Political, economic, social and cultural determinants in the history of early to mid-nineteenth century art and design education in Britain
The history of public art and design education in Britain is known principally through the publication of five books. They are Quentin Bell's The Schools of Design (1963), Gordon Sutton's Artisan or Artist?(1967), Richard Carline's Draw they Must(1968), Stuart MacDonald's The History and Philosophy of Art Education(1970), and Clive Ashwin's Art Education: documents and policies 1768-1975(1975). All of these texts offer a substantially corroborative account which suggests that in the early nineteenth century, Britain experienced economic problems (particularly in the textile industry) caused by superior French design adversely affecting consumer demand for British products. The 1835/6 Select Committee on Arts and Manufactures was established in response to this concern. The outcome of its deliberations was that a school of design was opened in London in 1837 to train artisans in design. In brief, this is the 'dominant', history of nineteenth century art and design education in Britain whose orthodoxy is now frequently quoted in a variety of arenas. More recently an alternative interpretation has been proposed by Peter Cunningham. In his largely unacknowledged PhD research (1979) he suggests a stronger argument
Romans, Mervyn
History
Political, economic, social and cultural determinants in the history of early to mid-nineteenth century art and design education in Britain. The history of public art and design education in Britain is known principally through the publication of five books. They are Quentin Bell's The Schools of Design (1963), Gordon Sutton's Artisan or Artist?(1967), Richard Carline's Draw they Must(1968), Stuart MacDonald's The History and Philosophy of Art Education(1970), and Clive Ashwin's Art Education: documents and policies 1768-1975(1975). All of these texts offer a substantially corroborative account which suggests that in the early nineteenth century, Britain experienced economic problems (particularly in the textile industry) caused by superior French design adversely affecting consumer demand for British products. The 1835/6 Select Committee on Arts and Manufactures was established in response to this concern. The outcome of its deliberations was that a school of design was opened in London in 1837 to train artisans in design. In brief, this is the 'dominant', history of nineteenth century art and design education in Britain whose orthodoxy is now frequently quoted in a variety of arenas. More recently an alternative interpretation has been proposed by Peter Cunningham. In his largely unacknowledged PhD research (1979) he suggests a stronger argument
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