|Gibraltar Mill, Great Bardfield by Michael Rothenstein|
Clark intended the scheme to be a help to artists, as much as anything else, for with the outbreak of war the market for art became dramatically depressed. He raised enough money to be able to pay his team of recorders a modest sum as they toured the country. The criterion for their choice of subject matter was not simply to find places that might be destroyed by bombs; it was also to key into the more nebulous but pervasive anxiety people felt then (particularly then but, of course, ever since too) about the passing of a whole way of life: modernisation and urbanisation were, it was felt, riding roughshod over 'old England', trampling people, buildings and landscapes as endless terraced houses were thrown up and factories replaced smithies and craftsmen's workshops.
|A more recent selection from the 1500 originals is in this book by Gill Saunders|
|The Shelter, Bedford Square by Phyllis Dimond|
|The Cuckmere at Litlington by Rowland Hilder|
|35 Beaumont Street, Oxford by Stanley Anderson|
|Wooden House, Wrythe Greene byBarbara Jones|
|Tithe Barn, Great Coxwell by John Piper|
|Gibraltar Mill, Great Bardfield as seen on Google Street View|
|Ravilious' house at Castle Hedingham, nr Great Bardfield|
this link tothe Tate website to listen to a poem by John Burnside inspired by this painting.