Edwin Smith

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Edwin Smith (1912 – 1971) was the most significant British photographer of architecture and landscape in the mid-twentieth century.

Works

St John The Evangelist, Shobdon, Herefordshire, 1959 View From The Chancel Of The Nave

Edwin Smith

Roofscape, Whitby, North Yorkshire, 1959

Edwin Smith

Limetree Cottage, East Hagbourne, Berkshire, 1953

Edwin Smith

Castle Stalker, Loch Laich, Appain

Edwin Smith

Hadrian’s Wall, Northumberland, 1959 Looking East From Hotbank Crags

Edwin Smith

Wells Cathedral, Somerset, 1968 The Strainer Arch Seen From The South Transept

Edwin Smith

Peggy Angus’s House, Furlongs, Near Firle, East Sussex, 1961

Edwin Smith

Whitby Abbey, The Graveyard, 1956

Edwin Smith

Salisbury Cathedral, Wiltshire, 1959 The West Front

Edwin Smith

Thatching A Cottage At Sheepwash, Circa 1968

Edwin Smith

Newly Ploughed Field, Holkham, Norfolk, 1970

Edwin Smith

Thatching At Puddingcake Farm, Near Tenderden, Kent, 1953

Edwin Smith

Daneway House, Sapperton, Gloucestershire, 1960 View Of The Hall From The Library

Edwin Smith

Mitcham Fair, London, 1955

Edwin Smith

Brighton Beach, East Sussex, 1952

Edwin Smith

The Beach, Eastbourne, East Sussex, 1955

Edwin Smith

St John The Evangelist Church, Edinburgh. Close Up Of The Fan Vaulted Ceiling, 1964

Edwin Smith

Seafront, Southend-On-Sea, Essex, 1940s

Edwin Smith

The Kitchen Of Peggy Angus’s House, Furlongs, Near Firle, East Sussex, 1953

Edwin Smith

Piazza San Marco, Venice, 1961

Edwin Smith

A House On The Edge Of The Village Of Irsina, Basilicata, 1963

Edwin Smith

The Great Palaestra, Pompeii, Campania, 1959

Edwin Smith

Villa Garzoni, Collodi, Tuscany, 1962

Edwin Smith

Fragments Of The Colossal Statue Of Constantine The Great, Palazzo Dei Conservatori, Rome, 1954

Edwin Smith

Fontana Dell’organo And Fontana Di Nettuno, Villa D’este, Tivoli, Lazio, 1960

Edwin Smith

Trajan’s Forum, Rome, 1962

Edwin Smith

Villa Garzoni, Collodi, Italy, 1962

Edwin Smith

Whitby Abbey, North Yorkshire, 1954

Edwin Smith

Canterbury Cathedral, Kent, 1955 Crypt

Edwin Smith

Wells Cathedral, Somerset, 1968

Edwin Smith

The Triangular Bridge, Crowland, Lincolnshire, 1958

Edwin Smith

York Minster, 1960 The South Transept Seen From A Side Street

Edwin Smith

The Royal Exchange, Cornhill, London, 1957

Edwin Smith

Ely Cathedral, Cambridgeshire, 1958 The West Tower And Southwest Transept With Two Turret Towers

Edwin Smith

Winchester Cathedral, Hampshire, 1959 The Nave Vault

Edwin Smith

York Minster, 1958 The Nave Looking East

Edwin Smith

Fountains Abbey, North Yorkshire, 1959 The Cellarium Beneath The Brethen’s Dorter

Edwin Smith

Bolton Priory, North Yorkshire, 1959 The Ruined Transepts

Edwin Smith

Market From The Rialto Bridge, Venice, 1961

Edwin Smith

Turf-Cutting Near Leenane, County Galway, Ireland, 1965

Edwin Smith

Temple Bar, Theobalds Park, Cheshunt, Hertfordshire, 1968

Edwin Smith

The Royal Courts Of Justice, Strand, London, 1970 Seen From The South-East

Edwin Smith

Woburn Abbey, Bedfordshire, 1961 The Sculpture Gallery

Edwin Smith

Homestead, Ballinaboy, County Galway, Ireland, 1965

Edwin Smith

Queen’s House, Greenwich, London, 1970 The Tulip Staircase

Edwin Smith

Camaldoni, Tuscany, 1963

Edwin Smith

St Brigid’s Well, Liscannor, County Clare, Ireland, 1965

Edwin Smith

Palazzo Borromeo, Isola Bella, Lago Maggiore, 1960

Edwin Smith

Santa Maria Della Salute And The Dogana Di Mare Seen From The Flooded Molo During ‘Acqua Alta’, Venice, 1961

Edwin Smith

The National Gallery Of Scotland And The Mound Seen From East Princes Street Gardens, Edinburgh, 1964

Edwin Smith

St Mary The Virgin, Pembridge, Herefordshire, 1961

Edwin Smith

St Ives, Cornwall, 1964

Edwin Smith

Farmhouse Between Auletta And Potenza, Basilicata, 1963

Edwin Smith

The Lagoon, Venice, 1961

Edwin Smith

St Peter’s Basilica Seen From The Bastions Of Castel Sant’angelo, Rome, 1957

Edwin Smith

St Lawrence, Didmarton, Gloucestershire, 1961 The Vestry, Formerly The North Transept

Edwin Smith

Edinburgh, Looking West From The Crags To The Castle, 1954

Edwin Smith

The Beach, Eastbourne, East Sussex, 1955

Edwin Smith

St Mary’s Church, Saffron Walden, 1967

Edwin Smith

The Garden Of Schloss Benrath, Nr Dusseldorf, Germany, 1961

Edwin Smith

Roofscape, Whitby, North Yorkshire, 1959

Edwin Smith

Basilica Of San Marco, Venice, 1961

Edwin Smith

A House On The Edge Of The Village Of Irsina, Basilicata, 1963

Edwin Smith

Edinburgh, Looking West From The Crags To The Castle, 1954

Edwin Smith

Wells Cathedral, Somerset, 1968 The Strainer Arch Seen From The South Transept

Edwin Smith

Canterbury Cathedral, Kent, 1955 Crypt

Edwin Smith

Piazza San Marco, Venice, 1961

Edwin Smith

The Lagoon, Venice, 1961

Edwin Smith

The National Gallery Of Scotland And The Mound Seen From East Princes Street Gardens, Edinburgh, 1964

Edwin Smith

Brighton Beach, East Sussex, 1952

Edwin Smith

Early Years

Edwin Smith was born on 15 May 1912 in Camden, London. Smith showed an artistic aptitude throughout his schooling, and in 1928 he won a scholarship to study architecture at the Northern Polytechnic, Holloway. Moving, two years later, to study at the prestigious Architectural Association, Smith’s clear intention was to design rather than document the nation’s buildings. Smith worked as an architectural draughtsman, while nurturing hopes of becoming a painter.

Smith had been fascinated by photography since buying his first Kodak Box Brownie at the age of fifteen, and, when encouraged by the artist, Paul Nash, Smith took up photography in 1934. Through the artistic circles in which he mixed, he began to win regular commissions from British Vogue and also the Marcus Brumwell Stuart Advertising Agency, and gradually began to make a living from it.

While much of his early commercial work was affected by the requirements of his employers, once free of the tyranny of the art director there were hints of the brilliance to come. The 1930s saw Smith voraciously experimenting with different styles, cameras and techniques. Inspired by the great French photographer of quotidian life, Eugene Atget, and by other realist photographers, Smith produced a number of fascinating studies in his twenties. Fairgrounds, shop windows, nick-knacks and passers-by featured heavily, the beginning of a life-long obsession with recording popular culture.

John Betjeman referred to him as a ‘genius at photography’, so it is ironic that for most of his career he considered the art form at best a necessary commercial adjunct to his principal passion painting. Some of this can be attributed to the low regard with which photography was held by painters, but mostly it can be put down to his chronic self-effacement. Whatever the reason, it did not affect his application to the task. A photographer with a unique ability to sense the prevailing mood of a place, it was no accident that Smith earned the soubriquet the “English Atget”.

Notable among Smith’s early publications are a series of six books of photographic techniques for the Focal Press, including Cruising with a Camera: Phototips for Sea and Shore (1939), Better Snapshots with Any Camera (1939) and the most popular, Phototips (1940). This swift metamorphosis from frustrated painter to photographic authority signified Smith’s full embrace of the medium, and gave him a first taste of commercial publishing success.

In the 1950s, Smith’s publishing career properly gained momentum. Working for the newly founded publishing firm Thames & Hudson, he produced three books that focused his photographic attentions on British building types. The first was entitled English Parish Churches and was published in 1952. This was followed by English Cottages and Farmhouses (1954) and then English Abbeys and Priories (1960). All three of these were accompanied with texts by his wife, Olive Cook. Utilising only natural light, sometimes with exposures of up to half an hour, Smith conjured up timeless images that are rich in both atmosphere and place. All three books were lavishly produced, and used the latest in photogravure printing technology to reproduce Smith’s delicate and subtle photographs.

Smith’s body of work during the 1950s can be seen as an unofficial visual study of the British Isles. He published three other books for Thames & Hudson, including England (1957), and contributed his more quirky photographs to The Saturday Book, an annual artistic and literary miscellany, of which both Smith and his wife were founding members.

Opening the Eyes of a Generation

Smith was unusual in that most of his photography was commissioned for inclusion in books, rather than for ephemeral reproduction in advertisements or magazines. The cumulative effect of this was to make him a household name who, in the words of his friend, the author Norman Scarfe, ‘opened the eyes of a generation’.

Smith was most productive in the 1960s, during which the success of his earlier books paid dividends and he was courted by publishers for a total of forty-two books. He consolidated his 1950s photography of England with several other publications that covered a wide selection of British architecture and landscape. Smith was increasingly commissioned to travel abroad, particularly to Italy, to take photographs for books such as Venice: The Masque of Italy (1963) and The Wonders of Italy (1965).

Some of Smith’s popularity with publishers can be paradoxically attributed to his flat refusal to keep up with photographic trends. His traditional, measured, large-format approach was out of keeping with the changing fashion for reportage style photography that dominated the 1960s visual aesthetic. He distanced himself from the post-war vogue for highly stylised architectural photographs, mostly of modernist buildings, isolated from their surroundings and taken in bright sunlight from unusual viewpoints. Also, Smith preferred to concentrate on the traditional relationship of a building to its surrounding landscape. Leaving out the modern, social impact of buildings, he kept most of his photographs free of both people and the impact of modern development. It was left to his wife’s text to point out such facts as yet five miles distant heavy traffic thunders continuously through the villages of Harston and Melbourn, giving the lie to the peaceful aspect of the row of cottages shown.

Smith’s sensitivity to his native surroundings enabled him to photograph the changing landscape and architecture with brilliance, capturing in print buildings and traditions that have since been bulldozed by progress. As a historical document Smith’s archive is fascinating and unique, and in Britain today, with overdevelopment and erosion of rural life a major political issue, Edwin Smith’s photography has a renewed resonance.

The recurrent themes of Smith’s work a concern for the fragility of the environment; an acute appreciation of the need to combat cultural standardisation by safe guarding regional diversity; and a conviction that architecture should be rooted in time and place are as pressing today as when Smith first framed them in his elegant compositions.

Smith enjoyed close links with other artists as well, in particular two colonies whose establishment in the rural retreats of ‘Deep England’ symbolised not only their member’s concern to explore the English landscape but also their sensitivity to regional differences. Eric Ravilious’s love of the chalk downs of Sussex drew him to Furlongs, an isolated farmstead near Firle, which the wallpaper designer Peggy Angus had discovered and rented as a holiday home. Despite the rudimentary nature of its accommodation, Furlongs became notable for its artistic gatherings, presided over by Angus, who until 1948 was married to Jim Richards, the editor of the Architectural Review. Cook and Smith were frequent visitors from 1947 onwards, with Smith taking photographs of the rather dilapidated cottages and the various revels in which the group indulged .A more coherent artistic community grew up around Edward Bawden’s home at Great Bardfield, which he had discovered together with Ravilious. There Cook and Smith came into contact with a notable group of artists, illustrators and designers, among them, in addition to thoses already mentioned, Kenneth Rowntree and Walter Hoyle, who took as their main subject the landscape that they found on their doorstep.

News and Press

24th Feb 2018

The Influence of Atget on Edwin Smith