INTRODUCTION “Britain had one century of painting.” Elie Faure’s statement summarizes best what critics, art researchers and collectors haven’t had the space, the heart or the inspiration to say in their restless attempts to present English Art. WHY? To answer this question we must take into account more than history and documents, we must evaluate the essence, the soul of the creator, of the English man. Andrew Crawley describes in his book (“England”), the English people as being profoundly conservative.The English men feel, instinctively, that the present is not only the creation of the contemporaries, but also the result of the work of many past generations. For them, everything is related to the past, which, thus, becomes the origin of the present. The English man’s being conservative is only a habit, derived from his deep understanding of reality. His practical sense, which has been widely acknowledged, must be attributed to this perception he has on reality. This leads to his native ability of adapting and assimilating the “new”. The English man is closely related to history and he permanently gains practical advice from it. This kind of peaceful bonding between a people and its history, during these stormy centuries of fight and rebellion (the XVIIIth and the XIXth centuries), which singles out the British people from the other European nations, creates an equilibrium which is incompatible with such artistic manifestations as painting. The practical Puritan spirit refuse painting and, when it finally emerges this mentality makes it lose her way. The English soul subordinates the highest aspirations to material necessities. It extends over the Universe the power of reason; Bacon gives an...
