On reflection, the venue for The Women’s Land Army – A Portrait was nothing short of inspired. The St Barbe Museum and Art Gallery, located just off the High Street in Lymington, a modestly pretty market town and port just south of the New Forest, is in essence that very necessary and worthwhile thing, a local history collection — augmented, in this case, with two large rooms turned over to temporary art exhibitions. What more suitable context, then, for this compact yet compelling exhibition, doomed by its subject-matter to operate in the dangerous no man’s land dividing ‘history’ from ‘art’?
The history of the Women’s Land Army is recounted clearly and succinctly, both in the exhibition itself, and in the excellent accompanying catalogue. Other than commending this achievement, however, I don’t propose to say much more here about history per se.
For what clearly fascinated the exhibition organisers is the way in which the work of the Women’s Land Army was portrayed, notably during the course of the Second World War, under the auspices of the War Artists’ Advisory Committee. Meanwhile, what fascinates me is the present-day predicament of British war art — particularly of official British war art — which, for all its sometimes astonishingly high level of quality, is so rarely and grudgingly regarded as ‘proper’ art at all. Continue reading