There are artists associated with the Grosvenor School that are well known (Sybil Andrews, Lill Tschudi, Claude Flight, and Cyril Power), and then there are others who are less well known. Meet Ursula Fookes, about whom very little is available online. She studied with Claude Flight at the Grosvenor School in 1929–31, which is where the color linoleum cut celebrating speed and modern life was a central subject.
Following her studies, not much is known except that she spent the last months of the war on the Continent running a mobile canteen, which was a war-era version of a food truck. (She kept a rather compelling diary of that time, which is preserved at the Imperial War Museum.) After the war she seems to have moved to the country and ceased showing her art (or possibly stopped making any). Details are a bit fuzzy. Hopefully some industrious PhD student will take her on and flush out Fookes' herstory.
Fookes’ sensibility is different than that of other artists we’ve looked at (see recent post on Lill Tschudi). It’s a bit less frenetic, perhaps a bit more staid. But I love discovering lesser-known artists within a movement. What makes their work less desirable than others who become the face of said movement? Is it just a matter of exposure? Is it that Fookes didn't create much art after this initial push and fell off the proverbial radar? Did the other artists do something different? Did they have different relationships with galleries, dealers, curators? Curious.
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.