I love Sybil Andrews’ sensibility. Like Ursula Fookes and Ethel Spowers, who we met recently, Andrews, no surprise, was a part of the Grosvenor School of artists focused on multi-block color linoleum cuts exploring the speed of urban contemporary life primarily during the 1930s in England. I love that she explores speed literally through images of raceways and steeplechases. But she also does something surprising by focusing on rural life and agriculture in that same modernist mode. A bit antithetical. She also created a series of the stations of the cross (I’ll let you look those up on your own).
Andrews worked as a secretary at the Grosvenor School beginning in 1925 and soon began making linoleum cuts under the school’s leader, Claude Flight. She became close friends with Cyril Power (I promise, I will cover both Flight and Power soon), sharing a studio until 1938, as well as collaborating under the pseudonym Andrew-Power. During World War II, while working as a welder in a factory, she met her husband Walter Morgan. The couple emigrated to Canada and settled on Vancouver Island in 1947. She continued making color linoleum cuts well into the 1970s.
I love that Andrews has such a strong point of view. I love the palette and the colors’ vibrancy. I love the high-design sense and reductiveness of the objects. I love the range of subjects. Well, there is not much about her work I don’t love.
Please meet Sybil Andrews.
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.