EVIDENCES of the vitality of certain movements in “New English” art which are incomprehensible to the Slade-bound minds who direct that palladium of art known as the New English Art Club are plainly to be seen in the second exhibition of the Camden Town Group. Certain members of the group having tired of applying for Wilson-Steerage passages to fame in Suffolk Street are revelling in the comforts of the saloon in the more hospitable atmosphere of the Carfax Gallery in Bury Street, St. James’s. It is not to be supposed that the public will like all the pictures in the Carfax Gallery. There has never been very great support on the part of the public to good work which dared to follow other lines than those laid down by the mediocrities of Burlington House. But this is art which, whether you like it or not, has come to stay. It is really new only to England. Its aims and methods have long been accepted on the Continent and in America. But in England progress is slow, for independent art is “up against” that concentrated block of bourgeois sentimentality known as the Royal Academy. But even in England the facts that “Roses have thorns” and “He cometh not” fail to impress when they have been repeated sufficiently often. [end of p.823] And people are now even glad to turn from such banality to something that is sane and natural and has some fundamental relation to life.
How to cite
James Bolivar Manson, ‘The Camden Town Group’, in The Outlook, 9 December 1911, pp.823–4, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, Tate Research Publication, May 2012, https://www.tate.org.uk/art/research-publications/camden-town-group/james-bolivar-manson-the-camden-town-group-r1104251, accessed 20 June 2019.