licence in this country, where an exhibition is opened in London almost every second day. London’s art exhibitions, both collective, in unbombed official
Galleries, and one man shows, in the rooms of our leading dealers, seem to be as frequent and as large as ever. But German artistic propaganda both at home and abroad is extremely vigorous. Especially strong are their propaganda exhibitions of architectural drawings and models, such exhibits as aeroplane factories, barracks, etc., being prominently displayed.
Turkey is one of the countries most persistently visited.
In spite of endless wartime (compulsory) occupations, British artists gallantly rise to the occasion and produce
many works of considerable merit. Owing to lack of time, work, generally speaking, is possibly a little more sketchy than in the quiet pre-war days, but this brings with it a greater spontaneity and an added vigour.
In spite of risks and incredibly high rates for insurance, the British Council has carried on as usual in sending abroad exhibitions of Fine Art at frequent
intervals since the outbreak of war, and at the present moment their exhibitions of different types are being shown in Canada and in six foreign countries, i.e. the U.S.A., Sweden, Portugal, Uruguay, the Argen
tine and Iceland. Now a particularly interesting and seemingly successful experiment has been started.
Some time ago, the British Council, realizing the need for some form of social centre for allied forces on leave or while stationed in the south, acquired no less than eight fine houses within a mile of Piccadilly, in which the Allied Forces, officials and their womenfolk could enjoy the amenities of a London club.
Sir Muirhead Bone, LL.D. “The Alameda, Gerona” Drawing (From the collection of Mr, H. C. Lawrence)
informed, is Schweitzer-Mjolnir, an old associate of Goebbels, and the leading cartoonist of the Angriff.
How different this is from the freedom and artistic
Robert Gibbings “Ground Swell on the Reef” Woodcut
Galleries, and one man shows, in the rooms of our leading dealers, seem to be as frequent and as large as ever. But German artistic propaganda both at home and abroad is extremely vigorous. Especially strong are their propaganda exhibitions of architectural drawings and models, such exhibits as aeroplane factories, barracks, etc., being prominently displayed.
Turkey is one of the countries most persistently visited.
In spite of endless wartime (compulsory) occupations, British artists gallantly rise to the occasion and produce
many works of considerable merit. Owing to lack of time, work, generally speaking, is possibly a little more sketchy than in the quiet pre-war days, but this brings with it a greater spontaneity and an added vigour.
In spite of risks and incredibly high rates for insurance, the British Council has carried on as usual in sending abroad exhibitions of Fine Art at frequent
intervals since the outbreak of war, and at the present moment their exhibitions of different types are being shown in Canada and in six foreign countries, i.e. the U.S.A., Sweden, Portugal, Uruguay, the Argen
tine and Iceland. Now a particularly interesting and seemingly successful experiment has been started.
Some time ago, the British Council, realizing the need for some form of social centre for allied forces on leave or while stationed in the south, acquired no less than eight fine houses within a mile of Piccadilly, in which the Allied Forces, officials and their womenfolk could enjoy the amenities of a London club.
Sir Muirhead Bone, LL.D. “The Alameda, Gerona” Drawing (From the collection of Mr, H. C. Lawrence)
informed, is Schweitzer-Mjolnir, an old associate of Goebbels, and the leading cartoonist of the Angriff.
How different this is from the freedom and artistic
Robert Gibbings “Ground Swell on the Reef” Woodcut