Networking the Modern: Roger Fry and the Contemporary Art Society c.1909–39

This thesis explores the work of the Contemporary Art Society (CAS) from 1909–1939. Its founders were a cross-section of British art world – collectors, dealers, artists, and curators – who wanted to support the work of living artists and make more contemporary art available in public galleries.
No previous scholarship has considered in detail what the CAS collected and why. This study is the first attempt to examine the early years of the CAS in detail and the role of the Bloomsbury Group, and in particular Roger Fry, in its development.
After reviewing the work of the CAS from 1909–1917, this thesis focuses on three case studies. The first considers the selection of works from the CAS collection by Manchester City Galleries (who received more than any other subscribing gallery). The second describes the consultancy work performed by the CAS for the Ulster Museum in Belfast. Free from financial constraints, but constrained by time, this case study explores what the CAS bought when funds were not an issue. The final case study concerns the work of the CAS Prints and Drawings Fund with the British Museum. Here a statistically significant number of works were acquired, most of which were prints, allowing for an analysis of the effect of social networks.
My case studies are presented within the context of British social, political and museum history. Their primary sources are unpublished archives held by the Tate, Manchester City Galleries, Manchester Corporation and the Ulster Museum.
My research demonstrates that though the foundation of the CAS can be attributed to the denizens of Bloomsbury, their impact on the work of the CAS as a whole, though significant in the early years, diminishes in the interwar period when other social and professional networks, and links to London art dealers, have far more influence.