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fascination with motion, Andrews creates compositions which capture movement in all forms – human, animal, and mechanical. A recurring theme in
Andrews's work is sport, from horse racing and jumping, to rowing crews, otter hunting, and speedway riders; through this, she conveys the exhilaration, speed and thrill of action. Andrews furthermore portrays the vibrancy found in typical English social imagery, which ranged from rural life, farmlands, manual work, and the various intricacies of city life. Additionally, during the 1930s, Andrews created seven linocuts based on the drama of the life of Christ.
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craze of the 1920s and 1930s under the tutelage of Claude Flight, instructor and champion of linocutting at the
Grosvenor School. Flight, a proponent of the relatively new medium, believed that linocuts were most appropriate for expressing the modern age in which they lived, particularly because artists were able to move forward and stamp their own unique mark on the medium, free from the confines of tradition unlike the woodcuts based in historical Japanese methods. Likewise, Andrews quickly absorbed Flight's enthusiasm for linocutting and made it her life's work.
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162:, in 1916 she was apprenticed as a welder, working in the Bristol Welding Company's aeroplane factory, helping in the development of the first all-metal aeroplane. During this period, she took an art correspondence course. After the war, Andrews returned to Bury St Edmunds, where she was employed as an art teacher at Portland House School. Between 1922 and 1924 she attended the
359:. Seeking a new life together after the depression of two world wars, Andrews and Morgan moved to a small cottage in the logging community on Vancouver Island where they made ends meet building and repairing boats. Rediscovered in the art world during the 1970s and 1980s, Andrews became a local celebrity and spent the rest of her life working, painting and teaching.
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in Canada holds copyright for
Andrews's estate and houses the majority of her work with a collection of over 1000 examples, including the main body of her colour linocuts, original linoleum blocks, oil paintings and watercolour, drawings, drypoint etchings, sketchbooks, and personal papers. In recent
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By 1945, the works of the
Grosvenor School artists had lost their appeal and came to be considered “outdated” and “old-fashioned.” For almost four decades, the linocuts of Andrews and her contemporaries had been virtually forgotten. It was not until the 1970s–80s that Andrews was rediscovered in the
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Formally, Andrews’ works utilizes the principles of modernist design: simplified, geometric forms combined with vibrant, flat colors, and dramatic arrangements – suggesting the dynamism of modern life. Another common technique employed by
Andrews is the retention of the paper, which functions as its
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In 1922, Andrews and Power moved to London. Three years later, the pair became part of the staff of the
Grosvenor School of Modern Art – Power was appointed as one of the founding lecturers, while Andrews became the school's first secretary. Both Power and Andrews were swept up in Britain's linocut
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technique, linocutting was prized for its simple tools and materials, making it economical and particularly appealing to
Andrews – a woman of modest means. Following Flight's process, Andrews used ordinary household linoleum, gouges made from umbrella ribs, and a simple wooden spoon to rub against
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Andrews was influenced by the prevailing art movements of her time, predominantly
Vorticism which had strong roots in England and Futurism which originated in Italy, by combining both styles she was able to reflect upon the fast-paced changes inherent to a modernizing society. Sharing Flight's
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Flight's most technical achievement to the medium was abandoning the key-block, forcing his students to create structure with color. In this way, Andrews relies on three to five blocks (one per color) and common print inks applied with a simple roller in order to create her lively prints.
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own color resulting in sharp definition and high contrast between forms. Perhaps most significant is
Andrews's staple device of a "centrifugal force-field," where elements of the composition rotate around a central point in order to create the illusion of movement.
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the paper during printing. The softness of linoleum prevented the cutting of fine lines, resulting in the bold shapes seen in
Andrews's works. Alternately, Andrews often applied a technique of repetitive hatch-marks in order to create the impression of texture.
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in London hosted an exhibition of the works of the Grosvenor School from June to September, which included several examples of her prints. Approximately a month after it closed, an exhibition concentrating on wholly her works opened at the
192:, Andrews returned to work as a welder, this time for the British Power Company, constructing warships. There she met Walter Morgan, whom she married in 1943. Seven wartime depictions of ships by Andrews are in the collection of the
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in London between 1929 and 1937. Flight arranged for these exhibitions to tour Britain and travel to other countries as far away as the United States, China, and Australia.
158:, Andrews was unable to go straight to art school after high school, since her family could not afford the tuition fees. Given the shortage of young men at home during the
207:. Although Andrews had worked in other mediums – such as etchings, paintings, and monotypes – her main passion and interest remained linocuts from the late 1920s on.
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was selected as the presentation print. In 1975, while working as a teacher and focusing on her practice, she completed one of her major works
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Andrews regularly exhibited her work at the “Exhibitions of British Linocuts” – an annual exhibition organized by Claude Flight at the
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142:(19 April 1898 – 21 December 1992) was an English-Canadian artist who specialised in printmaking and is best known for her modernist
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at Bury St Edmunds. This collection includes a number of early watercolours, executed while the artist was still living in
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years her works have sold extremely well at auction with record prices being achieved, primarily within Canada.
177:. The two produced a series of sports posters together, including posters promoting tennis at Wimbledon and the
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Coppel, Stephen (1987). "Grosvenor School Prints: The colour linocuts of the grosvenor school of modern art".
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Collection. Between 1928 and 1938 she exhibited linocuts extensively through shows organised by Flight.
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227:'s linocutting classes. Around 1926 she began producing linocuts and one of her earliest prints
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Images of works by Sybil Andrews in the collection of Museum of New Zealand Te Papa Tongarewa
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art world, now being recognized as one of the Grosvenor School's best artists. Her print
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Andreae, Cristopher (1995). "British linocutters make their mark in an industrial age".
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822:"Online publications - Sybil Andrews and the Grosvenor School Linocuts by Hana Leaper"
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Andrews' contemporaries, fellow students of Claude Flight, include Swiss artist
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85,000.00 – the most expensive print sold by a member of the Grosvenor School.
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Digitised images of works held in UK public ownership available to view at
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In England, one of the largest collections in public ownership is held by
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at the Burnaby Art Gallery. A full exhibition history is available in
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Linocuts of the Machine Age: Claude Flight and the Grosvenor School
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People associated with the Museum of New Zealand Te Papa Tongarewa
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The Bank of New York Mellon Collection, USA (Private Collection)
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Parkin, Michael (28 December 1992). "Obituary: Sybil Andrews".
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Laurence, Robin (Summer 1995). "Remembering Sybil Andrews".
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images of the restoration of the cottage on Campbell River.
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Finch, Christopher (1995). "Art: modern British linocuts".
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In 1947, Andrews and Morgan moved to Canada and settled in
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258:. The Grosvenor School style was influenced by elements of
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Parkin, Michael (1987). "Claude Flight and the Linocut".
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Sybil Andrews: Colour linocuts = linogravures en couleur
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Interest in her work was revived in late 2019, when the
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Andrews continued to practice art and met the architect
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Modern Women: Women Artists at the Museum of Modern Art
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Jenkins, Nicholas (1993). "Reviews: Sybil Andrews".
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Something to Splash About; Sybil Andrews in Suffolk.
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in Canada, which finished in January the next year.
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Society of Canadian Painters, Etchers and Engravers
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402:The Ornament of a House: Fifty Years of Collecting
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1167:Cane, Jennifer, van Eijnsbergen, Ellen (2017).
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529:On the Curve: The Life and Art of Sybil Andrews
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487:St Edmundsbury Museums 1991: Bury St Edmunds,
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1210:. London: Lund Humphries. pp. Appendix.
1068:"Cutting Edge: Modernist British Printmaking"
1015:The Journal of Decorative and Propaganda Arts
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1710:Alumni of the Grosvenor School of Modern Art
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1147:"The Twentieth Century - 1990 - 1999 (1992)"
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501:Sybil Andrews Linocuts: A Complete Catalogue
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932:. Calgary, Alta., Canada: Glenbow Museum.
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1048:Moore, Susan (2012). "The Art Market".
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1094:"Sybil Andrews: Art and Life"
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302:Formal qualities and subjects
194:Royal Air Force Museum London
164:Heatherley School of Fine Art
104:Heatherley School of Fine Art
1725:British women in World War I
1695:Artists from Bury St Edmunds
786:. Antique Collectors' Club.
667:Butler, Cornelia H. (2010).
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686:. london transport museum.
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1324:National Gallery of Canada
504:. London: Lund Humphries.
447:Victoria and Albert Museum
439:National Gallery of Canada
435:, Calgary, Alberta, Canada
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1296:. Glenbow Museum, Calgary
904:Christian Science Monitor
747:"Obituary: Sybil Andrews"
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429:The Burnaby Art Gallery
418:National Gallery of Art
372:The Banner of St Edmund
340:Dulwich Picture Gallery
133:Walter Morgan (m. 1943)
1659:Seven and Five Society
1208:Sybil Andrews Linocuts
406:Sybil Andrews Linocuts
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285:- Sybil Andrews (1935)
274:Process and techniques
1637:Related art movements
1349:collections.vam.ac.uk
1206:Leaper, Hana (2015).
928:White, Peter (1982).
682:David Bownes (2018).
526:Nicol, Janet (2019).
498:Leaper, Hana (2015).
452:Moyse's Hall Museum,
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1171:. Burnaby: Burnaby.
1125:www.sybilandrews.com
971:www.sybilandrews.com
948:Architectural Digest
481:Reeve, Christopher.
211:The Grosvenor School
1730:English printmakers
1098:Glenbow Art Gallery
576:(2). February 1982.
1572:William Greengrass
863:Antique Collecting
635:. Ashgate Pub Co.
315:Exhibition history
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1745:Women printmakers
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1278:on 17 March 2018.
826:read.uberflip.com
693:978-1-871829-28-0
532:. Caitlin Press.
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