Realism made a come back in Edinburgh – Autumn 2017
Having some knowledge of Socialist Realist Art from the erstwhile Socialist countries it was a pleasure to be able to visit the exhibition in Edinburgh, in the autumn of 2017, on British Realist Painting of the 1920s and 1930s to see what was shared – and what wasn’t. After all the style fell out of favour here and became a victim of the Cold War – collateral damage in the propaganda war against Communism.
In the main, these examples of British Realism compared to Socialist Realism are as different as chalk and cheese. In Socialist Realism context is everything, the period in which a picture is painted, the reason for its creation, who or what is depicted and the audience at which the image is aimed are all important .
With the British paintings what is most obvious from the start is the difference in the subjects. British Realism was fine art in its most literal sense. Some of the painters used single sable hair brushes in their work. Some of these paintings took years to complete. There’s no doubting the skill and draughtsmanship of such creations but they were, in many ways, products of their time and the social relations that existed in the decades between the two world wars.
With few exceptions the principle of ‘art for art’s sake’ prevailed. They were vanity products of a privileged minority, who had private incomes, who came from ‘old’ wealth. Even those from working class backgrounds rarely reflected their heritage in the subjects and themes they chose to paint.
Many of the male painters had direct experience of the First World War – although a few were pacifists or conscientious objectors and one, Maxwell Armfield, even went to the US to avoid conscription. Their rank during the conflict indicated their class background but most bullets and gas don’t respect class and many returned from the war scarred physically or mentally. Instead of reacting against the carnage most chose to retreat into an idealised past, or a beautiful presen