Herbert Read

Source: Wikipedia, the free encyclopedia.
This article is about Sir Herbert Edward Read, English poet and critic. For other uses, see Herbert Read (disambiguation).

Sir

Herbert Read

DSO MC
BornHerbert Edward Read
(1893-12-04)4 December 1893
Muscoates, North Riding of Yorkshire, England
Died12 June 1968(1968-06-12) (aged 74)
Stonegrave, North Riding of Yorkshire, England
OccupationArt historian, literary and art critic
Period1915–1968

Sir Herbert Edward Read,

anarchist, he was one of the earliest English writers to take notice of existentialism. He was co-editor with Michael Fordham and Gerhard Adler of the British edition in English of The Collected Works of C. G. Jung
.

Early life

The eldest of four children of tenant farmer Herbert Edward Read (1868-1903), and his wife Eliza Strickland, Read was born at

First World War, during which he served with the Green Howards in France. He was commissioned in January 1915,[6] and received both the Military Cross (MC) and the Distinguished Service Order (DSO) "for conspicuous gallantry and devotion to duty" in 1918.[7][8] He reached the rank of captain.[9]

During the war, Read founded the journal Arts & Letters with Frank Rutter, one of the first literary periodicals to publish work by T. S. Eliot.[10]

Early work

Read's first volume of poetry was Songs of Chaos, self-published in 1915. His second collection, published in 1919, was called Naked Warriors, and drew on his experiences fighting in the trenches of the First World War. His work, which shows the influence of

Criterion (1922–39) and he was for many years a regular art critic for The Listener.[14]

While W. B. Yeats chose many poets of the Great War generation for The Oxford Book of Modern Verse (1936), Read arguably stood out among his peers by virtue of the 17-page excerpt (nearly half of the entire work) of his The End of a War (Faber & Faber, 1933).

Read was also interested in the art of writing. He cared deeply about style and structure and summarized his views in English Prose Style (1928),[15] a primer on, and a philosophy of, good writing. The book is considered one of the best on the foundations of the English language, and how those foundations can be and have been used to write English with elegance and distinction.

Art criticism

Read was a champion of modern British artists such as

Victoria & Albert Museum (1922–39), as well as co-founding the Institute of Contemporary Arts with Roland Penrose in 1947. He was one of the earliest English writers to take notice of existentialism, and was strongly influenced by proto-existentialist thinker Max Stirner
.

From 1953 to 1954 Read served as the Norton Professor at Harvard University. In that final year, he gave the A. W. Mellon Lectures in the Fine Arts at the National Gallery of Art. For the academic year 1964–65 and again in 1965, he was a Fellow on the faculty at the Center for Advanced Studies of Wesleyan University.[16]

Poetry

Read's conception of poetry was influenced by his mentors T. E. Hulme, F. S. Flint, Marianne Moore, W. C. Williams, believing "true poetry was never speech but always a song", quoted with the rest of his definition 'What is a Poem' in his 1926 essay of that name (in his Endword to his Collected Poems of 1966).[12]

Read's 'Phases of English Poetry' was an evolutionary study seeking to answer metaphysical rather than pragmatic questions.[17]

Read's definitive guide to poetry however, was his 'Form in Modern Poetry', which he published in 1932.

Imagist style."[19] This style was evident in Read's earliest collection Eclogues 1914-18.[20]

Anarchism and philosophical outlook

Politically, Read considered himself an anarchist, albeit in the English quietist tradition of Edward Carpenter and William Morris. Nevertheless, in the 1953 New Year Honours he accepted a knighthood for "services to literature";[21][22] this caused Read to be ostracized by most of the anarchist movement.[23] Read was actively opposed to the Franco regime in Spain, and often campaigned on behalf of political prisoners in Spain.[24]

Dividing Read's writings on politics from those on art and culture is difficult, because he saw art, culture and politics as a single congruent expression of human consciousness. His total work amounts to over 1,000 published titles.

Read's book To Hell With Culture deals specifically with his disdain for the term culture and expands on his anarchist view of the artist as artisan, as well as presenting a major analysis of the work of Eric Gill. It was republished by Routledge in 2002.

In his philosophical outlook, Read was close to the European idealist traditions represented by

art psychology. His Idealist background also led Read towards an interest in psychoanalysis. Read became a pioneer in the English-speaking world in the use of psychoanalysis as a tool for art and literary criticism. Originally a Freudian, Read came to transfer his allegiance to the analytical psychology of Carl Jung, eventually becoming both publisher and editor-in-chief of Jung's collected works in English.[25]

As early as 1949, Read took an interest in the writings of the French

Existentialists, particularly those of Jean-Paul Sartre. Although Read never described himself as an existentialist, he did acknowledge that his theories often found support among those who did. Read perhaps was the closest England came to an existentialist theorist of the European tradition.[26]

Views on education

Read developed a strong interest in the subject of education and particularly in

art education. Read's anarchism was influenced by William Godwin, Peter Kropotkin and Max Stirner. Read "became deeply interested in children's drawings and paintings after having been invited to collect works for an exhibition of British art that would tour allied and neutral countries during the Second World War. As it was considered too risky to transport across the Atlantic works of established importance to the national heritage, it was proposed that children’s drawings and paintings should be sent instead. Read, in making his collection, was unexpectedly moved by the expressive power and emotional content of some of the younger artists' works. The experience prompted his special attention to their cultural value, and his engagement of the theory of children's creativity with seriousness matching his devotion to the avant-garde. This work both changed fundamentally his own life’s work throughout his remaining 25 years and provided art education with a rationale of unprecedented lucidity and persuasiveness. Key books and pamphlets resulted: Education through Art (Read, 1943); The Education of Free Men (Read, 1944); Culture and Education in a World Order (Read, 1948); The Grass Read, (1955); and Redemption of the Robot (1966)".[27]

Read "elaborated a socio-cultural dimension of creative education, offering the notion of greater international understanding and cohesiveness rooted in principles of developing the fully balanced personality through art education. Read argued in Education through Art that "every child, is said to be a potential neurotic capable of being saved from this prospect, if early, largely inborn, creative abilities were not repressed by conventional Education. Everyone is an artist of some kind whose special abilities, even if almost insignificant, must be encouraged as contributing to an infinite richness of collective life. Read's newly expressed view of an essential 'continuity' of child and adult creativity in everyone represented a synthesis' the two opposed models of twentieth-century art education that had predominated until this point...Read did not offer a curriculum but a theoretical defence of the genuine and true. His claims for genuineness and truth were based on the overwhelming evidence of characteristics revealed in his study of child art....From 1946 until his death in 1968 he was president of the Society for Education in Art (SEA), the renamed ATG, in which capacity he had a platform for addressing UNESCO....On the basis of such representation Read, with others, succeeded in establishing the International Society for Education through Art (INSEA) as an executive arm of UNESCO in 1954."[27]

Death and legacy

Herbert Read in 1966

Following his death in 1968, Read was probably neglected due to the increasing predominance in academia of theories of art, including Marxism, which discounted his ideas. Yet his work continued to have influence. It was through Read's writings on anarchism that Murray Bookchin was inspired in the mid-1960s to explore the connections between anarchism and ecology.[28] In 1971, a collection of his writings on anarchism and politics was republished, Anarchy and Order, with an introduction by Howard Zinn.[29] In the 1990s, there was a revival of interest in him following a major exhibition in 1993 at Leeds City Art Gallery and the publication of a collection of his anarchist writings, A One-Man Manifesto and other writings for Freedom Press, edited by David Goodway.[30] Since then, more of his work has been republished and there was a Herbert Read Conference, at Tate Britain in June 2004. The library at the Cyprus College of Art is named after him, as is the art gallery at the University for the Creative Arts at Canterbury. Until the 1990s the Institute of Contemporary Arts in London staged an annual Herbert Read Lecture, which included well-known speakers such as Salman Rushdie.

On 11 November 1985, Read was among 16 Great War poets commemorated on a slate stone unveiled in

Poet's Corner.[31] The inscription on the stone was written by a fellow Great War poet, Wilfred Owen. It reads: "My subject is War, and the pity of War. The Poetry is in the pity."[32]

A 1937 reading by Read lasting seven minutes and titled The Surrealist Object can be heard on the audiobook CD Surrealism Reviewed, published in 2002.[33]

He was the father of the well-known writer

Ben Read
.

Selected works

  • What is a Poem (1926)
  • Phases of English Poetry (1928)
  • Wordsworth; The Clark Lectures 1929-30 (1930)
  • In Retreat (1930)
  • Ambush (1931)
  • Arp (1931) 'the World of Art Library' series
  • The Meaning of Art (1931) revised 1968
  • Art and Alienation (1932)
  • Form in Modern Poetry (1932)
  • Innocent Eye (1933) childhood autobiography
  • The Redemption of the Robot: My Encounter with Education through Art (1933)
  • Art Now (1933)
  • Art and Industry (1934)
  • My Anarchism (1934)
  • The Green Child (1935)
  • Unit One (1935) editor
  • Paul Nash. A Portfolio of Colour Plates (1937) introduction
  • Eric Gill (1938)
  • Introduction to Hubris: A Study of Pride by
    Pierre Stephen Robert Payne
    (1940)
  • The Tenth Muse (1941)
  • To Hell With Culture (1941)
  • A World Within A War (1943)
  • Education Through Art (1943) later revised
  • Icon and Idea (1943)
  • Revolution & Reason (1945)
  • The Art of Sculpture (1949)
  • Education for Peace (1950)
  • Existentialism, Marxism and Anarchism, Chains of Freedom (1951)
  • English Prose Style (1952)
  • Art and Society (1953)
  • The True Voice of Feeling (1953)
  • The Paradox of Anarchism (1955)
  • Philosophy of Anarchism (1957)
  • A Concise History of Modern Painting (1959) 'the World of Art Library' series
  • Anarchy & Order; Poetry & Anarchism (1959)
  • Collected Essays in Literary Criticism (1960)
  • The Grass Roots of Art (1963)
  • Art Now (1963)
  • The Contrary Experience: Autobiographies (1963) autobiography
  • Collected Poems (1966)
  • Wordsworth (1966)
  • Naked Warriors (1967)
  • Art and Alienation (1967)
  • Essays in Literary Criticism (1969)

References

Citations
  1. OCLC 56568095
    .
  2. ^ Herbert Read- The Stream and the Source, George Woodcock, 1972 (2008 reprint), Black Rose Books, p. 11
  3. ^ Herbert Read Reassessed, David Goodaway, Liverpool University Press, 1998, p. 1
  4. ^ A Tribute to Herbert Read, 1893-1968, Bradford Art Galleries and Museums, 1975, p. 64
  5. ^ Herbert Read: A Vision of World Art, ed. Benedict Read et al, Leeds City Art Galleries, 1993, p. 147
  6. ^ "No. 29031". The London Gazette (Supplement). 5 January 1915. p. 250.
  7. ^ "No. 30466". The London Gazette (Supplement). 8 January 1918. p. 638.
  8. ^ "No. 30813". The London Gazette (Supplement). 23 July 1918. p. 8749.
  9. ISSN 0362-4331
    .
  10. ^ James King, Herbert Read – The Last Modern (London: Weidenfeld & Nicolson, 1990.
  11. ^ "- 'Metafiddlesticks!': Eliot's Donne and the Possibilities of the Neo-Metaphysical Speaker, 1917-1935". tumblr.com. Retrieved 17 January 2015.
  12. ^ a b Read, Herbert, Collected Poems, London: Faber & Faber, 1966.
  13. ISBN 0-8196-0282-5
    )
  14. ISBN 978-1604862218
    .
  15. ^ Read, Herbert, English Prose Style, London: G. Bell & Son London; New York: Holt, 1928.
  16. ^ Special Collections and Archives Archived 14 March 2017 at the Wayback Machine, Wesleyan University.
  17. ^ Baro, Geno Review, Actual and Historical, 'Poetry' Vol 77 no 6 (1951).
  18. ^ Read, Herbert 'Form in Moderrn Poetry' (first published 1932) Vision Press, Estover 1948
  19. ^ Collins, A. S., English Literature of the Twentieth Century, London: University Tutorial Press, 1951.
  20. ^ Allott, Kenneth, Contemporary Verse Penguin Poets, Harmondsworth, 1950.
  21. ^ Goodway 1998, p. 180
  22. ^ UK list: "No. 39732". The London Gazette (Supplement). 30 December 1952. p. 2.
  23. ^ David Goodway, "Introduction" in A one-man manifesto and other writings for Freedom Press by Herbert Read, London, Freedom Press, 1994,
    ISBN 0-900384-72-7
    (pp. 1-26).
  24. ^ Herbert Read, "We Protest Against this Spanish Tyranny..." (1952 Speech), reprinted in A one-man manifesto and other writings for Freedom Press (pp. 199-200).
  25. ^ Goodway, "Introduction" in A One-Man Manifesto and other writings for Freedom Press by Herbert Read (1994), p. 19.
  26. ^ See Michael Paraskos, The Elephant and the Beetles: the Aesthetic Theories of Herbert Read, PhD, University of Nottingham, 2005.
  27. ^ a b Thistlewood, David (1994). "HERBERT READ (1893–1968)" (PDF). PROSPECTS: The quarterly review of comparative education. Paris: UNESCO: International Bureau of Education. pp. 375–90.
  28. Anarchy Archives
    . Retrieved 26 April 2011.
  29. ^ Boston: Beacon Press, 1971; originally published by Faber and Faber in 1954.
  30. OCLC 30919061
    .
  31. ^ "Poets". byu.edu. Retrieved 17 January 2015.
  32. ^ "Preface". byu.edu. Retrieved 17 January 2015.
  33. ^ "Automatic Redirect". ltmrecordings.com. Retrieved 17 January 2015.
Sources
  • Goodway, David (1998), Herbert Read Reassessed, Liverpool University Press,
    ISBN 978-0-85323-872-0

Further reading

External links

Wikimedia Commons has media related to Herbert Read.
Wikiquote has quotations related to Herbert Read.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Herbert_Read&oldid=1204639240"