Albert de Belleroche by John Singer Sargent Click picture to view larger image

It is in relation to the Royal Academy that much of the development of the New English has been seen. The origin of the Club was in the studios of a group of young London artists in 1885. These painters had studied and worked in Paris, and felt a dissatisfaction with the exhibition potential of the very academic R.A. which was under the presidency of Sir Frederick, later Lord Leighton It was decided to mount a rival show, so in April 1886 the first exhibition of the New English Art Club was organised at which about fifty artists were represented, including Fred Brown, George Clausen, Stanhope Forbes, J.S. Sargent and Wilson Steer.

Thus the scene was set: the stolid academic approach of the R.A. as opposed to the dynamic and vibrant observation of the New English - a caricature of course, as are all such comparisons. However, it is remarkable that the artistic descendants of the Impressionists continued to be associated with the New English whilst the R.A. moved by fits and starts towards a more conceptual approach and towards public gallery orientated work.

During the late 19th and early 20th century the New English grew greatly in influence, and the days of Sickert, Augustus John, Tonks, Steer and William Rothenstein were a golden period indeed. In the 1920's Stanley Spencer, Paul Nash, Duncan Grant and Mark Gertler were all members - indeed almost every member of the Camden Town Group started with the New English, and it formed an essential part of their development.

Many of these artists became members of the R.A. and continued to exhibit with the New English for the rest of their careers. Probably in the 1940's and 1950's the R.A. and the New English were at their closest point. At this time some painters saw the New English as a 'staging post' to membership of the Academy.

Myself and Cupid by Sir William Orpen Click picture to view larger image

Today this situation has changed with the divergence of the societies; and the R.A s abandonment of much so called 'figurative painting' has left the field clear for the New English to champion this sort of work. At a New English exhibition at which non-members work is also shown, you will now see imaginative painting, expressionism sometimes satirical subjective paintings and abstracted work amongst the directly observed objective painting which is part of our "continuing" tradition.

In the lifetime of the New English the world of visual art has changed enormously. Until the Second World War, Paris was the undisputed centre of this world. Since then New York has become the colossus, and London has recently increased greatly in importance, to be the predominant centre in Europe: and there has been a huge increase in the number of commercial and public galleries. However the hardship of life as an artist continues as before. It is very difficult indeed to establish a reputation as young artist; it is also very difficult to produce and sell pictures of high quality in sufficient quantities to provide a living. In order to make work which is vigorous and lively and life enhancing, an artist's needs are: a tradition in which to work - or in other words - a shared artistic language, a training - an education in this language, an exhibition space and a public to buy work. All of these the New English helps to provide.

That the New English has existed for over a century and is now a well respected institution and one of the foremost exhibiting societies is a matter of pride. Pride of another kind is in the Club's position as a centre of excellence for drawing and painting. This visual language is one in which pictorial statements are slowly and intricately constructed, but when they are completed they can be understood quickly and easily by everyone. It is ever evolving and capable of great spiritual depth, and this language is the Club's main concern. The content of the pictures, the visual messages which they convey and the eloquence and strength with which they are painted is a matter for individual painters, the framework within which these artists and others like them work is the province and the future of the New English Art Club.