British Art 1960s

The 1960s was a period of great artistic innovation in Britain, marked by the emergence of new movements and the exploration of different techniques and styles. Among the artists of this era were the British printmakers Norman Ackroyd, Harvey Daniels, Trevor Allen, Frank Martin, Michael Challenger, and others who studied at the prestigious Slade School in London.

These artists were part of a broader movement of printmakers who were pushing the boundaries of traditional printmaking techniques while also experimenting with new materials and methods. Their work was characterized by a high level of technical skill, intricate details, and a commitment to their craft.

Norman Ackroyd, for example, is known for his stunning etchings that capture the rugged beauty of the British landscape. His work often depicts coastal scenes and remote islands, and he is particularly adept at creating intricate textures and subtle tonal variations.

Harvey Daniels was another influential printmaker of this era, known for his abstract etchings that explore the relationship between form, color, and texture. His work is characterized by bold, geometric shapes and a vibrant use of color.

Trevor Allen, on the other hand, was interested in exploring the human form through his printmaking. His etchings often depict the nude figure in a way that is both sensitive and powerful, with a focus on the intricate details of the human body.

Frank Martin was also part of this group of artists, known for his detailed etchings of cityscapes and urban environments. His work captures the bustling energy of the city, with a focus on the interplay between light and shadow.

Michael Challenger was another important figure in British printmaking during the 1960s, known for his striking linocuts that explore themes of nature, mythology, and the human condition. His work is characterized by a bold use of line and shape, as well as a deep sense of symbolism and meaning.

Together, these artists and their contemporaries helped to establish British printmaking as a vibrant and innovative art form, pushing the boundaries of traditional techniques and exploring new possibilities in the medium.

“Artists do not grow in an altogether hap-hazard way; they fertilize each other, and consequently it is no surprise to find a generation of friends, such as were Monet, Pissaro, and Renoir, maturing in the same soil and climate.

These three print-makers, Norman Ackroyd, Peter Olley, and Shane Weare, all studied at the Royal College of Art more or less at the same time. They are all tremendous individuals, but they have more in common than they probably realize.

They matured in the same soil, and learned the hard way to extract their nourishment from the impersonal face of an Art Academy. As a result, perhaps, they have all come to speak the same artistic language.

They are all in their separate ways exploiting to the full the possibilities of the medium in which they work—etching. They all share a professional attitude to their work; one has only to notice the impeccable quality of each print.

And above all they are, as all true artists are, possessed by the same creative fire.”