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Fruit, c1950. Creator: Shirley Markham
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Fruit, c1950. Creator: Shirley Markham
Fruit, c1950. Shirley Markham (1931-1999) studied Graphic Design and Illustration at Central School of Art in London from 1950-1952. The writer, artist, poet, and illustrator Mervyn Peake (1911-1968) was one of her tutors, and her style of drawing was also influenced by other British illustrators such as Edward Ardizzone, Quentin Blake and Edward Bawden. Markham spent time in the Dolomite Mountains in Italy, and also visited Rome, sketching classical buildings. After graduating from Central, she worked as a graphic designer, producing book illustrations, cartoons for comics, menus and programmes. She gave up her promising career however when she got married in 1957. Middle-class women at that time were expected to devote their energies to bringing up children and running the home, and despite her obvious talent, she lacked the confidence to return to illustration. Her portfolio remained in the family attic for many years, but now her work is published here for the first time
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Media ID 18265923
© Shirley Markham Collection / Heritage-Images
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This print titled "Fruit, c1950" showcases the talent and artistic vision of Shirley Markham. A student of Graphic Design and Illustration at London's Central School of Art in the early 1950s, Markham was fortunate to be mentored by renowned writer, artist, poet, and illustrator Mervyn Peake. Her unique style of drawing drew inspiration from esteemed British illustrators such as Edward Ardizzone, Quentin Blake, and Edward Bawden. Markham's creative journey took her beyond the confines of a classroom. She explored the picturesque Dolomite Mountains in Italy and captured the essence of Rome through her sketches of classical buildings. After completing her studies at Central School, she embarked on a successful career as a graphic designer. Her illustrations adorned book pages while her cartoons found their way into comics. Menus and programs also bore witness to her artistic touch. However, societal expectations prevailed during that era when middle-class women were often expected to prioritize domestic responsibilities over professional pursuits. In 1957, Markham made the difficult decision to leave behind her promising career upon getting married. For years thereafter, Markham's remarkable portfolio remained hidden away in an attic until now. The publication of this previously unseen collection unveils not only Markham's undeniable talent but also sheds light on the challenges faced by talented women who felt compelled to abandon their creative aspirations due to societal pressures.
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