Evelyn Ann Silber (born 22 May 1949) is an English art historian and an acknowledged specialist on 20th century British sculpture. She is an honorary Professorial Research Fellow at the University of Glasgow and is researching the marketing of modernist art in early 20th century London and the role played by dealers. [1] Having moved to Glasgow in 2001 to assume the role of Director of the Hunterian Museum and Art Gallery, [2] Silber continues to be based there and is an advocate for Glasgow’s cultural heritage, the conservation of the city, and its tourist industry. She is currently the Chair of the Scottish Archaeological Finds Allocation Panel. [3]
Born in England in 1949 to Martin Helmut Silber and Mavis Evelyn (née Giles), Silber was educated at Hatfield Girls’ Grammar School before going up to New Hall, Cambridge to read for a degree. She went onto obtain an MA in the History of Art from the University of Pennsylvania following which, she studied for her Ph.D. in art history at Clare Hall, Cambridge between 1975 and 1982. [4] During this time she was a Leverhulme Research Fellow undertaking research for her doctoral thesis into the origins of the illuminations of the medieval manuscripts Speculum Humanae Salvationis [5] and published a paper ‘The Reconstructed Toledo Speculum Humanae Salvationis: The Italian Connection in the Early Fourteenth Century’ in the Journal of the Warburg and Courtauld Institutes in 1980. [6]
Even before taking up her first full time post as an assistant keeper and curator at Birmingham Museum and Art Gallery in 1979, Silber, while still at school, became a guide at Hatfield House and worked during her university study years in publishing and as a lecturer at Glasgow University. Silber remained in Birmingham for some fifteen years eventually becoming Head of Central Museums in 1994. [4] During her time in the Midlands, Silber catalogued the sculpture of Jacob Epstein and the sculpture in Birmingham Museum and Art Gallery.
In 1995, Silber became Director of Leeds Museums and Gallery, where she was responsible for 7 sites, [7] all of whom benefitted from Lottery funding during her six year tenure. Her advocacy and concerns regarding stored collections led to the creation of the Leeds Discovery Centre that was opened in 2007; a purpose built storage facility, to house the collections and artefacts not on display, that was funded by Leeds City Council and the National Lottery Heritage Fund. [8] Silber’s last museum post, before becoming a research fellow and freelance lecturer, was as Director of the Hunterian Museum and Art Gallery in Glasgow University; a role she assumed in October 2001 [2] and retired from in 2006. [4]
Silber’s lecture work, as an accredited lecturer of The Arts Society, [9] and for the National Association of Decorative and Fine Art Societies, has taken her as far afield as Australia and New Zealand where she undertook a lecture tour in 2014. [10] Amongst other things she lectures on museology [11] and 20th century modernist sculpture [12] especially on Jacob Epstein, [9] as a renowned expert on his work. She co-curated an important exhibition on Jacob Epstein, with Terry Friedman, that opened in 16 April 1987 at the Leeds City Art Galleries, before going on to the Whitechapel Gallery in London, from 3 July to 13 September 1987. [13] Silber was also a contributor to a television documentary entitled Jacob Epstein - Rebel Angel in 1987, [14] acted as an advisor on the selection of works for a 2015 exhibition Sir Jacob Epstein Babies and Bloomsbury at The Foundling Museum [15] and wrote the entry on Sir Jacob Epstein for the Oxford Dictionary of National Biography . [16]
Silber also leads cultural tours around Glasgow. [17]
Silber is currently Chair of the Scottish Archaeological Finds Allocation Panel (SAFAP), 'an independent panel of heritage experts and lay members responsible for advising the Queen’s and Lord Treasurer’s Remembrancer to which museum an object should be allocated and on the level of ex gratia award for the finder', [3] for example, the allocation of the Galloway Hoard which, reportedly, caused some controversy, when it was given to the National Museum of Scotland. The value of the treasure to the nation was acknowledged by Dr Evelyn Silber, in her capacity as Chair of SAFAP, to the BBC in a news report dated 12 May 2017;
"The panel is grateful to the finder for reporting these stunning artefacts which include decorative glass beads, silver bracelets and brooches, a gold ring, a bird-shaped gold pin and a highly-decorated gilt vessel recognised as being one of only three known examples. These will now be preserved and put on display for the people of Scotland, and the world, to enjoy. The mysterious circumstances of their deposition and unique quality will attract researchers and enthusiasts alike." [18]
Silber took up the position with SAFAP in January 2012 after retiring as Chair of the Charles Rennie Mackintosh Society, a post she had held for 6 years. [19] She was a member of the Historic Environment Advisory Council for Scotland from 2006 to 2009 [4] and is also involved in many conservation issues around Glasgow. For example, she was Chair of the Victoria Forum [20] that was formed so that local people could have their say on the future of the Victoria Infirmary site [21] and Chair of the Queens Park Arena; a project, as Silber explained in a quote for Glasgow Live , to regenerate the fire damaged and derelict site into a “community-led venue attracting a wide variety of performance from music and dance to food and sports activities”. [22]
Silber was on the advisory board of the Ben Uri Gallery and Museum in London and contributed a chapter ‘Three Portraits and a Friendship: Wolmark and Gaudier-Brzeska’ in Rediscovering Wolmark: A Pioneer of British Modernism; an exhibition catalogue published by the gallery in 2004. [23] However, she and ten other members of the International Advisory Panel of the Ben Uri Gallery, which included Sir Nicholas Serota, Griselda Pollock and Norman Rosenthal, resigned in 2018 [24] in protest over the gallery’s decision to sell some of its important artworks including paintings by David Bomberg and Mark Gertler. [25] A controversy reported by the Museums Association, of which Silber is a Fellow (FMA), [17] that condemned the actions of the gallery. [26]
Photographs attributed to Silber are held in the Conway Library at The Courtauld Institute of Art whose archive, primarily of architectural images, is being digitised under the wider Courtauld Connects programme. [27]
Vorticism was a London-based modernist art movement formed in 1914 by the writer and artist Wyndham Lewis. The movement was partially inspired by Cubism and was introduced to the public by means of the publication of the Vorticist manifesto in Blast magazine. Familiar forms of representational art were rejected in favour of a geometric style that tended towards a hard-edged abstraction. Lewis proved unable to harness the talents of his disparate group of avant-garde artists; however, for a brief period Vorticism proved to be an exciting intervention and an artistic riposte to Marinetti's Futurism and the post-impressionism of Roger Fry's Omega Workshops.
Roger Eliot Fry was an English painter and critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism. He was the first figure to raise public awareness of modern art in Britain, and emphasised the formal properties of paintings over the "associated ideas" conjured in the viewer by their representational content. He was described by the art historian Kenneth Clark as "incomparably the greatest influence on taste since Ruskin ... In so far as taste can be changed by one man, it was changed by Roger Fry". The taste Fry influenced was primarily that of the Anglophone world, and his success lay largely in alerting an educated public to a compelling version of recent artistic developments of the Parisian avant-garde.
Sir Jacob Epstein was an American-British sculptor who helped pioneer modern sculpture. He was born in the United States, and moved to Europe in 1902, becoming a British subject in 1910.
The Hunterian is a complex of museums located in and operated by the University of Glasgow in Glasgow, Scotland. It is the oldest museum in Scotland. It covers the Hunterian Museum, the Hunterian Art Gallery, the Mackintosh House, the Zoology Museum and the Anatomy Museum, which are all located in various buildings on the main campus of the university in the west end of Glasgow.
Harold Stanley Ede, also known as Jim Ede, was a British collector of art and friend to artists.
Henri Gaudier-Brzeska was a French artist and sculptor who developed a rough-hewn, primitive style of direct carving.
The London Group is a society based in London, England, created to offer additional exhibiting opportunities to artists besides the Royal Academy of Arts. Formed in 1913, it is one of the oldest artist-led organisations in the world. It was formed from the merger of the Camden Town Group, an all-male group, and the Fitzroy Street Group. It holds open submission exhibitions for members and guest artists.
Jacob Kramer was a Russian Empire-born painter who spent all of his working life in England.
Leeds Art Gallery in Leeds, West Yorkshire, England, is a gallery, part of the Leeds Museums & Galleries group, whose collection of 20th-century British Art was designated by the British government in 1997 as a collection "of national importance". Its collection also includes 19th-century and earlier art works. It is a grade II listed building owned and administered by Leeds City Council, linked on the West to Leeds Central Library and on the East via a bridge to the Henry Moore Institute with which it shares some sculptures. A Henry Moore sculpture, Reclining Woman: Elbow (1981), stands in front of the entrance. The entrance hall contains Leeds' oldest civic sculpture, a 1712 marble statue of Queen Anne.
Edward Alfred Briscoe Drury was a British architectural sculptor and artist active in the New Sculpture movement. During a long career Drury created a great number of decorative figures such as busts and statuettes plus larger monuments, war memorials, statues of royalty and architectural pieces. During the opening years of the 20th-century he was among the foremost architectural sculptors active in Britain and in that period created the series of works in central London for which he is perhaps now best known. These include the figures on the Old War Office building in Whitehall, elements of the facade of the Victoria and Albert Museum and four of the colossal statues on Vauxhall Bridge.
The Southampton City Art Gallery is an art gallery in Southampton, southern England. It is located in the Civic Centre on Commercial Road.
Sophie Suzanne Brzeska or Sophie Gaudier-Brzeska was a Polish writer and artistic muse most noted for being the companion of the artist Henri Gaudier-Brzeska.
The Garman Ryan Collection is a permanent collection of art works housed at The New Art Gallery Walsall and comprises 365 works of art, including prints, sketches, sculptures, drawings and paintings collected by Kathleen Garman and lifelong friend Sally Ryan.
Rock Drill and the associated Torso in Metal from Rock Drill are Jacob Epstein's most radical sculptures.
Ethel (Dolly) Kibblewhite (1873–1947) was the host of an important artistic and literary salon in London in the 1910s. The salon was held at her home at 67 Frith Street and presided over by the poet and critic T.E. Hulme.
Horace Ascher Brodzky was an Australian-born artist and writer most of whose work was created in London and New York. His work included paintings, drawings and linocuts, of which he was an early pioneer. An associate in his early career of many leading artists working in Britain of his period, including Henri Gaudier-Brzeska, Mark Gertler, and members of the Vorticism movement, he ended his life relatively neglected.
Charlotte Prodger is a British artist and film-maker who works with "moving image, printed image, sculpture and writing". Her films include Statics (2021), SaF05 (2019), LHB (2017), Passing as a great grey owl (2017), BRIDGIT (2016), Stoneymollan Trail (2015) and HDHB (2012). In 2018, she won the Turner Prize.
Ann Compton is an art historian and an Affiliate in the History of Art, School of Culture & Creative Arts at the University of Glasgow. She has worked on a major project, 'Mapping the Practice and Profession of Sculpture in Britain and Ireland, 1851-1951', as Originator, Director and Editor. She is a Research Consultant on this project and is a member of the Sculpture Steering Panel at Art UK. She is a widely published author of and contributor to publications in her field. She is a member of the Advisory Board of the journal 'Public Monuments and Sculpture Association' (PMSA).
Terence Frederick Friedman (1940-2013) was an American-born art and architectural historian and museum curator. After his death in Leeds, UK, The Sculpture Journal, in their tribute, defined him as ‘a rare being - a scholar curator working in a regional museum, and an outstanding art historian, educator and collector’. He was also a highly acclaimed author and respected as a leading authority on 18th century ecclesiastical architecture. His book, The Eighteenth-Century Church in Britain, the first substantial study of the subject to appear in over half a century, won the William MB Berger Prize for British Art History in 2012.