Wednesday’s Women of wisdom

Last week I spoke a little about Sybil Andrews; by the time she was twenty three she was already an accomplished artist and organised her first public show.  The exhibition opened for a week and comprised of works by Andrews and Powers; some watercolours and pastels of local scenes.  They may not have seemed particularly radical by today’s standards but in comparison with the work of some of their contemporaries for example Rose Mead (1867-1946) who painted similar views, there was a profound difference.  Rose Mead was a local artist primarily a costume designer but also a watercolour artist painting and selling theatrical scenes.  She encouraged young artists particularly Andrews,  who said ‘she was kind and helpful in her early art struggle’.

Rose Mead was something of a feminist and particularly keen that young women should adopt a profession rather than becoming a housewife and mother.  These strongly held views went a long way to influence the young woman already eager to become a professional artist.  

The show was reviewed by a local newspaper reporter who said that the artists ‘belonged to a modern school of painting’ perhaps a little revolutionary and difficult for ordinary people to appreciate.  He went on however, to praise the work for creating its own vision rather than attempting to record the scene; as with a camera.  Suggesting that the artists present Bury and its environment in a ‘new guise, emphasising the beauties of lighting and composition’ not always realised by passersby.  

Soon after the exhibition Andrews moved to a small village out of town, where she experienced the countryside, traditional farming with cart horses and hard labour that ruled people’s lives.  These memories stayed with her long after she left Suffolk and showed up in her linocuts often.  

With Power’s encouragement Andrews moved to London to advance her academic training. Here, living with her mother in Russell Square, she attended Heatherly’s School of Fine Art(1922) She worked hard and met William Kermode; a visiting tutor who taught her woodblock printing in black and white.  Andrews immediately responded to the medium.  For inspiration she turned to the the museums of London, where she found a wealth of powerful images, ancient and modern, Russian icons, Celtic art  and the new poster designs of E. McKnight Kauffer etc.  

Even after her year’s tuition and setting up her own studio Andrews continued to broaden her printing techniques.

Also to supplement her income she became a secretary at the newly established Grosvener School of Modern Art.  It was here that she met Claude Flight (1881-1955) whose novel method of colour linocut was to provide Andrews with a vehicle for her self expression.  

Flight was inspired by the work of the Italian Futurists; he was determined to reflect Man in the Machine Age that was to become the source of inspiration for the new British Linocut School.

Andrews already fascinated by rhythm, movement of machinery and the men involved in hard labour and similar subject matter included them in some of her best linocuts.