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1 Dr Jonathan Cronshaw A work shown in this manner is disgraceful : Jacob Epstein s Genesis (1929) and the West Bromwich Tradesmen s Association Christmas Exhibition 5 December 2012 Source: Henry Moore Institute Online Papers and Proceedings This article has been downloaded from the Henry Moore Institute s collection of Online Papers and Proceedings, an online publishing facility bringing you the most recent developments in sculpture studies from both inside and outside the Institute. Here you'll find proceedings from many of the Institute's international conferences as well as the latest research from both up-and-coming and established scholars. Copyright remains with the author. Any reproduction must be authorised by the author. The Henry Moore Institute is a world-recognised centre for the study of sculpture in the heart of Leeds. An award-winning exhibitions venue, research centre, library and sculpture archive, the Institute hosts a year-round programme of exhibitions, conferences and lectures, as well as developing research and publications, to expand the understanding and scholarship of historical and contemporary sculpture. The Institute is a part of The Henry Moore Foundation, which was set up by Moore in 1977 to encourage appreciation of the visual arts, especially sculpture. To subscribe our newsletter newsletter@henry-moore.org

2 1 Dr Jonathan Cronshaw A work shown in this manner is disgraceful : Jacob Epstein s Genesis (1929) and the West Bromwich Tradesmen s Association Christmas Exhibition In spring 2011, Harewood House, Leeds, ran an exhibition entitled Finding Adam. Part of the exhibition outlined the strange events surrounding the display of Jacob Epstein s Adam as a sideshow piece in Louis Tussard s wax works in Blackpool, England during the mid-1950s. The exhibition stressed how the inclusion of Adam, as well as other Epsteins including Genesis, Consummatum Est, and Jacob and the Angel, was a pivotal point in the history of the reception of sculpture. The debates surrounding this exhibition raised issues of correct display, the moral rights of an artist, and issues surrounding who is qualified to judge such matters. What I want to do today is explore an earlier exhibition which saw the popular reception of Epstein s work go from being serious and obscure, to something akin to a visual joke. Though the Tussaud s episode is well-documented, the inclusion of Epstein s Genesis as part of the West Bromwich Tradesmen s Association Christmas Exhibition at West Bromwich Town Hall in 1931 is not. Carved in marble throughout 1929 in his Epping Forest studio, Genesis portrays a heavily pregnant woman with exaggerated thighs, hands and stomach; and a face reminiscent of a concave African mask. Epstein described Genesis in his autobiography: I felt the necessity for giving expression to the profoundly elemental in motherhood, the deep down instinctive female, without the trappings and charm of what is known as feminine; my feminine would be the eternal primeval feminine, the mother of the race. [ ] Within her, Man takes on new hope for the future. The generous earth gives herself up to us, meets our masculine desires, and says: Rejoice, I am Fruitfulness, I am Plentitude. 1 On 15 March 1931 Genesis was sold to architect and MP Alfred Bossom through Epstein s usual representative, The Leicester Galleries, London. After being refused as both a gift and loan by the Tate Gallery, Bossom decided to send Genesis on a multi-city tour around the country to raise money for various charitable causes. A sensation surrounding Genesis ignited each time the work was moved to a new town or city. One of the first stops on the Genesis tour was Manchester. According to reports, over 6,000 visitors viewed Genesis on its opening day. The following day, this number rose to over 13, A reporter described the scene as follows:

3 2 From the moment of opening yesterday until six o clock in the evening, when the gallery closed, a thick stream of people poured continuously through the turnstiles and through the luncheon hour the congestion was so great [...] that attendants had considerable difficulty in keeping the crowd moving. 3 With such chaotic scenes, it must have been difficult for the patrons to get a sufficient glimpse of Genesis, let alone spend sufficient time with the work to experience it properly. As Genesis continued to be toured around England over the following year, Epstein became increasingly displeased with the way in which his work was being touted as a sideshow. Writing to The Manchester Guardian on 13 th December, 1931, Epstein protested against the display of his work at the West Bromwich Tradesmen s Association Christmas Exhibition at West Bromwich Town Hall: Sirs,-In the interest of sculptors and sculpture I wish to protest against the exhibition of my marble statue called "Genesis" as a sideshow in a trade exhibition. The work does not belong to me, and I wish to dissociate myself from what I must consider an indignity. I have written to the owners of the statue and received no reply. It should be obvious to people of any sensibility that a work shown in this manner is disgraceful. I enclose the catalogue and advertisement to bear out my protest: Yours sincerely, JACOB EPSTEIN. 4 When approached by The Manchester Guardian to comment on the affair, Alfred Bossom pleaded ignorance to the advertisement in question and noted that he was unaware when he had agreed to loan the sculpture in good faith that Genesis was to be exhibited as part of a larger exhibition: When we were asked to loan 'Genesis' Mrs. Bossom and I did not know it was to be shown in connection with any other exhibition. I received a letter from Mr. Epstein only yesterday, and I immediately telegraphed to West Bromwich Town Hall making inquiry. I received the reply: Genesis not with trade exhibits. Separate for hospital funds. Writing. - HUGHES.' Mr. Hughes, I understand, is an organiser of the exhibition. The present placing on view of 'Genesis' is therefore exactly on a par with the exhibition of the statue in Manchester, Liverpool, and other cities. The statue has always been exhibited as an individual work of art, and so far as finance goes it has never been loaned for any other

4 3 purpose than aiding charity. Referring to the wording of the advertisement, Mr. Bossom said, Obviously we were not consulted about that in any way. 5 Epstein complained again, raising the issue of the work s integrity in its setting and highlighting the risk to Genesis from damage while in transit: I have first-hand information from people who have seen how the statue is placed. They tell me that it is in a position where it forms part of what is called a model bungalow. These people wrote to me in protest. They wondered whether I had anything to do with the exhibition. I have protested before against the way this marble statue has been taken about the country, it may suffer almost any damage. There are its surroundings in exhibition to be considered. I did not complain in the case of Leeds; there the statue was shown in an art gallery. Asked whether the charging of a separate entrance fee for the viewing of Genesis affected his protest, Mr. Epstein said: That does not alter my opinion in the least. The vulgarity of the manner in which the statue is advertised is sufficient for me. I am disgusted. 6 It was also the opinion of an unnamed official from West Bromwich Council that Genesis was exhibited as a sideshow: I quite agree that the statue is shown in a very unsuitable manner. It is in a corridor with a small piece of imitation green grass in front of the statue, and there are some small trees and floral pots alongside. The effect is incongruous and very bad. Many people have simply looked at it and laughed. They do not understand. They think it is an amusing sideshow. 7 Interestingly, Emily Bossom, the wife of Alfred Bossom wrote to The Manchester Guardian in order to justify and clarify the Bossom s position regarding the use of Genesis. She argued that Epstein should be happy that his work has achieved usefulness by raising money for various charitable causes: Mr. Jacob Epstein [...] is under a misconception in protesting against the exhibition of 'Genesis' in a side-show in a trade exhibition.

5 4 I was asked to loan the statue to the West Bromwich Town Hall, where it might be shown in aid of the West Bromwich Children's Hospital, [...] if it has resulted in Genesis being displayed in an inappropriate surrounding I regret it just as much as Mr. Epstein himself. Genesis' has been seen by nearly half a million people [...] In every case where a charge has been made the proceeds have been given to charities. [...] I see that Mr. Epstein says: 'I have written to the owners of the statue and received no reply.' No letter from Mr. Epstein has reached either my husband or myself, yet in spite of Mr. Epstein's protest the statue has achieved a usefulness which, I am sure, must have been gratifying to him. 8 Here, Emily Bossom attempted to undermine Epstein s credibility. However, when we look back at Alfred Bosom s statement of December 14 th we see that this is simply not true. Bossom himself stated that: I received a letter from Mr. Epstein only yesterday, and I immediately telegraphed to West Bromwich Town Hall making inquiry. 9 There is maybe a chance that Emily Bossom was unaware of Epstein s letter, the telegram, the letter sent by her husband and the newspaper article of the 14 th, but this seems unlikely. What is more likely is that she tried to make herself look altruistic by emphasising the charitable nature of the exhibition whilst simultaneously sidestepping the debate by claiming ignorance. Epstein, unsurprisingly, took exception to this: I am not interested in being regarded as a benefactor of mankind. I am an artist. The reference to charities does not concern me in the least [...] As an artist I protest that the work is shown in a most unsuitable manner. In effect, at any rate, it is part of a trade show, and that is not the environment in which a statue should be seen. I see that Mrs. Bossom announces her intention to take 'Genesis' to America. I should like to ask if she intends to show it at Coney Island for charity or for any other purpose. 10 This letter shows Epstein s acute awareness of the consequences of exhibiting Genesis in such a way. The reference to Coney Island is ironic, essentially being the Brooklyn equivalent of Blackpool: a tawdry and seedy pleasure beach with fairground rides, peepshows, amusement arcades and freakshows. In March 1958, Genesis was sold by the Bossoms at Sotheby s for 4,200 to Louis Tussaud s waxworks in Blackpool to join Adam, Consummatum Est and Jacob and the Angel already on display in the anatomy room in the waxworks basement. The Sotheby s saleroom attracted a

6 5 number of pranksters; one such prank involved the placing of a bowler hat on the head of Genesis and photographing it. The Times reported the event, describing these acts as an insult to the art and the artist: The West Bromwich exhibition can be seen as a pivotal point in Epstein s career. Before this show, his work had been displayed in many art establishments as serious works of art. The exhibition of Genesis in this setting can be seen as the point which laid the foundation for some of Epstein s other carvings being shown in Blackpool as part of a sideshow. This exhibition allowed Epstein s work to be laughed at by the public and thus made Epstein s work fair game for ridicule. 1 Epstein, Jacob, An Autobiography, (Hulton Press, 1955), p Anon., Crowds at the Art Gallery in, The Manchester Guardian, (17 th April, 1931), p.18 3 Anon., Crowds at the Art Gallery, p.18 4 Epstein, Jacob, Genesis Exhibited as Side-Show Disgraceful in, The Manchester Guardian, (December 14 th, 1931) 5 Epstein, Jacob, Genesis Exhibited as Side-Show Disgraceful 6 Epstein, Jacob, Genesis Exhibited as Side-Show Disgraceful 7 Epstein, Jacob, Genesis Exhibited as Side-Show Disgraceful 8 Anon., Epstein Unappeased in, The Manchester Guardian, (December 16 th, 1931), p.9 9 Epstein, Jacob, Genesis Exhibited as Side-Show Disgraceful 10 Anon., Epstein Unappeased in, The Manchester Guardian, (16 th December, 1931), p.9