Status

Status
Inactive

Your details

E-mail:

Update your details || || Logout

Navigation


Art & artists


Erotically diverted? The work of Eric Gill

— August 2011

Article read level: Art lover

Associated media

Cover or Eric GIll: Lust for Letter and Line

Eric Gill: Lust for Letter and Line

Ruth Cribb and Joe Cribb

This is a small bargain – a clearly thought-out paperback introduction to one of the most unusual and (some would say) notorious minds in the history of Britain’s art. It’s an excellent starting-point: a strong, introductory account of Gill’s life and career, for anyone with no immediate need of the depth of Fiona McCarthy’s groundbreaking exposé (Faber, 1989), or of Speaight’s 1966 account of Saint Eric of Gill. The front cover of the BM book doesn’t bear the subtitle – too erotically diverting perhaps? – it’s on the inside title page.

But it won’t matter who reads this: the BM imprimatur will supply the appropriate seal of approval, and rightly so. The Cribbs have done a sterling job on their subject, with a succinct text, illustrated almost entirely from the BM’s Gill holdings, though referring occasionally to works in other major collections. The whole has been treated with attractive restraint by the British Museum design team, and Gill’s own typefaces, Perpetua and Gill Sans, have been used to do the basic business. Chapter headings – ‘The Past’, ‘Connections, ‘God’, ‘Print’, ‘The Body’, ‘The Book’ and ‘It All Goes Togetherare emblematic, and are clearly and cogently written. All in all, text and image are pretty symmetrical, balanced straightforwardly, even, between Sex and Religion. No real surprises there, then, but if this text is studied in its simplicity, it is also subtle.

The Cribbs aren’t cagey about the grating contrasts in Gill’s output, no matter the efforts of some of his apologists to conceal his earthier personal traits. Indeed, this BM publication rightly displays the undeniable, collective  ‘Wow factor’ in Gill’s work, presenting it as a feature that really needs to be established, understood and evaluated in isolation from the uncomfortable realities of existence within the Gill family circle, as they have come to be exposed. As they were in Gill’s life and practice, text and image are key to the intrinsic value of this little book, a fact that any prospective purchaser should be quickly aware of. This is very good value indeed.

Eric Gill: Lust for Letter and Line  by Ruth Cribb and Joe Cribb is published by the British Museum Press, 2011.  112pp., fully illustrated in mono and colour, £9.99. ISBN 978-0-7141-1819-2

Credits

Author:
Julian Freeman
Location:
Sussex Coast College, Hastings
Role:
Art historian
Books:
Julian Freeman is the author of British Art: A Walk Round the Rusty Pier, published by Southbank Publishing, 2006.

Media credit: Eric Gill, Design for George V's Great Seal, 1914




Background info

Eric Gill (1882–1940) was an English sculptor, stonecutter and typeface designer, who also produced a number of erotic drawings and engravings. He was a friend of Jacob Epstein and William Rothenstein and was influenced by Indian sculpture. Among the finest examples of his work are the Stations of the Cross in Westminster Cathedral, London. He also created the figures of Prospero and Ariel and others for the BBC’s Broadcasting House in central London. There are examples of his work in London’s Victoria and Albert Museum, as well as the British Museum. Although deeply religious, Gill was also highly unorthodox and became posthumously notorious when it emerged (from his diaries) that he had sexually abused his children and been incestuously involved with his sister, among other extramarital relationships. This was covered for the first time in Fiona MacCarthy’s book  Eric Gill,  published by  Faber & Faber in  1989 (ISBN 0-571-14302-4), having been passed over in Robert Speaight’s  Life of Eric Gill, published by Methuen in 1966 (presumably judged too shocking to reveal at that time).


Other interesting content

Read news from the world of art