Thursday, 21 September 2017

Charles Paine, his life and work, by Mark Allaby

Here, at last, is a short book that gives a real idea of what it was like to be a graphic artist during the nineteen twenties and thirties. Charles Paine's uncle showed some of his work to the designer, Gordon Forsyth (who was then working for Pilkington's near Manchester) and after a favourable reaction from Forsyth  suggested to Paine's father that he ought to study art rather than work as he was in the production of rubber. He was shown the door. Mark Allaby doesn't say who supported  Paine's eight years of study at Salford School of Art (where he was trained to make stained glass) and then at the Royal College, but after reading this valuable book twice, it does seem remarkable that so much talent could have gone down the Swanee. Paine never had a straightforward career and his life was not always an easy one, but here are designs by someone who took his work as seriously as his father appeared to take his own.

Paine followed a general course in design at the R.C.A. Walter Crane described the college in 1898 as a kind of mill for teachers and according to Henry Moore, it was much the same at the time Paine graduated. The diploma course he took was a preparation for a job as a teacher of art at a state school and, going by the enthusiasm expressed by his students in this book, Paine was an inspiring teacher. What is noticeable about the work illustrated here is the inspirational tone: a talent for psychology and design had been uncovered; here is graphic design that speaks with skill and directness, something that was new in 1919 and 1920. Boat race 1921, with its downward view of the boats on the river, was so original and impressive, it became a default setting, with Kearny and Burrell in 1924, Percy Drake Brookshaw in 1927 and Cyril  Power's The eight (1930) all following in its wake.

After graduation in 1919, he was offered a job by Frank Morley Fletcher running the department of applied design at Edinburgh College of Art. Fletcher had worked on a stained glass project with students at Reading and two years later another stained glass artist arrived, apparently to take over from Paine. This was John Platt,  but Paine and Platt were by no means equals.  Platt would have great success with his colour woodcut The giant stride at Los Angeles in 1922, but Paine was the better draughtsman, closer in his modern sensibility to younger R.C.A. graduates like Eric Ravilious, and he moved onto work  as a graphic artist for the firms of Guthrie (who made stained glass in Glasgow) and Sundour at Lancaster. Colour woodcut was in his make-up as a designer; Boat race 1921 was inconceivable without the example of Hokusai and his colliery scene takes the schematic approach of the colour woodcuts of Edward Loxton Knight see here.


In 1923, Fletcher left Edinburgh to work at the Community Arts School in Santa Barbara and Paine went to work with him as head of applied arts on two occasions in the twenties (and would have returned a third time if the school hadn't hit such hard times). In fact, after his second stint, he and Fletcher handed in their notice on the same day. It was a pattern, never staying anywhere very long untill he and his second wife settled at Welwyn Garden City. Eventually, she bought a house on Jersey without his knowledge and both went there to live. By then, he was cut off from the places he needed to be to more a proper living as a commercial artist and he turned to watercolour. At this stage of the story, I become nervous, wondering what I will find, but his watercolour designs are excellent and nearly not well-known enough. The plan is to give then a post of their own.

All this depends on Mark Allaby. Apart from the boat race poster, everything you see here has not appeared online before and is a testament to the care he has taken with this book and the presentation of Paine's imagery - with much of it available only on CD. The book is a half-way house between biography and Paine's graphics and is intended not only for readers interested in his designs and watercolours.  There is a lot of material in the form of appendices; nothing much is left out and none of the images in this post  can be found in the book. Sometimes I got lost, especially over Jim (who was a girl) and I would have rather had Paine referred to as 'Paine' rather than 'CP', but these are quibbles. For a book that has been published by the author, a mere two typos may well be a record.

Mark is seriously considering a Charles Paine blog. He has some diverse material, which I think would be a considerable interest to any student of mid-twentieth century design, a period that has remained fashionable for almost forty years. Only ten copies have been printed so far, but Mark tells me if there is real interest, a revised edition (less the typos) may be printed. Contact me at and I can pass your details on to the author.


Wednesday, 6 September 2017

Charles Paine: a new book by Mark Allaby


I have just heard today from Mark Allaby who tells me he has published a book about the talented British designer, Charles Paine, a designer, I have to add, who gets the full approval of Modern Printmakers. As soon as I get a copy, I will be reviewing the book and giving details of how you can get a copy of your own.


Wednesday, 30 August 2017

From Corot to Urushibara: Corot, E.C.A. Brown and Theodore Roussel


In 1907, the National Gallery in London acquired Jean-Baptiste-Camille Corot's Marsh at Arleux (below). The picture had been painted in Artois in 1871 during the revolutionary period of the Paris Commune. Many artists had left the city and moved to the Pas-de-Calais and continued to paint whatever they saw there. But Corot's picture is strange, lacking in detail, laden with atmosphere and with a deliberate lack of finish. There is a sense of dislocation and foreboding that looks forwards to modern art. Corot is not an artist  I would associate with an image, pure and simple, but it does show exactly why French artists had so much to learn from colour woodcut artists like Hiroshige to whom the meaningful image was naturally a part of what they did.

By the lake (at the top) by E.C.A. Brown was first exhibited (so far as I know) in February, 1911, and shows one of the lakes at the village of Camiers in the Pas-de-Calais where she lived with her husband. The couple moved backwards and forwards between France and accommodation in London and while I do not know whether Brown saw Corot's picture newly-arrived at the National Gallery, you will agree, her woodcut takes so much from Corot, it is uncanny. The picture was given to the Gallery by Mrs Edwin Edwards. She and her husband had made strong links with French artists, including Henri Fantin Latour and Alphonse Legros, as well as Whistler, who had been close to Theodore Roussel, and it is always possible that all these artists had already seen the Corot.n at their home.

Brown knew Charles Bartlett who went to work in Tokyo with the publisher Shazaburo Wantanabe and, as Modern Prinmakers said some while back, used Georges Seurat's A Sunday afternoon on the Grande Jatte as a basis for his colour woodcut Silk merchants, India. What you see here is the first time a British colour woodcut artist made direct use of modern French art rather than a Japanese ukiyo-e woodcut. Roussel's  Moonrise from the river made in London (where he lived) in 1914 is an interesting variation. The mood has changed again to something far more neutral. There is more I could say, but what you can see here is the beginning of Urushibara's work with Frank Brangwyn and this is why.


All of these artists - Corot (above and below), Fantin-Latour, Whistler, Legros and Roussel - made prints and all of them, apart from Corot, knew London and some of the artists working there. For Corot what mattered most in a picture was what he called himself 'the value of tone' - and he meant the tone of the overall picture, so it made particular sense for him to produce etchings because he could explore and use tonal value in a new way. Corot was remarkably diverse in the things he did. Despite the basic similarity of the subjects, The dreamer (made in 1854 but not printed until 1921), is very different in approach - basically a type of northern expressionism, if you like - from his etching, Near Rome (1866) He was a translator and an interpreter and that would make him interesting to other artists.


One of them was Brown. By the lake was not the only print she made that drew on Corot. With others, it is just less obvious, but I think it is still there and the French art historian and critic, Gabriel Mourey, who saw Brown's prints when they were first being exhibited in Paris, said the same thing: 'the countryside between Montreuil-sur-Mer and Etretat is the countryside of Cazin and Corot'. Corot was based at Arras in 1871, but he and his biographer-friend rented a house at Arleux 30 km to the east during July and August, where Corot made a prompt return to the scratchy technique of the first etching.

There are two points here. The importance of French art to the first British colour woodcut artists like Brown hasn't been talked about. It has been very easy to discuss the importance of Japan simply because so little is known about what they were doing and what the artists were actually thinking and doing (and because some of the people doing the writing knew more about C19th Japanese colour woodcut than they did about C19th French etching). The fact that Brown and her friends and colleagues were using the Japanese method is almost beside the point; her husband's prints were mainly colour etchings and as she was the better printer, she printed at least one of them herself (above). And what she achieved there was a sense of tone; it was already an interpretation of Thomas Brown's work because he was never as subtle as that.

Urushibara's main contribution to Frank Brangwyn's Bruges portfolio (1919), above, was its tone. This wasn't a by-product of being very clever when it came to making prints. As The Studio said in 1920, he was translating Brangwyn and to me, at least, that is what Corot was doing, and what Brown did, when she printed her husband's fishing fleet at  Etaples. She was a co-artist on that print and signed it on the left. This was where Urushibara's work with Brangwyn began; this was the environment Urushibara came into when he arrived in London in 1910. People talk as if he were some kind of boy-genius who has arrived from the wilds of Tokyo and did it all by magic. Urushibara was in Paris over the winter and where By the lake, as well as Roussel's etchings, was exhibited and I would think it likely that he saw all of them, along with other colour woodcuts by British artists, simply because his French colleagues were interested, too. So, I am not saying he began by studying Corot etchings; there was no need to, he was surrounded by people who had.

Thursday, 17 August 2017

Klemm & Thiemann, modern woodcut in Prague: Eva Bendova (ed)


Quite  a long time ago, I tried to write  a post I called 'The studio in Liboc' about the early woodcuts made by the two Czech artists, Walther Klemm and Carl Thiemann. I must admit I didn't have much to go on on except a great liking for the work of both artists. I wasn't helped by the lack of images available online and especially a lack of dates for any of the ones I knew.  Im Frankfurter Hafen (1906), below, was one of those frustrating prints I have had illustrated in a book for many years but was too large to scan. But here it is now, in all its glory - and, I must add, owing something to Hugo Henneberg's print showing Trieste harbour (see the relevant recent post about his linocuts).

I am pleased to say that only today I heard about a book I think you need to have. It is Klemm & Thiemann: moderner holzschnitt in Prag published in Prague in 2016. It is in German and Czech and available from Narodni Galerie in Prague or at East View in U.S. dollars. A well-illustrated book and, I understand, an indispensable one. Anyway, they are both artists Modern Printmakers approves of, so you can't go wrong. You only have to apply the plastic.


There  was a related exhibition Land Tier Stadt Der Farbholzshcnitt in Prag um 1900 at the Ostdeutsche Galerie in Regensburg. Although that is now over, the gallery may be another source for the book for readers in Germany. All being well, Modern Printmakers hopes to review it at some point soon.

Monday, 14 August 2017

The Great Wave of Georgetown


The mural was painted by John McConnell, an architecture student from Harvard University, in August, 1974, for friends who lived at the house. He used Sherwin-Williams house paint, which, he says himself, has held up remarkably well. Fortunately, the current owner wants to maintain the mural and is seeking advice about its restoration. McConnell now works as an architect in Winchester, Massachusetts.

His mural is at 3510 O St NW, Georgetown, Washington, DC.


Saturday, 12 August 2017

The colour woodcuts of Jules Chadel


When Alphonse Legros was professor at the Slade School in London, he would encourage the students to make models in clay as a way of understanding 'form'. I suppose, to some extent, this makes sense, but I don't believe that is all there is to it. Legros was versatile and understood the need of students to find out for themselves - I was going to say 'explore', but that sounds too modern.

Legros had made sculpture and medallions himself and during his early days at a school of drawing in Paris, he had also made friends with the sculptors, Auguste Rodin and Jules Dalou. He also made etchings and was a leading member of the early revival in the 1870s, but what  really interests me is the way artists associate prints with modelling and sculpture, without perhaps being too conscious of it, and I think Jules Chadel  was one of them who did. You only have to look at his Magpie and bee (above) to get my drift. It is flat, but he still imagines everything in the round and achieves a lot of what the print is about by a deft and vigourous use of perspective. For an experiment in colour woodcut, it is remarkably self-assured. What I should add is this: it also appears more Japanese than it actually is.


Chadel first trained as a sculptor, but moved from there to jewellery design and about 1905 went to work for Robert Vever, the leading Parisian maker of jewellery. Vever was a notable connoisseur of   Japanese art with an impressive collection of Japanese woodcuts. Vever would be 'at home' on Sundays and enthusiasts like himself would come along to indulge their passion, as collectors always have. Vever was also a member of Les amis de l'art japonais, an exclusive society of designers, connoisseurs and artists, who would meet eight times a year at a Paris restaurant (usually the Cardinal) and took turns to produce illustrated menu cards and place-cards in the manner of ukiyo-e woodcuts.


For a number of years, Chadel worked on his cards with the fabric designer, Alphonse-Prosper Isaac. It was one of those happy arrangements; Isaac had been making these small prints for a while had learned how to print them, but Chadel was the better artist of the two, and between them, they made some of the small colour woodcuts you see here. Simple but subtle, and well-designed, there were nothing throw-away about them and, for all their self-evident charm, they were made with complete seriousness. You can see Chadel and Isaac's two stamps at the corner of print of the bird with the cherry and, though I am not absolutely sure, this little print appears to make use of the technique of karazuri, or shallow embossing, to suggest the breast-feathers. If so, Isaac was hardly a beginner.


Chadel also went on to make prints in editions like Le port de Douarnenez. As you see, it is a more conventional French prints, with nothing much that is Japanese about it. For me, the most interesting aspect of the print,  is the way he is still working 'in the round' and making great use of perspective. It reads from bottom to top the way a Chinese print would but the conception is western. But I also think the first prints he made for Les amis de l'art japonais are less Japanese than they appear or, at least, that writers on art have emphasised what Chadel took from Japan without considering what else might be there. I don't think this has done Chadel justice, but this has been the standard approach to colour woodcut and especially to artists using the Japanese manner of making prints. In Britain, this was the approach taken by Alan Guest who did the first research hereand has been followed by his collaborator, Hilary Chapman. Alan (who was both mentor and friend) came to colour woodcut as a librarian with a specialist knowledge of print technique and as a collector with an interest in Japanese art and generally there has been too much emphasis on Japan and technique.


This view of mine is nothing new. It was taken by John Dickson Batten and S.R. Koehler in the 1890s (as Alan knew) and by Herbert Fust in 1924 (and picked up from him by the linocut artist, Claude Flight). Both Furst and Flight were hostile to colour woodcut but were not well-informed enough to make a lot of sense. I am far from hostile; I just tend to think there is more to most artists than the commentators say, Chadel included, and that writers have tended to take one aspect of their work as it suited them and make more of it than they should. This has happened to Flight and his linocuts. You only need to look at Chadel's wonderful Dragonflies to see its works the way that it does by combining aspects of western and Japanese art; it is a synthesis like the work of Mabel Royds. This is what gives it that typical turn-of-the century decorative clout. The wings and leaves are mainly flat against a flat background, but the bodies and the way the wings overlap rely on conventional perspective despite Chadel attempting to cover this up. It's not a crime; it's just more Paris than Tokyo. Dragonflies (and insects in general) are typical of Japanese art. Here they allow for unprinted space. But sculpture also relies on what isn't there - the space between arms and bodies, the holes in a Henry Moore. Sculptors also have to see their subject in the round and Chadel was looking at his dragonflies from above and below and from the back and the front, something that came naturally as a designer, but a designer who knew Katsushika Hokusai's manga (see below for an example).

You will see that the menu with the cat image was made for a dinner held on 8th November, 1912, and had a magic ingredient. This was called Yoshijiro Urushibara. Urushibara had arrived in London in May, 1910, and first visited Paris in the December of that year when he addressed Les amis. Isaac and Chadel, in particular, were always grateful for the lessons he gave them; Isaac's own lessons went on daily for months and his way of making woodcuts improved. But look again. The cat manages to suggest both Japanese brush technique and European lithography, which had come into its  own in the 1890s and was being widely used by artists like Pierre Bonnard and Henri Riviere and not  just for the famous  posters of Steinlen and Lautrec . It works not because it's Japanese; it works because, like Isaac and Chadel, two cultures of tradition and innovation, had become firm friends.


Monday, 7 August 2017

The Great Wave as gable-end


The BBC news website as got well and truly into the Hokusai mood with a nice feature on different manifestations of the famous Hokusai print on the end of people's houses. The one you see here is in Washington D.C. (and we expect a full report on  that).

The piece is timed to coincide with the current Hokusai exhibition at the British Museum, but it is too late for readers to go if they haven't been already. It's a sell-out and all the tickets are gone.