomsbury: Books, Art and Design
Exhibition of paintings, designs, and ceramics at Toronto University featuring Hogarth Press, Vanessa Bell, Dora Carrington, Quentin Bell, and Stephen Tomlin.

Bloomsbury Group - web links Blogging Woolf
A rich enthusiast site featuring news of events, exhibitions, new book reviews, relevant links, study resources, and anything related to Bloomsbury and Virginia Woolf

Bloomsbury Group - web links Hyper-Concordance to Virginia Woolf
Search the texts of all Woolf’s major works, and track down phrases, quotes, and even individual words in their original context.

Bloomsbury Group - web links A Mrs Dalloway Walk in London
An annotated description of Clarissa Dalloway’s walk from Westminster to Regent’s Park, with historical updates and a bibliography.

Bloomsbury Group - web links Women’s History Walk in Bloomsbury
Annotated tour of literary and political homes in Bloomsbury, including Gordon Square, University College, Bedford Square, Doughty Street, and Tavistock Square.

Bloomsbury Group - web links Virginia Woolf Society of Great Britain
News of events, regular bulletins, study materials, publications, and related links. Largely the work of Virginia Woolf specialist Stuart N. Clarke.

Bloomsbury Group - web links BBC Audio Essay – A Eulogy to Words
A charming sound recording of a BBC radio talk broadcast in 1937 – accompanied by a slideshow of photographs of Virginia Woolf.

Bloomsbury Group - web links A Family Photograph Albumn
Leslie Stephens’ collection of family photographs which became known as the Mausoleum Book, collected at Smith College – Massachusetts.

Bloomsbury Group - web links Bloomsbury at Duke University
A collection of book jacket covers, Fry’s Twelve Woodcuts, Strachey’s ‘Elizabeth and Essex’.

© Roy Johnson 2000-2014


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Filed Under: Art, Biography, Bloomsbury Group Tagged With: Art, Biography, Bloomsbury Group, Cultural history, Dora Carrington

Duncan Grant & the Bloomsbury Group

July 22, 2009 by Roy Johnson

richly illustrated biography and social study

Duncan Grant came from a privileged upper class family in Scotland where he spent childhood holidays with his cousins the Stracheys (including Lytton Strachey who later became his lover) amidst a family whose eccentric behaviour reads like the events of a PG Wodehouse story. He went to Rugby School with Rupert Brooke and then lived with Lytton Strachey at Lancaster Gate. Duncan Grant and the Bloomsbury Group concentrates on his life and work amidst this illustrious collection of aesthetes.

Duncan Grant & the Bloomsbury GroupDouglas Turnbaugh’s narrative weaves in an out of his many affaires as a young man – Strachey, Arthur Hobhouse, John Maynard Keynes – but also emphasises his hard work in trying to become a successful artist, studying the old masters, copying them, and attending art schools in London and Paris. Grant’s life merged with that of the Bloomsbury set when he took up residence with the Stephens in Gordon Square. He and Keynes lived on the ground floor; Adrian Stephen on the first floor; Virginia Woolf on the second; and Leonard Woolf on the top floor.

He joined the Omega workshop which was organised by Roger Fry, subsequently replacing him as Vanessa Bell’s lover – despite the fact that he was her brother’s lover at the time. Then during the war he was like most of the Bloomsberries a conscientious objector. He became the father of Vanessa Bell’s daughter Angelica, who was passed off as the daughter of Clive Bell – to whom Vanessa was still married.

In the 1920s Vanessa learned to tolerate his affairs with a succession of younger men. In fact the whole family became involved in this sexual ambiguity when Julian Bell, Vanessa’s son, studying at Cambridge, began sleeping with Anthony Blunt – who later turned out to be simultaneously Keeper of the Queen’s pictures and a Soviet spy.

The cruelty of concealing the true identity of Angelica Bell’s father came home to roost in the late 1930s when she discovered the truth, and reacted to it by marrying another of her father’s ex-lover, David Garnett – which caused a rift in the family. [She gives her own account of these events, plus a picture of her Bloomsbury childhood, in Deceived with Kindness.]

In 1946, at the age of 60, he met the young Paul Roche, who was to be the main love of his late life and a serious threat to Vanessa. His work in the immediate post war period was considered unfashionable, but he continued working, mainly on decorative projects and private commissions. In the 1960s and 70s however, his reputation revived and he continued painting and pursuing young men with a remarkable degree of success until his death at the age of ninety-three.

This is a rather uncritical biography, but it captures the spirit of the ages in which Duncan Grant lived quite well, and it is rich in anecdote. The book is generously illustrated with Grant’s work and portraits of the Bloomsberries, and it has a good bibliography. I bought my copy second hand on Amazon to flesh out my collection of Bloomsbury materials, and although it is a little dated it turned out to be really good value.

© Roy Johnson 2002

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Douglas Turnbaugh, Duncan Grant and the Bloomsbury group, London: Bloomsbury, 1987, pp.192, ISBN 0747501033


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El Lissitzky Design

June 26, 2010 by Roy Johnson

design , modernism, and Russian Suprematism

El Lissitzky (1890-1941) was one of the pioneers of the modernist movement in Russian art which flourished in the period 1915-1925. He was one of the most graphically radical of his era, and yet only a few years earlier he was painting rather conventional landscape paintings in the tradition of Russian realism. El Lissitzky’s earliest creative period was spent at Vitebsk working with Mark Chagall and Kasimir Malevich. With the latter he spearheaded to Suprematist movement. His geometric constructions developed from two to three dimensions and became a sort of theoretical architecture – shapes which float in space. He called the works ‘Proun’ – an invented word which means ‘Project for asserting the New’. El Lissitzky Design is an elegantly illustrated introduction to all this work.

El Lissitzky He is best known for his propaganda painting ‘Beat the Whites with the Red Wedge’ of 1919 – a work which very typically for its time was geometric in form, non-representational, and included typographical elements in the same style as his contemporaries Alexander Rodchenko and Malevich. At the same time he also started producing abstract constructions in two and three dimensions which were (like Rodchenko’s) geometrically based, but more mature and developed than any works of this kind that had emerged up to this date.

El Lissitzky: Beat the Whites with the Red Wedge

His finest work seems to have been produced in an amazing creative outburst between 1917 and 1925 – just at the point where unfettered Russian modernist art theory was taking off alongside the political revolution in its positive and expansive phase.

When El Lissitzky crossed the line between art and work after 1917, he became an international social activist promoting a political message. Like the Russian Constructivists that he admired, he sought to use his creative energy to help design a new social structure in which the new engineer-architect-artist could erase old boundaries.

El Lissitzky was fortunate to be at his creative peak at a time when foreign travel was still possible in the USSR. He took exhibitions to Germany and mixed with other modernists such as Laszlo Moholy-Nagy and Kurt Schwitters. He had connection with the De Stijl group in Holland, and he taught at the Bahaus.

El LissitzkyBut it’s amazing to realise in how short a creative lifespan artists like El Lissitzky (and Rodchenko) had when they exerted such a powerful influence on the modernist movement. The images, paintings, typography, and ‘designs for projects’ illustrated in this collection are almost all from the 1920s. By the following decade El Lissitzky had become little more than an exhibition organiser. He was working for the State – but by the 1930s the dead hand of totalitarian control had stifled all originality from the arts, and his interesting designs for the Kremlin were replaced by the sort of drab architecture that became the norm under Stalin.

He lived until 1943, but there is very little that he produced after the mid 1920s that stands up to any degree of scrutiny today. What he produced before then was awe inspiring – and remains so to this day.

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© Roy Johnson 2010


John Milner, El Lissitzky – Design, Suffolk: Antique Collectors Club, 2009, pp.96, ISBN: 185149619X


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Eric Gill

August 29, 2015 by Roy Johnson

artist, engraver, typographist, stone carver, and more

Eric Gill (1882-1930) was a sculptor, a typographist, a wood engraver, and an influential artist-craftsman in the early years of the twentieth century. He is probably best known for his typeface Gill Sans which became ubiquitous from the 1920s onwards, but he was also famous in his own day for his radical views and eccentric appearance.. He took a highly moralistic, quasi- religious attitude to his work in art, but he has become the subject of bemused attention in recent years because of revelations about bizarre practices in his sexual life.

Eric Gill

Early years

He was born in Brighton in 1882, the second child of thirteen to a clergyman with a family background of missionary ‘work’ in the South Seas. The cultural atmosphere of Gill’s childhood was a combination of evangelical fervour and what became known as Muscular Christianity. He had a fairly undistinguished education, but he did meet a fellow day boy at school who introduced him to woodworking tools.

The even tenor of his youth was interrupted by the death of his favourite sister Cicely and his father’s conversion to Anglicanism and the family’s subsequent move to Chichester. More importantly for his future development, he discovered what he thought of as ‘the mystical power of the phallus’.

He enrolled at Chichester Art School and started drawing buildings in the town. The cathedral there played a big part in his personal life. It also introduced him to his first serious love affair – with Ethel Moore, the sacristan’s daughter whom he later married. But in 1900 he felt he had outgrown the town and set off to London to find his profession.

Apprenticeship

He entered a practice of church architects as a trainee, but his real intellectual development took flight when he enrolled at the Central School of Arts and Crafts and he encountered a world of radicalism, William Morris-inspired handicrafts, and the company of Edward Johnston, the calligraphist with whom he was to produce Gill Sans.

In London he also had his first sexual encounters (with prostitutes) which he characteristically related in detail to his girlfriend Ethel. By the time he was twenty-one he was sharing Johnston’s lodgings at Lincoln’s Inn Fields and participating in late night bachelor discussions on Truth, Religious Faith, and English hand-lettering. Almost by accident, he established a reputation as someone who could cut letters in stone, and commissions came to him regularly from this time onwards.

He obtained work contracts from Healds and W.H.Smith, the designs for the latter establishing what we would now call a corporate identity. His success led him to get married to Ethel, and they set up home in Battersea, where one of his first important patrons was Count Harry Kessler.

In 1905 he moved with Ethel to Hammersmith and joined a community of radical printers and craftsmen. Gill, plus his friends Johnston and Hilary Pepler were in the habit of writing letters late at night, then meeting at the local post box for the midnight collection, then carrying on their aesthetic debates until two and three o’clock in the morning.

The move left

He joined the Fabians the following year and lost no time on lecturing the Webbs and George Bernard Shaw on the inadequacy of their views on Art. He also joined in their enthusiasm for the idea of the New Woman by starting an open affair with Lillian Meacham, which his wife did her best to tolerate. What Ethel did not know was that at the same time he was also ‘fornicating’ with their domestic help Lizzie.

Eric Gill

In 1908 the family moved again to Ditchling, a country village near Lewes in Sussex. Here he advocated a life of rural simplicity – whilst spending much of his working week in London where he had kept on the flat at Lincoln’s Inn Fields. Artistically, he added two skills to his repertoire – wood engraving and sculpture in stone. In London he was mixing with Jacob Epstein, Roger Fry, Ottoline Morrell, and other fringe Bloomsbury Group figures. He also came under the influence of Ananda Coomaraswamy, an Indian aesthete. When he produced an erotic carving of a man and woman copulating (bizarrely entitled Votes for Women) it was bought by Maynard Keynes for five pounds.

Family fun

Around this time Gill began incestuous relationships with his sisters Angela and Gladys, recording the fact in his diary quite casually, with no recognition at all that he was breaking a social taboo. What is even more amazing is the fact that he maintained these relationships throughout the remainder of his adult life.

At the same time he was going through a religious conversion – rather surprisingly to Roman Catholicism. He and his wife were received into the church in Brighton, she changed her name to Mary, and they celebrated the event by having Leonard and Virginia Woolf as house guests for the weekend.

They moved to another house on the outskirts of Ditchling, and he was joined in the area by his old Hammersmith colleagues Johnston and Pepler. He cultivated a Spartan, almost medieval close-to-the-soil existence, and when the war came he more or less ignored it.

Religion

He also threw himself enthusiastically into the rituals and beliefs of the Dominican order of the church, and took to wearing ecclesiastical garments, including the belt of chastity, which he wore with no apparent sense of irony. The guild that he formed with Pepler took itself very seriously and issued propaganda leaflets arguing against birth control and the use of Bird’s Custard Powder.

Ditchling became famous as a place for spiritual retreat, and Gill was celebrated as its presiding religious genius. But beneath the homespun cassock and the stonemason’s paper toque, he had started having sex with his own daughters. He recorded the details of his ‘experiments’ in his diaries, admitted misgivings to his religious confessors, and rationalised his behaviour with a new theory of phallic ‘Godliness’.

Eric Gill

In 1924 he felt oppressed by the public attention he had generated at Ditchling and moved to an abandoned abbey in the Welsh Black Mountains. The move resulted in him turning his attention back to engraving and typography. He became the principal designer and illustrator for Robert Gibbings’ Golden Cockerel Press, whose publications now seem the most distinguished of between-the-wars private presses. The relationship with Gibbings was particularly warm – close enough to include weekend threesomes in Berkshire with the publisher and his wife Moira whilst his wife Mary kept the monastic abbey going in the Black Mountains.

Readers who may be thinking there was something homo-erotic (or polymorphous perverse) in all these shenanigans will be confirmed in their suspicions when he records his impressions (and celebrations) of the male member in his diaries::

A man’s penis and balls are very beautiful things and the power to see this beauty is not confined to the opposite sex. The shape of the head of a man’s erect penis is very excellent in the mouth. There is no doubt about this. I have often wondered – now I know.

When he returned to the abbey he busied himself showing his new secretary Elizabeth Bill slides of semen under the microscope and inviting her to measure the size of his own beautiful penis before demonstrating it at work on her. Elizabeth had an ageing fiance, but she also had money, and when she bought a villa in the Basque country Gill was very happy to go and live there.

He was also taken up by Stanley Morison, adviser to the Monotype Corporation, and the typefaces he designed for him – Perpetua (1925), Gill Sans (1927), and Solus (1929) – are probably his greatest claim to fame as a designer. Doing so gave him the urge to move on once again, so he uprooted his entire household from Wales and went to live on an estate called Pigotts, near High Wycombe.

Animal farm

There he had a sculpture workshop, an art studio, and a printing press all in their own buildings. At a private level he started an affair with Beatrice Warde, the glamorous American typographist who was the mistress of his champion (and employer) Stanley Morison. Then suddenly in 1930 he had a mysterious seizure and lost his memory. It took him quite some time to recover, but when back to normal he found new ways of amusing himself. He started having sex with the family dog. This is a man who celebrated holy mass twice a day at an altar in his own home.

But the medical interlude in no way diminished his creative energies. In the early 1930s he composed his famous Joanna typeface and he completed his public commission Prospero and Ariel over the entrance to BBC at Langham Place. It is generally thought that these large scale public carvings were not as successful as his smaller, more domestic works, and he has also been criticised for spreading his talents across so many varied forms of visual art.

As commissions proliferated, so he became more famous at a Daily Express level. People wanted to know if he wore underpants beneath his stonemason’s smock. Domestically he enlarged his entourage by moving his latest mistress May Reeves into a caravan on the site at Pigotts. This gave him the convenience of sex with May and his wife (sometimes on the same night) without as it were leaving the premises.

In the later years of his life two changes came over him, and these were typically contradictory. First of all he became far more bourgeois – accepting physical comforts, employing a chauffeur, installing a black marble bath. But at the same time he became more politically radical, and espoused many of the left wing causes of the late 1930s – including workers control and support for the Republicans in Spain.

He became increasingly frail in the latter years of his life (though he was only in his late fifties) yet he embarked on two large scale projects which consumed all his energies. The first was his debut as an architect. He designed and supervised the building of a simple church in Norfolk in which he radically placed the altar in the centre of the building. The second project was a new and extra intense affair with Daisy Hawkins, a nineteen year old servant at Pigotts. She was unusually attractive, and he both made drawings of her and had sex with her on almost a daily basis for nearly two years.

Not surprisingly, this did not go down well with his two other sexual partners – his wife (in the house) and May Reeves (in the caravan). There was eventually a showdown and Daisy was exiled to Capel in Wales. But Gill simply followed here there, pursuing her from one room to another for sexual couplings, the locations of which were all systematically recorded in his diaries. But this late satyriasis was the last gasp of an exhausted figure. In 1940 he suffered from a number of debilitating ailments and was then diagnosed with cancer of the lung. It was that which killed him – at the age of only fifty eight.

© Roy Johnson 2015

Eric Gill Buy the book at Amazon UK

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Fiona MacCarthy, Eric Gill, London: Faber and Faber, 2003. pp.416, ISBN: 0571143024


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Filed Under: Art, Biography, Lifestyle, Typography Tagged With: Art, Bloomsbury Group, Cultural history, Eric Gill, Typography

Henri Gaudier-Brzeska

January 4, 2018 by Roy Johnson

young, modernist, Vorticist sculptor

Henri Gaudier-Brzeska (1891-1915) was one of the most dynamic and innovative sculptors of the modernist period. He was French, but produced his most important works in England in an incredibly short space of time – between 1911 and 1915.

Henri Gaudier-Brzeska

Henri Gaudier-Brzeska

He was born Henri Gaudier near Orleans in France – a talented schoolboy who won scholarships that took him to London and University College, Bristol. He was supposed to be engaged with business studies, but spent his time sketching antiques in the Bristol Museum. After this he travelled to Nuremberg, Munich, then Paris, where he met Sophie Brzeska in a library.

This was a decisive turning point in his life. She was Polish, had literary aspirations, and was twice his age. They formed an immediate bond that was to last until the end of his tragically short life – and hers, since she died soon afterwards. Yet it was not a conventional romantic and sexual attachment – more of a mother and son relationship..

They were both in ill health and desperately poor. However, when they travelled into the countryside as an economy measure, even the innocent visits of a young single man to an unmarried woman staying in a rented house were enough to enrage the prurient provincial farmers, who called in the police.

Gaudier became eligible for military service, but passionately wished to avoid it. He described the French as ‘slaughterers of the Arabs’. So they moved to London. At this point they unofficially joined their surnames to form the compound Gaudier-Brzeska as a sign of their commitment to each other.

They plunged into further poverty and ill health. He made a pittance at various menial office jobs. She paid for his visits to prostitutes at five shillings a time – since they had been recommended by a doctor as conducive to his well-being.

She made efforts to establish an independent existence by seeking work, and he started to learn Polish. He was sketching whenever he had the chance, but amazingly he had still produced no sculptures, even though he only had a few years left to live. When Sophie found temporary work as a governess in Felixstowe he wrote enormously long letters (addressed to ‘Adorable Maman’) explaining his ideas about art and reproaching her for having different opinions.

In 1911 they set up home together in Chelsea. She bought a bug-infested bed: he slept in a deck chair. There is conflicting evidence about the exact nature of their relationship. She claimed they were like brother and sister: he claimed they were not. But he also confessed that he often lied.

Henri wrote to the author of an article in the English Review which led to his selling some of his posters. He also began to model in clay and secured his first poorly paid commissions. He was also introduced to Katherine Mansfield and John Middleton Murry, both of whom were rather irritated by Sophie. Henri contributed sketches to their magazine Rhythm but the relationship eventually foundered on incompatible personalities.

Henri Gaudier-Brzeska

Bird Swallowing a Fish 1913

When Sophie went to work in Bromsgrove it gave him more free time for his art work, but they also spent a lot of time having lovers’ tiffs via letter. He worked on paintings, drawings, plaster busts, and a scheme for producing painted tiles. All of this was what we would now call cottage industry, and the most he was ever paid for a single work was twenty pounds.

It is interesting to note that his most successful commissions around that time were for portrait plaster busts. His fellow immigrant Jacob Epstein was doing the same thing at the same time – and the two men did eventually meet. At one point he was even touting for the job of making decorative mascots on motor car radiators.

In 1913 he established himself in a leaky and cold artist’s studio in the Fulham Road and started working with stone blocks. He made friendships with Frank Harris (author of the notorious My Life and Loves, and Wyndham Lewis, with whose coterie he founded the Vorticist movement.

Living the full Bohemian life in London, it is not surprising that he eventually met Nina Hamnett, who introduced him to Roger Fry. He also sold two statues to Ezra Pound. Yet despite these early signs of success, it was Sophie’s personal savings that that put a roof over their heads and food on the table.

In 1914 when war broke out he rather surprisingly returned to France, where he was immediately jailed for twenty years as a deserter. He managed to escape and return to London. Yet later he went back to France again, serving on the front line, where he was promoted to corporal and then sergeant in recognition of his bravery. In 1915 he was killed during an attack on Neuville Saint Vaast. He was just twenty-four years old.

© Roy Johnson 2018

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Filed Under: Art, Biography Tagged With: Art, Biography, Cultural history, Henri Gaudier-Brzeska, Modernism

Howard Hodgkin

June 4, 2009 by Roy Johnson

illustrated critical survey of contemporary masterworks

I’ve been a long time fan of the work of Howard Hodgkin. (So much so that I opened a gallery devoted to his work here.) He has a great sense of form, uses luscious colours, and produces semi-abstracted compositions which are like rich food for the visual sense. The problem in interpreting his work is that there’s a tension between the degree of abstraction of the image and its ostensible subject, usually stated in its title. Hodgkin claims that he is a ‘realist’ painter, but it’s sometimes difficult to understand how a couple of deep blue brush strokes across the centre of a green stippled canvas whose frame is dripping in blood red gloss represents ‘An Evening with Kevin’.

Howard HodgkinAndrew Graham-Dixon’s study is an attempt to solve this problem. He presents a historical survey of Hodgkin’s work which is beautifully illustrated in the full colour it deserves. It’s an approach to art criticism which is well informed (in biographical terms) which pays attention to the details of what appears on the canvas, and yet which seems to stop short of interpretation.

He does his best to make the case for representation by suggesting that Hodgkin paints memories, feelings, and moods; but when it comes to evaluating individual works he hides behind a smokescreen of supposition and conditionality. His argument goes something like this, in

this painting may have some connection with … it recalls someone else … it might have affinity with …. it can also evoke …and it might be said to represent something …

He describes almost every brush stroke in gushing prose, but he hasn’t got any hard evidence to offer. And whilst he’s getting his critical knickers in a twist, he doesn’t address glaringly obvious issues such as the fact that Hodgkin paints over the frames of his pictures. Why does he do that? What’s the significance of such a bold gesture?

It’s interesting to note that after running out of meaningful things to say about the paintings, he’s quite prepared to go on talking about their titles. And in the end, this might be the problem.

If a glamorous canvas of deep greens splashed against a black border, with red and yellow dots in the background were called Composition #9 there might be less fuss than if it were given the title In the bedroom . Andrew Graham-Dixon would be less preciously strangulated, and we could just enjoy some more coloured paint on canvas.

Howard Hodgkin

In bed in Venice

But Hodgkin does give his paintings apparently descriptive titles – such as Nick 1977 which looks like two windows covered by Venetian blinds, You Again 2001 which is three interlocking pyramids, and Learning About Russian Music 1999 in which a red and ochre frame surrounds blue, green, and brown brush strokes. So the problem remains.

There is the merest smidgeon of representation still present in his work, but the acid test would be guess the subject if the paintings were not captioned. I doubt if Andrew Graham-Dixon or anyone else could do it.

Fortunately, I don’t think it matters in the end. Personally, I am quite happy to accept Hodgkin as a quasi-abstract painter whose sense of colour is simply ravishing. The reproductions of the paintings here are excellent, and this is a good-value survey of them.

© Roy Johnson 2005

Howard Hodgkin Buy the book at Amazon UK

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Andrew Graham-Dixon, Howard Hodgkin, London: Thames and Hudson, (revised and expanded edition) 2001, pp.232, ISBN 0500092982


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Filed Under: Art Tagged With: Art, Art criticism, Howard Hodgkin, Painting, Theory

Internet Art

June 25, 2009 by Roy Johnson

modern art meets digital technology – the latest results

As bandwidth has increased and rates for subscribing to it have dropped, so we have easier access to sites offering high quality graphics, animations, and even streamed videos. Digital artists can now make their work available to a very wide audience. This survey of contemporary internet art attempts to merge visual art with the digital world. It comes from the cheap-and-cheerful but excellent value ‘World of Art’ series of paperbacks from Thames and Hudson. As somebody who has recently started to experiment with Internet art – albeit in a Blogging sort of way – I bought this book thinking it would give me some new ideas. It did – but it’s a lot more besides.

Internet ArtIt starts off quite usefully with a quick overview of computers and the Internet, then situates the origins of Net art in the experimental art of the 1960s and 1970s. I was surprised Rachel Greene didn’t have examples from these early years. For instance, it’s half way through the book before she even mentions ASCII art.

Instead, she pitches straight into Web-based ‘happenings’ from the 1990s, where web sites are used to co-ordinate and publicise public events – usually of a ‘situationist’ type. The most interesting innovation which I had not seen before is ‘Browser Art’- where browsers are re-programmed using JavaScript and Perl scripts to simultaneously display a mosaic of materials from multiple sources. The other genre which seems promising is software art.

She is very well informed about what is going on in what I suppose still calls itself the avant-gard, so it’s all the more disappointing that her expression of it is clouded by the written style of the art school manifesto:

As site-specific sculpture operates vis-a-vis the particular components and ideologies of a place, so do many works of Internet art derive in significant ways from their location within a networked public field of vision and consumption.

Fortunately, the book is profusely illustrated, which helps you through two hundred pages of that sort of thing.

I was disappointed that she missed the chance to categorise the various genres of art object that are made possible by the Internet – the web site as display gallery, as record of an expedition, as interactive game or challenge, as multimedia experience, and so on – though she does discuss examples of each.

Blogging is covered in one sentence, and Flash animations don’t even get a mention. Even hypertextuality doesn’t get much of a look in, yet lots of space is devoted to silly art-school pranks and radical [for which read pretty useless] ‘experiments’.

Overall, this strikes me as a missed opportunity, because she clearly knows a lot about radical art of the 1990s, but her lack of historical and conceptual depth means she is unable to synthesise it. Instead, she provides a descriptive tour of various fin de siècle activist posturings, happenings, and staged art events about which most sane people will neither know nor care.

So far as I’m aware, the book on Internet Art has still to be written. Correct me if I’m wrong. Yet there’s bound to be something in here somewhere for anyone interested in the relationship between digital technology and art. Despite my reservations, I look forward to browsing some of the more inventive sites she lists in a well documented Webliography.

© Roy Johnson 2004

Internet Art Buy the book at Amazon UK
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Rachel Greene, Internet Art, London: Thames and Hudson, 2004, pp.224, ISBN 0500203768


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Filed Under: Art, Media Tagged With: Art, Computers, Decorative arts, Internet art, New media, Technology

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