3. CAPITULO III
3.5 Estudio de Impacto Ambiental (EsIA) de la EBC Turubamba Bajo
The Absence of purchases for the years 1927 and 1928 is explain ed by the events following the January 1927 protest by the Tate
Gallery (see above). It Is on record that on March 15th 1927 the Royal Academy Council did not adopt recommendations for the purch ase of two pictures from the Dew English Art Club Exhibition. Des pite an Academy invitation to the Tate Gallery representatives the
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latter did not attend the usual meetings on April 26th . On. the other hand both Aitken and Kuirhead Bone (as representatives of the Tate) had been present at the Recommending Committee of March 7th. A letter from Charles Aitken had noted that the Academy’s refusal of
previous recommendations of works
’only suggests that they were, in the opinion of the council, not of sufficient distinction*
to which F.R.M.Lamb, the Royal Academy secretary, had replied on the 10th February 1927? saying that the Chantrey Trustees
* do not see how this decision can be regarded as prejudicial, in either effect or intention, to the agreement so usefully subsisting between the Royal Academy and the National Gallery in their common endeavour to secure the finest possible coll ection of modern British art for the nation.!
Bad relations between the Academy and the Tate remained in evidence. No co-operation was resumed until November 25th 1929? by which time the Academy Council had agreed to the purchase of Henry Poole’s The Little Apple (Plate 3o) and nine other works. The Little A pple was bought from Poole’s widow via the Leicester Gall eries, while the other purchases were bought either from the Royal Academy exhibition, the New English Art Club April-May 1929 exhib
1 Royal Academy Annual Report 1927 pp 18—19*
2 On April 28th. the Royal Academy’s representatives recommended works by A.Swynnerton, B.13.Bland, M.Symons, Richard Garbe, W. Reid Dick and A.Howes.
ition, or from the previous January—March 1928 Academy exhibition of Works by Late Members. Henry Poole was a product of both the Lam beth School of Art and the Royal Academy Schools, (1892-7), and having worked for Harry Bates and G.P.Watts, had been a camouflage artist (1915-1918). His Associate of the Royal Academy election of 1920 had been followed by his election as Royal Academician in 1927? when he also became a Trustee of the 'Tate Gallery. Whether this last—mentioned position was in any way related to the Academy1 s choice of one of his works is-a matter of pure conjecture. As a stone carving The Little Apple, despite the sentimentality of the title as applied to a mother and child theme, has certain affinities to Alfred Oakley* s work of 1926. Moreover this work had been exhib ited at the Royal Academy in 1927 and had received favourable atten-
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tion as a ’notable piece’' and among the most interesting of ’the 2
smaller examples* of sculpture, while Reginald Grundy in The Con.noi- 3
sseur had found it ’though somewhat over-simplified in treatment, has a human appeal that is realised with almost poignant force.’
Henry Poole had died in 1928, but Ambrose KcKvoy died in
1927.
The Late Members exhibition of early 1928 had included the portrait of Michael KcSvoy (Plata 37)* HcEvoy had been elected Associate of the Royal Academy in 1924* but had originally been trained at the Slade (l893)» had known Sickert, and had exhibited with the New Eng—4
lish Art Club from 1900 « Even in comparison with much of McEvoy*s other work this picture appears rather slick, even unfinished, in execution, and had it not bean exhibited in tee content of a late Members exhibition it would be difficult to argue a strong case for
its purchase. The Acquisitions from the New English Art Club., by comparison, are of a rather different order. Neither Beatrice Bland
(Striped Camelias Plate 38) or Margaret Barker (Any Morning, Plate 39) were ever members of the Royal Academy, albeit Beatrice Bland had exhibited at the Academy from 1906 » Beatrice Bland’s picture 1 The review in Apollo vol.5? June 1927, pp 275-276.
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A.L.Baldry in The Studio, vol.93, June 1927 pp 417-423* 3 The Connoisseur July 1927 PP 188-190.4 He was listed as a New English Art Club member in 1902.
5 She had studied at the Slade, 1892-4, and had exhibited at the New English Art Club from 1897*
shows obvious ’Post-Impressionist1 derivations* The use of palette knife and 'dragged* brush work contrast startingly with the mannered realism of Margaret Barker. The latter was only born in 1987? and had bean studying at the Royal College of Art since 192p. Randolph Schwabe, shortly to be Henry Tonks* successor at the Slade, persuad ed her to exhibit this picture which seems to possess a (rather diluted) flavour of Stanley Spencer*s- work, both in its intimate domestic subject matter and in the treatment of the forms (albeit lacking the peculiarities of Spencer's perspective). Despite the fact that Margaret Barker was Miss Bland's junior by forty—three years Striped Camelias appears the more 'advanced* picture in that the painterly technique and confident executionare more obviously related to French inspiration.
It is more obvious why the Council should have purchased The Convalescent (Plate
40) by Annie L.Swynnerton. This was the second
Swynnerton to be purchased within five years » Frank Rutter was to rate Mrs Swynnerton highly in 1940? but the artist's reputation had stood high as early as 1906 when Gleeson White had included her
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among his Master Painters ox Britain and commented upon her ' strong, honest work, neither "finikin” nor "robustious" . . . 1 Indeed it is a little surprising to find that Mrs Swynnerton never attained the rank of full Academician after her election as. Associate in 1922. The Convalescent is a half length figure study complete with the broadly treated and rather loosely defined background which features in other paintings by the artist. Mrs Swynnerton* s work is very different from George Clausen's Daneex- (Plate 4l)*' The model was a professional dancer but the picture, belying an implication of the title, represents a head and shoulders study amounting to a portrait, The stark simplicity of this work Is unusual when compared with the concentration upon landscape in Clausen's work, although it is only fair to cadi attention to the relatively small scale of the picture
(l8 x 14 inches). Both Tha Conva 19scent and the Dancer are much less stylized than the bronze Marjorie (Plate 42) by Julian P.Allan. 'Julian P.Allan* was Eva Dorothy Allan, and had trained at the West minster School before studying at the Royad Academy Schools (1922-