Here’s the final Grosvenor School post (for now, anyway), featuring the man who started it all, Claude Flight. I find it fascinating that his work kinda gets at the aesthetic we have come to expect from the group, but many of his prints are wholly different. I would love to have been a fly on the wall in the studio, to see who developed what first, who picked it up, and who pushed who, etc. Imagine being surrounded by so much color and motion.
This is what I love about printmaking. Because of the need for shared equipment and supplies, artists work together, side-by-side with like-minded artists. All this togetherness might lead to friendly competition or alignment of sentiment, and the results might lead to unplanned and exciting discoveries.
Flight took up linoleum cutting as early as 1919 and fell in love with it. It was easy to procure and not so costly, plus its ease of cutting seemed perfect as a route to making it possible for the masses to be exposed to art. More, cheaper, faster. He saw in it the potentiality of a truly democratic art form. Sounds a little like previous movements that attempted to bring art into every home, like William Morris' arts and crafts movement, doesn't it? Just in an updated, modern way.
Here's Claude Flight.
Ann's art blog
A small corner of the interwebs to share thoughts on objects I acquired for the Baltimore Museum of Art's collection, research I've done on Stanley William Hayter and Atelier 17, experiments in intaglio printmaking, and the Baltimore Contemporary Print Fair.