Whether it is really possible to `Go Modern and still Be British' is a question vexing quite a few people today. We may see the struggle going on - in the faces of elderly painters and young architects, manufacturers, shop windows, facades of buildings." So wrote the painter Paul Nash in 1932, encouraging his fellow Brits to take the plunge across the Channel to discover what "Being Modern" was all about.
Paul Nash is a good representative of the theory that went with Modernism in the Thirties, that if you could do one thing in design, you could do everything. He designed textiles, glassware, posters, books, even a spectacular bathroom for Tilly Losch, the dancer, although he remained first and foremost a painter.
His work in several of these fields is shown in Modern Britain 1929- 1939 at the Design Museum. If you want to know why the Design Museum is exhibiting some of the best examples of fine art produced in the Thirties, Nash's work helps to provide the answer. Painters and sculptors, including Henry Moore, Barbara Hepworth and Graham Sutherland, believed that they could become better engaged in the social issues of the time by creating an awareness of visual form and language. The Design Museum has chosen to show what a New Statesman-reading intellectual in Hampstead would have had in his sitting-room. As the poet Stephen Spender wrote, the intelligentsia was excited about "the idea that architecture, the design of rooms, and of the things within those rooms, could alter people's lives". This desire to rebuild everything from the ground up was an essential part of the Modern. The exhibition has sections devoted to Abbatt's educational toys (some designed by the architect Erno Goldfinger) as well as the enthusiasm for Health Centres. Most European countries developed Modernism in the Twenties, ahead of Britain, in response to the need for reconstruction after the First World War. …