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Birmingham Institute of Art and Design

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BIAD was invited by the Hanging Committee to contribute to this project a number of works from the School of Art Archive demonstrating the influence of Pre-Raphaelitism and the Arts and Crafts movement on the teaching of art in Birmingham at the end of the nineteenth century.

The BIAD School of Art Archive Collection covers the Birmingham School of Art from before its formation as a Government School of Design in 1843 up until its absorption by Birmingham Polytechnic in 1970. Although historically titled the School of Art Archive Collection, this is somewhat of a misnomer as it in fact, an art collection of staff and student works and contains several thousand drawings, prints, sketchbooks, paintings, photographs, casts and a smaller number of glass, ceramic and metalwork objects. There is also an extensive number of glass lantern slides and photographic plates and prints as well as a collection of twentieth century London underground posters, and the work of the Birmingham School of Printing. The collection is particularly strong in the period c.1880-1920 and includes the work of students and staff members including A. J. Gaskin, J. Southall, C.M. Gere, H. Payne, and G. L. Brockhurst.

This coincides with perhaps the period of the School's great achievements and national significance. In the last two decades of the Nineteenth century Birmingham School of Art became the largest and most successful school in Government awards and medals in the country. Interestingly, and atypically, female students formed a high proportion of Birmingham's prize winners in the national competitions. In the Collection their work is particularly represented in the work of Florence Camm who attended the School intermittently from 1892-1912. This was a period of rapid growth from one central school and six branch schools 1880 to a purpose built central school and 15 branches in 1900. In 1885 Birmingham became the first Municipal School of Art. The increased freedom that municipalisation entailed, enabled the School to challenge centralised policies of teaching style, methods and content, and to erect in part an alternative Arts and Crafts system working with physical materials.

Birmingham was a recognised centre of Pre-Raphaelite interest by 1850s, and members of the Brotherhood were frequently invited to show works with the Royal Birmingham Society of Artists. Many of the influential industrialists, politicians and philanthropists in Birmingham were adherents to Ruskinian beliefs in Nature. The city's non-sectarian municipal elite were also collectors of late Pre-Raphaelite and Arts and Crafts work. In this municipal climate an Arts and Crafts ethos flourished at the School of Art, which had two notably active Arts and Crafts headmasters, Edward Taylor from 1877 to 1903 and then Robert Catterson-Smith from 1903to 1920. The Birmingham School led the way in introducing executed design to the teaching of art and design nationally (working in the material for which the design was intended rather than designing on paper). In his external examiner's report of 1889, Walter Crane praised Birmingham School of Art in that it "considered design in relationship to materials and usage" and suggested extending the practical workshops. A specialised branch school, the School of Jewellery, opened in 1890 in Birmingham's Jewellery Quarter. By September 1893, when the extension to the central school building opened, staff appointments had been made in the fields of embroidery, needlework, enamelling and wood-engraving, and a number of "art laboratories" or workshops for practical instruction in repoussé, fresco, modelling and woodwork had been created. In 1901 the School Committee suggested further extending the syllabus to included stained glass, bookbinding, and writing (illumination and calligraphy). Catterson-Smith had worked as an illustrator for William Morris and Burne-Jones at Kelmscott Press, and taught with Frampton and Lethaby at Central School of Arts & Crafts in London. He was appointed first to Vittoria Street branch school, and then as Headmaster, following testimonials from Burne-Jones, Philip Webb, William de Morgan and Walter Crane. This Arts and Crafts influence on the students, so evident in the subject matter and style of the compositional studies and designs for metalwork, stained and textiles, was strengthened by the lectures given to students by William Holman Hunt (in 1893), William Morris (in 1894) and W. R. Lethaby (in 1901).

The Birmingham School of Art was instrumental in shaping the Fine Arts in Birmingham and the surrounding region in the late nineteenth and early twentieth centuries. The majority of the artists in the loosely termed Birmingham School were students or staff (often both) at the School. Staff and students operated almost as an unofficial guild, undertaking numerous private commissions in the region.

The BIAD School of Art Archive Collection has not previously been fully catalogued, and at the current time is closed to researchers whilst cataloguing is undertaken as part of BIAD's Archive Development Project. For further information please contact the Keeper of Archives.


Sian Everitt
Keeper of Archives
Department of Art
Birmingham Institute of Art and Design
University of Central England
Margaret Street
Birmingham
B3 3BX

Email: sian.everitt@uce.ac.uk
http://www.biad.uce.ac.uk/archives/

Works from Birmingham Institute of Art and Design

bi0011
Design for a Tazza
Walter Langley 1874
bi0012
Composition: Still Life with Vase, Inkwell, Book and Cube
Albert Ernest Victor Lilley 1887
bi0013
Composition: Corner of the Machine Room
E. M. Southall 1887
bi0010
Composition: Still Life with Honesty, Shell and Blue Vase
Margaret L Kendrick 1888
bi0007
Study for "The Death of Baldur"
Charles March Gere 1892
bi0014
Studies for Composition of "Beauty Receiving the White Rose"
Joseph Edward Southall 1897
bi0003
Figure Study - Seated Female Nude
Florence Camm 1897
bi0009
Portrait of Frank G. Jackson
Edward Samuel Harper 1898
bi0004
Floral Design
Florence Camm 1900
bi0005
Preliminary Drawing and Colour Scheme for "The Prodigal Son"
Florence Camm 1901
bi0008
Composition: Still life with Laurel, Sphinx, Book, Shell and Vase
Joseph [Jossie] Greenup 1908
bi0002
Figure Study - Man with Billiard Cue
Gerald, L. Brockhurst 1908
bi0015
Self-Portrait
Joseph Edward Southall 1925
bi0006
When a Poor Man Came in Sight, Gathering Winter Fuel
Arthur J Gaskin 1927
bi0001
Plant Study - Marrow Showing General Growth
Robert Ball 1933

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