DOI Artikel:
Jones, Sydney R.; Forrest, George Topham [Ill.]: The Roehampton Estate: illustrated by drawings prepared in the office of the architect to the London county council
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.41869#0051
THE ROEHAMPTON ESTATE
ILLUSTRATED BY DRAWINGS PREPARED IN THE OFFICE OF THE ARCHITECT
TO THE LONDON COUNTY COUNCIL, G. TOPHAM FORREST, F.R.I.B.A., F.R.S.E.
A FOREWORD to “ The Studio” Year-Book of last year
reviewed the conditions that prevailed in the world of applied
art at the close of 1920, with the object of ascertaining what
were the prospects of the future, and in which direction they
lay. When it was published this foreword aroused considerable interest,
and since that time it has been widely quoted. It was shewn that the hap-
penings of the past few years had materially affected the conditions of
existence in this country, and that a new set of social problems had arisen,
with the result that the art-worker, in common with the rest of the com-
munity, was called upon to adapt himself to the operation of these new
influences. In many ways the artist’s position was one of exceptional diffi-
culty, for the avenues through which the demand for much of his work had
hitherto come were closed; and if he was to continue a career of useful-
ness, nothing short of a complete revision of his aims and practice
was necessary. The burden of taxation, the low purchasing power
of the currency, the complications caused by the unstable foreign
exchanges, and the demands of organised labour, together with
many other problems, both in-
ternational and local, had seri-
ously affected the progress and
development of art. People who
had in the past the desire, as well
as the means, to give encourage-
ment, were no longer able to do
so to the same extent, for they
found their available funds little
more than sufficient to provide
for the ordinary necessaries of
life. At the same time the redis-
tribution of national income had
placed a larger proportion of
wealth in the hands of the many.
It was apparent, therefore, that
the future of art lay with, and for,
the multitude, and if the authority r(?
of art was to be maintained, it was
clearly the duty of the artist to
carefully study the conditions,
work within the limitations treatment of passage entrance
37
ILLUSTRATED BY DRAWINGS PREPARED IN THE OFFICE OF THE ARCHITECT
TO THE LONDON COUNTY COUNCIL, G. TOPHAM FORREST, F.R.I.B.A., F.R.S.E.
A FOREWORD to “ The Studio” Year-Book of last year
reviewed the conditions that prevailed in the world of applied
art at the close of 1920, with the object of ascertaining what
were the prospects of the future, and in which direction they
lay. When it was published this foreword aroused considerable interest,
and since that time it has been widely quoted. It was shewn that the hap-
penings of the past few years had materially affected the conditions of
existence in this country, and that a new set of social problems had arisen,
with the result that the art-worker, in common with the rest of the com-
munity, was called upon to adapt himself to the operation of these new
influences. In many ways the artist’s position was one of exceptional diffi-
culty, for the avenues through which the demand for much of his work had
hitherto come were closed; and if he was to continue a career of useful-
ness, nothing short of a complete revision of his aims and practice
was necessary. The burden of taxation, the low purchasing power
of the currency, the complications caused by the unstable foreign
exchanges, and the demands of organised labour, together with
many other problems, both in-
ternational and local, had seri-
ously affected the progress and
development of art. People who
had in the past the desire, as well
as the means, to give encourage-
ment, were no longer able to do
so to the same extent, for they
found their available funds little
more than sufficient to provide
for the ordinary necessaries of
life. At the same time the redis-
tribution of national income had
placed a larger proportion of
wealth in the hands of the many.
It was apparent, therefore, that
the future of art lay with, and for,
the multitude, and if the authority r(?
of art was to be maintained, it was
clearly the duty of the artist to
carefully study the conditions,
work within the limitations treatment of passage entrance
37