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In early 1944, under the guidance and enthusiasm of Lewis Duckett, Principal of the Plymouth School of Art, a group of artists met to discuss the proposal of mounting an exhibition in the City Art Gallery that coming autumn. Their work was to be shown under the title of the Plymouth Society of Artists.
The purpose was to encourage and foster a professional and progressive outlook in the fine arts of painting, sculpture and printmaking for the benefit of Plymouth and Plymothians. Membership was to be restricted to those living in the city, or with strong ties to it.
That aim, in itself, was simple but in the seven decades that have passed there have been many and varied interpretations given to it and, equally varied, the exhibits. There have been numerous changes that have taken place during this time, particularly in the external influences that prompt the work of the professional artist. Moreover, extended mobility is now commonplace and has allowed many more practitioners to be within easy striking distance of the city rather than be restricted to within its boundary. This has been responsible for the changed face of the Society, probably more so than any other factor, and unquestionably brings a clear distinction from Plymouth’s phoenix years following the Second World War.
Over its lifetime the Society’s membership has been drawn from the far west of Cornwall to London and beyond, and even as far afield as Brittany and Canada. Nonetheless, from its inception this has been by invitation only, and remains so, though the more recent advent of social media and websites has made it much easier for the work of applicants to be seen and considered for inclusion.
The Society neither receives, nor seeks, any public funding. All expenses incurred in the pursuance of its aims are met from the funds and from annual subscriptions.
The purpose was to encourage and foster a professional and progressive outlook in the fine arts of painting, sculpture and printmaking for the benefit of Plymouth and Plymothians. Membership was to be restricted to those living in the city, or with strong ties to it.
That aim, in itself, was simple but in the seven decades that have passed there have been many and varied interpretations given to it and, equally varied, the exhibits. There have been numerous changes that have taken place during this time, particularly in the external influences that prompt the work of the professional artist. Moreover, extended mobility is now commonplace and has allowed many more practitioners to be within easy striking distance of the city rather than be restricted to within its boundary. This has been responsible for the changed face of the Society, probably more so than any other factor, and unquestionably brings a clear distinction from Plymouth’s phoenix years following the Second World War.
Over its lifetime the Society’s membership has been drawn from the far west of Cornwall to London and beyond, and even as far afield as Brittany and Canada. Nonetheless, from its inception this has been by invitation only, and remains so, though the more recent advent of social media and websites has made it much easier for the work of applicants to be seen and considered for inclusion.
The Society neither receives, nor seeks, any public funding. All expenses incurred in the pursuance of its aims are met from the funds and from annual subscriptions.