Tuesday, 30 November 2010

Exhibition

Liz Elmhirst

Open Studio

Monday, 29 November 2010

David Winkley

Dartington, 1963

'I have a deep tap root of affection for Dartington, I was very happy there and it changed the course of my life for one of great privilege and satisfaction'.

David Winkley came to Dartington in 1963 to teach drawing and art history, but after watching Bernard Forrester throw a pot he decided to become a potter. He went on to establish the Vellow Pottery near Taunton, Somerset.

Sunday, 28 November 2010

Aller Park

Exhibition venue

A surprising photograph of Aller Park taken in the thirties, not long after it was built.

Image courtesy of the Bosence family

Thursday, 25 November 2010

Mark Sontag

Drawings of Staff

Whitmore the Physics Teacher

Ronald Anderson the piano Teacher

Minns the Biology Teacher

John 'Pop' Wales the History Teacher

A set of witty drawings reminiscent of Mark Boxer's cartoons by Mark Sontag.

I found them in a hoard of Sue Bosence's photographs from the late 30s early 40s, shown to me by her daughter Mary Sarre. Sue taught at Dartington for many years.

Exhibition

Alice Leach

The Dartington Printmakers

'We dined on zebra and leaves'

Collagraph by Alice Leach

Tuesday, 23 November 2010

Rachel May (Nee Forrester)

A pot by Bernard Forrester's daughter Rachel.

Image courtesy of Nicholas Beeching-Johnson

Exhibition

Susie Gillespie

Fine Art Weaver

Birdwood House,

Totnes, Devon

On Now until 27th November

Susie uses handspun yarn made from all sorts of interesting things,

in particular a yarn made of nettle from Nepal.

This work needs to be seen in the flesh to fully appreciate the unusual textures and earthy tones.

Event

MATT HARVEY

reads his poetry

including from his new collection

"Where Earwigs Dare"

Saturday 11th December

St Mary's Church

Totnes

10.30 for 11am performance

Tickets £5 on the door

Friday, 19 November 2010

The Early Years

Bernard Forrester

Dartington, 1932 - 1963

'For me, pottery is calling on memories of experience and then being able to reach into the kiln and hold and see the result of this matching.'

Bernard Forrester first came to Dartington to help build Bernard Leach's kiln in 1932. When Leach departed, Forrester stayed behind at the request of the then headmaster W. B. Curry, and began to teach pottery at Foxhole and, from 1947, at the Adult Eductaion Centre. Apart from Marianne de Trey, he has been the potter most intimately connected with the crafts community there, working at Dartington for nearly fifty years.

Images courtesy of Nic Johnson

Tuesday, 16 November 2010

The Early Years

Willi Soukop

Dartington, 1934-40

"My life was never planned, it just happened,"

Swan Fountain, 1950, Dartington Hall Gardens

The Donkey, Dartington Hall Gardens

Soukop's Studio, Dartington Hall Gardens

"My work is rather catholic,and ranges over a wide variety of subject-matter as well as materials - my art education was traditional but my chief influence was the German sculptor Ernst Barlach (1870-1938) and travelling and meeting the other artists who widened my horizons, in particular through teaching in England."

Viennese sculptor Willi Soukop came to Dartington in 1934. Dartington was a virtual international centre for the arts and this had a tremendous effect on Soukop, and its influence on him lasted decades, with the friendships formed enduring to his death. He wasn't the only European exile to come to Dartington, the entire Jooss Ballet from Germany,Michael Chekhov and his drama school and Hein Heckroth, who went on to win an Oscar for his set designs for 'The Red Shoes' were all there.

Other influences on Soukop came from friendships with the artists Cecil Collins and the potters Bernard and David Leach.

For Soukop, Dartington became an idyllic haven where he was not only free to carve but was also offered a teaching post, at Dartington Hall School. With war approaching, he had no wish to return to Vienna, but in 1940 he, like many others, was classified as an "alien" and first interned at Aintree racecourse, then shipped off to Canada for nine months until he was released to return to Dartington. He went on to set up sculpture departments at Blundell's School, Bryanston School, in Dorset, and then the Downs School in Worcestershire.

In 1945 Soukop came to London and taught at Bromley, Guildford and Chelsea Schools of Art - where he remained until 1972. In 1969 he accepted the additional position of Master of Sculpture at the Royal Academy Schools and became a member of the faculty for the British School in Rome.

Bernard Leach Exhibition

Leach Pottery, St Ives

Current Exhibition

July 10th to end of year

THE DARTINGTON YEARS

Between 1925 and 1946 the Leach Pottery in St Ives was deeply intertwined, philosophically and financially, with the Dartington Hall community in South Devon. This exhibition looks at the role played by the Elmhirsts of Dartington in the early development of the Leach Pottery and introduces a part of their fine collection of pottery, gathered under the guidance of Bernard Leach and currently held at High Cross House on the Dartington Estate in Totnes, Devon.

http://www.leachpottery.com/exhibitions.html

About us

Power of Place

The Power of Place project, led by artist and ex-Dartingtonian Alice Leach, was set up in 2010 to celebrate the cultural legacy of Dartington Hall School 1926 – 1987.

Part of a unique social experiment, Dartington Hall School was in the vanguard of progressive co-education. Founded by Leonard and Dorothy Elmhirst, the school was central to the Dartington Venture – widely regarded by Victor Bonham-Carter as ‘the most important private enterprise ever undertaken in the economic, social and cultural rehabilitation of a rural area’.

Dorothy was the guiding spirit behind the school, having played a leading part in progressive education in America, but Leonard’s unhappy memories of his education at Repton School and his experience working for Rabindranath Tagore in his ‘community’ in W. Bengal, helped cement their joint vision.

The original concept was a school without buildings, where the estate and surrounding countryside were to be looked on as the ‘classrooms’. ‘I want the thing to grow quite naturally out of our own home life and never to mention the word school from the start,’ wrote Leonard. It was to be a school that was ‘prepared to break with a number of outdated, but often unquestioned, traditions from the past.’ All the full-time workers on the Estate were regarded as members of staff, and expected to contribute to the ‘joint adventure’ in learning. Instead of a headmaster there was an education committee.

This initial experiment, between 1926 and 1930, represents one of the most radical attempts of the 20^th Century to break down the boundaries between learning and life. As numbers increased both within the school and on the Estate it was clear that this approach had to change.

W. B. Curry, the first ‘Director of Education’, appointed in 1930, was convinced that progressive education would usher in a ‘Brave New World’, producing saner humans capable of solving political problems without war. Writing in 1934, in his book, The School he explained, ‘A modern school is one which recognizes that the social order must be radically changed if civilization is to survive at all, and which also recognizes that education will have perhaps the most difficult and the most important part to play in the changes which must come about.’

Among the 20th century’s leading private patrons of architecture, the arts and education in England, Dorothy and Leonard saw the arts as integral to their vision and wanted artists to contribute to the education of children at the School. Dorothy was particularly passionate about them, arguing ‘if at Dartington we aim to provide a full and balanced life, then it is essential to include the arts.’ Not surprisingly the School became a Mecca for imaginative parents including Jacob Epstein, Barbara Hepworth and Ben Nicholson, Aldous Huxley, Sir Clough Williams-Ellis and Bertrand Russell.

In the thirties, Dartington became a vibrant, virtually international artistic centre with many cultural refugees fleeing Nazi persecution. Hein Heckroth, designer to the Ballet Jooss, who trained at the Bauhaus, but was blacklisted by the Nazis because his wife was Jewish, Cecil Collins, the painter, and Willi Soukop, the Austrian sculptor, were all resident at the Hall. Naum Slutzky, who also trained at the Bauhaus, taught metalwork to a youthful Lucian Freud. Bernard Leach and his son David taught pottery and the American Abstract Expressionist Mark Tobey was the school’s resident artist.

Other departments were equally international. Kurt Jooss and Sigurd Leeder brought their dance school from Essen to escape the rising tide of Nazism. Michael Chekhov, a Russian refugee, was invited to set up a Theatre Studio and Hans Oppenheim, assistant conductor at Glyndebourne, was asked to initiate some opera. ‘By any standards it was an extra-ordinary set-up – the first highly professional arts centre of its kind in England. Sadly the outbreak of war brought it to an end…’

Tuesday, 30 November 2010

Monday, 29 November 2010

Sunday, 28 November 2010

Thursday, 25 November 2010

Tuesday, 23 November 2010

Friday, 19 November 2010

Tuesday, 16 November 2010

Current Exhibition

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