To accomplish great things,
we must not only act, but also dream;
not only plan, but also believe.
– Anatole France
How did the idea of the assembly come about? In 2018, before EU 22 wars, pandemics and economic crashes and worldwide social and political disruption, there was a growing demand for ideological and cultural change in the face of reckless economic growth and technological advances, just as there was in the 1960s and ’70s.
The effects of rapid economies and industry on society were telling. Environmental justice, social development and essential services, were experiencing detrimental disruption and manipulation worldwide coming up to 2020.
In London 1890 and onwards, a volatile time in history between the Industrial Revolution and the First World War, there was a group of friends who began to meet more or less regularly in sculptor Stirling Leeʼs large studio after the dayʼs work was done, for conversation, news of artistic events, and the enjoyment of each otherʼs company. In the larger artists’ studios of this time, evening gatherings were popular, at which food and drink would be provided and plenty more brought along by the guests, with each member in turn acting as host. There was strong social cohesion in the Chelsea artistic community, with prosperous artists willing to support and encourage their less well-known colleagues. However, this made demands upon the working space of the studios and there was talk of how these amenities could be improved.
At meetings in Stirling Leeʼs studio from September to November 1890, the idea of a club took shape. The original idea was for an exhibiting society. Many of the friends had studied in Paris, and they were inspired, no doubt, by the independent exhibitions which the Impressionists had held there.
At one meeting, at which the American born James Abbott McNeill Whistler was present, with the talk still of an exhibiting society, an American artist, and friend of Whistler, Theodore Wores, proposed that ‘A Club be formed of Chelsea artists’. Soon everyone present was shouting ‘Club, club, club!’ and the idea of the Chelsea Arts Club was born.
A list of possible Members was prepared, and in November of 1890 a committee was formed, chaired by Lee. It was agreed that the Club should:
Be bohemian in character
Consist of professional architects, engravers, painters and sculptors
Promote social intercourse amongst its members
Advance the cause of art by means of exhibitions, life classes and other kindred means.
The Chelsea Arts Club had been born as an idea, and it now needed a home. Towards the end of 1890 a one of the Members, James Elder Christie, offered the use of the ground floor and basement of his house at 181 Kings Road – a flat fronted Georgian House with a studio at the back, next door to the newly built Town Hall. The formal launch of the Club took place here on the 18th of March 1891, with 55 Members present. Soon gas rings were installed, sketchy cooking arrangements were made and suppers were available in the dining-room on Monday evenings. Rudimentary furniture was bought, including a long second-hand dining table seating at least twenty. A little later a life class and a sketch class were formed.
