Page 25 - Studio International - September 1974

meeting, then certainly by 1909. Gore learned Its large, heterogeneous exhibitions at the Something in this system is wrong. It is not
from Sickert how to establish and explore a Albert Hall (1908-14) provided a further only their money we want, as the saying is.
composition by means of preliminary studies, source of recruits to be invited into the growing We believe our thoughts, which are not verbal
and Sickert learned from the younger man how circle in Fitzroy Street. Robert Bevan (1908) and thoughts, would be as interesting to them, are
to enrich and lighten his palette and how to Charles Ginner (191o) were both introduced in in fact as necessary to them, as theirs are
extend the reach of colour into a greater range this way. interesting and necessary to us.'14
of tones. Gore's paintings of the Alhambra Sickert himself provided an important Sickert particularly welcomed the
Ballet, made in 1909-10, which already show point of focus for the younger artists; he was a foundation of the Allied Artists Association.
a response to the work of the Post- highly articulate man, and his own views on art Reviewing their exhibition of 1910 he wrote,
Impressionists such as Sickert never found it in were obviously influential. He was particularly `Is the exhibition now open at the Albert Hall
him to make, remain, in terms of vividness of concerned for the circumstances under which perhaps not a working object-lesson of the best
colour and of atmosphere, among the most art was viewed and purchased, and he was not elements of Socialism ? Is it not a solvent,
beautiful English paintings of this century. one to avoid taking a platform. Though he had going concern founded by the poor to help
Wendy Baron has suggested that Sickert's written often before, he began in 1910 to write themselves ?'15 (One should of course guard
return to England may have been prompted by regularly on art, mostly for the periodical against establishing an image of Sickert as a
hearing from Gore of the presence there of The New Age. His essays strike a note of wry, Socialist in practice or in principle. Considerable
Pissarro's son Lucien and of the activity among liberal common-sense, often in correction of testimony has been given to the effect that he
younger painters interested in the development fashionable views: cutting John Singer was a snob.)
of an art beyond Impressionist influences. Gore Sargent down to size, but also castigating those Through the gatherings in Fitzroy Street,
had met Lucien Pissarro at about the same time inclined to scoff at Sir Edward Poynter, a senior Sickert was attempting to put into practice his
as he met Sickert. The Impressionist's son had academician and a painter of meticulous belief in the need for 'a circle of devoted
lived in England since 1890, and in 1900 had classical-history pieces.'3 admirers' to buy works for their own houses
moved from Epping into London, where Gore As a senior liberal, Sickert now held a (`small pictures for small patrons' as
(Far left) Spencer Gore
Stage Sunrise, the Alhambra 1910
Oil on canvas, 16 20 in.
Photo: Anthony d'Offay Gallery, London
(Left) Walter Sickert
Mamma Mia Poveretta 1903-4
Oil on canvas, 18 1/8 x 15 in.
Manchester City Art Gallery
(Right) Spencer Gore
Harold Gilman's House, Letchworth 1912
Oil on canvas, 25 3o in.
Photo: Anthony d'Offay Gallery, London

had learned from him about the theoretical
aspects of late-Impressionist and Divisionist
approaches to colour and the transcription of
light. Although Pissarro was exhibiting with
the NEAC by 1906, it was probably Gore who
first established the contact between him and
Sickert. It was around these three men — the two
senior artists with unparalleled first-hand
experience of late nineteenth-century French
art, and the alert and highly talented younger
man — that a nuclear group of developing
painters formed in the years between 1907 and
the outbreak of war.
The principal meeting-place was the house
at 19 Fitzroy Street in Bloomsbury where
Sickert and Gore had rented a couple of
floors for exhibition and storage on behalf of
the group as a whole. Harold Gilman, a close position in relation to younger British artists Wyndham Lewis wrote16). As early as 1910 he
friend of Gore's since their student days at the comparable to that held in France at the end was deploring the fact that the notion of the
Slade, became an early and regular visitor and of the nineteenth century by Camille Pissarro modern public picture for the public patrons of
was soon effectively a member of the core or at the beginning of the twentieth by Paul modern art (such as the municipal art galleries)
group; Walter Bayes was invited by Sickert; Signac, then president of the French was elevating the normal price of paintings
Augustus John, Henry Lamb and J. B. Indépendants. He was particularly concerned beyond the reach of the average interested
Manson came occasionally; rare appearances lest the operations of dealers should force artists middle-class buyer, to the disadvantage of
were made by Wyndham Lewis, with whom out of touch with those who might be those artists who had yet to make the right kind
Gore had shared a studio on a trip to Madrid in prepared to buy their work for a modest sum, and of public reputation.17 At 19 Fitzroy Street
1902. Another frequent guest was the critic who might offer exchanges of a different sort on Saturday afternoons, Sickert's associates
Frank Rutter, a supporter of the NEAC and as well. 'Though I am a poor man,' he wrote, among the younger painters, their supporters
organizer of the Allied Artists Association. `I can afford to buy a book of Hardy's a year, among the critics, and their friends and
The AAA was formed in 1908, with assistance therefore I have had the opportunity of potential buyers were invited to view the
from Gore, Sickert and Pissarro, on the pattern learning to love Hardy, but I doubt very much paintings displayed and to discuss them. In
of the French Salon des Indépendants, as a if the earnings of literature would enable this way those involved found occasional sales
means of providing regular jury-free exhibitions. Hardy to buy a picture by me or anybody else. free from dealers' commissions and were able

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