With Kenneth Rowntree suceeding Gowing as Professor and following Pasmore’s departure in 1961, this decade saw the increasing influence of Richard Hamilton in teaching, more emphasis on British 20th century acquisitions and younger contemporary artists’ exhibitions.

While Evetts, McCheyne, Holland and Hodgson remained on the staff, others such as Geoffrey Dudley, Eric Dobson, Derwent Wise and later Ian Stephenson took prominent roles.



  • Art as Communication

    13-15 April 1964

Staff / Students

1964, Summer Exhibition, catalogue

The cover of the 1964 Summer Exhibition catalogue had a clearly figurative design, a possible indication of a move away from an adherence to Pasmore’s strict abstract philosophy, towards Hamilton’s broader outlook.

In 1964 the external examiners were Lawrence Gowing and Ralph Brown.

1964, Student Summer Exhibition, press review

As the initial impact of Pasmore and the ‘basic course’ started to wain, reviews of the Student Summer exhibitions tended to highlight the ‘variety’ of styles and artists doing something different alongside the various ‘harmless and well made’ constructions.

1964, Basic course exercises, photograph

Students can be seen here pinning up the outcomes of various exercises focused on colour, ready for group discussion and analysis.

1964, Maurice de Sausmarez’s book, ‘Basic design: the dynamics of visual form’

Maurice de Sausmarez’s small, but popular and influential book ‘Basic design: the dynamics of visual form’, first published in 1964, examines visual concepts such as space, colour and ‘dynamic forces’. He particularly acknowledges Harry Thubron ‘whose work has contributed much to art education.’ He aimed to encourage in young artists ‘a constant inquisitiveness about the phenomena of pictorial and plastic expression.’



The Embarkation of St. Paula for the Holy Land, 1738

Pierre Subleyras

Pierre Subleyras (1699-1749) - 'The Embarkation of St. Paula for the Holy Land' c.1738.

NEWHG : OP.0042. Oil on canvas purchased from P&D Colnaghi, 1964.

Letter from the V&A Museum, 1964

Kenneth Rowntree

Many galleries have benefited from the V&A Purchase Grant Fund since its instigation in 1881, Rowntree was able to secure 50% of the costs of the Subleyras to supplement the funds from the Gulbenkian Foundation.