From Buckingham Palace Treasure A PRINCE’S to the Royal Pavilion 21 SEPTEMBER <strong>2019</strong> – AUTUMN 2021 Admission payable Members free brightonmuseums.org.uk The Royal Collection returns to Brighton THE ROYAL PAVILION • BRIGHTON, BN1 1EE Images: Royal Collection Trust / © Her Majesty Queen Elizabeth II <strong>2019</strong>
ART: BOOK Voyaging Out So many lives… Sylvia Pankhurst, daughter of Emmeline, was a political activist and campaigner for women’s rights. She was also an artist. ‘Her art’, writes Carolyn Trant in her new Thames & Hudson book, Voyaging Out, ‘became her way of bearing witness, showing the monotony of the repetitive work done by women, from packing fish to stooking corn; enduring the heat of the mills or cold in the fields.’ The book’s packed with fascinating life stories of British women artists over the last 150 years: how they did and didn’t manage to work, how they organised their lives, who they lived with, who they worked with; and how that work was then received – or not – by the establishment of the day. The effect of this “narrative non-fiction” is compelling, and cumulative: all these lives lived, and lost – and the extraordinary art that emerged. The pictures dotted throughout are an education. And Carolyn is herself, of course, an artist, not historian: the emphasis stays firmly with the work. The idea for the book came, Carolyn tells me when I visit her in <strong>Lewes</strong>, after she wrote and published her 2004 life of Peggy Angus. Peggy, born to a mining family, one of 13 children, was always an outsider when it came to the art establishment, and deliberately so. “She was being an outsider definitively, so she could say what she thought”, says Carolyn. “This could seem intimidating, but she was totally fearless.” Carolyn knew Peggy well – from the age of 11, when Peggy was her art teacher at her school in North London. They remained close until Peggy’s death in 2004. “And there were so many other women artists I encountered through her. I wanted to write about her wider group of friends. That was the seed. This book grew from there. At one stage it was three times the size! And of course it was a joy writing it because I know a lot of the next generation: they’ve been so generous.” She was also politically motivated. “I’d been part of a group called Women In Print. Of course, I’ve cared about how women have been overlooked for simply being women. And the relevance today is important. We’re at a period where we’re rethinking what art is. Grayson Perry – who I think is brilliant – is Peggy Angus today. It’s to do with looking at art as something you do as part of life – nothing to do with galleries etc.” Throughout this account, of course, women juggle their art with other roles and constraints: financial, class, marriage, security, children, the kitchen sink. Their courage and determination shine through these potted histories. And Carolyn also thinks that, politically and socially, we have things to (re)learn. “Now is so like the 1930s – with the rise of fascism. These women were so inspiring, had such integrity. “Perhaps they didn’t have so much to lose”, she says. “But they lived by their beliefs, and they stood up for things. Today, we could do with remembering this.” Charlotte Gann 45