In the 1940s, School Prints were a visionary notion to bring affordable, adventurous artworks into classrooms. Reinvented for the 21st century, they still are today
In 1946, a letter was sent out to a number of British artists. It began: “We are producing a series of auto-lithographs … for use in schools, as a means of giving school children an understanding of contemporary art. By keeping the price as low as possible, we are able to bring this scheme … within reach of all Education Authorities.” This was the beginning of a project called School Prints. The idea had been that of a dashing Etonian (and European federalist) called Derek Rawnsley, who died in 1943 while in the RAF. It was carried through by his young widow, Brenda– an equally dashing figure who, fluent in Arabic and French, had served during the war as an intelligence officer in Algiers, Cairo and Palestine, and undertook missions such as a clandestine visit to a bombmaking factory in Germany.
Not knowing a great deal about art, she co-opted someone who did: the critic Herbert Read. Between them they persuaded artists including John Nash, Tom Gentleman and Barbara Jones to contribute to the project. Schools enthusiastically embraced their gentle, playful images, which included a harvest scene, dray horses and a fairground. In 1947, having already persuaded Henry Moore to make an abstract work for her, she broadened the series to French artists and – by dint of hiring an aircraft and employing her considerable charm – convinced Dufy, Picasso, Léger, Matisse and Braque to take part. Though less popular with postwar British schoolteachers, the French set is the one that has best stood the test of time.
Continue reading...