Nationalisation Flashcards
(89 cards)
Banner bright: an illustrated history of the banners of the British trade union movement–Williams, 1973
BookRecommended
union men in inter-war yrs reluctant to move out of tradition
certain themes central nationally: unity, brotherhood, mutuality, assertion of essentially moral and innocent character of the organization
Celebration of brotherly virtues
drive to build up on one single banner a huge and complex structure of pictorial representation and craft
Under the first impact of the new unionism the world of banners visibly expanded
The banner was essentially an expression of local, of branch pride and in a few years of tumultuous growth there was a profusion of new ideas.
Banners moved with public art, most notably with the poster and advertisement art of the 1920s
Only when the living connection with working people was broken from the 1920s that banner art became a petrified sub-culture, a conscious archaism expressing ‘tradition’ and in due time a collector’s item.
Shift towards realism and humanity. Exact representation.
Use of old Victorian device of juxtaposing contrasting pictures in a two-sides-of-the-question form. Could be used to tackle any problem and became very popular after 1918 particularly in the hands of miners and transport men to support the argument that ‘Organisation is security’
From the 1890s, the local worthies of an earlier day disappeared or were overpainted, to be replaced by branch officers carefully chosen by committee and increasingly by the national spokesmen of Labour. The Durham Gala became a barometer of popularity
Both the impulse to produce banners and the public proclamation of socialism upon them fade out rapidly after 1926.
Shattering defeat of trade unionism.
With the exception of the miners and the agricultural workers, banner-bearing and banner-making went into a long decline
Time after time, Gorman discovered that it was in the 1920s that an old neglected banner had last seen the air
Banners have flourished at moments of breakthrough.
Efflorescence among mines and rural workers after 1945 can be interpreted in such terms
Demand shrinks as pitts close
Tutill’s
manufactured 75% of trade union banners since 1837
1889 Tutills made more banners in a single year than ever before or since (year of great dockers’ strike)
1967, for first time in its history, no trade-union banner came out of Tutills
First Trades Union Congress
1868
TUC 1874
over 150 affiliated unions, over 1 mill mems
London branches of the Society of Watermen and Lightermen, est 1872
Painted into their benners prominent men who had assisted them. Admiral Bedford Pim and councillors, etc
Ipswich dockers’ banner
‘justice to the toilers’
beneath this, angel presides over a handshake between a workman and a capitalist
1888 banner of Watford branch of the Operative Bricklayers
Centre is a scene of the first bricklayers building the Tower of Babel. Around it climbs up to Heaven a massive and almost indescribably complex structure, crammed to the limit with medallions, verse, symbols, scenes
Walter Crane
Designed banners
Converted to socialism around 1884
1885, angel of freedom
Another widely imitated design was Crane’s engraving for the great May Day of 1891 0 ‘ The Triumph of Labour’
Gorman, num of banners produced 1832-1939
10,000
Decline in banners
May Day 1898, 400 banners on show 1967, 10.
The press and the party system between the wars-C. Seymour-Ure, 1975, in Gillian Peele, Chris Cook, The Politics
Of reappraisal, 1918-1939
Overall trend was toards a set of dominant national newspapers, squeezing out the provincials, whereas before the war the nationals were more accurately described as ‘metropolitan’ and the provincials flourished
Decline in the num of provincial morning papers (evening papers less vulnerable)
43 1919 to 25 in 1939
Ch 8, Scotland, Wales and Ireland, in Elections and party management: politics in the time of Disraeli and Gladstone-H. J. Hanham1978
As
a con equ nee, the reforms of the 1830s, which in England had
the effect of transferring political initiative to the provinces-to
the Manchester school and eventually to the Birmingham caucus
-had the effect in Scotland and Ireland of restoring the representation
to the nation at large. The
Scots reacted to the change
by giving their wholehearted support to the Whigs and the Radicals
who had come to be regarded as the champions of the
national int rest.
The Irish, whose nationalism was more ardent
and who, unlike the cots, regarded themselves as a temporarily
conquer d people, were also sympathetic to the Whigs
Only Welsh nationalism was unaffected
by the reforms, and that because it was essentially a development
of the forties.
Scotland (Hanham)
The closeness of the English connection and the predominance of the English Liberal party caused Scottish politics to develop along the same lines as those of England.
Scottish elections were ultimately decided by issues which affected the whole of the Liberal party in the three kingdoms, or which were purely local, not by those of a Scottish character.
Leaders of the Scottish parties, w exception of Duncan McLaren, were all English.
1870s, control of party HQ in London was strengthened by the formation of branches of the party organisations in Edinburgh. More efficient of these was that created for the Liberals by WP Adam, inaugurated in January 1877, which lasted until the First World War.
Scottish Liberal Association, 1881
Reginald Macleod appointed Conservative Central Office agent in Edinburgh 1883.
Overwhelmingly Liberal character of the Scottish burghs (1832-1885). Conservatives never held more than 3 of the 23, or after 1867 26, burgh seats.
Oligarchical character of Scottish Liberalism. Respect of age and experience led Liberal associations into choosing retired soldiers, sailors, Indian civil servants, merchants and manufacturers as candidates, rather than men of dash and ability
Wales (Hanham)
Feeling of signif political diffs between Wales and Eng still quite new 1868.
Modern Wales is a product of the industrial revolution and of the evangelical revival of the early nineteenth century. The one created a new urban Wales alongside the old Wales of the hills, the other cut off the mass of the people from the old ruling classes.
Dissent was a popular Welsh movement. It emphasised Welshness, and the need to revive the national language and culture.
Influential dissenting press sprung up, which used the Welsh language and agitated nonconformist grievances, and which in 1859 was reinforced by the most influential of all Welsh-language newspapers, Thomas Gee’s Baner ac Amserau Cymru
Stuart Rendel. Captured Welsh imagination in 1880 by winning Montgomeryshire. Formed Welsh national party within the Liberal party. By restricting his objectives to purely Welsh ones Rendel reduced English opposition to the minimum, and created a Welsh party in the House of Commons
1885 - only 4 Conservatives, 30 Welsh Liberals or ‘Lib-Labs’
Ireland (Hanham)
1868 superficial resemblance to England.
Tradition of Irish politics to employ mobs to ‘protect’ the candidates on each side. Contested elections thus particularly violent.
Party divisions of English politics had meaning only in Ulster, where strongly Protestant w-c with Conservative sympathies which made Belfast a Conservative stronghold
1885, Parnell.
Home Rule movement introduced a purely Irish party into Irish politics, while the ballot destroyed the political power of the landowners who were the principal supporters of the two English parties
1874 - Liberal party destroyed as an Irish Party. 55 Home Rulers returned for the 3 southern provinces, but only 5 Liberals. Conservative minority thus became only effective representative of the English ascendancy
LeMahieu, A Culture for Democracy (1988)
In the late nineteenth and early twentieth centuries, the development of popular national daily newspapers, the cinema, the gramophone and other forms of mass entertainment threatened to upset traditional patterns of British culture. Attracting an audience of unprecedented size, this ‘mass’ or ‘commercial’ culture was created for profit, dependent upon new technologies, and often dominated by individuals outside the mainstream of British cultural life
The spectacle of women: imagery of the Suffrage Campaign 1907-14-Lisa Tickner1987
drew on iconography of woman in late and dilute Pre-Raphaelitism, and in contemp advertising and magazine illustration that surrounded them, much of it influenced by art nouveau
WSPU representations - voteless, helpless female of the WSPU representations centred around forcible feeding and the Cat and Mouse Act
By the end of the nineteenth century public advertising had shifted from a predominantly verbal to a predominantly visual means of representation, a development facilitated by refinements in colour reproduction and registration, and accelerated by a parallel shift from indiscriminate bill-posting to a more orderly display
Artists’ Suffrage League (Tickner)
est Jan 1907, to help w the NUWSS demonstration the following month.
chromolithographed posters, deriving mainly from fine art and illustrational styles which match the gentle symbolism of a helpmeet for John Bull
The Suffrage Atelier
Est Feb 1909
most trained as fine artists
hand-printed publications, made from wood blocks, etchings, stencil plates.
Fresh cartoons could be got out at v short notice and little expense.
Most Atelier posters = block prints.
Laurence and Clemence Housman. From 1885 Clemence Commercial engraver for weekly papers like the Graphic and the Illustrated London News
Sylvia Pankhurst - embryonic socialist realism of her paintings of w-c women, and dilute Pre-Raphaelite allegory, derived from Walter Crane
First large scheme produced for lecture hall in a building erected by the ILP in mem of her father
Crane
SDF, Hammersmith Socialist League
1885 Angel of Freedom widely copied. Revitalised ideal woman of Pre-Raphaelite imagery and adapted to iconography of socialism.
Influenced Sylvia Pankhurst
Tutill’s quick to systematise Crane’s motifs and reproduce in imagery adequate to the aspirations of the organised working-class.
“Triumph of Labour” inspired Sylvia
Anti-suffrage imagery
browbeaten husbands, neglected homes
WSPU representations
voteless, helpless
golden age of the picture postcard
between about 1904 and 1910
By 1910 866 million cards were sent through the post each year, and by 1913 more than 900 million
Fraser – great vehicle for messages of the new urban proletariat between 1900 and 1914