Going Modern and Being British: Art, Architecture and Design in Devon C. 1910-1960
This text represents a considered look at Devon's place in 20th- century British art, arguing that, although the county has often been portrayed as the antithesis of an urban, technological modernism, it has in fact embraced modernism in significant areas. By means of five essays and over 100 illustrated examples, the text shows that: artists, architects and designers have chosen to work in the county since 1900; Dartington Hall has become an internationally celebrated centre for creative experimentation; and it is not always accurate to equate modernism with the city and conservatism with the country.
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Abercrombie Anthony Chitty Applehayes Architect Architectural Review Art Gallery artists Arts and Crafts Beatrix Farrand Bernard Leach brick Britain British buildings Castle Drogo centre ceramics Christopher Martin Church Churston College colour concrete contemporary cottages Council courtyard Curry Dartington estate Dartington experiment decoration Devon Devon Record Office Dorothy drawing Educated Elizabeth Peacock England English example Exeter exhibition flat Fred Harrild furniture Garden Gropius Haile Heckroth High Cross Hotel houses industrial interior John Jooss landscape Leach Pottery Leonard Elmhirst London Louis de Soissons Lucas Roberts Lutyens McMorran Milne modem modern architecture painted Patrick Abercrombie patronage Photo planner pots Private practice produced programme Rex Gardner RIBA Roberts & Brown roof Royal Royal Gold Medal rural scheme School Shinner's Bridge Soissons St Ives Staverton Staverton Builders stone stoneware Street studio pottery style Tait textiles thatched Torquay tourist tradition Trey twentieth century University of Plymouth village Welwyn William Lescaze workshop
Page 11 - It is significant, for example, that the common image of the country is now an image of the past, and the common image of the city an image of the future. That leaves, if we isolate them, an undefined present.
Page 12 - The pull of the idea of the country is towards old ways, human ways, natural ways. The pull of the idea of the city is towards progress, modernisation, development. In what is then a tension, a present experienced as tension, we use the contrast of country and city to ratify an unresolved division and conflict of impulses, which it might be better to face in its own terms.
Page 9 - We are apt to forget that the greatest historical monument that we possess, the most essential thing which is England, is the Countryside, the Market Town, the Village, the Hedgerow Trees, the Lanes, the Copses, the Streams and the Farmsteads.
Page 13 - We have chosen as targets the most beautiful places in England. Exeter was a jewel. We have destroyed it', p.
Page 5 - To live with the poor is to feel oneself in contact with a greater continuity of tradition and to share in a greater stability of life. The nerves are more annoyed, the thinking and emotional selves less.
Page 14 - DEVON : a survey of its coast, moors and rivers, with some suggestions for their preservation.
Page 6 - ... no anthills were, would accelerate, and go round and round faster and faster until all were shrieking with laughter. Or the engine would be stopped and the children chased; or a football match organized, and the wood forgotten. Father, thank God, was forgotten; I was one of them; I had got back, for a while, to the land of enchantment, of unselfconsciousness, to the world of otters, deer, salmon, water, and moonshine — the only world in which perhaps there was consistency, form, integrity....
Page 5 - ... whole kin > (p. 261). Nel caso di Reynolds l'assunzione del punto di vista proletario porta ad un'idealizzazione di quella cultura, come quando afferma: I am often asked why I have forsaken the society of educateci people, and have made my home among ' rough uneducated ' people, in a poor man's house.