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A Comparative Analysis Of Digital And Analog Computers As To Their Effectiveness In Solving Runoff Analysis
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This type of data sharing may be considered a “sale” of information under California privacy laws. Turning off personalized advertising opts you out of these “sales.” Learn more in our Privacy Policy., Help Center, and Cookies & Similar Technologies Policy.This paper focuses on the description of modernist wood engraving as a humble form of art in the manuals published by John Farleigh, Clare Leighton and Iain Macnab between 1932 and 1940. As a specific form of artistic encounter with a medium, autographic wood engraving relied on the heritage of the Arts and Crafts’ ethics of making as well as on the modernist aesthetics of carving. This paper aims to show that the efficacy of humbleness as an artistic stance allowed wood engraving to straddle the provinces of art, craft and design at a time when the function of artistic skill and handmaking was being displaced.
1A prominent aspect of British visual culture from the 1890s to the interwar period is the revival of autographic printmaking.1 This was accompanied by the publication of reviews and articles in the periodical press and of specialized hand. This paper explores aspects of this trend and concentrates on the manuals of wood engraving that were published in between 1932 and 1940 by artists who were often practitioners as well as teachers. Characterized by simplicity and limited means, no longer the province of lovers of prints and connoisseurs, wood engraving is described as a humble form of art.
2Before the First World War ‘creative’ wood engraving was taught in institutions such as the Central School of Arts and Crafts, the Camberwell School of Arts and Crafts, and to a lesser extent the Slade but the arrangements of arts schools were often limited and these engravers learned as much by inspiration and advice from fellow artists. However their teachers (such as Noel Rooke at the Central School of Arts and Crafts or Leon Underwood and Iain Macnab who ran their own private schools) were instrumental in initiating and reflecting on the trend, as well as collectors, curators and critics. The early to mid-1920s were an experimental phase as wood engraving became an avant-garde medium and James Hamilton aptly describes the decade as its ‘Heroic Age’ (Hamilton 115). Wood engraving achieved commercial recognition in the 1930s, reflecting a shift from craft to design after the collapse of the print market in the aftermath of the 1929 economic crash. By the end of the 1930s however the trend had spent its energy so that in the 1940s it was ‘once more the medium of the
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3This paper examines the humble stance of the artists that authored hand on wood engraving by looking at how this form of autographic art is described in these works. Humbleness was instrumental in securing the popular success of these pictures as vernacular forms of art in the shape of prints, illustrations and posters—to name some of the outlets that were available in the 1930s. It is one of the reasons for these artists’ ability to carve a niche in English visual culture. The lure of the values associated with craft and design combined with three potent factors: the movement tapped into explorations of Englishness, adopted the ethical principles of the Arts and Crafts movement and also partook of the carving aesthetics deriving from sculpture and defined as dominant creative mode by critics such as Herbert Read and Adrian Stokes in the 1930s. This article focuses on the last two aspects and seeks to demonstrate that humbleness appears to have been a particularly apt strategy in achieving aesthetic success and artistic legitimacy.
4Hand on modern wood engraving were published from the early 1920s. The three works under consideration in this paper were written in the 1930s by prominent artists as well as writers, illustrators and teachers who had been part of the modern revival of the art. Writer, illustrator and designer John Farleigh (1900–1965) was taught wood engraving by Noel Rooke at the Central School of Arts and Crafts after the First World War where he later became a teacher. Keenly interested in design and craft, he was a founding member of the Crafts Centre of Great Britain (1946). His autobiography
Published in 1940 is not strictly speaking a handbook. It describes
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