‘Cutting Edge: Modernist British Printmaking’ at The Dulwich Picture Gallery (19th Jun – 8th Sept 2019): ★★★★★
In these days of uncertainty and crisis, it is refreshing to find a show that explodes with quite so much joy and optimism as this display of modernist British prints at Dulwich. Springing forth from the anxiety ridden 1930’s, the bright colours and geometric forms of these works speak of new hope for a twentieth century Britain and make this exhibition one of the must-see shows of 2019.
The Dulwich Picture Gallery (the oldest public art gallery in England) has brought together 120 works from and around the staff and students of the revolutionary and egalitarian Grosvenor School of Modern Art. Established in 1925, the school’s teacher, Claude Flight, encouraged his pupils to adopt lino-cutting as a practice and to work in a style deeply indebted to the pre-war artists of the Cubists, Futurists, and British Vorticists. Indeed this show opens with a room of works from Nash, Bomberg, Nevinson and Wadsworth to set the scene.
However, in the works that follow, the cool, serious, mechanical modernity of that troop of artists falls away, leaving us with a group of deeply modern but ultimately sunny and hopeful works that show a Britain in recovery from the ‘war to end all wars.’
Alongside Flight are displayed the works of nine of his students, among whom the stand-outs are Cyril Power, William Greengrass, and Sybil Andrews. Each colourful room (colourful not only due to the works but also the vibrant, varied, and playful choice of wall colours) has its own theme; from scenes of labourers, beach-goers, and classical concerts in the ‘work and play’ room, through to an impressive collection of works dedicated to sports, and finally a comprehensive survey of the artists’ work for London Transport under the directorship of Frank Pick.
It was through these striking poster designs for London Transport (that are seemingly having something of a renaissance), that modernist design entered the hearts and minds of ordinary Britons – these artists acted as a bridge between the hard front of the avant-garde and the popular culture of interwar Britain.
The works in this show swing between the dizzying dynamism of Power’s ‘The Merry-Go-Round’ (c.1930) and the tender sensitivity of Greengrass’ depiction of a young family in ‘Windmills and Balloons’ (1936). There are also some beautiful architectural studies, including Andrew’s bold ‘Concert Hall’ (1929) and the vaulting curves of Power’s ‘The Tube Station’ (c.1932).
‘Cutting Edge’ places the lino-cuts of these artists right at the heart of British and European modernism and their works capture beautifully the lost world of interwar London. The only downside to this show is that you’ll wish there was more of it!
Morgan Haigh 