1. Morning by Dod Procter.

    As an essay in the possibilities of painting considered as plastic art, “Morning” must hold our interest. The experiment may be said to have been successful, since this was the most discussed picture in the Royal Academy Exhibition of 1927, or perhaps of any Exhibition since the War. In London and the provinces thousands went to see it. It served, in short, to draw the attention of the public to the possibilities rather than the banalities of art: to register, as a kind of challenge, that an artist may paint for the intellect as well as for the senses. Perhaps the first impression on receives is the distinction between flesh and drapery is not so marked as custom suggests. The girl’s body and the material that enwrap it are treated almost exclusively as form, and the bed which supports her, with its own components, is like the pedestal of the statue.

    The implication that there is beauty so near our eyes that we repeatedly fail to see it - in, say, the fold of a sheet; or the curve of a limb, quite apart from the personality - is, broadcast in this way, an attempt to increase the fullness of existence which is surely worth making.

    [From “The World’s Famous Painting” by Martin Conway and Charles J. Holmes, edited by J.A. Hammerton.]


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