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Classical Subjects in the 1920sSidney Greenslade admired painstaking technique and this is nowhere more evident than in the prints of several artists who interpreted classical subjects and revived an interest in line engraving.In much the same way that the Goldsmiths' etchers drew upon the past, both the process of line engraving and classical subject allied the artist with the Western academic tradition. The 'antique' so often provided a vehicle for nudity in engraving. William E. C. Morgan was Prix de Rome winner in 1924. The closely engraved lines and the overall attention to detail of his Perseus and The Brook prints are very Germanic in execution. There are also distinct echoes of Dürer in the engraving of Adam by Nathaniel Sparks. By contrast, The Coursers is a more animated subject by Harry Morley who was a student of Robert Austin at the Royal College of Art. The Sisters of Assisi and Litany by Austin show the influence of Italian Primitives of the Quattrocento.  Artist Collections | Art Pottery | Baskets | Bequests | Calligraphy | Ceramic Archive | Ceramic Figures | Ceramics | Collecting Contemporary Ceramics | Collecting Contemporary Prints | Colour Woodcuts | Drawings | Early British Studio Pottery | Gifts | Glass | The Great and the Good | Gulbenkian Collection | Highlights of the Collection | Illustrators of the 1860s | Lithography in the 1920s | Loans | Musical Instruments | Overview | Paintings | Photographs | Portraiture in the 1920s | Prints | Prints of the 1920s and 1930s | Private Press Books | Publications | The Historic and Retrospective Collection of Ceramics and Bronzes | Search | Special Collections | Watercolours | Weaponry | Welsh Folk Craft | World Craft collections Collections |
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