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Modern art in Britain during the early twentieth century is a complex and compromised proposition. It has frequently appeared selective in its assimilation (or rejection) of European modernism, with the results proving uneven and sometimes flawed in coherence as well as quality - from an international outlook to a reductive vorticist blast, from an insular 'English' modernism to a purist abstraction, from a British neo-romanticism to an earnest accommodation of French surrealism. This book reads critically the context of modernist visual art in the interwar, conceding ultimately to the absence of one representative manifestation in order to account for circuits of ruptures and seizures from which emerge singular instances negotiating the radically new European modernism. The emergence of Ceri Richards as a modernist of remarkable originality in London between the wars poses one such singularity, setting the artist as focus for the present study in critical analysis of a globally trenchant avant-garde and aspects of art in Britain read as tributary to the greater European exchange.
Dafydd W. Jones was a researcher at the International Dada Archive, University of Iowa, and lecturer in fine art and critical practice at Cardiff School of Art and the University of Milan. He is the author of Dada 1916 in Theory: Practices of Critical Resistance (Liverpool University Press, 2014) and The Fictions of Arthur Cravan: Poetry, Boxing and Revolution (Manchester University Press, 2019).
Foreword Introduction 1 The Modern Artist 2 Europe and the Avant-Garde 3 Objective Abstraction 4 Subject and Object 5 Surrealism 6 Studies for Relief Constructions 7 Figures and Interiors 8 Flowers, Feathers and Bombs 9 Transformations and Flux Conclusion Select references Index
