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Index
Charles Harrison
Description: English Art and Modernism 1900–1939
English Art and Modernism 1900–1939
Index
Author
Charles Harrison
PublisherPaul Mellon Centre
PublisherYale University Press
Copyright© 1981, 1994 by Charles Harrison
Stable URL: https://aaeportal.com/?id=-19851
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Index
AAA, see Allied Artists Association
‘Abstract and Concrete’ (exh. 1936), 274–5 & 376 n31. 285–6, 319, 377n53
‘Abstract and Concrete Art’ (exh. 1939), 316
abstract art/abstraction: apparent disposition to in Fry’s and C. Bell’s writing, 55, 59
‘visual music’, 63
D. Grant’s and V. Bell’s experiments with, 71
Worringer on, 96
Vorticism and, 104, 111–13, 373n41
‘radical modernism’ and, 118–19
B. Nicholson and, 181, 242, 250, 252–3, 259, 260–65 passim, 277, 287–92
P. Nash and, 234 & 370 n6, 295
Wadsworth and, 236
Moore and, 247–8, 273
Unit One and, 248, 273
association with leftism, 252, 261–2:
Abstraction-Création, 260
Hepworth and, 265–71 passim
in Seven & Five, 271–3, 375 n24, 376 n28
‘Abstract and Concrete’ exh., 274–5, 285
Axis and, 275–8, 319
and Surrealism as antithetical, 278–9, 299–302, 304–6, 313–15, 319–20
and design, 279–82
Gabo and, 282–5
Circle, 285–7
Read on, 304–5
Lloyd on, 306
Blunt on, 307
‘social function’ of, 313–15
‘Objective Abstractions’, 334–7, 341–2
Euston Road School opposed to, 339 & 384 nn22–3
organization of, in France, 374 n8
mentioned, 117, 202, 309, 322, 379 m2
see also autonomy, Constructive Art, ‘purity’, ‘radical modernism’, universality
‘Abstract Art in Contemporary Settings’ (exh.), 288
Abstract Expressionism, 337, 374 n4, 383 n17
Abstraction-Création, 249, 260 & 374 nn8–9 & 375 n10, 264, 266, 268, 275, 281, 376 n33
‘abstraction, urge to’, 95–7
Academy/academician, see Royal Academy
Adelphi Gallery: B. Nicholson exh. 1924, 183 & 365 n13
Adeney, Bernard, 62, 67, 115
Aesthetic Movement, 16–17, 57
African sculpture, 82, 107, 218–20
‘Against War and Fascism’ (exh.), 308
Agar, Eileen, 311, 381 n42
AI/AIA, see Artists International/Artists International Association
Aiken, Conrad, 294 & 378 nn1–2
Aldington, Richard, 84, 101–3
Aldridge, John, 184, 235–6, 347
Alley, Ronald, 383 n7
Allied Artists Association, 29–30 & 350 n14, 35, 41, 63, 101, 115, 355 n6
Alpine Gallery, 68–9
America/American art, 19, 80, 90,156, 258, 260, 280, 285, 292, 311, 324, 340, 355 n5
anarchy/anarchism/anarchist, 47, 75 & 355 n1, 87, 303, 313–14, 316, 333, 383 n7
Apollinaire, Guillaume, 358 n49
Arbuthnot, Malcolm, 102–3
Archipenko, Alexander, 230
Architectural Association, 371 n10
Architectural Review, 321, 371 n9, 382 n49
architecture/architects, 112–13, 117, 157 & 363 m3, 217, 238–41 passim & 371 nn9–10, 12, 249, 259, 264, 271, 276, 280–81, 286–7, 290, 305, 321, 330
Armitage, J. L., 346
Armstrong, John, 106, 235, 240, 248, 273
Arp, Jean (or Hans), 240, 247, 254, 258–60, 264, 275, 298, 304, 319, 379 n10
‘Art Concret’, 374 n8
‘Art d’Aujourd’hui’ (exh.), 374 n8
Art Déco, 157
art education, 65, 190, 216 & 368 n18, 219, 282, 286–7, 339, 343, 354 n45, 383 n20, 385 n27
‘art for art’s sake’, 17, 281, 303, 308
see also autonomy
Art Front, 380n23
Art Nouveau, 77
‘Art Now’ (exh.), 298
see also Read
‘Artists for Peace, Democracy and Cultural Development’ (exh.), 309
Artists International/Artists International Association, 251–2 & 373 nn37–9, 286, 304–9 & 379 n19 & 380 n27, 313, 315, 333, 340 & 384 n24, 381 n37
Arts and Crafts Movement, 73, 212, 213, 268, 354 n48
Arts Council, 115, 340
Ashbee, C. R., 238
Asquith, H. H., 75
Assyrian art, 80, 82, 220
Atelier 17, 310–11 & 380 n30
Atkinson, Lawrence, 101–3, 115, 211 & 368n11
Abstract Composition, 103, ill. 41
L’Oiseau, 211 & 368 n11, ill. 111
Attenborough, Mary, 346
autonomy, 60–61, 95
cultural, 14–17
for ‘pictorial reality’, 259
formal, 124
moral, 307, 314
of aesthetic experience, 48, 365 m2
of art, 146 & 362 n2, 280, 284, 287, 314, 381 n40
of decorative effects, 43
of ‘growth’ of a picture, 335
of ‘imaginative life’, 55
of painting, 337
of ‘sculptural experience’, 210
of technical development, 342
social, 18, 88, 314, 320
technical/of technique, 17, 48, 168, 172, 179, 307, 314, 341, 343, 351 n30
see also ‘art for art’s sake’, C. Bell, ‘freedom’, liberalism (ideology of), ‘purity’
Axis, 275–9, 292, 300, 319–21, 375n24, 376n31
Babylonian art, 220
Bach, J. S., 71
‘Backbeitfeld’, 119
Bacon, Francis, 240, 378 n7, 380 n28
Balla, Giacomo, 87
Bankshead, 188 & 366 n20, 199, 365 n7
Banting, John, 311, 317, 347, 381 n42
Barbazanges, Galerie
exhs; ‘Quelques Indépendants Anglais’, 62
Wadsworth 1927, 370n1
Baron, Wendy, 26 & 350 nn6–7 & 351 n21 & 352 n10
Barraclough, J. P., 346
Bastien-Lepage, Jules, 20, 350 n7
Bateau-Lavoir, 276 & 376 n36
Bauhaus, 212 & 368 n13, 238–9, 249, 259, 261, 377nn42–3
Baumeister, Willi, 240
Bawden, Edward, 347
Bayer, Herbert, 249
Bayes, Walter, 29, 85, 131, 196, 359n12
The Underworld, 131
Beaux-Arts Gallery
exhs: B. and W. Nicholson and Wood 1927, 187
Hepworth and Skeaping 1928, 228
Seven & Five 1926–8, 346–7
Beaverbrook, Lord, 359n12
Beckett, Samuel, 316
Beckmann, Max, 41
Bedford, R. P., 211, 230, 347, 369n20
Bell, Clive: and autonomy, 17–18 & 348 nn8–10 & 12, 48, 146 & 362 n2
Art, 22, 46, 54 & 352 n21, 56–8 & 353n30, 61 & 354n37, 64, 94, 100, 165, 349nn8–9, 352nn9, 21, 35
and Post-Impressionism, 45–71 passim & 349n10 & 352n9
on Cézanne, 46–7, 53
and G. E. Moore, 57–8
‘significant form’, 64,354n40
on Lewis’s Kermesse, 80 & 35 5 n6
on Greek and Italian art, 83
wartime employment, 145
post-war writing and influence, 145–9 passim, 171, 183, 184–5, 190, 218
Since Cézanne, 145–6 & 362n1, 218
on war artists, 146
on Lewis, 146
and Grant, 149–50
and Dobson, 159
in Paris 1919, 186
on Epstein’s Christ. 208–9 & 367 n6
reaction against in thirties, 307–8
on Sickert, 350 n20
on Bloomsbury set, 353 n32
mentioned, 32, 75, 84, 176, 218, 219, 297, 352n22, 360n16
Bell, Graham, 333–5, 338–40, 343
Bell, Quentin, 149 & 363 n8, 353 n32, 355 n49
Bell, Vanessa, 51, 62, 65, 67–72 passim, 150,178, 180, 191, 198, 308, 334, 353 n32, 379 n19, 383 n20
A Room at the Second Post-Impressionist Exhibition, 62, ill. 23
Triple Alliance, 70, ill. 28
‘Abstract Painting’, 71
Benjamin, Walter, 377 n44
Bennett, Arnold, 351 m, 363n14
Bergson, Henri, 87, 95–7 passim, in, 356n19
Bernal, J. D., 286
Bernheim Jeune, Galerie, 351n3
Wood and B. Nicholson exh. 1930, 191 & 366 n25
Bertram, Anthony, 241 & 371 n17, 295
Betjeman, John, 322
Bevan, Robert, 30, 35–6, 38, 41, 84–5
Bigge, John, 235, 240, 248, 273, 310
Binder, Pearl, 251
Birrell, Francis, 353n32
Bissière, Roger, 346
Black, Mischa, 251
Blake, William, 134, 136, 197, 320, 324–5
Blanche, Jacques-Émil, 36
Blast, 101–2 & 358 n46, 107–12 & 358 nn49–51 & 53, 115–20, 124, 126, 157, 356 n13, 361 n18, 363 n1, 369 n28
page from Blast no.1, 102, ill. 40
Bloomsbury/Bloomsbury group/Bloomsbury set: Fitzroy Street, 29
V. Woolf and, 32, 57, 353n32
and G. E. Moore, 57–8, 353n34
and Post-Impressionism, 65–74 passim
recruits from Slade, 65–7
and Second Post-Impressionist Exhibition, 67
Friday Club, 67
Grafton Group, 69
Omega Workshops, 72–4
and London Group, 85, 156, 184 & 365 n14
class and cultural character of, 88, 90
Bomberg and, 93–4
Hulme and, 94
and war, 145, 360 n16
post-war influence of, 145–56 passim, 165, 172, 184, 218
Gertler and, 150
Dobson and, 160, 209
and London Artists Association, 184–5
moderation of hegemony of, in early thirties, 233, 241
monopoly on interpreting Cubism, 256
and Euston Road School, 333–4
membership and affiliations of, 353 n32
mentioned, 36, 60, 322, 382 n4
see also C. Bell, V. Bell, R. Fry, D. Grant, Omega Workshops, Post-Impressionism
Bloomsbury Gallery: Nicholson exh. 1931, 230
Blossfeldt, 282 & 377n45
Blunt, Anthony, 307–8, 313, 333–4 & 382 n4
Boccioni, Umberto, 77, 86–7, 356 nni7 & 19
Bolshevism/Bolshevik, 206, 239, 245, 252, 259
Bomberg, David: at Slade, 66 & 354n45, 152
and Friday Club, 68
on Renaissance, 83
and London Group, 84, 92
class, 89
at Brighton exhibition, 91–2
and Cubism, 92, 130, 178
Chenil Gallery exh., 92–4
Fry and Hulme on, 94
and ‘Manifesto of Vital English Art’, 101
and Vorticist exh., 115
war service, 121
as war artist, 129–30
post-war years, 147–8
mentioned, 105, 113, 175, 357 n38, 358 n47, 359 n12
Vision of Ezekiel, 92
Ju-Jitsu, 92–3
In the Hold, 92–4, ill. 37
The Mud Bath, 92, 94, ill. 36
Barges, 147–8, ill. 70
Bonnard, Pierre, 25, 26, 63, 337, 339
Borough Polytechnic, 62
Boswell, James, 251, 307, 380 n31
Bottomley, Gordon, 168–71 passim & 364n1, 325, 362 n33, 366 n32
bourgeois/bourgeoisie, 217, 284, 300, 305–7 passim, 313–15 passim, 318, 322
Brancusi, Constantin, 80, 82, 209, 247, 254, 264, 266, 268, 273, 275, 276, 286, 304, 327
Braque, Georges, 77, 176–80 passim, 183, 186, 240, 254–5, 263, 298, 334, 357 n36, 374n4
Breton, André, 234, 302–3 passim, 309, 312–13 & 380 n33, 316 & 381 n40, 376 n38, 381 n43
Breuer, Marcel, 276. 286
Brighton Exhibition, 85–6, 90–91
British Museum, 80, 82, 219–20, 225, 229
British Union of Fascists, 252
broad front, 304, 308
Bronowski, J., 380 n29
Brooke, Rupert, 84
Brown, Ford Madox, 13, 350n9
Brown, Fred, 19, 21, 33
Browne, Sir Thomas, 244 & 371 n20
Brunius, Jacques, 381 n42
Budd, H. A., 346
Building Centre, 239
Burlington House, see Royal Academy
Burlington Magazine, 49, 51
Burne Jones, Sir Edward, 16, 348 n2
Burra, Edward, 233, 235–7, 240, 248, 252, 310
Dancing Skeletons, 237, ill. 124
Butterfield, Francis, 271, 273, 344, 347
Byzantine art, 49, 95, 220
Café Royal, 84
Cahiers d’Art, 302–3, 372 n22
Calder, Alexander, 255, 258–60 & 374 n5, 274, 276, 287, 321, 380 n30
Camberwell School of Art, 196, 385n27
Cambridge/Cambridge University, 51, 274, 275, 307, 310 & 380 n29, 353n32
Camden Town Group, 28, 35–41, 46, 51, 53, 67, 84–5, 130–31, 145, 153, 159, 203, 337, 339, 341–2, 350n11
Cameron, D. Y., 359n12
Canadian War Memorial, 120 & 359n12, 126, 128–9
Canadian War Records Office, 120
Canaletto, 350n9
Capel-y-Ffin, 197
capitalism/capitalist system, 252, 281, 303, 315, 340
Carfax Galleries
exhs: Camden Town Group 1911–13, 37–8
Grant 1920, 149
Carlisle, Earl of, 365n15
Carolus-Duran, 20
Carr, Thomas, 334, 339
Carrà, Carlo, 77, 86–7
Carson, Sir Edward, 111
Cave of the Golden Calf, 80, 84
Central School of Art, 252, 334, 385 n27
Cézanne, Paul: and Post-Impressionism, 46–54 passim, 177
and English Post-Impressionists, 59–60, 65
and Second Post-Impressionist Exhibition, 63
Wadsworth and, 108
P. Nash and, 134, 170, 174, 203 & 367 n37, 241 & 364 n2
Dobson and, 159
Hitchens and, 165–6, 195
B. Nicholson and, 166, 174–7
Seven & Five and, 185
responses to in thirties, 241, 293, 307
Euston Road School and, 334, 339
mentioned, 23, 26, 32, 35, 36, 38, 42, 179, 298, 367n37
‘Cercle et Carré’, 374 n8
Chamot, Mary, 22
Chelsea Arts Club
‘Septule and the Racinists’ exh., 47
Chelsea Book Club
Negro Art exh., 218
Chelsea School of Art, 245
Chenil Gallery
Bomberg exh. 1914, 92–4, 356n12
child art/childishness/children, 49, 52–3, 59, 118, 177, 190
Chinese art, 220
Churchill, Winston, 57
Circle: International Survey of Constructive Art, 282, 285–8 & 377 nn52–3, 305, 375 n22, 379 n16
Clark, Kenneth, 364 n23, 383 n6
class struggle, 97, 252, 305, 313–15
Clausen, George, 19, 359n12
Coates, Wells, 239–40 & 371n12, 276, 378n1
Cobden, Richard, 25
Cocteau, Jean, 186–7
Coldstream, William, 332–4, 337–40 & 383 nn14 & 20 & 384 n23, 383 n6, 385 n27
Cole, Ernest, 368 n17, 369 n29
Cole, F., 347
collage, 178–9, 201, 271–2, 300, 310, 317, 321
Colquhoun, Ithell, 381 n42
Communism/Communist, 251, 283–5, 302, 304–306–8, 313–15, 333, 381 n39
see also Marxism, revolution, ‘revolution’, Socialism
Congrès Internationaux d’Architecture Moderne (CIAM), 286, 371n12
Conservative Party, 75, 147
Constable, John, 149, 320
Constructive Art, 285–7, 287, 304, 313–14, 341
see also Constructivism, N. Gabo
Constructivism/Constructivist, 285–6, 304, 320, 377 n46
see also Constructive Art, Productivism
Contemporary Art Society, 298
Contemporary Poetry and Prose, 381n39
Conway Hall, 313, 315
Cooper, Douglas, 371 n15
Cooper, Kanty, 230, 347
Cornwall, 153, 187–92 passim, 196, 254, 291–3
Cotman, John Sell, 320
Courbet, Gustave, 16, 33, 307, 333
Cowles, G. C., 346
Cox, David, 320
Criterion, 379n10
Cromwell, Oliver, 111
Cross, Odo, 347
Cubism/Cubist: and Second Post-Impressionist Exhibition, 63–4, 183
Vorticism and, 74, 104–5, 111
Lewis and, 77, 117, 324
Epstein and, 82
Brighton Exhibition, 85–6
and Futurism, 87–8
Bomberg and, 92
Du Cubisme, 97 & 357n36
and Rebel Art Centre, 100
Wadsworth and, 108, 254
B. Nicholson and, 176–81, 185, 198, 254–9, 263, 289, 291
‘African’, 177
‘Analytic’, 178–80, 200
‘Synthetic’ 178–80, 202, 225, 258 & 374 n4, 324
Hitchens and, 183, 195, 273
Nash and, 200–2, 254, 370 n6
Moore and, 225, 230
mentioned, 67, 69, 97, 164,186, 284, 286, 293, 321, 365 n8, 374 n8, 376 n36
see also Braque, Picasso
‘Cubism and Abstract Art’ (exh.), 286
‘Cubist Art Centre Ltd’, see Rebel Art Centre
Cubist Room, see Brighton Exhibition
Cumberland, 175, 183, 188, 254, 365 n7
Cumberland Market Group, 41, 85, 131
Dacre, Winifred, see Nicholson, Winifred
Dada/Dadaism/Dadaist, 258, 299, 365n11
Daily Express, 252
Daily Mirror, 86, 139
Daily Telegraph, 125–6
Daintry, Adrian, 347
Dali, Salvador, 233, 240, 298, 304, 309, 312
Dalou, Aimé-Jules, 307
Daumier, Honoré, 307
Davidson, Angus 347
Davies, Hugh Sykes, 309, 312 & 380n33, 381 n39 de Chirico, Giorgio, 200–2 & 367 n34, 234–5, 297, 309, 319, 321
de Gandarillas, Antonio 185–6, 187
de Quincey, Thomas, 372 n21
de Segonzac, Dunoyer, 187
De Stijl, 238
de Vlaminck, Maurice, 45, 47, 63
Debenham, Alison, 347
‘Declaration on Spain’, 381 n39
Degas, Edgar, 25 & 350 n5, 26, 31, 32, 35, 49, 50, 298, 337, 339
Delaunay, Robert, 260
Delius, Frederick, 80
Denis, Maurice, 49, 348 n4
Derain, André, 45, 60, 63, 92, 176, 186, 231, 241
Design and Industries Association (DIA), 371n10
Diaghilev, Serge, 186
dialectical materialism, 306
Dickens, Charles, 76
Dieppe, 25, 26, 32, 36, 255, 350 n8, 373 n1
Diploma in Art and Design (Dip AD), 285 n27
Dismorr, Jessica, 102–4, 115, 156, 183, 346
Ditchling, 197, 213 & 368 n16, 368 n14
division of labour, 13, 212, 216, 252
Divisionism, 28, 29
Dix, Otto, 236
Dobson, Frank, 156, 159–60, 187 & 365 n18, 209–10, 211, 369n29
The Concertina Man, 159, ill. 81
Reclining Nude, 209, ill. 100
Dodgson, John, 359n12
d’Offay Couper Gallery
‘Abstract Art in England’ (exh.), 355 n5, 359 n54
Domela, César, 273, 274
Doolittle, Hilda, 84
Doré Gallery
exhs.: ‘Post-Impressionist and Futurist Exhibition’, 88
Italian Futurist painting and sculpture, 100
lecture by Marinetti and Nevinson, 101
Vorticist exhibition, 115
Dorland Hall
‘British Industrial Art in relation to the Home’ (exh.), 371 n9
Dostoievsky, Fyodor, 76
Doucet, Henri, 72
Drogheda, Countess of, 100
Druet, 351 n3
Drummond, Malcolm, 36, 85
Drury, Elizabeth, 346
du Plessis, A. G., 347
Duchamp, Marcel, 376 n38
Duncan Miller Ltd.
‘Abstract Art in Contemporary Settings’ (exh.), 286
Durand Ruel, 35
Durst, Alan, 230, 346
Dymchurch, 170, 172–3, 364 n4
École de Paris, see School of Paris
Eddington, Sir Arthur, 261, 266
Ede, H. S., 233, 275, 277, 298
Edmonds, L. S., 346
Egyptian sculpture, 80, 107, 220
Einfühlung, see empathy
Eldar Gallery
Atkinson exh. 1921, 211
Elgar, Edward, 11
Eliot, T. S., 117, 147, 379 n10
Eluard, Paul, 302, 309, 312 & 380 n33, 316, 376n38
empathy, 95–6
Empson, William, 380 n29
Enemy, The, 302 & 379 n17
Engels, Frederick, 303, 307
English Artists’ Cabaret, 80
‘English Contemporary Group’, see Unit One
‘English Manifesto of Surrealism’, 302–3 & 379 n18
‘English Post-Impressionists, Cubists and others’, see Brighton Exhibition
Epstein, Jacob: early years, 80, 90
interest in tribal art, 82–3
and London group, 85, 91, 156
and ‘Post-Impressionist and Futurist Exhibition’, 88
Hulme on, 97–8
and ‘Manifesto of Vital English Art’, 101
influence on Gaudier-Brzeska, 105
and Blast, in; war service, 122
and Smith, 153
Leicester Galleries exh. 1920, 205–7 & 367 nn1–2
on Rodin, 209
post-war influence, 210, 228–9
and Gill, 212
and Moore, 222, 224, 245
mentioned, 84,160, 217, 355 n5, 358 n47, 369 nn20 & 29
Works: carvings for the Cave of the Golden Calf, 80
Strand Statues, 80–82 & 355 n8
tomb of Oscar Wilde, 81–2, 222, ill. 32
Female Figure in Flenite, 82–3, ill. 33
third Marble Doves, 88
Rock Drill, 98–100 & 357 n38,122, 205–6, 210–11, ills. 38, 39
Risen Christ, 204, 206–8, ill. 108
Bust of Lord Fisher, 204
Genesis, 207, ill. 109
Rima, 207
Night and Day, 207
Ecce Homo, 207
Consummatus Est, 207
Adam, 207
Venus, 367n1
Erni, Hans, 271, 274
Ernst, Max, 233, 236, 240, 298–9 passim & 378 n7 & 379 n11, 304, 309, 311, 320, 321, 379 nn10 & 17
Etchells, Frederick, 62, 67, 72, 74, 84, 85, 88–90 passim, 100, 111, 115, 156–7 & 363 n13, 355n5, 359nn2 & 12
Etruscan art, 220
Euston Road School, 334, 339–43 passim & 383 n20 & 385 n27, 383 n6
Evans, Myfanwy, see Piper, Myfanwy
‘Exhibitors to the Public’, 88
Experiment, 310 & 380n29
Expressionism, 100, 111, 117,164, 248, 299, 379 n12
Fabianism/Fabian, 84, 212
Fascism, 120, 239, 252, 303–4, 308, 358 n53
Fauvism/Fauvist, 38, 45, 63, 64, 100, 104, 153
Federal Arts Project, 340
Fedorovitch, Sophie, 346
Fergusson, Louis, 31 & 350 n15
FIARI, see International Federation of Independent Revolutionary Art
Fiedler, Conrad, 95
Fildes, Luke, 13
‘First British Artists Congress’, 309
First Surrealist Manifesto, 234, 303
Fitton, James, 251, 307
Fitzroy Street Group, 29–31, 35–6, 51, 84–5, 339
Five on Revolutionary Art, 304–8
Flight, Claude, 183, 184, 346
Flint, F. S., 84
Ford, Ford Madox, 84, 111, 359 n3
Ford, Gordon Onslow, 381 n42
Forster, E. M., 147, 351 n1, 353 n32
Fortnightly Review, 50
‘freedom’, 130, 164, 181, 258–61, 265–6, 276, 281, 322, 340, 358 n53
‘personal’, 49–50
Friday Club, 67–8
Friesz, Othon, 45
Frith, E. S., 346
Fry, Maxwell, 286
Fry, Roger: ‘Manet and the Post-Impressionists’, 36, 45–51 & 351 n3, 52, 54–65 passim, 67, 69, 351 n3, 352 n7
and Cézanne, 46–7 & 351 n2, 52–3, 59–60, 63, 367 n37
and NEAC, 47
and ‘aesthetic response’, 49
early career, 51–2
as a painter, 51, 60, 67, 69
aesthetic theories, 52–6, 71, 248, 351 n25, 354 n39
‘The Art of the Bushmen’, 53 & 352 n16
‘An Essay in Aesthetics’, 54–6, 95 & 352 n25, 369 n27
on Ruskin, 55, 71 & 354 n47
‘Art and Life’, 56 & 352 m3
influence, 59–61, 75–6, 148, 171, 176, 183–5 passim, 190, 218–20
and Second Post-Impressionist Exhibition, 62–5, 183
Introduction to the Second Post-Impressionist Exhibition, 63–4 & 354 n39, 370n6
and Friday Club 67
exh. at Alpine Gallery, 69
and Grafton Group, 69
‘Art and Socialism’, 71 & 362 n1, 352 n17
and Omega Workshops, 71–4, 90, 100
and Ideal Home affair, 74, 85, 162, 355 n49
and Renaissance, 83
on Futurism, 87
on Bomberg, 94
Hulme on, 94
and ‘traditional modernism’, 96, 118
Lewis’s view of art contrasted, 118
Vision and Design, 145 & 362 n1, 218–19
and Grant, 149–50
and Dobson, 159
taste in French painting, 177
and modernist sculpture, 218–20
‘Ancient American Art’, 218
‘Negro Sculpture’, 218
reaction against in the thirties, 307–8
mentioned, 175, 250, 353, n32, 380n23
Works; White Road with Farm, 60, ill. 22
Fuseli, Henry, 320
Futurism, 77, 86–91 & 356 nn17–19, 93, 97, 100–2, 109, 111, 116, 117, 123–4, 126, 131, 183, 284, 358 nn46 & 49
Gabo, Miriam, 377 n55
Gabo, Naum, 258, 259–60, 274, 276, 282–9 & 377nn46& 50& 53 & 55, 292, 304–5, 314–15. 377 n40
Construction on a Plane, 283, ill. 145
Galerie …, see under name
Galsworthy, John, 111, 351 n1
Gardiner, Margaret, 233, 277
Garnett, David, 353 n32
Gascoyne, David, 302–4, 309, 336, 381 n39, 385n26
Gaudier-Brzeska, Henri: at Omega Workshops, 72
on Renaissance, 83
and London Group, 85
and ‘Manifesto of Vital English Art’, 101
and Pound, 101
and Blast, 101–2, 111, 124
and Vorticism, 102,105–8, 115
and Vorticist exh., 115
death of, 117, 121, 125 & 361n19
memoir by Pound, 119, 210–11
and war, 121, 124–5
‘Vortex Gaudier-Brzeska’, 124
influence, 210–11 & 368n10, 223 & 369 n28
mentioned, 84, 217, 357n38, 369 n20, 373 n41
Works: Hieratic Head of Ezra Pound, 101
Red Stone Dancer, 105, ill. 43
Ornement Torpille, 106–7, 211, ill. 44
Bird Swallowing a Fish, 106–7, 211, ill. 45
Crouching Figure, 107, ill. 46
Maternity, 107–8
Torso, 210–11
Gauguin, Paul, 25, 26, 35, 36, 38, 42, 45–7 passim, 50, 185
General Strike, 167
George, Waldémar, 370n1
German Expressionism, 77
Gertler, Mark, 65–6 & 354 n45,150–52,198, 360 n16
The Merry-go-Round, 150–51 & 363n10, ill. 73
Queen of Sheha, 152, ill. 74
Giacometti. Alberto, 258, 268, 273–4 & 376n26, 287, 298, 309, 319
Project for a Piazza, 268
Reclining Figure, 273
Reclining Woman Dreaming, 273
Gibson, T. Masson, 347
Giedion, Siegfried, 286
Gieves Gallery
Seven & Five exh. 1921, 346–7
Gill, C. U., 346, 359n12
Gill, Eric
at Second Post-Impressionist Exhibition, 67
and Jones, 197
Sculpture, 212
and carving, 212–16 & 368 n17
modernism of his work, 223
and AIA, 252, 308, 379 n19
on ‘Revolutionary Art’, 306 & 380 n22
mentioned, 354 n48, 369 n29
Works: The Golden Calf, 80
Stations of the Cross, 212
Deposition, 213–14, ill. 112
Girl, 213–14, ill. 113
Mankind, 213, 215, ill. 114
Gill, Max, 62
Gill, R. R., 346
Gilman, Harold: at Slade, 21, 43, 76, 152
and Fitzroy Street, 29
and NEAC, 35
and Camden Town Group, 35–6, 38
and Neo-Realism, 41, 71, 351 n30
and Cumberland Market Group, 41
and London Group, 41, 85
works c.1912–18, 41–4
war work, 131–2, 359n12
and Euston Road School, 341–3
mentioned, 51, 84, 356 n21
Works: The Model, Reclining Nude, 39, 341–2, ill. 14
Interior with Mrs Mounter, 42, ill. 17
An Eating House, 42, ill. 18
Leeds Market, 43–4, ill. 19
Halifax Harbour, 131–2, ill. 61
Ginner, Charles, 30, 35–43 passim, 51, 71, 80, 84, 85, 156, 159, 351 n30, 356 n21, 359n12
The Fruit Stall, Kings Cross, 37, ill. 13
Giotto, 53, 176
Gleizes, Albert, 97 & 357n36, 260
Gloag, John, 371n9
Gooding, H. E., 346
Gore, Spencer: at Slade, 21, 29, 76, 152
and Sickert, 26–8 & 350 nn10–11, 50
and Fitzroy Street, 29–30
and Post-Impressionism, 35
and Camden Town Group, 36, 38, 41, 85
and Cézanne, 51
at Second Post-Impressionist Exhibition, 67
and Ideal Home affair, 74
and Lewis, 76, 111
and London Group, 85
and Blast, 111
mentioned, 84, 159, 356 n21
Works: Stage Sunrise, the Alhambra, 28, ill. 9
The Balcony at the Alhambra, 38
Harold Gilman’s House, Letchworth, 38–9, ill. 15
Self-Portrait, 36, ill. 12
decorations for the Cave of the Golden Calf, 80
Gorky, Arshile, 311
Gothic art, 220
Goupil Gallery
exhs: Whistler, ‘Nocturnes, Marines and Chevalet Pieces’ 1892, 16
‘London Impressionists’ 1889, 25
Salon 1913, 41
Ginner and Gilman 1914, 41
first London Group 1914, 85
London Group 1915, 99
Nevinson, war work 1916, 123
Lewis, ‘Guns’ 1919, 127
P. Nash, ‘Drawings made in the Ypres Salient’ 1917, 136
Gill 1920, 212
‘Negro Art’ 1921, 218
Monet 1889, 349 n7
Gowing, Lawrence, 339, 383 nn7 & 10, 385 nn26 & 27
Goya, 77, 127, 339
GPO Film Unit, 338, 383 n6
Grafton Galleries, 62
exhs: Impressionist paintings 1905, 35
‘Manet and the Post-Impressionists’ 1910, 45–6, 52, 61, 65
‘Second Post-Impressionist Exhibition’ 1912, 62, 65
Grafton Group, 69, 84
Grahame, Lewis, 347
Grant, Duncan, 36, 51, 62, 67–72, 85, 115, 145, 149–50, 178, 180, 186, 191, 198, 308, 334, 353nn32 & 34, 379 n19. 383 n20
Works: The Tub, 59, ill. 21
Queen of Sheba, 69, ill. 27
‘Abstract Kinetic Collage Painting with Sound’, 71
Vanessa Bell, 149, ill. 71
Landscape through a French Window, 150, ill. 72
Grant, J. W., 347
Graphic, The, 206
Gray, Nicolete, 274, 335, 377 n53
Gray, Stewart, 358 n47
Greek sculpture, 80, 217, 220, 221
Greenberg, Clement, 349n11, 374 n4
Grierson, John, 338
Grigson, Geoffrey, 233, 275–8, 298, 300, 320, 322, 378n9
Gropius, Walter, 249 & 372 n28, 276, 281, 286
Grosvenor Gallery
Whistler exh. 1877, 14 & 348n2
Grosz, George, 236, 307, 313
Guernica, see Picasso
Guggenheim Jeune Gallery
‘Abstract and Concrete Art’ exh. 1939, 316
Guild of St Joseph and St Dominic, 197, 213
Hamilton, Cuthbert, 72, 74, 85, 101–2, 104, 111, 156. 355n5, 356n21
Hampstead, 265, 276, 292, 309, 322
Hardy, Thomas, 30
Harrisson, Tom, 310
Hart, Barry, 368n18
Hayter, Stanley, 310–11 & 380 n30, 381 n42
Hayward Gallery
‘Vorticism and its Allies’ exh. 1974. 355 nn4 & 5
Heal’s Mansard Gallery
X Group exh. 1920, 157
Jones and Hitchens exh. 1930, 198
Hélion, Jean, 258, 260, 274–6 & 376 nn33 & 36, 286–7, 304, 321
Hepworth, A. J., see Jackson, Arthur
Hepworth, Barbara: and Epstein, 210, 228–9
and ‘truth to materials’, 212–13
as student, 217
and the figure, 221–2
‘vernacular modernism’ c. 1927–32, 226–30
and B. Nicholson, 230, 245–58, 265
and Seven & Five, 230, 254, 269, 271, 344, 347
and Unit One, 240, 242–4 passim, 248, 294
work 1933–4, 244
visits to France 1932–3, 254–8
exh. at Tooth’s Gallery 1932, 255
and Arp, 258, 267–8
and Abstraction-Création, 260–61, 266, 268
work and ideas in thirties, 265–71
and Brancusi, 268
and abstract art in England, 271–7 passim, 299–301 passim
and Circle, 285–6 & 377 n53
and ‘Constructive Art’, 287
move to Cornwall, 291–3
and AIA, 308
mentioned, 304, 338, 369 n20, 372 n29, 374 n2, 377 n55
Works: carvings of doves, 228
Kneeling Figure (rosewood), 226, 228, 267, ill. 119
Figure with folded Hands (alabaster), 229
Head, 230
Large and Small Form (white alabaster), 243, 267, ill. 127
Pierced Form (pink alabaster), 266, ill. 138
Mother and Child (1933, 1934), 267
Two Forms with Sphere, 267–9, ill. 139
Discs in Echelon, 268–9, 273, 344, ill. 140
Three Forms (white marble), 269
Two Forms (white marble), 269
Forms in Echelon, 269–70, ill. 141
standing forms, 269–70
Herbin, Auguste, 63, 240, 260
Hermon, Ruth, 347
‘Hiccupstein’, 119
Hildebrand, see von Hildebrand
Hillier, Tristram, 202, 240, 242, 248, 273, 310, 372 n23
La Route des Alpes, 310, ill. 153
historical materialism, 252, 284, 303, 307–8, 315
Hitchens, Ivon, 165–6, 183, 195–6 & 366 n26, 198, 271, 334, 344–346, 376 n30, 383 n8
Works: Study of Essential Form, 176
Study for a Three-Dimensional Picture, 165–6
The Curved Barn, 166, ill. 85
Spring Mood, 195, ill. 101
Coronation, 195
Hitler, Adolf, 252
Hodgkins, Frances, 196, 240, 347, 376 n30
Hogarth Press, 340
Hogarth, William, 350n9
Holding, Eileen, 271–4 passim & 375 n25, 287, 347, 376 n30
Holland, James, 251, 307
Hone, Evie, 346
Honzig, Karel, 282, 286
Howard, Charles, 381 n42
Howes, Alan, 346
Hudson, Nan, 29
Hudson, W. H., 207
Hueffer, Ford Madox, see Ford, Ford Madox
Hugnet, Georges, 302, 309, 316, 380 n33
Hulme, T. E: anti-humanism, 82, 83–4
at homes, 84 & 356 n15
and ‘radical modernism’, 89, 94–8, 111, 372 n26
on Bomberg, 94
‘Modern Art and its Philosophy’, 96
disruption of Marinetti-Nevinson lecture, 101
‘Cinders’, 102 & 358n43, 112
and Blast, 111–12
and the war, 121–4 passim & 360n16, 136
Epstein and, 205, 210 & 368 n9
Read and, 248 & 372 n26
mentioned, 105, 107, 258, 279, 356 n22, 357 n29
humanism/anti-humanism, 82, 97, 99, 108, 156, 216, 222, 224, 268, 303, 318, 330
see also Hulme, T. E.
Hunt, Sidney, 184, 346, 379 n10
Huxley, Aldous, 147, 360n16
Ideal Home affair, 73–4 & 355 n49, 86
imagination/imaginative life, 19 & 349 n1, 53, 54–6 & 353 n27, 63, 112, 117–18, 176, 241, 278, 340
Imagism/Imagist, 84, 103, 111
Imperial War Museum, 120, 126, 131, 133, 141, 359 n12, 360n13, 361 nn25 & 28–9 & 31, 362n41
Impressionism, 16–17, 19–35 passim, 45–7 passim, 52, 53, 69, 165, 168, 336, 350n5, 351n20
impressionism, 22, 26, 109, 335
Indian art, 220
industrialization, 14, 90, 97, 108–9, 125, 157, 349n5, 358n52
‘Initial Manifesto of Futurism’, 86
Innes, J. D., 36
‘International Exhibition of Modern Decorative and Industrial Art’, 371n10
International Federation of Independent Revolutionary Art (FIARI), 316
International Literature, 251
International Surrealist Exhibition, 247, 296, 301, 309–12, 319, 323, 337, 377n53
Ireland’s Saturday Night, 250 & 372 n32
Irish News, 250 & 372 n33
Italian Primitives, 175–6, 190
Jackson, Arthur, 271, 273–4, 287, 344, 347
Jakovski, Anatole, 275
Janes, Norman, 346
Japanese art, 220
Japp, Darsie, 359n12
Jellett, M., 346
Jenkinson, Edith, 346
Jennings, Humphrey, 309–10 & 380 n29, 316–17, 333, 381 nn39 & 42
John, Augustus, 21, 22–4, 29, 36, 40, 65, 76, 85, 130 & 361 n28, 152, 174, 186–7, 191, 224, 308, 334, 341, 359n12, 379n19, 383 n20
The Blue Pool, 22, ill. 4
Fraternity, 361 n28
Jones, David, 184, 196–8 & 366 n27, 273, 344, 347, 368 n16
Hierarchy, 197, ill. 103
Jowett, P. H., 346
Joyce, James, in, 147
Jung, Carl, 248
Kahn, Alphonse, 185
Kahnweiler, D. H., 351 n3
Kandinsky, Wassily, 54 & 352 n22, 62–3, 64, 111, 117, 181, 195, 261, 299, 321, 336, 354n39. 357n34
Kauffer, Edward McKnight, 156, 240, 309, 379n19
Keene, Charles, 350n9
Keynes, John Maynard, 185, 353 n32, 362 n4
Kisling, Moïse, 186–7, 193
Klee, Paul, 309, 378 n7
Klingender, Francis, 251, 305–7 & 380 n23, 313, 315
Knight, Dame Laura, 379 n19
Kokoschka, Oscar, 380 n30
Konody, P. G., 120, 365 n11, 378 n7
Kramer, Jacob, 115
Kunsthalle, Basel
‘Constructivism’ exh. 1937, 286
Kunsthalle, Luzern
‘Thèse, Antithèse, Synthèse’ exh. 1935, 286
Kupka, František, 260
Labour party, 75, 147, 167, 252
Lacerta, 101, 358n49
Lamb, Henry, 29, 36, 67–8, 85, 120, 131, 224, 359 m2
Portrait of Lytton Strachey, 67, 68, ill. 26
Irish Troops in the Judaean Hills, 131, ill. 60
Lambert, Maurice, 230, 240, 347, 369 n20
landscape, 135–41 passim, 153–4, 157, 165, 167–75 passim, 185, 190–203 passim, 221, 225, 230, 254, 267, 289–91, 295–8 passim, 317–19, 322–7 passim, 329, 369 n27, 383 n20
Lane, Constance, 346
Latapie, Louis, 346
Laurencin, Marie, 187
Lavery, John, 19, 40, 359 ni2
Lawrence, D. H., 84, 147, 351 n1, 363 n10
le Corbusier, 238, 286, 363 n13, 371 n12
le Wino, Walter, 346
Lear, Edward, 136
Lechmere, Kate, 74, 100
Lee, Diana Brinton, 381 n39
Lee, Rupert, 309, 381 n39
Leech, John, 350 n19
Leeds City Art Gallery, 170
Leeds College of Art, 219, 228
Lefevre Gallery, 240
exhs: Douanier Rousseau 1926, 190
B. Nicholson 1928, 190
B. Nicholson 1933, 230
Hitchens 1933, 231
B. Nicholson 1935, 264, 276, 375 nn15 & 24
‘Abstract and Concrete’ 1936, 274
Dali 1935, 298
Lewis, ‘Thirty Personalities’ 1932, 162 & 364 n24
Left Review, 307–8, 313, 333, 380 nn23–4, 380n31
Léger, Fernand, 234, 235, 240, 273, 274, 321, 374n4
Legros, Alphonse, 20, 21
Leicester Galleries
exhs; Nash, ‘Void of War’ 1918, 136
Lewis, ‘Tyros and Portraits’ 1921, 161
Nash 1928, 201
Epstein 1920, 205 & 367 n1
Dobson 1921, 209–10
Gaudier-Brzeska 1918, 210
Seven & Five 1932, 230
Lewis 1937, 324
Nash 1938, 324 & 382 n47
Seven & Five 1931–4, 346–7
Nevinson 1919, 362 n41
Wadsworth 1920, 363 n14
Nash 1924, 364n2
Epstein 1917, 367 n1
Leighton, Sir Frederick, 125
Lenin, V. I./Leninist, 252, 303
Levy, Simon, 346
Lewis, Percy Wyndham: and Fitzroy Street Group, 29
and Gilman, 29, 44, 131 & 361 n30
and Camden Town Group, 36
at Second Post-Impressionist Exhibition, 67, 79
and Omega Workshops, 72, 74
and Fry, 74, 118, 162 & 364 n23, 177
early years, 76, 90
as a writer, 76, 111–12, 117 & 359 n5, 162
work 1909–12, 76–80
and Epstein, 83
and Grafton Group, 84 & 356 n16
and London Group, 85, 156
and Bergson, 87, 356 n19
and Futurism, 90, 116–17
Introduction to the Cubist Room, 90–91
and Bomberg, 92–3
Hulme on, 97
and Rebel Art Centre, 100–101
and Blast, 101–2, 110–12, 116–17, 120, 126
and Vorticism, 102–5, 115–20, 125
and Wadsworth, 108–9, 129, 158
works 1914–15, 112–13 & 359 nn54–5
and Vorticist exh., 115–16
‘Review of Contemporary Art’, 117–18
war service, 122
death of Gaudier-Brzeska, 125 & 361 n19
as war artist, 126–7, 129, 359 n12
‘Guns’ exh., 127
Bell on, 146
supported during twenties, 147
on Grant, 149
and X Group, 156–60 & 363 n16
portraits, 160–63 & 363 n21
‘Tyros and Portraits’ exh., 161–2
‘Thirty Personalities’ exh., 162 & 364 n24
post-war influence, 163–4, 176, 209
on Seven & Five, 164
on the ‘child-cult’, 190–91
Grigson on, 278
on Surrealism, 302 & 379 n17
work in thirties, 324 & 381 n46
and McLuhan, 358 n52
political views, 358 n53
and Unit One, 373 n41
mentioned, 87, 121, 151, 152, 178, 232, 233, 250, 333, 356n22, 358 n51, 361 n18, 363 n15
Works: Creation, 67, 79, ill. 25
Timon of Athens drawings, 67, 79
Smiling Woman ascending a Stair, 77–8 & 355 n4, ill. 30
The Creditors, 79, ill. 31
Kermesse, 80, 88 & 355 nn5, 6
Composition, 91, ill. 35
panels for the Countess of Drogheda, 100
The Crowd (‘Revolution’), 112–13, 114, ill. 51
Composition in Blue, 113, ill. 50
Plan of War, 115–16, ill. 52
‘Vorticist’ interiors, 115 & 359 n3
A Battery Shelled, 126–7, ill. 56
A Canadian Gun-Pit, 126 & 361 n23
The No. 2, 127, ill. 57
self-portraits, 160
Girl Reclining, 160, ill. 82
Mr Wyndham Lewis as a Tyro, 161, ill. 83
Portrait of Edith Sitwell, 162–3, ill. 84
l’Hote, André, 63, 183, 187, 346
Liberal party, 75, 147
liberalism (ideology of), 75, 208, 277, 303, 307–9 passim, 333, 381 n36
see also autonomy Lightfoot, M. G., 36
Liley, William, 346
Lindsay, Sir Coutts, 348 n2
Lipchitz, Jacques, 225, 230
Woman and Guitar, 225
Lipps, Theodor, 95
Listener, The, 234, 241
Liverpool Post and Mercury, 250 & 372n30
‘Living Art in England’ (exh.), 287, 316
Lloyd, A. L., 251, 305–6
Lloyd George, David, 147
London Artists Association, 184–5, 334
London Bulletin, 316, 333, 382 n49
London County Council, 339
London Gallery
exhs: ‘Constructive Art’ 1937. 287
‘Living Art in England’ 1939, 287
‘Surrealist Objects and Poems’ 1937, 316
London Group, 41, 85–6, 92, 94, 99, 115, 153, 154–5, 160, 184–5 & 365 n14,187,198 & 366 n29, 233, 345, 361 n18
see also Brighton Exhibition
‘London Impressionists’ (exh.), 25
Losch, Tilly, 239
Louvre, 176
Low, David, 379 n19
Lubetkin, Berthold, 371n10
Lucas, Colin, 240
Lucas, F. L., 353 n32
Lucas, James, 251
Lurçat, Jean, 202
Lye, Len, 347
MacCarthy, Desmond, 49, 353 n32
MacColl, D. S., 47, 49–50 & 352 n11, 54, 60, 61, 64
MacKechnie, R. G. S., 347
Mackintosh, Charles Rennie, 238
Maddox, Conroy, 381 n41
Madge, Charles, 310
Magritte, René, 298, 309, 318–19
Maillol, Aristide, 80, 159, 367 n6
Malevich, Kasimir, 181 & 365 n11, 184, 261 & 375 n11, 284, 299, 377 n51
Black Square, 184
‘Manet and the Post-Impressionists’ (exh.), 36, 45–51 & 352 n7, 52, 54, 61, 64, 68, 76, 84, 86, 159, 177, 353n35, 355n1
Manet, Édouard, 20, 23, 36, 45, 50, 174, 320
‘Manifesto of Futurist Painting’, 86
‘Manifesto of Vital English Art’, 100–1 & 357nn41–2
Manson, J. B., 29, 36, 85
Mantegna, Andrea, 320, 350 n9
Marchand, Jean, 60, 177
Marinetti, Filippo Tommaso, 86–7, 90, 100–1, 109, 126, 358 n53
Marlborough Gallery
Severini exh. 1913, 86
Marriot, Charles, 31–2 & 350 n18
Marsh, Edward, 84
Marshall, Frances, 353 n32
Martin, Leslie, 285 & 377 n53, 288–9, 377 n40
Martin, Sadie, 285
Marx, Karl, 284, 303, 305, 315
see also Marxism
Marxism/Marxist, 97, 252, 283–5 passim, 305, 307–8, 313, 315, 320, 382 n4
see also revolution, ‘revolution’, social function of art, Socialism
Masaccio, 224
Mass Observation, 310, 338
Massine, Léonide, 286
Masson, André, 236, 299, 309, 379 n10, 380 n30
Matisse, Henri, 45–6, 50, 61, 63–4, 65, 69–71 passim, 74, 100, 134, 153–4, 176, 185, 186, 195, 196, 198, 234, 291, 298, 334, 337, 353n35, 354n39
works shown at ‘Manet and the Post-Impressionists’, 63
Mayan art, 220
Mayor Gallery, 316, 371 nn14–15
exhs: Hitchens 1925, 183
reopening exh. 1933, 233, 240, 298 & 378 n7
‘Unit One’ 1934, 243, 250, 294, 296
Ernst 1934, 298, 379 n11
Miró 1934, 298
‘Art Now’ 1933, 298
McCullough, J. R. R., 346
McEvoy, Ambrose, 359 n12
McGrath, Raymond, 371 n9
McGuiness, Norah, 347
McLuhan, Marshall, 358 n52
McQuoid, Winston, 347
medieval art, 95, 218, 357 n31
Medley, Robert, 333, 347
Mednikoff, Reuben, 381 n42
Mendelsohn, Eric, 276
Mesens, E. L. T., 309, 316, 381 n42
Mesopotamian sculpture, 229 & 370n34
Metaphysical painting, 200–2
Metropolitan Museum of Art, New York, 51, 351n3
Metzinger, Jean, 97 & 357 n36
Meunier, Constantin, 307
Mexican art, 220, 225 & 370 n31, 384 n22
Michelangelo, 54, 222 & 369 n27, 224, 350 n9
middle class(es), 32, 56, 71, 73, 88, 89, 223, 238
Milhaud, Darius, 379 n17
Miller, Henry, 316
Millet, Jean-François, 26, 33
Ministry of information, 120& 359 n12, 124, 126, 129, 141 & 362 n41
Minotaure, 278 & 376 n38
Miró, Joan, 233, 236, 245–7, 255. 258–9 & 374 n4, 274, 298, 299, 304, 309, 380 n30
Modern Architectural Research Society (MARS Group), 239 & 371 n12
Modern Movement (in art, design and architecture), 13, 212, 234, 238–9 & 371 n9, 249, 253, 264, 268, 276, 280–81, 284–5, 288, 290
modern movement (in English art), 37, 46, 52, 60, 66, 237–9, 310
Modernism (as a critical position), 18 & 359 n11, 31, 46, 56, 168, 172, 176, 179, 208, 212, 221, 362 n2, 365 n12, 368 n18
see also autonomy, C. Bell, R. Fry, Hulme, ‘purity’, ‘radical modernism’, Read, universality, Wilenski
Moholy-Nagy, Laszlo, 249, 260, 274, 276, 286, 287, 304, 308, 321
Modigliani, Amadeo, 82, 92, 209, 298
Mondrian, Piet, 258 & 374 n5, 260, 261, 263 & 375 n14, 274, 275, 276, 286–9 passim & 377 n55, 292, 299, 304
Monet, Claude, 17 & 349 n7, 19, 20, 25, 26, 35, 46, 49, 50, 334–6 passim, 341
Rouen Cathedral, 335
Moore, G. E., 57–8, 122, 353 n34
Moore, Henry: and Epstein, 210, 222, 245, 355 n8
and Gaudier-Brzeska, 210–11 & 368n10, 223 & 369 n28
and ‘truth to materials’, 213
and Gill, 213
and Royal College of Art, 217, 219, 223 & 369 n29, 245, 368 n18
and Greek and Renaissance art, 217
influence of Fry, 218–19
and British Museum, 219–20, 229
and the figure, 221–2
and Michelangelo, 222 & 369 n27
exh. at Warren Gallery, 224, 371 nn
early reclining figures, 224–6
and Picasso, 225 & 370 n32. 230, 245–7 & 372n22, 298, 319, 329
vernacular modernism’, 226–30, 232
and Seven & Five, 230, 254, 271–4 & 376 n30, 344, 347
in ‘Recent Developments in British Painting’, 235–6
and Unit One, 239–40, 247–8, 294 & 378 n1, 326
work 1931–3, 242–8
exh. at Leicester Galleries, 245
and Brancusi, 247, 268, 273
and AIA, 252, 308, 379 n19
and Giacometti, 273, 298
and abstract art, 273–4
and Axis, 276, 278
Grigson on, 278
and Circle, 286
in ‘Constructive Art’ exh., 287
and Surrealism, 287, 298, 300, 302 & 379 n16, 316–19
and International Surrealist Exhibition, 309
drawings, 323, 329
‘Notes on Sculpture’, 326–7
work and ideas 1935–9, 326–31
mentioned, 265, 303, 338, 344, 347, 369 nn20 & 24 & 30, 370 n34, 372 n29, 381 nn36, 39
Works: Torso, 210–11
Dog, 211
Mother and Child (Hornton stone), 222–4, ill. 115
Reclining Figure (Hornton stone), 224–6, ill. 116
Reclining Figure (Ancaster stone), 225
Torso (cast concrete), 225
Head and Shoulders (Verde di Prato), 225
Half-Figure (cast concrete), 225–6, ill. 117
Mother and Child (green Hornton stone), 226–7, ill. 118
Reclining Figure (carved concrete), 226
Half-Figure (veined alabaster), 229
Head of a Woman, 230
Composition (blue Hornton stone), 245–6 & 372 n22, ill. 129
Reclining Figure (lead, 1931), 246–7, 309, 327, ill. 130
Composition (carved concrete), 247, ill. 131
Four-Piece Composition: Reclining Figure (Cumberland alabaster), 272–3, 344, ill. 143
Square Form (green Hornton stone), 274, ill. 144
Reclining Figure (lead, 1939), 316
Reclining Figure (elm, 1936), 328, ill. 159
Reclining Figure (elm, 1939), 329, ill. 160
Recumbent Figure (green Hornton stone), 329–30, ill. 161
Madonna and Child (Northampton), 369 n25
Morgan, Pierpont, 51–2, 352 n17
Morley, Harry, 346
Morrell, Lady Ottoline, 145, 360n12
Morrell, Philip, 145
Morris, William, 13–14 & 348 n1, 16–17 & 349 n5, 19, 24–5, 56–7, 71–3 passim, 212, 238, 281, 357n31, 365 n15
Mortimer, Raymond, 339, 353 n32
Morton, Alastair, 287
Morton, H. T. J., 353 n32
Moynihan, Rodrigo, 334–7 & 383 nn9–11 & 14–16 & 384 n26, 339–42 passim, 383 n7, 385 n27
Objective Abstraction no. 1, 336–7, 340–41, ill. 163
Mumford, Lewis, 286
Munich, 54, 66, 76, 357 n34
Munnings, Alfred, 40
Muntz, Betty, 184, 230, 347
Murray, William Staite, 184, 271, 344, 347, 376n30
Museum of Modern Art, New York
exh. ‘Cubism and Abstract Art’, 286
Mussolini, Benito, 308, 358 n53
Nabis, 16 & 348 n4
Nash, John, 41, 85, 131 & 361 n31, 132, 198, 334, 359 m2, 383 n20
Over the Top, 131 & 361 n31
Oppy Wood, 131–2, ill. 62
Nash, Paul: on Tonks, 22 & 350 n4
on the Post-Impressionist exhs., 65
and Slade, 65–6 & 354 nn42 & 45, 135, 172
at Omega, 72, 135
and London Group, 85, 198
war service 113, 121, 136
and Vorticism, 119
early works, 134
as war artist, 134–41 & 362 nn39 & 41, 359 n12
exhs. of war work, 136
post-war ‘struggles’, 147
and Lewis, 163–4
in early twenties, 167–74 & 364nn1–4
and B. Nicholson, 172–4, 375 n15, 376 n28
work in later twenties, 199–203 & 366 n32, 367 n36
and de Chirico, 200–2
exh. at Leicester Galleries, 201, 234
exh. at Warren Gallery, 224
and European art in early thirties, 232–4
writing on art, 234–9 & 370 n6
and Modern Movement, 238–9
and Unit One, 239–42 & 371 n16, 248, 250, 275, 286, 294–5 & 378 nn1–2, 300, 371 n7
work 1930–3, 244–5, 370n3, 371n20
and AIA, 252, 379 n19
and Axis, 275–6, 279, 300
and Surrealism, 233, 298 & 379 n11, 300–2, 309–10, 316–19, 324
work 1934–7, 294–8 & 378 nn3–6, 300
and International Surrealist Exhibition, 309–10
and London Bulletin, 316
in ‘Living Art in England’ exh., 316
M. Piper on, 320–21
and Romantic Revival, 322
work in later thirties, 324–6
mentioned, 175, 176, 177, 197, 254, 265, 288, 338, 350 n4, 362 n33, 371 n11, 376 n32, 381 nn39, 45
Works: The Three in the Night, 134, ill. 64
The Landscape – Hill 60, 136–7 & 362 n41, ill. 66
Landscape – Year of our Lord 1917, 138, 141, ill. 66
The Menin Road, 139, 141, 362 n39, ill. 67
After the Battle, 140–41, ill. 68
We are Making a New World, 140–41, ill. 69
The Mule Track, 141
Wooded Hills in Autumn, 169, ill. 86
The Shore, 170–71, ill. 87
Dymchurch Wall, 172–3, ill. 88
Walnut Tree, 199, ill. 104
Cactus, 200
Autumn Crocus, 200
Dead Spring, 200
Landscape at Iden, 200–1 & 366 n32 & 367 n36, ill. 105
Northern Adventure, 201 & 366 n33, 232, ill. 121
Opening (‘Opening Abstract’), 202
Wood on the Downs, 202–3 & 367 n36, ill. 107
Kinetic Feature, 234–5, ill. 122
Urne Buriall illustrations, 244
Event on the Downs, 244, ill. 128
Landscape of the Megaliths, 295–6, 309–10, ill. 150
Equivalents for the Megaliths, 247, ill. 151
Harbour and Room, 297, 301, 309, ill. 152
Voyages of the Moon, 297
Encounter in the Afternoon, 309
Mansions of the Dead, 309
Landscape from a Dream, 317–18 & 381n43, ill. 155
Monster Field, 325–6 & 382 n49, ill. 158
The Lake/Chestnut Waters, 364 n2
Winter Sea, 364 n4
Monster Shore, 382 n49
National Gallery, London, 50, 52, 320, 383 n6
National Gallery of British Art, see Tate Gallery
National Gallery of Canada, Ottawa, 120, 338, 361 nn18, 23, 25, 362 n41
Nature, 55, 57, 94, 97, 112, 117, 190, 240, 261, 292, 295–6, 326, 381 n46
Nazism/Nazi, 259, 276, 280, 281
NEAC, see New English Art Club
‘Negro art’, see African sculpture
Neo-Impressionism, 37
Neolithic art, 220
‘neo-picturesque’, 322
‘Neo-Primitives’, 65
‘Neo-Realism’, 41 & 351 n28, 43, 351n30
‘neo-romantic’, 322
‘Neo-Traditionism’, 348 n4
Neutra, Richard, 286
Nevinson, C. R. W.: at Slade, 65–6 & 354 n45,152
and Friday Club, 68
and Rebel Art Centre, 74
at Hulme’s at homes, 84
and London Group, 85
and ‘Post-Impressionist and Futurist Exhibition’, 88
and Futurism, 88, 90, 123–4
‘Manifesto of Vital English Art’, 100–1
and Blast, 101
war service, 113, 121
and Vorticistexh., 115
exh. at Goupil Gallery, 123
as war artist, 123–6, 131 & 361 n29, 135, 141, 359 n12, 362 n41
mentioned, 175, 355n5
Works: Departure of the Train de Luxe, 88 & 356 n21
The Arrival, 89, ill. 34
Returning to the Trenches, 122 & 361 n18, ill. 53
La Mitrailleuse, 123, ill. 54
Harvest of Battle, 124–5, ill. 55
Searchlights, 361 n18
The Food Queue, 361 n29
Paths of Glory, 362 n41
New Age, 30, 84, 94, 95
New Burlington Galleries
exhs: International Surrealist Exhibition 1936, 309
Guernica 1938, 334 & 382 n3
Wood retrospective 1938, 382 n3
New English Art Club, 19–22, 25, 26, 28, 33, 35, 37, 47, 51, 53, 349nn7 & 3, 352 n8
New English Weekly, 251, 336, 375 n25
New Gallery
Burne-Jones exh. 1893, 16
‘new movement’; c. 1910
45–7 passim, 51, 56, 59, 61, 64, 73, 351 n30
c.1933
238–9, 275, 294–5
New Realism, 236 New Review, 84
Newman, Barnett, 375 n22
Nicholson, Ben: at Slade, 65–6 & 354n45, 172
and Lewis, 161, 164 & 363 n15
exh. at Patersons, 166
and Seven & Five, 166, 183–5, 190–91, 196, 198, 230, 254, 271–5 passim, 344, 346, 376 n28, 378 nn
in early twenties, 167, 172–83
and Cézanne, 177
and P. Nash, 172–4, 297–8
and Cubism, 177–81, 185, 198, 254–9
and Wood, 186, 187–91 passim & 365 n18 & 366 nn19–20 & 25
exh. at Beaux-Arts Gallery, 187
and Wallis, 188–90
landscapes 1928–30, 188, 190–92, 203
compatibility with sculptors in twenties, 218
and Hepworth, 230, 254–5, 258, 265–7
exhs. at Lefevre and Bloomsbury Galleries, 230
and European art in early thirties, 232–3
in ‘Recent Developments in British Painting’, 235–6
and Unit One, 240, 242, 248, 250, 252–3, 294 & 378 n1
work and ideas in early thirties, 254–66 & 375 n12
contacts with European artists 1932–3, 254–9
and Mondrian, 256, 261, 262 & 375 n14, 276, 288–9
and Abstraction-Création, 260–61
white reliefs. 263–5 & 375 n15, 271, 273, 276–7, 288, 290–91, 344, 372 n34
and abstract art in England, 271–7 passim, 299–300
J. M. Richards on, 276
Grigson on, 277
and Circle, 285–8 & 377n53
and ‘Constructive Art’, 287–8
work in later thirties, 288–93
Martin on, 288–9 & 377 n55
and AIA, 308
in London Bulletin, 316
mentioned, 244, 304, 320, 338, 365 n10, 375 n24
Works: Dymchurch, 173–4, ill. 89
Cortivallo Lugano, 175–6 & 364 n5, ill. 90
Trout, 179–80, 182,185, ill. 91
First Abstract Painting, 181–2 & 365 n11, 185, ill. 92
Goblet and Pears, 182, ill. 93
Pill Creek, Moonlight, 189, ill. 95
Birch Craig, 192, ill. 97
Walton Wood Cottage no. 1, 190
Still Life 1933–5, 242, ill. 125
Au Chat Botté, 255–6 & 373 n1, ill. 132
Auberge de la Sole Dieppoise, 256
Guitar, 256–7, ill. 133
Composition in Black and White, 257, ill. 134
December 1933 (First Abstract Relief), 262, ill. 135
2 Circles, 263
White Relief (1934), 263, ill. 136
White Relief (1935), 264–5, ill. 137
Painting (1935). 289, ill. 147
Painting (1937), 289
White Relief (1939), 290, ill. 148
Painted Relief (1939, Stromness), 291
Painted Relief (1939, New York), 292, ill. 149
Winter in Cortivallo, 364 n5
Nicholson, William, 23–4, 66, 166, 185
A Downland Scene, 23, ill. 5
Nicholson, Winifred, 175–6 & 365 n7, 183–92 passim & 366 nn19–20 & 22, 254, 271, 275, 285–7 passim, 344, 346, 364 n5, 375 n12, 376n30, 377 n55
Seascape with Dinghy, 192, ill. 96
non-figurative art, see abstract art
non-representational art, see abstract art
North American Indian art, 220
‘North Staffs’, see Hulme, T. E.
Oakley, A. J., 346
Objective Abstractions’ (exh.), 198, 334–7 & 383 n7, 341–2, 383 nn8 & 17
Oceanic sculpture, 105, 107, 218, 220
Omega Workshops, 71–4, 84, 85, 90, 100, 101, 104, 105, 135, 150, 180
Orage, A. R., 84
O’Rourke, Brian, 240
Orozco, José Clemente, 339 & 384 n22
Orpen, William, 40
Ozenfant, Amédée, 235, 321
Paalen, Wolfgang, 309
Pailthorpe, Dr Grace, 381 n42
Painter’s Object, The, 321–2, 324, 326–7
paleolithic art, 107, 220
Palmer, Samuel, 134, 136, 320, 322–3
pantheism, 96, 223, 318–19
Paris: NEAC connections with, 19, 20
Gilman and Ginner in, 35
Camden Town Group and, 36–7, 41
Fry in, 52
C. Bell and, 54, 68, 146, 186
‘Quelques Indépendants Anglais’ exh., 62
Grant in, 68, 69
Lewis and, 76
Futurist work shown in, 77
Epstein in, 80–83
sculpture in, C.1900–14, 80, 82, 209
Nevinson with Severini in, 88
Bomberg in, 92
Dismorr a student in, 103–4
hegemony of, 146, 321, 350n20
Smith in, 152–3
prevalence of ‘classicism’ in early twenties, 156–7, 186
B. Nicholson visits to 1920–3, 176, 177, 178
Wood and, 185–8 passim, 193, 201, 231
Parisian painters in 1920s, 186–7
Hodgkins in, 196
London Group and, 198
Moore’s visits to, 225
Wadsworth exh. in, 231
P. Nash in, 233, 275, 376n32
Abstraction-Création, based in, 249, 259–60
B. Nicholson and Hepworth visits to, 254, 256, 262
Gabo in, 258
work seen by B. Nicholson in, during early thirties, 258–9
developments in art in, during later twenties, 258
Miró in, 258
Calder in, 258–9
émigrés in, 259–60
W. Nicholson living in, 271
interest in Unit One in, 275
M. Piper visit to, 275
and Surrealism, 302, 379n10
Gascoyne living in, 302
Penrose living in, 309
Atelier 17, 310, 380 n30
text of ‘Towards an Independent Revolutionary Art’ sent from, 316
International Exhibition of Modern Decorative and Industrial Arts, 371 n10
Bateau-Lavoir, 376 n36
Luxembourg, 376 n9
Trevelyan in, 380 n30
see also: Barbazanges; Bernheim Jeune; Druet; Kahnweiler; Louvre; Perder; Père Lachaise; Rosenberg, Léonce; Rosenberg, Paul; Sagot; Salon d’Automne; Salon des Indépendants; School of Paris; Vollard
Parkes, Kineton, 368 n17, 369 n29
Partridge, Ralph, 353 n32
Pascin, Jules, 187, 193
Pasmore, Victor, 334 & 383 n6, 337, 339 & 383 n20, 341–2, 383 n7, 385 n27
Passchendaele, 138, 362 n39
Patersons Gallery
exhs: B. Nicholson 1923, 166, 183 & 365 n13, 364 n5, 365 n13
Seven & Five 1924, 166, 346–7
Seven & Five 1923, 346–7
Pears, Charles, 120
Pearson-Righetti, L, 346
Pellerin, 35
Penguin Club, New York
exh. of Vorticist works, 120
Penguin Modern Painters, 364 n23
Penrose, Roland, 277, 309–10, 316, 333, 347, 375 n25, 380 n28, 381 nn39 & 42
Penrose, Valentine, 381 n39
Percier, Galerie
Calder exhs. 1931–2, 259
Père Lachaise cemetery, 81
Persian art, 220
Peruvian art, 220
Pevsner, Antoine, 259, 260, 283–4, 285, 286
photography, 103, 120, 220, 239, 296 & 378 n5, 320, 382 n49
Picasso, Pablo
works seen by Gilman and Ginner, 35
in ‘Manet and the Post-Impressionists’, 45, 47, 50
parodied in Chelsea Arts Club, 47
older generation’s response to, 50, 61
Sickert on, 50
in Second Post-Impressionist Exhibition, 63
Omega Seccessionists and, 74
Lewis and, 77, 116, 117
Epstein and, 82
Bomberg and, 92
Wadsworth and, 108
P. Nash and, 134, 234 & 370 n6, 325
B. Nicholson and, 176–81 passim, 254–5, 291
characteristics of Cubist work, 178–81, 291, 374 n4
Wood and, 186–7, 191. 193
Moore and, 225 & 370 n32, 230, 245–7 & 372n22, 316–17, 318–19
Hepworth and, 230, 254–5, 266
Piper and, 273
representation of work in England, 298 & 378 n9
Read on, 299
in International Surrealist Exhibition, 309
C. Richards and, 311
in Painter’s Object, 321
controversy over Guernica, 334, 382 n4
G. Bell on, 340
Greenberg on, 374 n4
mentioned, 41, 87, 185, 339, 357 n36, 380 n30
Works: Tête d’Homme, 63
Demoiselles d’Avignon, 77
Trois Baigneuses, La Source, 225
Figure by the Sea (7.4.29), 245
Still Life with Classical Head, 255
Profile, 298
Girl with Tambourine, 316–17
Guernica, 325, 334 & 382 n4
Pillico, Lena, 346
Piper, John, 271–3, 274–6 passim, 287, 308, 316, 319–22, 344, 347, 376 n30
Piper, Myfanwy, 231, 275, 277, 292, 319–22
Piscator, Erwin, 313
Pissarro, Camille, 25, 30, 50
Pissarro, Lucien, 28, 30, 36–7, 38
Poesia, 86
Pointillism, 37
Post-Impressionism/Post-Impressionist, English: Camden Town Group, 38
as a group, 51, 62
at Second Post-Impressionist Exhibition, 64–9 passim
‘community’ of, 1910–13, 84–5
class and cultural character of, 88–90
and war, 120, 131
post-war hegemony of, 145, 148–9, 155
Gertler and, 150–51
and London Group, 155, 198
B. Nicholson distinguished from, 176–7
P. Nash and, 199
Aldridge, 236
see also C. Bell, V. Bell, Bloomsbury, Brighton Exhibition, Grant, R. Fry, London Group, Omega Workshops, Post-Impressionism (in general)
Post-Impressionism/Post-Impressionist (in general): Sickert and, 26, 28, 47–51 passim
Gore and, 28, 51
and Camden Town Group, 35–8
Gilman and, 42–3 & 351 n30, 51
C. Bell and, 46, 47, 64
controversy over in 1910–12, 47–51, 64
Fry’s distinction between Impressionists and, 52–3
Fry’s lecture on, 54
effects on Slade, 64–5
and furniture and decoration, 72–3, 100, 150
challenge to orthodoxy of, 74, 86, 88,100
as ‘Revolution in Art’, 75
Futurism and, 88, 100
Vorticists distinguished from, 101, 102
P. Nash and, 136, 174, 234 & 370 n6
Seven & Five and, 184–5
London Group and, 184–5, 198, 233
close of era of domination by, 234
mentioned, 69, 82, 83, 97, 101, 279
see also C. Bell, Cézanne, R. Fry, ‘Manet and the Post-Impressionists’, English Post-Impressionism, Second Post-Impressionist Exhibition
‘Post-Impressionist and Futurist Exhibition’, 88
Pound, Ezra, 70, 80, 84, 100–3 passim, 110–11 passim, 117, 119–20 & 359 n10, 210–11, 357 n38, 358 n53
Power, J. W., 235, 240, 346
Poynter, Sir Edward, 30, 54
Pre-Raphaelite/Pre-Raphaelite Brotherhood, 51, 133, 134, 164, 168–9 & 364 n1, 185 & 365n15, 240–41, 278, 357 n31
‘primitive’/primitivism: Fry’s and Bell’s interest in, 49, 52, 59, 118, 218, 353 n35
‘Neo-Primitives’, 65
Lewis’s ‘modern primitives’, 76,119
in tomb of Oscar Wilde, 82
in Mud Bath, 94
in Rock Drill, 99
B. Nicholson’s interest in, 175–7 passim
Douanier Rousseau, 176, 190
Seven & Five and, 190
cult of in 1920s, 190
and sculpture in 1920S, 217–18, 223, 225
Moore and, 224, 225 & 370n32, 309n24
in late thirties, 293
see also African sculpture, child art, Italian Primitives, ‘purity’
Principia Ethica, see Moore, G. E.
Pritchard, Jack, 276
Productivism, 283–5 & 377n50
proletariat/proletarian, 303, 307, 313–16 passim
psychology, 95–7 passim, 241, 248, 273, 278, 300, 318, 329–30, 357n31
Pugin, A. W. N., 281, 357 n31
Purism, 235, 238, 239, 263, 349 n11
‘purity’: and technical autonomy, 17
and aesthetic experience, 55, 56, 64, 176
increasing, in art, 56
as an aspect of form, 94, 308
of early Renaissance art, 176
in works of art, 271
in life and interior décor, 271
of abstract art, 300
see also autonomy, child art, ‘primitive’
Quinn, John, 210, 355 n5, 359 n2, 362 n3
‘radical modernism’, 87, 96–100, 107, 118–21, 131, 162–3, 360 ni6, 372n26
see also Hulme, Lewis, Futurism
Raine, Kathleen, 380 n29
Ratcliffe, William, 36
Ray: art miscellany, 184, 379n10
Ray, Man, 309
Rea, Betty, 251, 379n20
Read, Herbert
writing for The Listener, 234
Art and Industry, 239, 248, 249–50, 279, 371 n9
and Unit One, 248–51 & 372 n23
‘Psychoanalysis and the Critic’, 248, 379 n16
The Meaning of Art, 248–9 & 372 n24
Art Now, 248–9 & 372 n25, 279, 299 & 379 n12
introduction for Unit 1, 249–51, 261
on art and politics, 260 & 374n7, 261–2
and Axis, 275–6
‘A Nest of Gentle Artists’, 276
on abstract art and design, 279, 281–2, 304–5
Art for Society, 281–2
and Circle, 286, 379n16
on Dadaism, 299
and Surrealism, 299, 304 & 379 n16, 309, 312–13, 316 & 381 n42, 333, 380 n33, 381n42
on ‘Revolutionary Art’, 304–5
and International Surrealist Exhibition, 309, 312, 319, 380 nn28 & 31
and London Bulletin, 316, 333
and ‘Realism’, 333–4 & 382 nn2, 4
mentioned, 219, 233, 353, n27, 358 n43, 372 nn22, 26, 29, 373 n41, 377 n55, 379 n19, 381 n39
realism/’realism’: of Camden Town painting, 41
pessimistic, of Lewis and Hulme, 112
professional, of Pears, 120
documentary, of J. Nash, 131
introspection and, in P. Nash, 169
height-ened, in Rock Drill, 206
aspiration to, 278
lack of in abstract art, 305
idealized, in Surrealism, 306
heightened, in Hillier, 310
blurred, in Pasmore, 337
Coldstream and G. Bell and, 338
and Euston Road School, 339 & 384 nn22–3, 341–2
Moynihan, G. Bell and Tibbie and, 340
‘documentary’, as antithesis to technical autonomy, 343
Realism/Realist, 16, 26, 41, 43, 333–4
see also Neo-Realism, New Realism, Realistic Manifesto, Social Realism, Socialist Realism
‘Realistic Manifesto’, 284 & 377n50
Rebel Art Centre, 74, 100–1, 103, 357 n40
‘Recent Developments in British Painting’ (exh.), 235–7
Renaissance (Italian), 51, 82–3, 96–7, 176, 217, 224
Renoir, Auguste, 20, 26, 35, 151
Revel, J. D., 346
revolution: in society, 13, 75
Russian, 206, 238, 259, 280, 282, 285
‘revolution’: ‘in Art’, 75
radical modernist fixations with, 87, 97
Lewis’s painting known as, 113
‘revolutionary rich’, 190
Gill on, 213
Modern Movement’s aspirations to, 239
Circle and idea of, 287
Surrealism and idea of, 302–6, 312–17 passim
abstract art and idea of, 304–6
competing views on in thirties, 313–15, 337
Guernica and, 382 n4
Mexican muralists and, 384 n22
see also Communism, Five on Revolutionary Art, Marxism, Socialism, ‘Towards an Independent Revolutionary Art’
Richards, Ceri, 311, 334
Richards, J. M., 276, 286, 375 nn24–5
Riegl, Alois, 95, 357n31
Rimmington, Edith, 381 n42
Rivera, Diego, 316 & 381n40, 339–40 & 384 n22
Roberts, William: at Slade, 66 & 354n45
at Omega Workshops, 72, 355 n49
and London Group, 85, 198
and ‘Manifesto of Vital English Art’, 101
and Vorticist manifesto, 102
and Vorticism, 104–5, 115
and Blast, 111
and Vorticist exh., 115
war service, 122
as war artist, 122, 129 & 361 n25, 359n12
and X Group, 156
work since 1920, 158–9
and Cubism, 178
and Unit One, 240
mentioned, 89, 175, 357n38
Works: The Toe Dancer, 104 & 358n47, ill. 42
The Gas Chamber, 129, ill. 59
The Cinema, 158, ill. 80
The First German Gas Attack at Ypres, 361 n25
A Shell Dump, France, 361 n25
Roberts, Winifred, see Nicholson, Winifred
Rodchenko, Alexander, 284
Rodin, Auguste, 209, 367 n6
Rogers, Claude, 334, 339 & 383 n20, 385 n27
Rogers, Gilbert, 359 n12
Romanesque art, 220
Romantic Movement, 174, 190, 312, 322
Romantic Revival, 174, 319–24
Rosenberg, Léonce, 233
Rosenberg, Paul, 178
Rosenberg and Heft Gallery
Sutherland exh. 1938, 382 n47
Rossetti, Dante Gabriel, 134, 136
Rothenstein, Albert, see Rutherston, Albert
Rothenstein, William, 26, 29, 223 & 369 n29
Roughton, Roger, 381 n39
Rousseau, ‘Douanier’, 35, 176, 190
Rousseau, Jean-Jacques, 190
Roussel, Theodore, 19
Rowe, Clifford, 251
Royal Academy/Academician, 17, 35, 47–8, 61, 64, 158, 216, 249, 278, 308, 320
exhs: work by war artists, 146, 359 n12
Ruskin Centenary 1919, 368 m3
‘British Art in Industry’, 371 n9
Royal Academy Schools, 165
Royal College of Art, 217, 219, 223 & 369 n29, 228, 245, 368 n18, 371 n10, 385 n27
Royal Society of British Artists, 349 n7
Ruskin, John, 14 & 348 n2, 16–17 & 349 n5, 19, 55–7passim, 71 & 354n47, 73, 212 & 368n13, 281, 348 113, 352 n9, 357 n31
Russell, Bertrand, 87, 122 & 360 n16, 353 n32
Russell, William, 29
Russia/Russian art, 54, 62, 238, 251, 280–85, 313, 374 n8
Russian Ballet, 125, 186, 187
Russoio, Luigi, 86, 87
Rutherston, Albert, 29, 62
Rutter, Frank 29, 75, 88
Sackville Gallery
Futurist paintings exh., 86, 88
Sagot, 35, 351 n3
St George’s Guild, 349 n5
Stives, 188, 196, 264, 291–2
Salon d’Automne, 146
Salon des Indépendants, 30, 146
Sandham Memorial Chapel, see Burghclere Chapel
Sands, Ethel, 29, 351 n21
Sargent, John Singer, 19, 30, 47, 52
Monet Painting at the Edge of a Wood, 20, ill. 2
Gassed, 359n12
Sartoris, Alberto, 286
Saunders, Helen, 102–4, 115, 359 n3
Schoenberg, Arnold, 357 n40
Schofield, Margaret, 347
School of Paris, 186–7
Schwitters, Kurt, 260
Scriabin, Alexander, 357 n40
Sealey, Colin, 346
Second Post-Impressionist Exhibition, 62–7, 69, 79, 87, 159, 183, 250, 349 n10, 370 n6
Seuphor, Michel, 374 n8
Seurat, Georges, 26, 35, 36, 42
Seven & Five Society, 164–6, 181 & 365 n11, 183–91 passim & 365 nn14 & 18, 195–9 passim, 230, 233, 240, 254, 261, 269, 271–5 & 375 n24 & 376 nn28 & 30, 276, 291, 334, 344–7, 371 n14
Severini, Gino, 77, 86, 87, 88
Sevier, Michael, 370 n1
Sewter, A. C., 381 n42
Shaw, George Bernard, 207
Shell Guide to Oxfordshire, 321
Shipp, Horace, 368 n11
Shove, Gerald, 353 n32
Sickert, Walter Richard: and NEAC, 19, 25–6, 35
early years, 24–5
relation to Impressionism and Post-Impressionism, 26
and Gore, 26–8 & 350 nnio-11
and Fitzroy Street Group, 28–30
as a writer on art, 30
on AAA, 30
on Whistler, 31, 34–5, 48 & 352 n10, 50, 341
Marriott on, 31–2
V. Woolf on, 32
work and ideas 1903–10, 32–5, 41
and Camden Town Group, 36–41 passim
Gilman and, 43
and Post-Impressionist exhs., 47–51 passim, 61
on Picasso, 50
and illustrative traditions, 54, 350 n9
joins Royal Academy, 61
and Renaissance, 83
and London Group, 85, 198
and Smith, 153
and Euston Road School, 339, 342–3
C. Bell on, 350 n20
mentioned, 66, 176, 279, 350 nn7 & 8, 352 10, 356n21
Works: The Juvenile Lead, 24, ill. 6
Mamma mia Poveretta, 25, ill. 7
Noctes Ambrosianae, 27, ill. 8
Portrait of Harold Gilman, 29, ill. 10
Camden Town Murder series, 33 & 351 n21, 34, 38
L’Affaire de Camden Town, 34, ill. 11
Ennui, 40, ill. 16
What shall we do for the Rent?, 351 n21
Signac, Paul, 25, 30
‘significant form’, 64 & 354 n40, 94, 221, 307
see also C. Bell
Sims, Charles, 359 n12
Skeaping, John, 228, 230, 347, 369 n20
Slade School, 21–2, 24, 33, 35, 43, 47, 64–6, 72, 76, 80, 89, 92, 104, 105, 129, 133, 135, 152, 172, 177, 240, 334, 339, 350n4, 354n45, 385 n27
Slater, Montague, 308 & 380 n26
Smith, Matthew, 152–5
Fitzroy Street Nude no. 2, 153, ill. 75
Cornish Church, 154, ill. 76
Woman with a Fan, 155, ill. 77
social function of art, 13, 57, 251–2, 261, 302, 308–9, 313–15, 338–43
see also autonomy, Marxism, realism, revolution, ‘revolution’, Socialism
Social Realism, 33, 313, 315, 322, 339
‘Social Theme, The’ (exh.), 252
Socialism/Socialist: Sickert and, 30
C. Bell and V. Woolf and, 57
at Hulme’s at homes, 84
blasted, 111
authoritarianism and, 112 & 358 n53
Roberts and, 158–9
and Epstein’s Christ, 208
Gill and, 212–13, 223
Modern Movement and, 212, 261, 284
Unit One and, 251
AIA and, 251–2
abstract art associated with, 252, 278–9, 287
Surrealism and, 312–15 passim
Fry’s ‘Art and Socialism’, 352 n17
see also Communism, Marxism, revolution, ‘revolution’
Socialist Realism, 131, 281, 302, 312
‘Society of Anglo-French Painters’, see NEAC
Society of Industrial Artists, 239
Sorel, Georges, 89 & 356 n22
South American sculpture, 107, 222
Spain, 77, 309, 322, 381 n39
Spanish Civil War, 308, 312
Spencer, Gilbert, 359 n12
Spencer, Stanley, 65, 66 & 354 n45, 120, 122, 133–4, 168, 359 n12
The Nativity, 66, ill. 24
Burghclere Chapel, 133–4 & 361n32
Resurrection, Macedonia, 133, ill. 63
Travoys arriving with Wounded at a Dressing Station, 133 & 361n32
Sprott, Sebastien, 353 n32
Stalin/Stalinist, 252, 281, 313, 333
Steer, Philip Wilson, 19, 20, 21, 23–4, 47, 350 n20
Walberswick, Children Paddling, 21, ill. 3
Stendhal, 127
Stepanova, Varvara, 284
Stephen, Adrian, 353 n32
Stephen, Thoby, 353 n32
Stephen, Vanessa, see Bell, Vanessa
Stephen, Virginia, see Woolf, Virginia
Stephenson, Cecil, see Stephenson, J. C.
Stephenson, J. C. 276, 287–8, 347
Painting, 288, ill. 146
Stevenson, R. A. M., 349 n3
still life, 70, 71, 77, 151, 154–5, 167–8, 178–9, 182, 185, 194–9 passim, 203, 230, 254–9 passim, 289, 291, 335–7 passim, 365 n10, 383n20
Stockholm Exhibition, 371 n10
Stokes, Adrian, 230, 233, 291
Stoop bequest, 233, 298
‘Stormberg’, 119
Storran Gallery
exhs: Rogers and Pasmore 1937, 339
work by teachers and pupils from the Euston Road School, 339
Strachey, Lytton, 67, 68, 353 n32, 360 n12
Stravinsky, Igor, 186
Strindberg, August, 80
Strindberg, Madame Frida, 80, 111
Studio, The, 263, 312, 371 n9
Sumerian art, 220
Summerson, John, 277
Superrealism, see Surrealism
Suprematism, 365 n12
see also Malevich
Surrealism/Surrealist: P. Nash and, 174, 233, 241, 295, 298, 300, 316–19
early showings in London, 233–4, 240, 245, 298, 300
Burra and, 236
influence in Unit One, 241–4, 248
Axis and, 277–8, 319–20
and abstract art as antitheses, 278–9, 299–302, 304–6
English isolation from, pre-1934, 298–9
Read and, 299, 304–5, 315, 319
Moore and, 300, 302, 316–19, 327, 329
‘English Manifesto of Surrealism’, 302–3
Short Survey of Surrealism, 303–4
and spread of historical materialist ideas, 308
International Surrealist Exhibition, 309–12, 380 nn28–9
and competing views of progressiveness in later thirties, 313–15
activities in London 1936–9, 315–16, 381 nn41–2
and neo-romanticism, 321–5 passim
debate with ‘Realists’, 333
Surrealist periodicals, 379 n10
mentioned, 194, 258, 287, 293, 374 n8, 384 n23
see also Arp, Breton, Dali, Ernst, Giacometti, International Surrealist Exhibition, London Bulletin, Magritte, Miró, Picasso
‘Surrealist Objects and Poems’ (exh.), 316
Sutherland, Graham, 322–4 & 382 n47
Welsh Landscape with Roads, 323, ill. 157
Swingler, Randall, 382 n1
Sydney-Turner, Saxon, 353 n32
Symbolism/Symbolist, 16, 77, 261, 288
Tagore, Rabindranath, 111
Tanguy, Yves, 304, 309, 379 n17
Tate Gallery, 43, 47, 62, 71, 91, 92, 112–13, 153, 195, 200, 233, 234, 256, 264, 277, 289, 297, 298, 330, 335, 340
Tatlin, Vladimir, 283–5, 314–15
Tauber-Arp, Sophie, 260
Taylor, Basil, 347
Tchekov, Anton, 127
‘Technical Manifesto of Futurist Painting’, 87
‘Thèse, Antithèse, Synthèse’ (exh.), 286
This Quarter, 379 n10
Thomas, Edward, 121
Thompson, d’Arcy, 282 & 377 n45
Thornton, Alfred, 349 n2
Tibble, Geoffrey, 334–7, 339–42
Reclining Nude, 341–2, ill. 165
Times, The, 240–41, 295
Tomlin, Stephen, 353 n32
Tonks, Henry, 22, 47, 65, 240, 350 n4, 359 n12
The Unknown God. Roger Fry preaching …, 47 & 352 n8, 48, ill. 20
Tooth’s Gallery, 240, 367 n36
exhs: de Chirico 1928, 200 & 367 n34
‘Recent Developments in British Painting’, 235
B. Nicholson and Hepworth 1932, 255, 266
Seven & Five 1929, 346–7
Hitchens 1928, 366 n26
Wadsworth 1929, 367 n34
Torres-Garcia, Joaquín, 374 n8
‘Towards an Independent Revolutionary Art’, 316 & 381 n40
Townsend, William, 339
‘traditional modernism’, 96, 118
Transatlantic Review, 379 n10
Transition/transition, 379 nn10 & 17, 380 n29
Trevelyan, Julian, 310–11, 317, 321, 333, 380 nn28–30
Trotsky, Leon, 316 & 381 n40
Trotskyism, 333
‘truth to materials’, 213, 219
Tschichold, Jan, 276, 286
Turnbull, John, 156
Turner, J. Doman, 36
Turner, J. M. W., 196, 320, 337
Uccello, Paolo, 127, 176
Underwood, G. C. L., 346, 369 n20
unemployment, 147, 238, 306
Unit One, 224, 228, 230, 232, 239–43, 248–53 & 372 nn29–36, 265, 273, 286, 294–5 & 378 nn1–3, 302, 308, 310, 334, 371 n7
Unit 1: the Modern Movement in English Architecture, Painting and Sculpture, 249–51, 260–61, 265–6, 295, 300, 371 n16
universality: of appeal of art, 208
of ‘sculptural experience’, 210
of aesthetic rationality, 238
of ‘right idea’, 260
of abstract art, 261, 263, 268, 280
of distinctions, in modernist aesthetics, 264
of understanding, 270
of ‘language of colour and form’, 270–71
of spiritual ‘truth’, 280
of style, 281
of shapes, 300, 327
of qualities of art, 305
University College, London, see Slade School
Utilitarianism, 58, 75, 130
utopia/utopianism, 97, 190, 238–9, 279, 299
van Dieren, Bernard, 367 n8
van Doesburg, Theo; 260, 374 n8
van Dongen, Kees, 63
van Gogh, Vincent, 26, 35, 36, 38, 42–3, 51, 127, 185, 187, 298, 307
Vantongerloo, Georges, 260
Vaughan, Father Bernard, 206
Velazquez, Diego, 20 & 349 n3, 127, 174
‘vernacular modernism’, 226–30, 245, 267
Veronese, Paolo, 350 n9
Vézelay, Paule, 198
Vkhutemas, 282–4
Vollard, Ambroise, 35, 351 n3
von Anrep, Boris, 62, 67
von Herkomer, Hubert, 13
von Hildebrand, Adolf, 95
Vorticism/Vorticist: and London Group, 41
Blast 1, 101–2, 110–12
signatories to manifesto, 102–5
Gaudier-Brzeska and, 105–8
Wadsworth and, 108–9
Pound and, no-11, 119–20
Lewis and, 111–13, 115–19
Vorticist exh., 115–16
Blast 2, 116–17, 119
reactionary aspect of, 119
exh. at Penguin Club, 119–20
and war, 120, 124–30 passim, 145
Nash and, 141
and X Group, 156–7, 160
influence of, 163–4
fluctuating interest in, 355 n5
mentioned, 177, 210, 211, 381 n46
see also Blast, Lewis
Vuillard, Édouard, 25, 26, 35
Wadsworth, Edward: at Slade, 65–6 & 354 n45
in Second Post-Impressionist Exhibition, 67
and Friday Club, 68
and Omega Workshops, 72–4
and Brighton Exhibition, 85
and ‘Post-Impressionist and Futurist Exhibition’, 88
and Futurism, 90
and ‘Manifesto of Vital English Art’, 101
and Blast, 101–2, 108, 111
and Vorticism, 105, 108–9, 115
in Vorticist exh., 115, 127
war service, 121
as war artist, 127–9, 359 m2
supporting Lewis, 147
and X Group, 156–7
‘Black Country’ works, 157–8 & 367 n14
marine still lifes, 201–2 & 367 n34
exh. in Paris, 231 & 370 n1
in ‘Recent Developments in British Painting’, 235–6
and Unit One, 239–40, 248
work 1931–3, 242–4
and Abstraction-Création, 260
in mid-thirties, 275
mentioned, 175, 254, 355, n5, 370 n6, 372 n29, 373 n41
Works: Five Designs for the Omega Workshops, 73, ill. 28
L’Omnibus, 88 & 356 n21
Trees beside a River, 108, ill. 47
Study for a Vorticist Painting, 109, ill. 48
Enclosure, no, 127, ill. 49
Combat, 115 & 359n2
Dazzle Ships in Drydock at Liverpool, 128–9, 359 n12, ill. 58
The Cattewater. Plymouth Sound, 156, ill. 79
Ladle Slag, 157, ill. 78
Regalia, 202, ill. 106
Composition, 236, ill. 123
Dux et Comes, 243, ill. 126
Blackpool, 359 n2
Walker’s Galleries
Seven & Five exhs: 1920
164, 346–7
1922
346–7
Wallis, Alfred, 188–91 & 366 n22, 194, 256, 347
St Ives Harbour and Godrevy Lighthouse, 188, ill. 94
Warren Gallery
exhs: P. Nash 1926, 224 & 371 n11
Moore 1928, 224 & 371 n11
Wedekind, Frank, 80
Weekend Review, 234, 239
Weimar/Weimar Republic, 238, 261, 280
Wellington, Hubert, 350 n8, 367 n8, 383 n8
Wells, H. G., 351 n1
Weltanschauung, 102, 168, 234
West, Alick, 305, 313, 333
West, Rebecca, 84, 111
Westminster School of Art, 66, 196, 354 n45
Westminster Technical Institute, 212
Whistler, James McNeill, 14–16 & 348 nn3–4 & 349 n6, 19 & 349 n1, 24–5, 26, 31, 35, 48 & 352 n9, 50, 51, 55, 57, 174, 179, 185, 341, 349 nn7 & 1
Nocturne in Black and Gold: the Falling Rocket, 14, 15, ill. 1
White, J., 346
Whitechapel Art Gallery
exhs: ‘For Peace, Democracy and Cultural Development’, 309
Guernica, 334 & 382 n3
‘Art for the People’, 340, 381 n37
Wildman, W. A., 346
Wilenski, R. H., 205, 208, 217, 219–21, 233, 282
‘will to form’, 95, 97
Williamson, H. S., 346, 364 n25
Wolfe, Edward, 198, 346
Wolmark, Alfred, 356 n21
Wood, Christopher, 184–9 & 365 nn16 & 18 & 366 nn20–21 & 23, 191–5 & 366 n25, 198, 201, 203, 231, 254, 320, 347, 382 n3
PZ 134, 193, ill. 98
Sleeping Fisherman, Ploaré, Brittany, 193, ill. 99
Building the Boat, Tréboul, 194, ill. 100
Woolf, Leonard, 353 n32
Woolf, Virginia, 32 & 350 n19, 45 & 351 n1, 57, 65, 75, 147, 350 n20, 353 n32
Wordsworth, William, 372 n21
Woolway, G. R., 346
Worker, The (Daily), 322
working class, 13, 75, 89, 218, 252, 305–6, 313
Worringer, Wilhelm, 95–7 & 357 nn30–31, 34, 279
Writers International, 307
X Group, 156–60 & 363 nn14–15, 164, 176
Yeats, W. B., 80
Yorke, F. R. S., 371 n9
Yorkshire, 90, 210, 217, 221, 372 n29
Yorkshire Post, 372 n29
Zadkine, Ossip, 370 n1, 380 n30
Zwemmer Gallery (and bookshop), 240, 275, 298
exhs: Objective Abstractions’, 198, 334, 337
Seven & Five 1935, 273–4, 276, 344, 346–7