The flame-like strips of color and curving forms amplify velocity, mechanical force, and the exhilaration of the spectators. In Brooklands, Flight depicts the dynamism and rhythmic movement of three race cars. The Grosvenor School artists were interested in the speed, power, and force of modern life as symbolized by leisure activities but also by the machines and networks that remade it. He cropped the image and eliminated details to focus on the simplified, repetitive forms of the rowers, their paddles, and the boat. In The Eight, Cyril Power depicts the swift movement of rowers racing along the Thames from a disorienting overhead view. The use of this cheap and readily available synthetic material reflected the artists' desire to create works that would reflect the modern era in their construction as well as their imagery of everyday experiences. The most popular and important course offered at the Grosvenor School was Claude Flight's seminar on linocut, a relief-printmaking technique much like the traditional woodcut, in which an artist uses a sharp metal tool to carve directly into a block of linoleum. The collection is unparalleled in its holdings of colored linocuts by artists associated with London's progressive Grosvenor School of Modern Art, active between 19. The Met's recent acquisition of more than 700 rare and important British modernist works from the collection of Leslie and Johanna Garfield, establishes the Museum as a global center for works on paper from this dynamic period. Despite their innovation, however, the artists and their works are not as familiar as other modernist figures from this period. These powerful works capture the optimism and anxiety of the turbulent and dynamic decades of the early twentieth century in Britain.'ĭuring the tumultuous decades of the early twentieth century, graphic arts flourished in Great Britain as artists sought to portray quotidian life during the machine age with suitably modern techniques and approaches.

Grosvenor prints