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Further confirmation of the important position that the society held in 19th Century Britain was the granting of the Royal Charter by Queen Victoria in August 1887. Since its foundation the society has had some 36 Presidents, including distinguished names such as James McNeilI Whistler, Walter Sickert and more recently Peter Greenham RA and current President, Cav. Romeo di Girolamo. The society has developed a strong commitment to issues of education and in September 1995 supported the foundation of a new Fine Art course which is based around figurative art, run by Northbrook College in Worthing. The unique course which culminates in the awarding of a BA. (Hons) in Fine Art, is enriched by visiting R.B.A. members.
The Institute is confined to about 65 elected members and includes many of the leading artists in the country. It encompasses all styles and techniques which is a tradition that goes back to its inauguration. The ROI aims for the same high standard of excellence set by famous artists of the past who have shown their work in ROI exhibitions, such as Alma Tadema, Macwhirter, Sickert, Dame Laura Knight, Fantin Latour, Adrian Hill, Ann Redpath and even Rodin. ROI membership is open to artists who have shown work of a consistently high standard in its annual exhibitions. Artists are first elected as associate members at the annual exhibitions of the Institute and have a maximum period of five years to convince the Members of the Institute that they merit full membership. Dennis Syrett (PROI, RSMA, RBA), President
The Royal Institute of Painters in Watercolours is a registered charity which aims to encourage diversity and innovation in the use of watercolours and water soluble medium.
The RI was founded in 1831 as the New Society of Painters in Water Colours - an alternative to the existing society (now the RWS) which had been founded in 1804, and only exhibited the work of its members. From the beginning the new society showed non-members works alongside that of members, policy still followed today. Both the New and Old societies were founded at a time when the Royal Academy was refusing to accept watercolours as a suitable medium for serious artistic expression despite its use by artists such as Turner, Cox, Bonington and many other excellent exponents of this art form. The New society took the name of the Institute of Painters in Water Colours in 1863 and in 1883 moved to purpose built premises at Piccadilly. The galleries opened with an exhibition of nearly 900 paintings, and a brilliant ceremony which was attended by the Prince of Wales. In 1885, by command of Queen Victoria, the Institute was able to add the prefix 'Royal' to its title. The RI remained in Piccadilly until the lease expired in 1970, then joined with several other leading art societies at the Mall Galleries. Ronald Maddox PRI HON.RWS, President
Founded in 1891 the principal aim was to overcome the 'uncertainty attending the acceptance of portraits, however well painted, by all but academicians'. Despite the stylistic variety and striking individualism of the original twenty-four members, they shared a need for corporate unity, a sentiment still felt today by members of the Society. The first exhibition was held by the society in June 1891 and included recent works by members hung alongside portraits painted by well-known masters such as Sir John Everett Millais, G.F. Watts and James McNeill Whistler. Twenty years after its foundation, on 19th July 1911, at the Coronation Exhibition, James Jebusha Shannon, third President of the Society, announced that 'His Majesty the King has been graciously pleased to command that the Society which has now attained its 21st year, shall be known in future as The Royal Society of Portrait Painters'. Andrew Festing PRP, President
The Royal Society of Marine Artists is a Registered Charity devoted to the encouragement and display of contemporary marine painting, drawing, sculpture and printmaking of the highest standard.
The Society was founded in 1939 largely due to the anomaly that Great Britain, whose history is so bound up with the sea, did not have a society dedicated to painting the sea and its occasions. A number of initial exhibitions were very successful. The most important was 'Sea Power' which received the patronage of HM King George VI and was opened by Winston Churchill. In 1938 Admiral of the Fleet, the Earl of Cork and Orrey advocated the formation of a society, and from his suggestion, together with the interest generated by the press, the present Society was formed titled 'The Society of Marine Artists'. The War curtailed activity and the Society's first exhibition took place in 1946 in the Guildhall Art Gallery at the invitation of the Corporation of London. Exhibitions continued at the Guildhall annually and Her Majesty the Queen was graciously pleased to grant the title 'The Royal Society of Marine Artists' in 1966. Due to building alterations at the Guildhall the venue of the Society's Annual Exhibition was changed to the Mall Galleries in 1981. Geoff Hunt (PRSMA), President
The society was founded in 1899 with its inaugural exhibition taking place on the 4th February under the leadership of George Frederick Watts who was the society's first President. Exhibitors at the first exhibition also included Millet, Lhermitte, and Whistler. Rodin, John Singer Sargent and Degas also participated in early exhibitions.
Founded in 1964 the society aims to encourage all forms of visual art based on or representing wildlife. The society also hopes, through art, to encourage the education and concern of the public in the conservation of the environment. It is with this aim in mind that the society has, over the last few years, set about forging links with a number of charities including the Woodland Trust.
Thus the scene was set: the stolid academic approach of the R.A. as opposed to the dynamic and vibrant observation of the New English - a caricature of course, as are all such comparisons. However, it is remarkable that the artistic descendants of the Impressionists continued to be associated with the New English whilst the R.A. moved by fits and starts towards a more conceptual approach and towards public gallery orientated work. During the late 19th and early 20th century the New English grew greatly in influence, and the days of Sickert, Augustus John, Tonks, Steer and William Rothenstein were a golden period indeed. In the 1920's Stanley Spencer, Paul Nash, Duncan Grant and Mark Gertler were all members - indeed almost every member of the Camden Town Group started with the New English, and it formed an essential part of their development. Many of these artists became members of the R.A. and continued to exhibit with the New English for the rest of their careers. Probably in the 1940's and 1950's the R.A. and the New English were at their closest point. At this time some painters saw the New English as a 'staging post' to membership of the Academy. Today this situation has changed with the divergence of the societies; and the R.A s abandonment of much so called 'figurative painting' has left the field clear for the New English to champion this sort of work. At a New English exhibition at which non-members work is also shown, you will now see imaginative painting, expressionism sometimes satirical subjective paintings and abstracted work amongst the directly observed objective painting which is part of our "continuing" tradition. In the lifetime of the New English the world of visual art has changed enormously. Until the Second World War, Paris was the undisputed centre of this world. Since then New York has become the colossus, and London has recently increased greatly in importance, to be the predominant centre in Europe: and there has been a huge increase in the number of commercial and public galleries. However the hardship of life as an artist continues as before. It is very difficult indeed to establish a reputation as young artist; it is also very difficult to produce and sell pictures of high quality in sufficient quantities to provide a living. In order to make work which is vigorous and lively and life enhancing, an artist's needs are: a tradition in which to work - or in other words - a shared artistic language, a training - an education in this language, an exhibition space and a public to buy work. All of these the New English helps to provide. That the New English has existed for over a century and is now a well respected institution and one of the foremost exhibiting societies is a matter of pride. Pride of another kind is in the Club's position as a centre of excellence for drawing and painting. This visual language is one in which pictorial statements are slowly and intricately constructed, but when they are completed they can be understood quickly and easily by everyone. It is ever evolving and capable of great spiritual depth, and this language is the Club's main concern. The content of the pictures, the visual messages which they convey and the eloquence and strength with which they are painted is a matter for individual painters, the framework within which these artists and others like them work is the province and the future of the New English Art Club. Thomas Coates (PNEAC, PPPS, PPRBA, RP RWS), President
Hesketh Hubbard Art Society Enquire at the Mall Galleries or at the FBA office (020 7930 6844) for session dates and come along to see us at work and discuss membership. Newcomers are invited to attend one session before deciding whether they wish to join the Society. The Society exists to provide professional and amateur artists with the opportunity to draw from life. It meets weekly at the Mall Galleries, usually on a Monday, between 6.00pm and 8.15pm. Models pose for two one hour sessions divided by a fifteen minute tea break when members can exchange views and discuss each other’s work. Sessions are untutored. Senior members of Societies affiliated to the FBA are occasionally invited to offer criticism of members’ work. The Society holds an annual exhibition. Those interested in membership are asked to show a selection of work and are invited to attend one session before deciding whether they wish to join the Society. The annual subscription, payable to the FBA, is currently (2007) £195 and includes membership of the Society, administration, rental of the Mall Galleries and models’ fees. The Society provides chairs, some lights and a limited number of drawing boards. All members of the Society are also members of the FBA. This gives them free admission to view Society exhibitions held at the Mall Galleries and access to other services provided by the FBA.
Whilst steeped in history, the Society boasts some of Britain’s most skilled makers. Members are the idea mongers, designers and makers - driving the resurgence of craft – innovating through the exploration of materials and treating the skill of making as an integral part of their art.The range of work covers all the designer craft disciplines, including ceramics, jewellery, textiles, glass, metalwork, lighting, furniture and wood. Currently membership is in excess of 600. The SDC Gallery opened in London on 7 September 2007 and will stage 4 themed exhibitions a year and provide a continuous showcase their members’ work.
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The Royal Society of British Artists was established in 1823 by a small group of artists who wished to form an alternative to the Royal Academy. One of their main concerns was to establish an alternative exhibition venue to the academy and these efforts were rewarded when enough money was raised to commission John Nash to design and build the Society's first gallery in Suffolk Street.
The ROI, as the Institute is known, has been a leading art society in Britain for over a century, since it was founded in 1882. It is the only major art society showing work exclusively in oils. It was granted its royal status in 1909 by King Edward VII.
The Royal Society of Portrait Painters is a registered charity which aims to promote, maintain, improve and advance education in the Fine Arts and in particular to encourage the appreciation, study and practice of the art of portraiture.
The Pastel Society aim to promote the best contemporary work by painters who use the medium for its vibrant colour, immediacy and vitality. It is also committed to restoring Pastels to the levels of popularity which the medium experienced during the 17th and 18th centuries and during the time of the Impressionists.
From Whales to Snails every sort of animal in every imaginable medium come together for the annual exhibition of the Society of Wildlife Artists.
It is in relation to the Royal Academy that much of the development of the New English Art Club has been seen. The origin of the Club was in the studios of a group of young London artists in 1885. These painters had studied and worked in Paris, and felt a dissatisfaction with the exhibition potential of the very academic R.A. which was under the presidency of Sir Frederick, later Lord Leighton It was decided to mount a rival show, so in April 1886 the first exhibition of the New English Art Club was organised at which about fifty artists were represented, including Fred Brown, George Clausen, Stanhope Forbes, J.S. Sargent and Wilson Steer.
The Society of Designer Craftsmen is Britain’s oldest designer-maker organisation. Originally formed as the Arts and Crafts Exhibition Society by Walter Crane in 1888, William Morris became the second president in 1891. The current president is Professor Sir Christopher Frayling, Rector of the RCA and Chairman of Arts Council England.