ARTISTS’ AID FOR RUSSIA — ATTRACTIVE EXHIBITION, 1942
The Liverpool Daily Post of Wednesday 1st July 1942 carried an article by Jan Gordon on
ARTISTS’ AID FOR RUSSIA —♦ ATTRACTIVE EXHIBITION
"Another attempt at congregating the two and forty warring sects of art in the common cause of charity is the Artists Aid Russia Exhibition, opened by Mme. Maisky, at Hertford House, the home of the Wallace collection, to help Mrs. Churchill’s fund.
It is undoubtedly a more successful congregation than those held at the Royal Academy under the United Artists’ scheme. The reasons may be two; it is a lot smaller—picture exhibitions become almost mathematically more difficult according to the square of their size—but also the selections have been judiciously wangled, number of key artists having been invited in hors concours. Anyway, the result is a lively exhibition to which artists have sent really good works of their kinds, and not too many that have been seen before. Epstein has sent three grand busts, including a newly-finished powerfully expressed Dean of Canterbury.” Augustus John is in fine feather with "Brigit,” a daring experiment in rosy maidenhood, and' ‘‘Young Negress.”
The Academics are headed by A. K. Lawrence. Russel Flint, Ginner, Nevinson, and Algernon Newton; the independents by Duncan Grant, with a brilliantly lyrical decorative. "The Flower Maidens,” Matthew Smith, Paul Nash, Wadsworth, and John Tunnard. One of the most appealing pieces in the collection is a subtle Lowry, "In Salford.” The sculpture is first class, and the whole quality of the show, broadly representative without being in the least "of the Academy,” calls for congratulation because of its unconventional and refreshing selection. "
ARTISTS’ AID FOR RUSSIA —♦ ATTRACTIVE EXHIBITION
"Another attempt at congregating the two and forty warring sects of art in the common cause of charity is the Artists Aid Russia Exhibition, opened by Mme. Maisky, at Hertford House, the home of the Wallace collection, to help Mrs. Churchill’s fund.
It is undoubtedly a more successful congregation than those held at the Royal Academy under the United Artists’ scheme. The reasons may be two; it is a lot smaller—picture exhibitions become almost mathematically more difficult according to the square of their size—but also the selections have been judiciously wangled, number of key artists having been invited in hors concours. Anyway, the result is a lively exhibition to which artists have sent really good works of their kinds, and not too many that have been seen before. Epstein has sent three grand busts, including a newly-finished powerfully expressed Dean of Canterbury.” Augustus John is in fine feather with "Brigit,” a daring experiment in rosy maidenhood, and' ‘‘Young Negress.”
The Academics are headed by A. K. Lawrence. Russel Flint, Ginner, Nevinson, and Algernon Newton; the independents by Duncan Grant, with a brilliantly lyrical decorative. "The Flower Maidens,” Matthew Smith, Paul Nash, Wadsworth, and John Tunnard. One of the most appealing pieces in the collection is a subtle Lowry, "In Salford.” The sculpture is first class, and the whole quality of the show, broadly representative without being in the least "of the Academy,” calls for congratulation because of its unconventional and refreshing selection. "
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