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An amusement park which would outlast the other entertainments. It included the Big Dipper and became the Battersea Fun Fair, staying open until the mid-1970s Seaside. ( Architects and Designers: Eric Brown and Peter Chamberlain. Theme Convener. A. Hippisley Coxe.) An Exhibition of Sixty Large Paintings commissioned for the Festival of Britain" ("60 Paintings for '51"), Suffolk Galleries, organised by the Arts Council, prize awarded to William Gear; [51] Several images of the South Bank Exhibition can be found on the internet, including many released by The National Archives on the 60th anniversary of the festival. [87]
Scott-Moncrieff, George (1951), Living Traditions of Scotland, His Majesty's Stationery Office for The Council of Industrial Design Scottish Committee East End 1851: a Festival of Britain exhibition by arrangement with the Arts Council, 1951, Whitechapel Art Gallery. a b c d "The Lansbury Estate". University of London / History of Parliament Trust . Retrieved 1 September 2009.The British Film Institute was asked by Herbert Morrison in 1948 to consider the contribution that film could make to the Festival. [57] It set up a panel including Michael Balcon, Antony Asquith, John Grierson, Harry Watt and Arthur Elston, which became a committee of sponsorship and distribution. Over a dozen sponsored documentary films were made for the Festival, including Film was integral to the South Bank Exhibition, used to explain manufacturing, science and technology. The Dome of Discovery, the Exhibition of Science in South Kensington and the travelling Festival Exhibition made extensive use of educational and explanatory film.
Associated with the Festival of Britain Office were the Arts Council of Great Britain, the Council of Industrial Design, the British Film Institute and the National Book League. [8] In addition, a Council for Architecture and a Council for Science and Technology were specially created to advise the Festival Organisation and a Committee of Christian Churches was set up to advise on religion. [8] Government grants were made to the Arts Council, the Council of Industrial Design, the British Film Institute and the National Museum of Wales for work undertaken as part of the Festival. [9] Elder, Michael (2003), What do You do During the Day?, Eldon Productions, p.66 ISBN 9-780954-556808
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Casey, Andrew. "Ceramics at the Festival of Britain 1951: Selection and Objection." Journal of the Decorative Arts Society 1850-the Present 25 (2001): 74–86.
Allen, Cecil J (1974). Titled Trains of the Western. Shepperton: Ian Allan. pp.21–23. ISBN 07110-0513-3. As we alluded to earlier, there were a couple of different versions of the 1951 Festival of Britain crown released, each with varying mintage figures and rarities. a b c d e f " "Circa 1951: Presenting Science to the British Public", Robert Anderson, Oregon State University". Osulibrary.oregonstate.edu. Archived from the original on 6 July 2008 . Retrieved 13 December 2011. Henry Grant. "The Skylon in construction". Museum of London. Archived from the original (photo) on 30 July 2013. Although the coin was always part of the British coin family, its large size made it unpopular for general circulation and the half-crown was favoured as the de-facto largest coin in circulation. The Crown was more-or-less relegated to a commemorativecoin.The Royal Mint issued British Pound coins in 16 different denominations, including this British Five Shillings coin Festival of Britain Crown (1951). They are part of the predecimal and withdrawn Pound Sterling coins series. The Royal Mint started issuing these 0.25 British Pound coins in 1951. They were withdrawn from circulation in 1951. A new wing was built for the Science Museum to hold the Exhibition of Science. [60] The first part of the exhibition showed the physical and chemical nature of matter and the behaviour of elements and molecules. The second part, "The Structure of Living Things", dealt with plants and animals. The third part, "Stop Press", showed some of the latest topics of research in science and their emergence from the ideas illustrated in the earlier sections of the exhibition. They included "the penetrating rays which reach us from outer space, what goes on in space and in the stars, and a range of subjects from the electronic brain to the processes and structures on which life is based." [61] A Festival Council to advise the government was set up under General Lord Ismay. [8] Responsibility for organisation devolved upon the Lord President of the Council, Herbert Morrison, the deputy leader of the Labour Party, who had been London County Council leader. He appointed a Great Exhibition Centenary Committee, consisting of civil servants, who were to define the framework of the Festival and to liaise between government departments and the festival organisation. In March 1948, a Festival Headquarters was set up, which was to be the nucleus of the Festival of Britain Office, a government department with its own budget. [9] Festival projects in Northern Ireland were undertaken by the government of Northern Ireland. [12] Lettering and type design featured prominently in the graphic style of the Festival and was overseen by a typography panel including the lettering historian Nicolete Gray. [40] A typeface for the Festival, Festival Titling, [41] was specially commissioned and designed by Philip Boydell. It was based on condensed sans-serif capitals and had a three-dimensional form making it suitable for use in exhibition display typography. [42] It has been said to bear "a vague resemblance to bunting". [43] The lettering on the Royal Festival Hall and the temporary Festival building on the South Bank was a bold, sloping slab serif letter form, determined by Gray and her colleagues, including Charles Hasler and Gordon Cullen, [40] illustrated in Gray's Lettering on Buildings (1960) and derived in part from typefaces used in the early 19th century. [44] It has been described as a "turn to a jauntier and more decorative visual language" that was "part of a wider move towards the appreciation of vernacular arts and the peculiarities of English culture". [45] The lettering in the Lion and Unicorn Pavilion was designed by John Brinkley. [46] [47] The Guide Book to the Festival described its legacy in these words: "It will leave behind not just a record of what we have thought of ourselves in the year 1951 but, in a fair community founded where once there was a slum, in an avenue of trees or in some work of art, a reminder of what we have done to write this single, adventurous year into our national and local history." [8]
The Land of Britain. ( Architect: H. T. Cadbury-Brown. Theme Convener: Kenneth Chapman. Display Design: V.Rotter.) The Festival was a national celebration that reached millions of visitors across the UK and had several exhibitions located throughout the region, including the South Bank display in London all the way to the York Art Festival. Scottish Committee of the Arts Council of Great Britain (1952), New Scots Poetry, Serif Books, Edinburgh Reyner Banham, "The Style: 'Flimsy ... Effeminate'?" in Mary Banham and Bevis Hillier, A Tonic to the Nation: The Festival of Britain 1951, London, Thames and Hudson, 1976 ISBN 0-500-01165-6 The Country. ( Architect: Brian O'Rorke. Theme Conveners: A. S. Thomas, Peter B. Collins. Display Designer: F. H. K. Henrion.)University of Brighton Faculty of Arts, Design Archives material at Festival Hall". Arts.brighton.ac.uk. 18 April 2011 . Retrieved 13 December 2011. The crown coin minted this year was in commemoration of the event, and if you want to learn more about the Festival of Britain you can read this helpful summary here. Final Thoughts Homes and Gardens. ( Architects: Bronek Katz and Reginald Vaughan. Theme Conveners: A.Hippisley Coxe and S. D. Cooke.) The architecture and display of the South Bank Exhibition were planned by the Festival Office's Exhibition Presentation Panel, whose members were: [8] The Festival became a "beacon for change" that proved immensely popular with thousands of elite visitors and millions of popular ones. It helped reshape British arts, crafts, designs and sports for a generation. [4] Journalist Harry Hopkins highlights the widespread impact of the "Festival style". They called it "Contemporary". It was:
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