As we move further into the Twenty-First Century, the ability to look back to the previous one and see perspective becomes more feasible. What were once organic developments that were happening around us are now seen as groupings and movements. This look at the period between the First and Second World Wars is therefore much more than a simple, or even simplistic or convenient, chronological slice of time.
The name-checks here are impressive: the Nashes, Eric Ravilious, Stanley Spencer to name just a few. At the same time, women artists came to be recognised as serious practitioners and Laura Knight, Evelyn Dunbar and Barbara Hepworth, along with others, put in more than a fleeting appearance.
The ends of wars tend to engender hope, but also a demand for improvements and new horizons. Although much of the groundwork had been done in the 1920s and 30s, the creation of the National Health Service in 1948 is a case in point, as was 1951’s Festival of Britain. Both of these are outside the scope of the book, but they demonstrate the appetite for renewal as a nation rebuilds.
Frances Spalding’s thesis is that the art world (the book is specifically about English art) was left directionless in 1918. Many of its best known names were either now fading or had simply been killed, but the idea of things being effectively thrown up in the air is a compelling one. Everything was in turmoil and everything was possible as the desire for a connection to the past met the possibilities made available by new directions and the avant-garde. Quite simply, the old world was revisited on the terms of the then present day, with artists, writers and sculptors also open to Continental ideas.
As the skies darkened during the 1930s, the mood became harder and Surrealism, for example, fed into the continuing tradition.
It is Frances Spalding’s contention that the inter-war years saw a fruitful conjunction of forward-looking realism with more backward-facing romanticism to create an art structure that was unique to, but also very much a product of its time.
The writing is thorough and the arguments convincing, with plenty of examples, analyses and histories. The book is also generously illustrated and Thames & Hudson again pull off their trick of getting good colour reproduction on book paper.
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