Which way is up? : Autumn landscape and the crisis over abstraction in post-war Britain

Author

Monteyne, Joseph

Document type

Article (journal)

Language

English

Source

Collapse. 1995, Num. 1, p. 61-100, 3 ill.

ISSN

1203-3286

Abstract (en)

William Gear's 1951 abstract painting Autumn Landscape (Newcastle upon Tyne, Laing Art Gallery), became the center of controversy when it was awarded top prize at an exhibition organized by the Council for the Festival of Britain. Monteyne's paper situates this controversy within a larger discussion about modern art, and abstract painting in specific, in post-war Britain. Attention is paid to the international context, particularly that of Paris and northern Europe, and the tension between the insularity of post-war Britain and international movements in the arts. Issues of national identity were involved in the objections to Gear's abstraction. Includes discussion of the artists' group Cobra.

Subject (en)

• General history of art -- 1945-present -- Pictorial arts -- Painting and drawing -- United Kingdom
• Gear, William, b.1915
• Great Britain
• Autumn Landscape
• Painting
• Abstract art
• Laing Art Gallery||Newcastle upon Tyne (GBR)
• Modernism
• National identity
• Cobra (artists' group)
• Europe
• Artists' groups and associations

Subject (fr)

• Histoire générale de l'art -- 1945-présent -- Peinture et arts graphiques -- Peinture et dessin -- Royaume-Uni
• Grande-Bretagne
• Paysage d'automne
• Peinture
• Abstrait (art)
• Laing Art Gallery||Newcastle upon Tyne (GBR)
• Modernisme
• Identité nationale
• Cobra (groupe d'artistes)
• Europe
• Groupes et Sociétés d'artistes

Origin

DatabaseBHA (Inist-CNRS/GRI)

Identifier19990701-00207752

Sauf mention contraire ci-dessus, le contenu de cette notice bibliographique peut être utilisé dans le cadre d'une licence CC BY 4.0 / Unless otherwise stated above, the content of this bibliographic record may be used under a CC BY 4.0 license