It would be unkind, and, perhaps, not altogether fair, to speak of this as a Movement of No Importance. And yet, judging by the work now brought forward, this would not be absolutely a misdescription of the group which chooses to identify itself with the unromantic and depressing region of Camden Town – so hard to connect with the buoyancy of modern art. Some valiant young painters, and others not free from the prevailing sin of fumisterie (anglice humbug), display work which is not without its stimulating effect on the onlooker who approaches the whole question without prejudice. Still, there is not enough to justify the existence of the militant Camden Towners as a body apart from the New English Art Club, where a good many of them are now showing work of greater importance. Those who exhibit in the group and not in the club are not precisely the most interesting or the most serious among the modernists who here with more than a nuance of youthful defiance approach the public.
How to cite
Sir Claude Phillips, ‘Art Exhibitions. The Camden Town Group’, in The Daily Telegraph, 14 December 1911, p.16, 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/sir-claude-phillips-art-exhibitions-the-camden-town-group-r1104249, accessed 20 June 2019.