From early experiments in lithography by Henry Moore and Peter Lanyon to Sybil Andrews’ dynamic linocuts based on her experiences living in the cosmopolis of 1930s London, the exhibition presents work by luminaries and innovators of the period, exploring the developments in technique and concept that changed the course of print for generations to come.
Opening at the London Original Print Fair at the Royal Academy on 5 May, A Radical View will form a unique retrospective of early modern British printmaking at the fair before being displayed at print-specialists Osborne Samuel’s Bruton street gallery. The works include examples of linocuts, lithographs, etchings and woodcuts which demonstrate the variety, originality and technical expertise that define much of twentieth century British printmaking and mark a notable shift in style and technique from earlier modes of representation.
Cyril Power’s vibrant impressions of a London tube station in the thirties will be displayed alongside Peter Lanyon’s colourful abstractions of the Cornish coast, highlighting the diversity and range in print from some of the leading names in art in Britain. Works by many of the leading figures of the twentieth century including Eric Ravilious, Henry Moore, Lynn Chadwick, Ben Nicholson and Patrick Heron present a glimpse into British print-making. Highly modern to audiences at the time, and still compelling in their energetic, graphic style - these limited edition impressions are rare examples of English print-making in the post-war era
A Radical View: Avant Garde British Printmaking 1914 - 1964 follows the modernist thread which weaves through British printmaking from the revolutionary Vorticist prints of the early 1900s, through two wars, the inter-war period and into the beginning of the print boom of the 1960s. Particular highlights include works by the celebrated Grosvenor School including Sybil Andrews, Cyril Power and Claude Flight.