Cancelled Sans.
Eric Gill: The Art, The Artist, The Scumbag.
In the world of typography, few names are as revered as Eric Gill. The man behind the iconic typefaces Gill Sans and Perpetua, Gill's influence on typography is undeniable. But there's a darker side to Gill, a side that, in today's climate, would undoubtedly lead to his cancellation.
Eric Gill was a deeply flawed individual. His personal life was marked by scandal and controversy, with actions that would be considered abhorrent by any standard. Yet, his contribution to the field of typography is significant. This dichotomy presents a difficult question: should we separate the art from the artist?
This isn't a new debate. It's a question that has been asked about many artists throughout history. In the modern era, figures like Woody Allen and Roman Polanski come to mind. Both are undeniably gifted and influential in their fields, yet their personal lives are marred by controversy and reprehensible actions.
The Unsettling Truth.
Gill's personal diaries reveal a disturbing history of sexual misconduct, including inappropriate relationships with his sisters and his two eldest teenage daughters. and even sexual acts involving his dog. These revelations, made public in the 1989 biography by Fiona MacCarthy, shocked the world and cast a dark shadow over Gill's legacy.
However, in recent years, public sentiment has shifted. Following the exposure of other high-profile sexual offenders, calls for the removal of Gill's works have grown louder. His Stations of the Cross in Westminster Cathedral, his statue of St Michael the Archangel in St Patrick's Catholic Church, and his statue of Prospero and Ariel on the façade of Broadcasting House have all been targets of controversy
The Public Reaction.
In 1998, a group, Ministers and Clergy Sexual Abuse Survivors, called for Gill's Stations of the Cross to be removed from Westminster Cathedral, leading to a debate within the British Catholic press. There were calls for Gill's statue of St Michael the Archangel to be removed from St Patrick's Catholic Church in Dumbarton.
In January 2022, a man climbed the façade of Broadcasting House and damaged the statue of Prospero and Ariel with a hammer, while another man shouted about Gill's sexual misconduct. Nearly 2,500 people had previously signed a petition, on the website 38 Degrees, asking for the work to be removed. In May 2023 the statue was again attacked by a man wielding a hammer.
Even the BBC phased out Gill Sans, which they had used for their on-screen graphics in favour of a proprietary corporate font family, "Reith".
For and Against Separating the Art from the Artist.
Some argue that art should be judged on its own merits, separate from the personal failings of its creator. They contend that Gill's typefaces, like Gill Sans and Perpetua, have qualities and influences that extend beyond the man himself. These works have inspired countless designers and have become an integral part of our typographic landscape. To dismiss them entirely would be to ignore a significant chapter in the history of typography.
On the other hand, there are those who believe that we cannot, and should not, separate the art from the artist. They argue that by celebrating Gill's work, we indirectly condone his actions. In a time when accountability and social justice are at the forefront of societal discourse, this viewpoint holds considerable weight.
A Personal Decision.
Ultimately, the decision to separate the art from the artist is a deeply personal one. It's a decision that each of us must make based on our values, our beliefs, and our personal tolerance for the flawed humanity of artists.
As we grapple with this question, it's essential to remember that acknowledging the dark side of artists like Eric Gill doesn't diminish the importance of the conversation. Instead, it enriches it, adding layers of complexity and nuance that force us to think critically about the art we consume and the artists we choose to celebrate.
So, should we separate the art from the artist? There's no easy answer. But in asking the question, we engage in a dialogue that is crucial in our ongoing quest to understand the complex relationship between art, artists, and society.
P22 Underground: In use.
ITC Johnston: In use
