page_title: Phelan Gibb
hierarchical_section_title: Phelan Gibb
caption_attribution_description: English: Study by Phelan Gibb Identifier: newspiritindram00cart (find matches) Title: The new spirit in drama &amp; art Year: 1912 (1910s) Authors: Carter, Huntly Subjects: Theater Impressionism (Art) Publisher: London&#160;: F. Palmer Contributing Library: University of California Libraries Digitizing Sponsor: Internet Archive View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: suited to his particular architectonic plastic form. It is different with the decorator who works according tothe second method for attaining unity. He is concerned withthe idea that Man is of chief importance, that the fundamentaldesign of Nature is to be found in Man himself, and conse-quently everything should start with Man and work outwards.Therefore, when he is asked to design a scene or a sequenceof scenes he first of all conceives his creation in essence, asa dominant line or note of colour, expressing character ex-tracted from the Man. Then he imagines this note expanding,evolving spiral by spiral till it attains the widest expression ofthe original design of human character or mystery. So heattains the unifying effect of design in line and colour, andin so doing lays due emphasis on the importance of light,feeling, and movement. This method of building up fromthe root rhythm is entirely different from that of conceivingthe scene in bulk. The one means working forward towards Text Appearing After Image: SUMMARY AND SUGGESTIONS 229 the great mass, the other working backwards from the mass.The Nature decorator invites Nature to bring the Cosmos onthe stage&#160;; while the Man decorator invites Man to bring theCosmos on the stage. The first, aiming to represent a pictureof vast corporeal dimensions veiled by the artistic devices ofthe utmost subtleties of light, requires a new form of theatre.The second, aiming to widen the human expression by meansof a simple and splendid flow of melodious line and colour,can apply his method in the existing type of theatre, whilea more artistic type is being developed. I may offer the following suggestions towards realisingthe artistic movement in the theatre in this country&#160;:— 1. The replacing of the financial theatre-owner by thecultured and wealthy patron. 2. The removal of the actor-manager system and thesubstitution of one that will allow the manager or directorto travel for the purpose of investigating what is being saidand done in the theatre. 3. Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
context_page_description: Harry Phelan Gibb was a British artist influenced by the work of Paul Cézanne, who exhibited in London, Paris and New York.
  Born in Alnwick, Northumberland, he studied at Newcastle, Edinburgh, Antwerp and Munich as well as Paris under Jean-Paul Laurens where he lived for twenty five years. His style has been described as "earthy" and naive and was highly thought of by Roger Fry, Gertrude Stein, and Lucy Wertheim.
  Wertheim indeed enthused about him in her 1947 book Adventure in Art – "The English artist still living whose work probably is of the most permanent value is Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Caezanne, Picasso, Kolle and Christopher Wood, in international exhibitions of Modern Art".
  Emily Carr studied with Gibb in 1910-1911 in France when Gibb was an expatriate living in Paris, and it was during this association that Carr began experimenting with perspective, scale and colour, rather than remaining faithful to literal representations of natural forms.
context_section_description: Harry Phelan Gibb (a.k.a. William Phelan "Harry" Gibb) (1870–1948) was a British artist influenced by the work of Paul Cézanne, who exhibited in London, Paris and New York.
  Born in Alnwick, Northumberland, he studied at Newcastle, Edinburgh, Antwerp and Munich as well as Paris under Jean-Paul Laurens where he lived for twenty five years. His style has been described as "earthy" and naive and was highly thought of by Roger Fry, Gertrude Stein, and Lucy Wertheim.
  Wertheim indeed enthused about him in her 1947 book Adventure in Art – "The English artist still living whose work probably is of the most permanent value is Phelan Gibb. One day Phelan Gibb will doubtless come into his own, and his finest paintings take their place alongside examples of Manet, Caezanne, Picasso, Kolle and Christopher Wood, in international exhibitions of Modern Art".
  Emily Carr studied with Gibb in 1910-1911 in France when Gibb was an expatriate living in Paris, and it was during this association that Carr began experimenting with perspective, scale and colour, rather than remaining faithful to literal representations of natural forms.
  Gibbs' work was shown at the 1913 International Exhibition of Modern Art organised by the Armory Show American Association of Painters and Sculptors in New York City, and his watercolour 'Belgrave Square and Wilton Crescent' (1928) is held by the Tate.
caption: A landscape study by Phelan Gibb
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