The Birmingham Group was an informal collective of painters and craftsmen who gathered around the Birmingham School of Art after Edward R. Taylor reorganized its teaching in the 1880s. Emerging in the 1890s and never strictly constituted - it only acquired a membership secretary in the 1930s - the group formed one of the last outposts of late Romanticism in British art and a bridge between the Pre-Raphaelites and the Slade Symbolists. Heavily shaped by Edward Burne-Jones, John Ruskin and William Morris, its members - Joseph Southall, Charles March Gere, Arthur Gaskin and others - worked equally as painters and fine craftsmen, producing paintings, book illustration for the Kelmscott Press, metalwork and mural decoration. Several members later fed into the Birmingham Surrealists.
The former Birmingham School of Art building. Present day Birmingham Institute of Art and Design. On Margaret St, Birmingham, England.Public domain (credit: GavinWarrins) · source
Defining characteristics
Late-Romantic, Pre-Raphaelite-derived figures drawn from legend, poetry and medieval romance
Arts and Crafts unity of fine art and craft - painting, metalwork and book design in one hand
Lush, jewel-like colour and meticulous draughtsmanship
Decorative, patterned compositions with an antique, storybook atmosphere
Burne-Jones's elongated figures combined with Ruskinian fidelity to natural detail
Key figures
Joseph Southall(1861-1944) — Leading painter of the group's richly coloured figure subjects
Charles March Gere(1869-1957) — Painter and illustrator; drew the Kelmscott Press frontispiece for News from Nowhere
Arthur Gaskin(1862-1928) — Painter and illustrator of the group's Arthurian and poetic subjects
Sidney Meteyard(1868-1947) — Painter and long-serving teacher at the Birmingham School of Art
Henry Payne(1868-1940) — Painter and muralist of medieval subjects
Example works
Hortus Inclusus — Joseph Southall (1898)
The Keepsake — Kate Bunce (1898)
Choosing the Red and White Roses in the Temple Garden — Henry Payne (1908)