Art 1962, Trinidad & Tobago


Material Information

Art 1962, Trinidad & Tobago
Alternate Title:
Trinidad & Tobago, art 1962
Physical Description:
16 p. : ;
National Museum and Art Gallery (Port-of-Spain, Trinidad)
National Museum and Art Gallery
Place of Publication:
Publication Date:


Subjects / Keywords:
Art, Trinidad and Tobago -- Exhibitions   ( lcsh )
Handicraft -- History -- Exhibitions -- Trinidad and Tobago -- 20th century   ( lcsh )
non-fiction   ( marcgt )
Spatial Coverage:
Trinidad and Tobago


General Note:
"This brochure is produced in conjunction with the Arts & crafts exhibition held at the new National Museum and Art Gallery, Port-of-Spain, Trinidad & Tobago at the time of independence ... 30th August to 15th September, 1962."--P. 4 of cover.
General Note:
Cover title.

Record Information

Source Institution:
University of Florida
Rights Management:
All applicable rights reserved by the source institution and holding location.
Resource Identifier:
oclc - 79634988
System ID:

This item is only available as the following downloads:

Full Text

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arts & crafts anf

exhibition sub-committee

of the independence celebrations committee.

mr. m. p. alladih*,
(chairman & manager of.. ..... .

miss sybil atteck*.-
(vice-chairman) UNIVERSITY

mr. oswald chase* $ O FLORIDA
(designer of exhibition)

mr. carlisle chang LIBRARIES

bro. e. fergus griffin* $

mrs. joan st. louis*

mr. john newel lewis

mrs. pearl boland*' "

mr. roland maunday* t

miss niuriel, green* $

mr. c. mc eachrane

miss althea mc nisht

mrs.-elizabeth greenhall

miss heather pinto

mrs. amy leongpang bullbrook"

* on selection committee
t on display ;committee
co-opted on these committees:
messrs. pat chu foon, leo basso,
george lynch, holly gayadeen.
and mrs. c. mceachrane.

all photographs by
paul rupp associates.


senator donald p. pierre
minister of education & culture

to mark independence various forms of expressions
of our cosmopolitan inhabitants are on display through-
out the territory; one of the most significant displays
is the arts & crafts exhibition at the new national
museum and art gallery.

this exhibition consists of work in the field of the
fine arts and the crafts produced by our best artists over
the years. the inclusion of examples of ,children's work
serves to illustrate the emphasis now being placed on
the forms of art expression peculiar to the young;
in this way a basis will be laid for the creation of a
public educated to involve itself in art activities.

the trinidad art society and the handicraft co-
operative society have played a large part, in the
development of arts and crafts in this territory, while
the art teachers association is. more particularly concerned
with creative expression in the schools. government
through the division of culture of the ministry of educa-
tion and culture, is doing everything within its power
to ensure maximum participation in the arts in educa-
tional institutions as well as in the community at large.

this exhibition serves to illustrate to people at home
and abroad the level of our achievements in the visual
arts, to stimulate and inspire artists and craftsmen and
to encourage visitors to the exhibition to participate in
the pleasure, inspiration and education which can be
derived by viewing works of art.

the noblest aspirations of a people are best achieved
in an atmosphere of freedom and independence, because art at the
of the ethnic groups from which it derives, our aesthetic
heritage is both rich and varied, its roots are firmly cross-roads
embedded in the far reaches of antiquity.

now that the future development of our nation lies br. e fergus griffin
bro. e. fergus griffin
in our own hands, it may be appropriate to look briefly
into the past and ask some pertinent questions regarding
the position of art in our society.

we may well ask ourselves whether in a society
noted for its affluence, the creative arts have received
support and encouragement commensurate with their
importance in the development of our people, we may
question the position of art in our system of education

we may ask if we have even begun to realise the
importance of art in the development of character and
personality, whether art has become a factor dominating
every phase of our existence.

unless aesthetic considerations remain foremost in
the minds of those whose responsibility it is to mould
the destiny of our new nation, we cannot look forward
to the development of a truly national style of aesthetic

in the past the development of art has been left
mainly to chance and to the isolated efforts of a few
dedicated souls in our midst.

may we hope that, guided by divine providence,
and nurtured by a benevolent and farsighted govern-
ment, our nation may enjoy a flowering of the arts which
may serve as a beacon and a source of inspiration to
many other countries.

trinidad folklore
water colour 39" x 26"
alfred codallo

coconut venders
oil 24" x 20"
leo basso


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saga ting
concrete 33" tall
raohael samuel

textile design
althea me nish

founded in 1943, the trinidad art society has as its
the trinidad art aim to encourage and sponsor the fine arts. administered
by a management committee assisted by four sub-com-
society mittees, this body has helped to raise the standard of
painting and appreciation of the fine arts.

l a k greatly assisted by the british council for many
sybil atteck
years, the society has in recent years received accom-
modation from the city council at the art centre, french
street. soon, however, the society will have to acquire
quarters of its own.

the society has over the years organised exhibitions
of great importance to the life of the country. of island-
wide interest each year is the novemb4r-exhibition. other
exhibitions sponsored by the society have been those
from mexico, india, great britain, other west indian
islands, one man shows and exhibitions of children's art.

the society has assisted government and industry in
setting up exhibitions both locally and abroad.

classes and lectures have been conducted by the
art society, including courses in painting in oils and
watercolours, drawing, silk screen printing, enamel
decorating, sculpture and ceramics.

the society hopes that in 1963 the question of
accommodation will be solved and that their work can
then be planned on a more stable basis, more active
participation by members will be most helpful in further-
ing the achievements which have been made in the past
19 years, but much has already beeanaccomplished to
develop public interest in the arts and the artist can now
feel that his place in the community is an important one.

pouch bag
banana straw 15" tall
a. donovan

" forest pool
oil 24" x 36"
william chen

venezuela falooch
oil 27" x 35"
carlisle chang

fish design
screen print 12" x 15"
marguerite wyke


spirit of carnival
,oil 59" x 47"
sybil atteck

taming a wild horse
oil 35" x 42"
hugh stollmeyer


tirite 63" long

east indian wedding
oil 48" x 36"
m. p. alladin

back yard laundry
oil 22" x 27"
pat. chu foon

' s ,'_

old spanish church
casein 26" x 19"
bro. e. f. griffin

surface events
mixed media
29" x 24"
oswald chase

weaving (loom)
molly underwood



the independence exhibition to a large measure
indicates a research into our past. whilst we exhibit our the craftsman, a
history through many avenues, we are at the same time
creating history, a creation which generations to come vendor of culture
may seek to find and understand.

roland s. maunday

the research worker responsible. for the task of
collecting information is interested in tangibles, and
these he finds mainly in craftwork. the craftsman, there-
fore, is involved with the task of perpetuating our
culture, and any misunderstanding of such a task can
lead to wrong interpretations of life in the era concerned.
never before, has the craftsman of trinidad and tobago
been faced with so excellent an opportunity, to which he
can do justice through development of the crafts, so that
work passing through his hands will receive a character
that gives it a distinction with which it can be identified
anywhere, at anytime.

our crafts today are not fully developed, neither are
they fully appreciated by us. our craftsmen have to
awaken and retain their natural impulses to explore our
materials, investigate the behaviour of the materials,
create new works, new forms, new designs, so that they
become prized possessions of all, and perhaps begin to
travel along the road of time to tell our story to
generations yet to come.


woman with load
wood (cyp) 36" tall
ioan st. louis

funeral procession
powder colour
20" x 12"
dave gill (12 years)

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11" x 17"
st. hilary thompson

cutting cane
water colour
22" x 15"
amarraj rajkumar
(12 years)


objective, informed and sensitive criticism is
essential to the development of visual arts in any society;
for it is only in this way that the artist can gain a better
perspective on his own work and the public level of
appreciation can be raised.

ideally, each artist's work should be considered
from the point of view of integrity, art quality and
technique. the degree of communication achieved will
depend on a close balance between these three-and
the sequence in which they have been placed here is
most significant, without integrity, without something to,
say, art quality and technique must inevitably become
empty shells. with profound and intense integrity an
artist with less perfected technique will often achieve
tremendous quality-aesthetic quality. His work will nol
only be remembered, it will make a strong impact on
the public-if not at once, eventually.

if a critic can explain something-however little-
of what he believes the artist is trying to communicate,
it will help the public to see-to understand-and to
realise that the first response of liking the work, which
may have mystified them, had a foundation in merit,
in the art quality.

the greater the talent of any contemporary artist,
the more he will need such sensitive and intelligent
interpretation, for great artists are always ahead of their

critics, on the other hand, often lag behind-and
most fortunate is the community whose critics are truly
sensitively aware enough to appreciate the finest artists
and help interpret them to the public.

elizabeth greenhall

the art critic


the significant values of any country, are inherent
in the art expressions of its inhabitants, indeed, a ntin
country's place in civilization is assessed primarily
according to the art which it produces. involvement with artists
art denotes maturity, to acquire mature development a
sound system of education in the arts is essential.

education which is merely academically-oriented by m. p. alladin
should be undesirable since it creates an inbalance in
personality development, art activities should be basic
to all education programmes since they enable the
individual to develop as an integrated, imaginative,
creative, sensitive, well-balanced human being.

mechanization tends to dehumanize, fragment and
create insensitivity and regimentation of human beings.
for nations wishing to industrialize and yet retain
essential human values, a sound system of education
in the arts is indicated, youngsters must be prepared
to meet the challenge of the machine which should be
the slave and not the master of man as it has tended to
the best form of development in any country is full
development of its citizens. not all those educated in art
will become artists but they certainly will become better
people and live fuller lives, by utilizing the environment
as motivation for subject matter and for materials, people
would tend to develop a deeper feeling and understand-
ing of themselves and their interrelationship with forms
and phenomena characteristic of their country and their
it is not beyond the realms of possibility that-with
proper planning-in say, three generations from now,
we might well realize a nation of artists.


oswald chase

a challenge

to the artist

more often than not the artist's view of his
environment is apocalyptic. he sees a world of confusion
and pessimism, culminating at times in man arrogantly
asserting himself over a material world, at the peak of
egyptian civilisation he established his dominance with
a system of mathematics and surveying, which eventually
led to a visual culture symbolised by the great pyramids
of the time-and so it has been through the great periods,
right through to the present high industrial civilisation.

today technology'has reached a fantastically high
point-and so popular is its success-that men of all
cultures are now clamouring for its material benefits. we
are now involved in a global culture-unconditionally
dominated by industry and technology.

the artist today, particularly here in trinidad and
tobago is faced with the challenge of injecting the
human personality into a technological age, which,
through the ignorance and superstitions of our past
might well leave us in a mire of its surplus products.
perhaps, we have a creative sampson, still blinded by
the follies of his time. perhaps the challenge of
independence will reveal his positive character, perhaps
with pride of the new nation we will inject a genuine
social consciousness into our art. perhaps we will see
ourselves as the first working interracial society and can
feel free and confident to go into the strong resources
of race and tap the flow of emotion for our art.

, e 72 ?ISe3


this brochure JUL 0Z
in conjunction

arts F~ 4 200


held at the

art gall(

at the time

open from 1
30th august

profound gratith
to all who contriBurea cr-T-n
success of this exhibition.

Date Due
Returned Due

990 2u 9 I

I I 4

printed by the clege press


EC 2 1 zu-14

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