Work of Edward Burra, 1919 -1936: context and imagery

Abstract

This thesis analyses imagery in the work of Edward Burra from 1919- 36. It outlines sources and suggests a context for their interpretation. The introduction sets out Burra's distinctive approach and his internationalist stance. Introduction to Section One considers the specific nature of Burra's involvement with urban themes and establishes Burra's interest in city groups and types in the 1920s. Chapter One shows how the works of 1923-26 draw on the historical precedent of the crowd as 'popular voice' in English 18th and 19th Century satirical prints and literature and exploit the foreign crowd as a metaphor for Mediterranean pleasure.

Chapter Two considers the group images of abroad: bohemian cafes, chic night clubs, Mediterranean terraces and bars and the Parisian bal-musette. Their sources in British, French and German painting, illustration, literature, film and popular culture as well as Burra's own experience are outlined. In Chapter Three, the prostitute and the sailor as distinctive urban types are linked to Burra's knowledge of the South of France and to sources in English and French literature, contemporary painting, German film and popular culture. Burra's use of devices from New Vision and photoreportage photography is examined. In Chapter Four, the theme of urban entertainment is considered in relation to Burra's travels to Paris, Barcelona and Madrid, and New York. In particular Harlem night and street culture suggests a distinctive purchase on abroad as a spectacular show, incorporating the display of criminal types. Introduction to Section Two outlines the themes dominant in Burra's work from c. 1929-1936. It offers parallels with contemporary British and Surrealist interests and sets changes in iconography and style against the socio-political situation of c. 1929-31.

Chapter Five considers Burra's collage practice and places it against Dada and Surrealist artists' use of the medium. It examines sources in Ernst's work and suggests a distinctive type of humour at work. Chapter Six relates Burra's imagery to Freudian concepts and records the influence of Conrad Aiken's work. It places these interests within surrealist investigations in the early 1930s. Chapter Seven examines the bird theme in Burra's works of the 1930s and its idea of sexual encounter. It examines Burra's use of anatomical and biomorphic metamorphosis, the importance of Ernst and Dali, and Read's theoretical writings. It sets these against contemporary interests in totemism, anthropomorphism, 'primitive' sculpture and alchemy. These works propose the female perfomer as an erotic figure carrying associations of the femme fatale. In the conclusion, Burra's contribution to British Surrealism and modernism in the Inter-War years-is assessed and the importance of this period to later developments in Burra's work evaluated.