Sybil Andrews & Gwenda Morgan: A Study In Contrast
Jan 17, 2015 - Apr 12, 2015
Sybil Andrews and Gwenda Morgan both developed their printmaking skills at the progressive Grosvenor School of Modern Art in London (1925-1940), one of the few British art schools of the time that exposed students to avant-garde European art. Sharing the school鈥檚 commitment to a democratic approach to the arts, Andrews produced linocuts and Morgan wood engravings 鈥� inexpensive and accessible works on paper which might be displayed on anyone鈥檚 walls or used to illustrate mass produced books and posters. Yet their personal styles were very different. Morgan engraved neo-romantic views of the Sussex countryside, where she lived all her life. Andrews鈥� prints were often about urban life and her early works reveal traces of the Futurist, Cubist, and Vorticist styles to which she had been introduced. Andrews immigrated to British Columbia in 1947 and reestablished herself as an artist and teacher.
Sybil Andrews and Gwenda Morgan both developed their printmaking skills at the progressive Grosvenor School of Modern Art in London (1925-1940), one of the few British art schools of the time that exposed students to avant-garde European art. Sharing the school鈥檚 commitment to a democratic approach to the arts, Andrews produced linocuts and Morgan wood engravings 鈥� inexpensive and accessible works on paper which might be displayed on anyone鈥檚 walls or used to illustrate mass produced books and posters. Yet their personal styles were very different. Morgan engraved neo-romantic views of the Sussex countryside, where she lived all her life. Andrews鈥� prints were often about urban life and her early works reveal traces of the Futurist, Cubist, and Vorticist styles to which she had been introduced. Andrews immigrated to British Columbia in 1947 and reestablished herself as an artist and teacher.
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