Presentations

Art education for the working class has been a part of the core activity of Toynbee Hall ever since the hall opened in the East End of London in 1884. Underpinning the Hall’s foundation lay the philosophy of John Ruskin that the experience of beauty creates beauty itself and the idea of William Morris that labour should go hand in hand with recreation. As the Hall’s prospectus reads, experiencing beauty was supposed to complement daily labour and to be essential for life. C. R. Ashbee, who was one of the first residents of Toynbee Hall, was a main proponent of this aim. He taught a “drawing and decoration” class as well as reviewed Ruskin’s social writings in a reading class. He opened the Guild of Handicraft near the Hall in 1888 to inculcate and produce art in the East End. Although the movement had not been rooted in the East End, his aim was to be fulfilled in the course of educational activities in Whitechapel, creating a new art which gave a substantial impetus not only to London’s art scene but also to the world aesthetic movement. This presentation traces the contents and influence of art education for the working class in Whitechapel during the end of the 19th century and the early 20th century. The Art education of Toynbee Hall has been based on two main principles ever since its opening. One is to create opportunities for the working class to gain access to art works, and the other is to support and encourage the artistic activity of the working class. Many artists have also supported Toynbee Hall in those respects. Concerning the first purpose, the first art exhibition, the St. Jude’s Picture Exhibition, was held as early as March 1885. Many exhibitions following that were distinguished by two points: works displayed were borrowed from individuals who agreed with the educational purposes of the Hall, which means that it was the Hall that chose and asked for first-class art works for the exhibitions. Another is that the art works could be educational only if visitors could connect them with their taste and daily experiences. Thus popular voting was encouraged at the exhibitions. Also the exhibitions were organized as a part of school education, and the system of school admission as well as of group leading by teachers were arranged in due course. Toynbee Hall also supported recreational activities by local people. Artistic activity, which characterized the art education of the Hall, was one of those activities. The Toynbee Sketch Club, which was established in September 1895, was renamed the Toynbee Art Club in 1896, welcoming Alfred William Parsons, who was famous for his watercolors and was a member of Royal Academy, as the president of the Club. Consequently, this connection brought the Club closer to the West End art scene: Parsons improved the artistic skills of the members by giving advice on the individual works once a year and introducing the club members to his artist friends who helpe