Edith Rimmington and British Surrealism: War, Goddess Imagery and the Significance of the Ocean

这个合作博士项目的焦点将是英国艺术家伊迪丝·里明顿(1902-1986)的生活和职业生涯，尽管她对超现实主义做出了重大贡献，但她的作品一直被忽视。1936年之前，人们对里明顿的早期生活知之甚少，当时她在伦敦伯灵顿画廊参观了著名的国际超现实主义展览。到1937年，如果不是正式的话，她是英国超现实主义团体的正式成员，同年参加了伦敦画廊的超现实主义对象和诗歌展览。里明顿的作品也在国际上展出，最著名的是1947年在巴黎的超现实主义展览上的梅格特画廊，该领域的许多学者认为这是最后一个伟大的超现实主义展览。尽管里明顿的油画《画布上的油画》成为英国超现实主义运动的象征，但主要的学术研究尚未对她的绘画、素描、拼贴、诗歌或自动写作进行任何细节的分析。这个项目的研究将是基于对象和面向档案的，并将证明里明顿对我们理解超现实主义的重要性。这位名叫托尔·斯科特的学生将以米歇尔·雷米等著名权威对英国超现实主义的分析为基础，并分析里明顿在1937年至1972年期间的艺术实践，重点是两次世界大战之间的时期。该项目不仅将在她同时代的女性(如艾琳·阿格、艾米·布里奇沃特、玛丽恩·亚纳姆斯和伊塞尔·科尔霍恩)的背景下探索里明顿的写作和视觉艺术，还将参考诸如J.L.卡希尔等学者提出的动物超现实主义(特别是参考表示战争恐怖期间逃避现实的海洋意象)等艺术历史理论，以及惠特尼·查德威克、帕特里夏·阿尔默和凯特·康利等学者对超现实主义的女权主义方法。这篇论文将探讨神话、女神论、生物形态论、性爱和神秘等主题，所有这些主题都深深植根于超现实主义经典。

The focus of this collaborative doctoral project will be the life and career of Edith Rimmington (1902-1986), a British artist whose work has been much neglected despite her significant contributions to Surrealism. Little is known about Rimmington's early life before 1936, when she visited the famous International Surrealist exhibition at the Burlington Galleries in London. By 1937 she was an established, if not formal, member of the British Surrealist Group and participated in the Surrealist Objects and Poems exhibition at the London Gallery that same year. Rimmington's work was also exhibited internationally, most notably at the Surrealist Exhibition in Paris in 1947 at the Galerie Maeght, which many academics in the field consider to be the last great Surrealist exhibition. Despite Rimmington's painting The Oneiroscopist (oil on canvas, 1947) becoming emblematic of the British Surrealist movement, major scholarly studies have yet to analyse her paintings, drawings, collage, poetry or automatic writing in any detail. The research for this project will be object-based and archive-oriented and will make a case for Rimmington's importance to our understanding of Surrealism. The student, Tor Scott, will build on the analysis of British Surrealism by noted authorities such as Michel Remy and to analyse Rimmington's artistic practice between 1937-1972, with a specific focus on the interwar period. The project will not only explore Rimmington's writing and visual art in the context of her female contemporaries (such as Eileen Agar, Emmy Bridgewater, Marion Adnams and Ithell Colqhoun), but will also refer to art-historical theories such as Zoological Surrealism as proposed by scholars such as J. L. Cahill (particularly with reference to sea imagery denoting escapism during the horrors of war), and feminist approaches to Surrealism by scholars such as Whitney Chadwick, Patricia Allmer and Kate Conley. The thesis will explore themes such as mythology, Goddess Theory, biomorphisim, eroticism and the occult, all of which are deeply embeded within the Surrealist canon.