St Ives and British Modernism, The George and Ann Dannatt Collection

(Pallant House Gallery Publishing)

For more than half a century, between 1955 and 2009, two remarkable individuals, George and Ann Dannatt, devoted themselves single-mindedly to collecting the work of artists such as Patrick Heron,Terry Frost, Bryan Wynter, Peter Lanyon, Wilhelmina Barns-Graham, John Wells and Paul Feiler, as well as many others with St Ives connections such as William Scott, Robert Adams, Roger Hilton, John Tunnard and Alfred Wallis…  Illustrated with a wide range of works from the Dannatt and other collections, together with fascinating archival material, this book and  accompanying exhibitions in 2015-2016 at Pallant House Gallery, Southampton City Art Gallery and Dorset County  Museum presents a view of British post-war modernism from the point of view of those most closely involved.  Commercial exhibitions of George Dannatts work were also held at Osborne Samuel Gallery, London and  Katharine House Gallery, Marlborough.

2 thoughts on “NEWS

    1. ‘Thank you for the question; it’s a good one. The term is an attempt to capture a hybrid state for a particular work or group of works. Constructivism, as you may know, is the name of an attitude worked out after the Russian Revolution by Alexander Rodchenko
      and others as a way of combatting the ancient protocols of ‘composition’ in art: its emphases were on the efficient use of material, on functionality, and on efficiency both in the making and in the using – in effect a revolution in art itself that from the
      beginning was intended to dovetail with ‘actual production’, that is, the manufacture of useful things. To begin with, the straight line, cut or edge was the main formal ingredient: a technical appearance, if you like, as well as a technical function. Much
      later, after the spread of Constructivist methods to every European country (and beyond), other impulses were admitted. Rerences to actual landscape, curved and irregular forms, even at a stretch ‘nature’, were found to be usable alongside the efficiency principal.
      To the original Constructivists this would have seemed wrong (with some notable exceptions). But times change, and western Europe in the 1940s and 1950s was no longer in a revolutionary situation and artistic values inevitably change. That’s a very brief answer’.

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