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207:. Cecil offered him an assistant's post at his New Grafton Street studio where McBean learnt how to retouch large glass negatives and other useful techniques, whilst working on his own photographs in the evenings. Having learnt the secrets of Cecil's softer style, McBean set up his own studio 18 months later in a basement in
489:, who much later (1960s) was close to Cecil Beaton both personally and in terms of style. McBean did not enjoy this level of fame either in his life or after death, even though he was arguably the better technically and artistically. Additionally McBean's focus on the world of theatre (particularly London's
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lighting, instantly replaced the set already made by the long-established but stolid Stage Photo
Company. McBean had a new career and a photographic leading lady: he was to photograph Vivien Leigh on stage and in the studio for almost every performance she gave until her death thirty years later.
138:
and
Newport Technical College, at which time he developed an interest in photography. Fascinated by the apparently magical properties of this process, Angus wanted to be able to take pictures of people and sold a gold watch left to him by his grandfather to raise the five pounds necessary for the
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are some of the most accessible surrealist photographic images known. Post war he reverted to a more regular style of portraiture photography, nearly always working with the entertainment and theatre profession.
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There were in effect two periods to McBean's career, his pre- and post-war phases. Pre-war he was a lot more confident in himself and experimented successfully with surrealism, indeed his work with the likes of
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Despite the decline in demand for theatre and production art during the 1950s, McBean's creative and striking ideas provided him with work in the emergent record cover business with companies such as
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themes can be found in the many
Christmas cards he created. For these images he constructed elaborate sets along with detailed props and miniatures, often taking weeks to produce the desired effect.
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for criminal acts of homosexuality. He was sentenced to four years in prison and was released in the autumn of 1944. After the Second World War, McBean was able to successfully resume his career.
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and watching plays in the West End theatre. In 1932 he left
Liberty's and grew his distinctive beard to symbolise the fact that he would never be a wage-slave again. Meeting the stage designers
150:, where he was mostly involved in the creation of sets, props and costumes. Later in life he credited this experience as being the start of his lifelong interest in dressing up and performing.
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compilations in 1973. In his later years he became more selective of the work he undertook, and continued to explore surrealism whilst taking portrait photographs of individuals such as
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126:, Monmouthshire, Wales on 8 June 1904, elder child and only son of Clement Philip James McBean, of Scottish descent, and Irene Sarah, née Thomas, of Welsh origin. His father, a former
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invited McBean to appear in the video, which was an homage to McBean, and was directly inspired by his famous 1938 photographic work "Flora Robson
Surrealised".
243:. Novello was so impressed with McBean's romantic photographs that he commissioned him to take a set of production photographs as well, including young actress
166:, McBean moved with his mother and younger sister Rowena to a three bedroomed cottage at 21 Lowfield Road, West Acton. For the next seven years he worked for
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In 1990, McBean fell ill whilst on holiday in
Morocco, and after returning to England, he died at Ipswich Heath Road Hospital on his eighty-sixth birthday.
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359:, as well as commissions by a number of other performers. In 1969 he returned with the Beatles to the same location to shoot the cover for their album
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Despite reducing the number of commissions he undertook in his later years, McBean continued to work selectively on projects such as French magazine
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401:. Both periods of his work (pre and post war) are now eagerly sought by collectors and his work sits in many major collections around the world.
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National Museum Wales
Cardiff, March – June 2007. Catalogue selected and edited by Terence Pepper, including interview with Sir Paul McCartney.
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314:, servicing the theatrical, musical and ballet star system. (An example of his work in this genre from 1951 can be seen on the page about
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McBean resultantly became one of the most significant portrait photographers of the 20th century, and was known as a photographer of
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In 1945, not sure whether he would find work again, McBean set up a new studio in a bomb-damaged building in Endell Street,
284:. He sold his Soho camera for £35, and bought a new half-plate Kodak View monorail camera to which he attached his trusted
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McBean's masks became a talking point in social columns, and were much admired by the leading London West End photographer
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The South Wales
Borderers, 24th Foot 1689-1937, Christopher Thomas Atkinson, Cambridge University Press, 1937, p. 537
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456:. According to his website, Sylvian had developed a strong interest in McBean's work and he and director
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lenses. McBean was commissioned first by the
Stratford Memorial Theatre to photograph a production of
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he helped in creating theatrical props, including a commission of medieval scenery and some shoes for
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349:'s first four album sleeves. McBean's later works included being the photographer for the cover of
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110:(8 June 1904 – 9 June 1990) was a Welsh photographer, set designer and cult figure associated with
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The artist McBean, as he was still known as a mask maker, gained a commission in 1936 from
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with a different cover, but McBean's photo was used (together with an outtake from the
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448:(1983). In 1984 McBean appeared, credited as "special guest", in the music video for "
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vied to commission McBean's new series of surreal portraits. In 1952 he photographed
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department learning restoration, while his personal life was spent in photography,
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259:. In the spring of 1942 his career was temporarily ruined when he was arrested in
987:"A Tudor House up for Sale that Stayed in One Family for Nearly a Thousand Years"
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559:
Angus McBean
Portraits, National Portrait Gallery, London, July to October 2006.
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493:) did not give him international recognition. In 2007, seven original colour
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1012:"East Anglian Film Archive: Sheridan Morley Meets: Angus McBean, 1984"
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http://www.npg.org.uk/collections/search/person/mp06543/angus-mcbean
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and undertook a major restoration. He lived there until his death.
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68:
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Auction of Angus McBean photographs, prints & props, 2013
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were accidentally thrown in the bin at the headquarters of
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Graves Art Gallery, Sheffield, December 2006 – March 2007.
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497:(slides) of his photographs for the Beatles album cover
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as Botticelli's Venus, with David Ball his boyfriend as
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Evidence of his innovative photographic techniques and
452:", the debut solo single by British musician-composer
712:"Angus McBean, draft of autobiography - Archives Hub"
548:
Photograph of Mary Irene Cathcart Wellcome L0023910
471:Two figures have overshadowed McBean's reputation:
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75:
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30:
674:(online ed.). Oxford University Press. 2004.
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594:(online ed.). Oxford University Press. 2004.
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665:"McBean, Angus Rowland (1904–1990), photographer"
585:"McBean, Angus Rowland (1904–1990), photographer"
1114:People prosecuted under anti-homosexuality laws
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142:At the age of fifteen McBean took part in the
921:The Beatles Encyclopedia: Everything Fab Four
904:"Jonathan Jones on photographer Angus McBean"
756:. Islington Archaeology and History Society.
475:(thanks to his lavish lifestyle and work for
158:In 1925, after his father's early death from
8:
247:. The results, taken on stage with McBean's
19:For the Scottish Presbyterian minister, see
1084:People educated at Monmouth School for Boys
425:. In the 1960s, he bought Flemings Hall in
373:cover shoot) for the cover of the Beatles'
318:, whom he photographed in a role in one of
1040:National Portrait Gallery exhibition, 2006
642:. National Portrait Gallery Publications.
38:
27:
162:, contracted in the trenches during the
671:Oxford Dictionary of National Biography
591:Oxford Dictionary of National Biography
575:
514:
735:"Angus McBean Biography & Gallery"
345:, when he was commissioned to create
146:productions at the Lyceum Theatre in
7:
940:Andrew Graham-Dixon (16 July 2006).
14:
1079:People from Newbridge, Caerphilly
985:Churchill, Penny (29 July 2017).
421:He was an influence on the young
122:Angus Rowland McBean was born in
1104:20th-century Welsh photographers
1089:Welsh people of Scottish descent
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529:
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1134:20th-century Welsh LGBT people
322:'s operas.) Magazines such as
310:and at all the productions of
1:
777:Portrait Gallery, National.
698:UK public library membership
618:UK public library membership
959:Barber, Lynn (8 May 2004).
536:The School for Scandal 1963
183:Motley Theatre Design Group
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1124:British surrealist artists
863:"Angus McBean Manuscripts"
806:Woodhouse, Adrien (1985).
18:
783:National Portrait Gallery
754:Angus McBean in Islington
363:. This later came out as
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1099:Welsh LGBT photographers
942:"So famous, so adorable"
638:Pepper, Terence (2006).
1119:People from Abertillery
961:"The Accidental Artist"
835:"The Curious Mr McBean"
417:End of career and death
235:for masks for his play
222:Angus McBean – Portrait
1129:British set decorators
843:. London. 11 June 2006
680:10.1093/ref:odnb/39960
640:Angus McBean Portraits
600:10.1093/ref:odnb/39960
223:
189:'s 1933 production of
291:Anthony and Cleopatra
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132:South Wales Borderers
885:"The Birth of Venus"
867:archiveswales.org.uk
483:British royal family
328:Tatler and Bystander
108:Angus Rowland McBean
946:The Daily Telegraph
810:. Macdonald Books.
752:Cosh, Mary (2001).
239:The Happy Hypocrite
227:Pre-War photography
192:Richard of Bordeaux
224:
16:Welsh photographer
1109:Gay photographers
1094:Welsh gay artists
928:978-1-440-84427-0
696:(Subscription or
689:978-0-19-861412-8
616:(Subscription or
609:978-0-19-861412-8
296:Royal Opera House
267:Post World War II
144:amateur dramatics
128:second lieutenant
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873:on 16 July 2015.
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371:Please Please Me
356:Please Please Me
320:Benjamin Britten
213:Victoria, London
171:department store
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996:13 September
994:. Retrieved
991:Country Life
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968:. Retrieved
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871:the original
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845:. Retrieved
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808:Angus McBean
807:
786:. Retrieved
782:
779:"Hugh Cecil"
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233:Ivor Novello
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187:John Gielgud
160:tuberculosis
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101:Photographer
81:(1990-06-09)
32:Angus McBean
25:
21:Angus M'Bean
1074:1990 deaths
1069:1904 births
554:Exhibitions
427:Bedingfield
399:Noël Coward
351:The Beatles
257:celebrities
179:mask-making
139:equipment.
79:9 June 1990
57:8 June 1904
1063:Categories
817:0356108503
700:required.)
649:1855145154
620:required.)
570:References
467:Conclusion
450:Red Guitar
439:L'Officiel
411:surrealist
324:The Sketch
316:Anne Sharp
205:Hugh Cecil
199:Hugh Cecil
154:Early work
118:Early life
112:surrealism
98:Occupation
53:1904-06-08
382:1967–1970
376:1962–1966
366:Let It Be
168:Liberty's
124:Newbridge
61:Newbridge
970:21 March
847:20 March
788:10 April
491:West End
481:and the
361:Get Back
336:Zephyrus
175:antiques
148:Monmouth
511:Gallery
485:); and
431:Suffolk
308:Old Vic
173:in the
130:in the
91:England
87:Ipswich
930:p. 290
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814:
760:
694:
686:
646:
614:
606:
306:, the
478:Vogue
286:Zeiss
69:Wales
1023:2020
998:2020
972:2018
924:ISBN
849:2007
812:ISBN
790:2015
758:ISBN
684:ISBN
644:ISBN
604:ISBN
442:and
397:and
379:and
326:and
261:Bath
76:Died
47:Born
676:doi
596:doi
505:EMI
343:EMI
1065::
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989:.
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906:.
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865:.
837:.
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51:(
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