One of my first tasks as a project archivist at UCL has been to catalogue the papers of the philosopher and educator Louis Arnaud Reid. Reid became the first Professor of Philosophy at the Institute of Education, and was a strong advocate of the importance of art in education. He retired in 1962, but continued writing and teaching as an emeritus professor right up until his death in 1986 at the age of 90. These papers were donated by his widow Molly.
The first thing that strikes you about the papers of Louis Arnaud Reid is the sheer volume of work. We have his drafts of 48 articles, papers, and books that he wrote. Draft after draft is typed, annotated with notes, and immaculately Tippexed. Here is someone who must have sat at his typewriter for hours on end, day after day. And this went on for decades – Reid published his first article in 1922, and his final book was published in 1986.
This photo of Reid was probably taken around 1940 or 1950. Despite looking very serious here, his correspondence hints at someone who was warm and affectionate. Below is an extract of a letter he wrote to a friend to ask for help in editing one of his books. He finished the letter by signing off:
“I know you’re enormously busy, and am really sorry to make it worse. I do wish we could meet sometimes. If it would save your time I could come to Cambridge; but I think it would probably have to be by train.
‘Thanking you in anticipation’ (as they say)
and very much love (as I say!)
As for Reid’s contribution to the fields of philosophy, education and art – his colleague Tony Dyson summarised his work in an article shortly before Reid’s death:
“What is perhaps most remarkable about Louis Arnaud Reid’s life’s work is its consistency: he was writing about feeling and knowledge in the 1920s – and this is still his major preoccupation. The fact that his ideas have been assimilated and frequently employed – consciously or otherwise – by other apologists for the arts is clear evidence of the effectiveness of his mission. He has provided us with a formidable armoury in defence of the arts in education and, in so doing, he has ‘made philosophy live’ for very, very many, far beyond the immediate circle of his students and colleagues.”
Article in ‘Alumnis, The Review of the Institute of Education Society’ (1985)
Reid’s friend and peer Harold Osborne has also written that Reid was “clear that the central purpose of education should be the enrichment and development of the personality as a whole, and this must include the enhancement and honing of that power of direct apprehension which can never be wholly accommodated within verbal propositions” (quoted in Reid’s obituary in The Journal of Art & Design Education, written by Sheila Paine).
Amongst his papers, Reid has also retained material from his seminars at the IOE. Reid’s teaching methods with students are demonstrated here in his typed seminar questions for his students, and students’ written reports from each seminar group discussion have also been kept. His love of art is also clear from two sketchbooks which include Reid’s sketches in watercolour, crayon, and pencil, including the picture below:
However, his self-written bio for the department at the IOE includes the note:
“Nearly killed myself in the past trying to paint. Have vague dreams of returning to it; but apprehensive of effects!”
Overall, between the many typed drafts of articles and book chapters, the notes from his taught seminars at the IOE, and Reid’s own handwritten notes, there is likely to be much of interest here to a researcher of the philosophy of art and education, and how the two should be combined.