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Albert
de Belleroche
by John Singer Sargent
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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.
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