Latham, John, 1921-2006. (3 of 18). National Life Story Collection: Artists' Lives

  • Add a note
    Log in to add a note at the bottom of this page.
  • All notes
  • My notes
  • Hide notes
Please click to leave a note

The British Library Board acknowledges the intellectual property rights of those named as contributors to this recording and the rights of those not identified.
Legal and ethical usage »

Tags (top 25):
(No tags found for this item)
  • Type


  • Duration


  • Shelf mark


  • Subjects


  • Recording date

    1998-03-26 and 1998-04-06 and 1999-02-19 and 2000-07-18

  • Recording locations

    Interviewer's home, London, United Kingdom

  • Interviewees

    Latham, John, 1921-2006 (speaker, male)

  • Interviewers

    Steveni, Barbara, 1928- (speaker, female), Roberts, Melanie (speaker, female)

  • Abstract

    Part 3. John Latham (JL) continues discussing his experience in the Navy particularly his sense of being a witness to the manoeuvres of the major battleships and the effect of their engagements in battle on the crew of his own ship. He talks of being trained for torpedo boats and being drafted to coastal forces where he started producing paintings of his experience which he was able to sell. John Latham refers to reaching a focal point in his 'life-story' after the war with the coming together of art and sciences. JL talks of going to (Chelsea) art school in order to learn 'what not to do'. Switches to discussing the events that led up to his marriage to Barbara Steveni and which tied in with his fateful meeting with Dr. Gregory and his wife. JL describes how this meeting resulted in producing the visual trigger for his own interest in the bringing art and science together and particularly the proposition that 'everything equals nothing'. John Latham returns to discussing the war paintings. He talks of travelling in Italy during the war, seeing EI Greco's work and the effect that that had on him. JL talks about attending Chelsea Art college on an ex-serviceman's grant and reveals his personal philosophy of art. He goes on to discuss the divide between the mature and the young students in terms of knowledge about art history. Latham returns to his position on the sciences and art and of his being a founder member of a scientific institute - The Institute for the Study of Mental Images. He puts his understanding of this relationship into a brief chronology.

  • Metadata record:

    View full metadata for this item