Arthur Eric Rowton Gill /ˈɡɪl/1 (22 February 1882 – 17 November 1940) was a British sculptor, book designer, stonecutter and printmaker, who was associated with the Arts and Crafts movement. He is a arguable figure, with his acclaimed religious angle and accountable amount actuality apparent as at allowance with his animal and paraphiliac behaviour and amative art.
Saturday, 17 December 2011
Life
Gill was built-in in 1882 in Brighton, Sussex (now East Sussex) and in 1897 the ancestors confused to Chichester. He advised at Chichester Technical and Art School, and in 1900 confused to London to alternation as an artist with the convenance of W.D. Caroe, specialists in ecclesiastical architecture. Frustrated with his training, he took black classes in stonemasonry at Westminster Technical Institute and in calligraphy at the Central School of Arts and Crafts, area Edward Johnston, architect of the London Underground typeface, became a able influence. In 1903 he gave up his architectural training to become a calligrapher, letter-cutter and awe-inspiring mason.
In 1904 he affiliated Ethel Hester Moore (1878–1961), and in 1907 he confused with his ancestors to "Sopers", a abode in the apple of Ditchling in Sussex, which would after become the centre of an artists' association aggressive by Gill. There he started bearing carve – his aboriginal accessible success was Mother and Child (1912). A self-described "disciple" of the Ceylonese philosopher and art historian Ananda Coomaraswamy, Gill was absorbed during this aeon by Indian temple sculpture. Along with his acquaintance and assistant Jacob Epstein, he planned the architecture in the Sussex countryside of a colossal, hand-carved cairn in apery of the all-embracing Jain structures at Gwalior Fort in Madhya Pradesh, to which he had been alien by the Indiaphile William Rothenstein.2
In 1913 he confused to Hopkin's Crank at Ditchling Common, two afar arctic of the village. In 1914 he produced sculptures for the stations of the cantankerous in Westminster Cathedral. In the aforementioned year he met the typographer Stanley Morison. After the war, calm with Hilary Pepler and Desmond Chute, Gill founded The Guild of St Joseph and St Dominic at Ditchling, area his pupils included the adolescent David Jones, who anon began a accord with Gill's daughter, Petra.
Nude woman naked collapsed on a bobcat skin, a graphite cartoon by Gill (1928)
Sir Harry Johnston canonizing plaque
In 1924 he confused to Capel-y-ffin in Wales, area he set up a fresh workshop, to be followed by Jones and added disciples. In 1925 he advised the Perpetua typeface, with the uppercase based aloft awe-inspiring Roman inscriptions, for Morison, who was alive for the Monotype Corporation.
An in-situ archetype of Gill's architecture and claimed acid of his Perpetua book can be begin in the axis of Poling abbey in West Sussex, on a bank applique commemorating the action of Sir Harry Johnston. The Perpetua architecture was followed by the Gill Sans book in 1927–30, based on the sans serif book originally advised for the London Underground. (Gill had collaborated with Edward Johnston in the aboriginal architecture of the Underground typeface, but alone out of the action afore it was completed.) In the aeon 1930–31 Gill advised the book Joanna which he acclimated to hand-set his book, An Essay on Typography.
Gill anon annoyed of Capel-y-ffin, advancing to feel that it had the amiss atmosphere and was too far from London, area best of his audience were. In 1928 he confused to Pigotts at Speen abreast High Wycombe in Buckinghamshire,3 area he set up a columnist press and book workshop. He took on a cardinal of apprentices, including David Kindersley, who in about-face became a acknowledged sculptor and engraver, and John Skelton (1923–99), his nephew, and additionally acclaimed as an important letterer and sculptor. Added apprentices included Laurie Cribb, Donald Potter and Walter Ritchie.4 Others in the domiciliary included Denis Tegetmeier, affiliated to Gill's babe Petra, and Rene Hague, affiliated to the added daughter, Joanna.
North Wind, 55 Broadway
In 1928–9, Gill carved three of eight abatement sculptures on the affair of apprehension for Charles Holden's address for the London Electric Railway (now Transport for London) at 55 Broadway, St James's. He carved a bronze of the Virgin and Child for the west aperture of the abbey at Marlborough College.5
Ariel Amid Wisdom and Gaiety, BBC Broadcasting House, 1932
In 1932 Gill produced a accumulation of sculptures, Prospero and Ariel,6 and others for the BBC's Broadcasting Abode in London. In 1937, he advised the accomplishments of the aboriginal George VI absolute brand alternation for the Post Office,7 and in 1938 produced The Creation of Adam, three bas-reliefs in bean for the Palace of Nations, the League of Nations architecture in Geneva, Switzerland. During this aeon he was fabricated a Royal Designer for Industry, the accomplished British accolade for designers, by the Royal Society of Arts and became a founder-member of the anew accustomed Faculty of Royal Designers for Industry.
A acutely religious man, abundantly afterward the Roman Catholic faith, his behavior and practices were by no agency orthodox.8 He appear abundant essays on the accord amid art and religion. He additionally produced a cardinal of amative engravings.9 His claimed affidavit call his animal action in abundant detail including the actuality that Gill sexually abused his own children, had an incestuous accord with his sister and performed animal acts on his dog. This aspect of Gill's action was little accepted until advertisement of the 1989 adventures by Fiona MacCarthy. The beforehand adventures by Robert Speaight mentioned none of it.
As the revelations about Gill's clandestine action reverberated, there was a analysis of his claimed and aesthetic achievement. As his contempo biographer sums up:
After the antecedent shock, … as Gill's history of adulteries, incest, and beginning affiliation with his dog became accessible ability in the backward 1980s, the consistent analysis of his action and art larboard his aesthetic acceptability strengthened. Gill emerged as one of the twentieth century's strangest and best aboriginal controversialists, a sometimes infuriating, consistently arresting agent for man's continuing charge of God in an more acquisitive civilization, and for bookish vigour in an age of advancing triviality.10
Gill died of lung blight in Harefield Hospital, Hillingdon (formerly Middlesex), in 1940. He was active in Speen churchyard in the Chilterns, abreast Princes Risborough, the apple area his aftermost aesthetic association had practised. His affidavit and library are archived at the William Andrews Clark Canonizing Library at UCLA.11
In 1904 he affiliated Ethel Hester Moore (1878–1961), and in 1907 he confused with his ancestors to "Sopers", a abode in the apple of Ditchling in Sussex, which would after become the centre of an artists' association aggressive by Gill. There he started bearing carve – his aboriginal accessible success was Mother and Child (1912). A self-described "disciple" of the Ceylonese philosopher and art historian Ananda Coomaraswamy, Gill was absorbed during this aeon by Indian temple sculpture. Along with his acquaintance and assistant Jacob Epstein, he planned the architecture in the Sussex countryside of a colossal, hand-carved cairn in apery of the all-embracing Jain structures at Gwalior Fort in Madhya Pradesh, to which he had been alien by the Indiaphile William Rothenstein.2
In 1913 he confused to Hopkin's Crank at Ditchling Common, two afar arctic of the village. In 1914 he produced sculptures for the stations of the cantankerous in Westminster Cathedral. In the aforementioned year he met the typographer Stanley Morison. After the war, calm with Hilary Pepler and Desmond Chute, Gill founded The Guild of St Joseph and St Dominic at Ditchling, area his pupils included the adolescent David Jones, who anon began a accord with Gill's daughter, Petra.
Nude woman naked collapsed on a bobcat skin, a graphite cartoon by Gill (1928)
Sir Harry Johnston canonizing plaque
In 1924 he confused to Capel-y-ffin in Wales, area he set up a fresh workshop, to be followed by Jones and added disciples. In 1925 he advised the Perpetua typeface, with the uppercase based aloft awe-inspiring Roman inscriptions, for Morison, who was alive for the Monotype Corporation.
An in-situ archetype of Gill's architecture and claimed acid of his Perpetua book can be begin in the axis of Poling abbey in West Sussex, on a bank applique commemorating the action of Sir Harry Johnston. The Perpetua architecture was followed by the Gill Sans book in 1927–30, based on the sans serif book originally advised for the London Underground. (Gill had collaborated with Edward Johnston in the aboriginal architecture of the Underground typeface, but alone out of the action afore it was completed.) In the aeon 1930–31 Gill advised the book Joanna which he acclimated to hand-set his book, An Essay on Typography.
Gill anon annoyed of Capel-y-ffin, advancing to feel that it had the amiss atmosphere and was too far from London, area best of his audience were. In 1928 he confused to Pigotts at Speen abreast High Wycombe in Buckinghamshire,3 area he set up a columnist press and book workshop. He took on a cardinal of apprentices, including David Kindersley, who in about-face became a acknowledged sculptor and engraver, and John Skelton (1923–99), his nephew, and additionally acclaimed as an important letterer and sculptor. Added apprentices included Laurie Cribb, Donald Potter and Walter Ritchie.4 Others in the domiciliary included Denis Tegetmeier, affiliated to Gill's babe Petra, and Rene Hague, affiliated to the added daughter, Joanna.
North Wind, 55 Broadway
In 1928–9, Gill carved three of eight abatement sculptures on the affair of apprehension for Charles Holden's address for the London Electric Railway (now Transport for London) at 55 Broadway, St James's. He carved a bronze of the Virgin and Child for the west aperture of the abbey at Marlborough College.5
Ariel Amid Wisdom and Gaiety, BBC Broadcasting House, 1932
In 1932 Gill produced a accumulation of sculptures, Prospero and Ariel,6 and others for the BBC's Broadcasting Abode in London. In 1937, he advised the accomplishments of the aboriginal George VI absolute brand alternation for the Post Office,7 and in 1938 produced The Creation of Adam, three bas-reliefs in bean for the Palace of Nations, the League of Nations architecture in Geneva, Switzerland. During this aeon he was fabricated a Royal Designer for Industry, the accomplished British accolade for designers, by the Royal Society of Arts and became a founder-member of the anew accustomed Faculty of Royal Designers for Industry.
A acutely religious man, abundantly afterward the Roman Catholic faith, his behavior and practices were by no agency orthodox.8 He appear abundant essays on the accord amid art and religion. He additionally produced a cardinal of amative engravings.9 His claimed affidavit call his animal action in abundant detail including the actuality that Gill sexually abused his own children, had an incestuous accord with his sister and performed animal acts on his dog. This aspect of Gill's action was little accepted until advertisement of the 1989 adventures by Fiona MacCarthy. The beforehand adventures by Robert Speaight mentioned none of it.
As the revelations about Gill's clandestine action reverberated, there was a analysis of his claimed and aesthetic achievement. As his contempo biographer sums up:
After the antecedent shock, … as Gill's history of adulteries, incest, and beginning affiliation with his dog became accessible ability in the backward 1980s, the consistent analysis of his action and art larboard his aesthetic acceptability strengthened. Gill emerged as one of the twentieth century's strangest and best aboriginal controversialists, a sometimes infuriating, consistently arresting agent for man's continuing charge of God in an more acquisitive civilization, and for bookish vigour in an age of advancing triviality.10
Gill died of lung blight in Harefield Hospital, Hillingdon (formerly Middlesex), in 1940. He was active in Speen churchyard in the Chilterns, abreast Princes Risborough, the apple area his aftermost aesthetic association had practised. His affidavit and library are archived at the William Andrews Clark Canonizing Library at UCLA.11
Typefaces
Eric Gill's types include:
Gill Sans (his best acclaimed face and abiding bequest to typography 1927–30)
Perpetua (1926)
Perpetua Greek (1929)12
Golden Cockerel Press Type (for the Golden Cockerel Press; 1929)
Solus (1929),
Joanna (based on assignment by Granjon; 1930–31)
Aries (1932)
Floriated Capitals (1932)
Bunyan (1934)
Pilgrim (recut adaptation of Bunyan; 1953)
Jubilee (also accepted as Cunard; 1934)
In his 1947–49 redesign for Penguin Books, a activity that resulted in the enactment of Penguin Composition Rules, Jan Tschichold defined use of Gill Sans for book titles, and in branding their Pelican imprint. In the 1990s, the BBC adopted Gill Sans for its wordmark and abounding of its on-screen television
Gill Sans (his best acclaimed face and abiding bequest to typography 1927–30)
Perpetua (1926)
Perpetua Greek (1929)12
Golden Cockerel Press Type (for the Golden Cockerel Press; 1929)
Solus (1929),
Joanna (based on assignment by Granjon; 1930–31)
Aries (1932)
Floriated Capitals (1932)
Bunyan (1934)
Pilgrim (recut adaptation of Bunyan; 1953)
Jubilee (also accepted as Cunard; 1934)
In his 1947–49 redesign for Penguin Books, a activity that resulted in the enactment of Penguin Composition Rules, Jan Tschichold defined use of Gill Sans for book titles, and in branding their Pelican imprint. In the 1990s, the BBC adopted Gill Sans for its wordmark and abounding of its on-screen television
Selected writings
A Holy Tradition of Working: An Anthology of Writings, Golgonooza Press, 1983, ISBN 0-903880-30-X
Clothes: An Essay Upon the Nature and Significance of the Natural and Artificial Integuments Worn by Men and Women, 1931, Jonathan Cape
An Essay on Typography, 1931, ISBN 0-87923-762-7, ISBN 0-87923-950-6 (reprints)
Christianity and Art, 1927
Art, 1934
Work and Property, 1937
Gill, Eric (1937). Trousers & The Most Precious Ornament. London: Faber and Faber. OCLC 5034115.
Work and Culture, 1938
Autobiography: Quod Ore Sumpsimus..., Jonathan Cape, 1940 (published posthumously) ISBN 1-870495-13-6
Notes on Postage Stamps, Kat Ran Press, 2011. ISBN 0-979434-21-1
Clothes: An Essay Upon the Nature and Significance of the Natural and Artificial Integuments Worn by Men and Women, 1931, Jonathan Cape
An Essay on Typography, 1931, ISBN 0-87923-762-7, ISBN 0-87923-950-6 (reprints)
Christianity and Art, 1927
Art, 1934
Work and Property, 1937
Gill, Eric (1937). Trousers & The Most Precious Ornament. London: Faber and Faber. OCLC 5034115.
Work and Culture, 1938
Autobiography: Quod Ore Sumpsimus..., Jonathan Cape, 1940 (published posthumously) ISBN 1-870495-13-6
Notes on Postage Stamps, Kat Ran Press, 2011. ISBN 0-979434-21-1
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