Examines the principal artists of the Grosvenor School in the 1920s and 1930s, including Cyril Power and Lill Tschudi. Their vaned treatment of subject matter and technical approaches is discussed. The linocutting process is explored and a list of each artist's prints is provided.

The Cutting Edge of Modernity: Linocuts from the Grosvenor School

Arts & Photography

Samuel, Gordon

Penny, Nicola

History & Criticism

Lund Humphries Pub Ltd

This catalogue was produced to accompany the exhibition at the Osborne Samuel Gallery from 9 May to 4 June, 2016. The exhibition was curated specifically to show diversity, originality and technical expertise, and the accompanying catalogue is laid out in various sections to give an approximate chronological order to the development of printmaking in Britain in the 20th Century. A Radical View conveys the modernist thread that flows through British printmaking from the revolutionary Vorticist prints of the early 1900s, through the two wars, the inter-war period and to the beginning of the print boom of the early 1960s. These prints are radically different to their late 19th century and early 20th century predecessors.

A Radical View: Avant Garde British Printmaking 1914-1964

Graphic Design

Osborne Samuel Gallery

Strangers at the Gate; Tales of Russian Jewry

History

Russia

BiblioLife

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

Excerpt from The Ferry of Fate: A Tale of Russian JewryNyman lichtenberg rose from his seat by the table and ensconced himself on the window-sill, not because he felt impatient, but merely because the light was giving out in the attic. AS it was, he could not see anything of the pavement from his Sixth-storey altitude, and his prospect beyond was hemmed in narrowly by the houses opposite - bald, barrack-like buildings of the type abounding in the Odessa working quarter, where its teeming thousands herded together within the least available space and with the lowest degree of comfort. For two years Nyman had lived in this attic, with Baruch Volkmann for his room-mate, and as he sat crouching there on the Window-ledge, his eyes glued on the well-thumbed Horace, there was nothing in his manner or expression to Show that he was face to face with a crisis that threatened his future with a cataclysm of disaster.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The Ferry of Fate: A Tale of Russian Jewry (Classic Reprint)

Romance

Forgotten Books

The Grosvenor School of Modern Art was founded by the influential teacher, painter and wood-engraver, Iain McNab, in 1925. Situated in London's Pimlico district the school played a key role in the story of modern British printmaking between the wars. The Grosvenor School artists received critical acclaim in their time that continued until the late 1930s under the influence of Claude Flight who pioneered a revolutionary method of making the simple linocut to dynamic and colourful effect. Cyril Power, a lecturer in architecture at the school, and Sybil Andrews, the School Secretary, were two of Flight's star students. Whilst incorporating the avant-garde values of Cubism, Futurism and Vorticism, the Grosvenor School printmakers brought their own unique interpretation of the contemporary world to the medium of linocut in images that are strikingly familiar to this day and are included in the print collections of the world's major museums, including the British Museum, the MoMA New York and the Australian National Gallery.
 This new book which accompanies an exhibition at Dulwich Picture Gallery illustrates over 120 linocuts, drawings and posters by Grosvenor School artists and its thematic layout focuses on the key components which made up their dynamic and rhythmic visual imagery. For the first time, three Australian printmakers, Dorrit Black, Ethel Spowers and Eveline Syme - who played a major part in the Grosvenor School story - are included in a major museum exhibition outside of Australia.

Cutting Edge: Modernist British Printmaking

Philip Wilson Publishers

Keith Vaughan: Myth, Mortality and the Male Figure

Hastings, Gerard

Painting

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