Power of Place: printmaking

Showing posts with label printmaking. Show all posts

Thursday, 5 May 2011

Alli Eynon

Dartington Years 1976 - 1982

Thursday Evening

Artist Print

Image copyright Alli Eynon

Sunday, 1 May 2011

Simon Tozer

Dartington Years 1973 - 1982

Birthday

Screenprint

Twenty people not whole

Screenprint

http://www.simontozer.co.uk/

Image copyright Simon Tozer

Tuesday, 18 January 2011

Briony Eastman

Religious Buildings linocut

Bee on honeycomb necklace

Based in London Briony is another artist from Dartington who is talented in more than one field.

Image copyright Briony Eastman

Saturday, 15 January 2011

Simon Tozer

'A predominant theme in my work is the idea of the journey or quest. There is a lot of anthropomorphism – animals and objects stand in for people and visa-versa. I am interested in storytelling and metaphor;the act of drawing is a kind of search,and sometimes during this process a narrative is found.'

http://www.snapstudio.org.uk/hello/artists/simon-tozer

Simon is a member of Snap an artists' cooperative in Bristol

Snap, 20-21 Lower Park Row, Bristol, BS1 5BN

Image copyright Simon Tozer

Friday, 14 January 2011

Liz Elmhirst

Etching of the Dartington Hall Gardens

http://www.lizelmhirst.co.uk/

Image copyright Liz Elmhirst

Thursday, 13 January 2011

David Highet

Etching

David is also an architect practising in Axminster, Devon

Image copyright David Highet

Thursday, 25 November 2010

Exhibition

Alice Leach

The Dartington Printmakers

'We dined on zebra and leaves'

Collagraph by Alice Leach

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…’