In 1944, the first British British sculptor Henry Moore published Lund Humphries. Created in the conditions of war, Henry Moore: Sculpture and drawings It was a remarkable achievement, and was successful in British contemporary books, including Ben Nicholson, Barbara Hepworth and Paul Nash. The engine of these high ambition publications was Peter Gregory (1887-1959), director of Lund Humphries and then the President who preferred anonymity. However, as Valerie Holman described the “company” as a huge nature, he had a great influence on the world of British artists: artists, architects and writers, a prosperous and comprehensive publisher, and the development of key art organizations.
Gregory thought that getting society was essential to feed arts
Gregory believed that the bloom of societies was essential to feed the arts. 12 In specific chapters, both professionals and personal activities cover it, Holman studies a variety of ways achieved this goal. By doing well, Gregory grew in Edinburgh, Bradford, and developed appreciation of art and poetry. In 1907 he published Luncy Bradford printing and publishing, in 1911 and then the director was published in 1919.
In 1932, Lund Humphries’s London offices went to Bedford Square. Gregory organized exhibitions such as man, eating Tschichold and company design consultant Edward Mcknight Kaufer. When the war arrived, he was disordered to the ministry of information. He became the secretary of the Advisory Committee of the war artists, where he commissioned the War Artworks. By renewing the view of publishing after war, the challenges of the Austerity exceeded the production of high quality monographs, the artists deserved serious treatment for old masters.
Artists’ GO-to Publisher
Gregory sponsored many British artists, and the standard and ability to empathize them with them to his magazine. There are many illustrations of this collection of various books in this collection, including Moore’s marble Semi-figure (1932), it became the first sculpture visible in a public gallery in London when he was borrowed from Tate in 1937. He also commissioned work, including Patrick Heron Horizontal paint drawn (1957-8), it is a huge abstract composition of horizontal bands 12 Bedford Square Reception Center and then purchased by the TATE. The artists also helped Gregory Scholarships at Leeds University (1950-80), painter, sculptor, poets and occasional musicians to develop their work with time and space.
Gregory’s trajectory aspect is the number of art organizations associated. In 1943 he was appointed President of the NASCENT Design Research Unit, famous for its corporate designs. He worked on the Executive Committee of Contemporary Art (1947-58), Sit in the panel of visual Arts (1954-56) (1954-56) and, most of his heart attacks, had an important role in implementing the Institute of Contemporary Art in 1946. Director Dorothy Morland stated, “if necessary, the idea, contacts, financial support and presence of peace” was always.
Holman has spent hours over the archives, but who was Peter Gregory? It is a question that has only responded by this book, that is, less biography and more wonderful cultural history seen through human life and work. As the author agrees, Gregory’s personal life were patches: The newspaper takes a limited term and its correspondence is not inconsistent. Instead of a rounded image, if a “compound, portrait”. When this study clarifies the extraordinary heritage of Gregory. It is especially remembered as a publisher, XX. It is revealed as a dedicated contemporary art and design champion of the century. As Moore once said, “There are so many men who have done so much, so humbly for young artists.”
• Valerie in Holman, Peter Gregory: Modern British artists Publisher and patron saintLund Humphries, 160pp, 16 colors and 244 B / W illustrations, published on £ 35 (HB) on October 1 2024
• David Trigg He is an independent writer, critic and art historian. It is the author Among the money (Heni, 2024)
