WELCOME!
The E-BNR aims to build a comprehensive & unique cross-artform guide to
the British neo-Romantic tradition,
from 1880 to the present day.
While the British Romantics of 1789-1824 have spawned a vast industry of
publishers, conferences & tourism, the later neo-Romantic traditions
remain largely neglected. The E-BNR is aimed at bringing this hidden
tradition to light.
PayPal donations are very welcome! Click the
button below to make a small donation to ongoing site costs. Thanks!
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WHAT IS NEO-ROMANTICISM ?
Neo-Romantic artists have drawn their inspiration
from artists of the age of Romanticism or earlier.
Characteristic themes in their work include a
mystical approach to the British landscape...
read more....
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ENTRY: Hurry, Leslie
Leslie George Hurry (b. February 10, 1909, London - d. November 20, 1978)
was a British artist and set designer for ballet, theatre and opera.
The son of A.G. Hurry, a St John's Wood funeral director, he schooled at Haberdashers' Aske's Boys'
School. Resisting pressure to join the family business, he attended St. John's Wood Art School
and the Royal Academy Schools. Leaving the Royal Academy School of Painting in 1931, before
the completion of his five-year scholarship, his first commission was from a brewing firm to
decorate a chain of saloon bars with landscape murals.
In the second half of the 1930s he wandered Britain and Ireland painting landscapes.
Depressed with his work and seeking inspiration to develop a personal style, he moved
to Brittany then Paris, but was forced to return to England due to health problems.
In 1939, found unfit for military service and disturbed by the war, he isolated
himself in his secluded cottage at Thaxted, Essex. At this time he was befriended
by Grace Sholto Douglas, an elderly patron of arts who died in 1942.
In 1940-41 he produced two books of intricate automatic drawings that were
exhibited at the Redfern Gallery, leading to his acclaim as an "ultra-surrealist".
His first stage work was for a production of Hamlet for the Sadler's Wells Ballet
in 1942, work commissioned by Robert Helpmann, who had seen his paintings
in a London gallery. He subsequently worked for Sadler’s Wells, the
Old Vic, Aldwych Theatre, Glyndebourne, the Royal Opera House,
the Royal Shakespeare Company and the theatre in Canada, particularly in Stratford, Ontario.
He left a large body of paintings, ranging through abstract, portraiture and landscape.
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