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PRINT December 1962/January 1963

British Art Today

THIS EXHIBITION SHOULD BE VIEWED against the deter­mined and planned attempt on the English scene over the last fifteen years to shatter its innate artistic provincialism, and at the same time emulate the American breakthrough from the stranglehold of both the cultural and commercial monopoly of the École de Paris.

Apart from Moore, Hepworth, Nicholson and Sutherland, who were in full and mature possession of their art prior to the Second World War, this exhibition shows the major contributors to, and survivors of, successive shifts towards this ideal of regional cultural independence, culminating in the emergence of a number of important and unique artists. But, just as Joseph Cornell, a key and important American artist, has never been included in the official American export exhibitions to Europe, likewise with this ex­hibition there are notable omissions* and dubious inclusions.

The most

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