Page 50 - Studio International - May 1965

Tribute to Sir Herbert Read

1 London Commentary by G. S. Whittet 2
Artists in Britain, as they are everywhere, are fiercely three publications were unusual for Britain as they
individualistic. Groups as they exist are generally only were actively concerned with the modern movement
so in name for the purpose of annual exhibitions. Yet for stemming from Europe and artists were themselves
one short space of time in the decade 1930 to 1940, involved in writing for them and showing their work in
there existed in London a concentration of artistic exhibitions connected with the movement.
talents and supporters who did in fact resemble a Part of the vitality of the period arose without a doubt
Renaissance guild in as much as they lived near one from the presence of artists who found temporary
another and had a communal association of ideas and resting places here before going on elsewhere, most
1 identities. The part of London where this unique frequently to the U.S.A. Naum Gabo, for example, was
Paul Nash 1889-1946
Opening 1931 happening occurred was Hampstead. Critic and co-editor with J. L. Martin and Ben Nicholson of Axis
30 X 20 in.
Marlborough Fine Art Ltd prophet of the group was Sir Herbert Read. and his perspex constructions in the exhibition display a
In belated celebration of the seventieth birthday of purity of form that seems classic in comparison with the
2
Christopher Sanderson Sir Herbert, Marlborough Fine Art mounted in both artifacts of today using synthetic materials. Mondrian
Rome 1962 their Bond Street galleries a comprehensive and was here from 1 938 until 1940, and his presence
Aluminium
52 in. high illuminating exhibition entitled 'Art in Britain 1930- must have given heart to the native creators.
Whitechapel Gallery: The New
Generation 1965 1940 centred around Axis, Circle, Unit One·. These The meeting of the geometric and the surreal did in

fact engender curious developments such as Ben
Nicholson's who subdued his distinctive romanticism
with a restrained abstraction in direct antithesis to Paul
Nash who gradually gave more lyric surreality to his
almost completely abstract metaphysical landscapes.
Hindsight of course now enables us to see at three
decades distance how as well as Nash and Nicholson,
Henry Moore and Barbara Hepworth were forming
surely their integrities that today are in full flower.
Other stalwarts of the upsurge still happily with us
include Eileen Agar, John Armstrong, Merlyn Evans.
Tristram Hillier, Charles Howard, Roy de Maistre, John
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