Editing Herbert Read

{{Short description|English anarchist and writer (1893–1968)}}
{{about|Sir Herbert Edward Read, English poet and critic}}
{{Use dmy dates|date=April 2021}}
{{Infobox writer
| honorific_prefix = [[Knight Bachelor|Sir]]
| name         = Herbert Read
| honorific_suffix = [[Distinguished Service Order|DSO]] [[Military Cross|MC]]
| image        = Herbert_Read.JPG
| caption      =
| birth_name   = Herbert Edward Read
| birth_date   = {{birth date|df=yes|1893|12|4}}
| birth_place  = Muscoates, [[North Riding of Yorkshire]], England
| death_date   = {{death date and age|df=yes|1968|6|12|1893|12|4}}
| death_place  = [[Stonegrave]], North Riding of Yorkshire, England
| occupation   = Art historian, literary and art critic
| period       = 1915–1968
| genre        =
| movement     =
| notableworks =
}}
'''Sir Herbert Edward Read''', {{postnominals|country=GBR|size=100|sep=,|DSO|MC}} ({{IPAc-en|r|iː|d}}; 4 December 1893 – 12 June 1968) was an English [[art historian]], poet, literary critic and philosopher, best known for numerous books on art, which included influential volumes on the role of art in education. Read was co-founder of the [[Institute of Contemporary Arts]]. As well as being a prominent English [[anarchist]], he was one of the earliest English writers to take notice of [[existentialism]]. He was co-editor with [[Michael Fordham]] and [[Gerhard Adler]] of the British edition in English of ''[[The Collected Works of C. G. Jung]]''.

He was a professor of fine art at [[Edinburgh University]] from 1931 to 1933, a lecturer in art at the [[University of Liverpool]] (1935-36), Leon Fellow at [[University of London]] (1940-42), and [[Charles Eliot Norton]] Professor of Poetry at [[Harvard University]] (1953-54).<ref>[http://www.kirjasto.sci.fi/hread.htm]</ref>

==Early life==
The eldest of four children of tenant farmer Herbert Edward Read (1868–1903) and his wife Eliza Strickland, Read was born at [[Muscoates]] Grange,<ref name="Harrod 2004">{{cite encyclopedia |last=Harrod |first=Tanya |encyclopedia=Oxford Dictionary of National Biography |title=Read, Sir Herbert Edward (1893–1968), poet, literary critic, and writer on art |publisher=Oxford University Press |date=2004-09-23 |isbn=978-0-19-861412-8 |doi=10.1093/ref:odnb/35695 |oclc=56568095}}</ref> near [[Nunnington]], about four miles south of [[Kirkbymoorside]] in the [[North Riding of Yorkshire]]. In ''Herbert Read- The Stream and the Source'' (1972), [[George Woodcock]] wrote: "rural memories are long... nearly sixty years after Read's father... had died and the family had left Muscoates, I heard it said that 'the Reads were snobs'. They employed a governess (and) rode to hounds..."<ref>Herbert Read- The Stream and the Source, George Woodcock, 1972 (2008 reprint), Black Rose Books, p. 11</ref> After his father's death, the family, being tenants rather than owners, had to leave the farm; Read was sent to a school for orphans at [[Halifax, West Yorkshire]],<ref>Herbert Read Reassessed, David Goodaway, Liverpool University Press, 1998, p. 1</ref><ref>A Tribute to Herbert Read, 1893-1968, Bradford Art Galleries and Museums, 1975, p. 64</ref> and his mother took a job managing laundry in Leeds, where Read later joined her.<ref>Herbert Read: A Vision of World Art, ed. Benedict Read et al, Leeds City Art Galleries, 1993, p. 147</ref> Read's studies at the [[University of Leeds]] were interrupted by the outbreak of the [[First World War]], during which he served with the [[Green Howards]] in France. He was commissioned in January 1915,<ref>{{London Gazette|issue=29031 |supp=y| date=5 January 1915 |page=250}}</ref> and received both the [[Military Cross]] (MC) and the [[Distinguished Service Order]] (DSO) "for conspicuous gallantry and devotion to duty" in 1918.<ref>{{London Gazette|issue=30466 |supp=y| date=8 January 1918 |page=638 }}</ref><ref>{{London Gazette|issue=30813 |supp=y| date=23 July 1918 |page=8749 }}</ref> He reached the rank of [[Captain (British Army and Royal Marines)|captain]].<ref>{{Cite news |title=Sir Herbert Read, Critic, Is Dead; Early Champion of Abstract Art; Poet and Literary Essayist Explored Effect of Industrial Society on Esthetic Values |work=[[The New York Times]] |date=1968-06-13 |url=https://www.nytimes.com/1968/06/13/archives/sir-herbert-read-critic-is-dead-early-champion-of-abstract-art-poet.html |language=en-US |issn=0362-4331 |df=mdy-all }}</ref><!-- more in source -->

During the war, Read founded the journal [[Frank Rutter#Art & Letters|''Arts & Letters'']] with [[Frank Rutter]], one of the first literary periodicals to publish work by [[T. S. Eliot]].<ref>James King, ''Herbert Read – The Last Modern'' (London: Weidenfeld & Nicolson, 1990.</ref>

==Early work==
Read's first volume of poetry was ''Songs of Chaos'', self-published in 1915. His second collection, published in 1919, was called ''Naked Warriors'', and drew on his experiences fighting in the trenches of the First World War. His work, which shows the influence of [[Imagism]] and the [[Metaphysical poets]],<ref>{{cite web|url=http://charleswhalley.tumblr.com/post/10609984030/metafiddlesticks-eliots-donne-and-the|title=- 'Metafiddlesticks!': Eliot's Donne and the Possibilities of the Neo-Metaphysical Speaker, 1917-1935|work=tumblr.com|access-date=17 January 2015}}</ref> was mainly in [[free verse]]. His ''Collected Poems''<ref name=CollectedPoems>Read, Herbert, ''Collected Poems'', London: [[Faber & Faber]], 1966.</ref> appeared in 1946. As a critic of literature, Read mainly concerned himself with the [[Romantic poetry|English Romantic poets]] (for example, ''The True Voice of Feeling: Studies in English Romantic Poetry'', 1953) but was also a close observer of imagism.<ref>Hughes, Glen, ''Imagism and the Imagists: A Study in Modern Poetry'', Stanford University Press, 1931 (reprinted by Biblo and Tannen, New York, 1972, {{ISBN|0-8196-0282-5}})</ref> He published a novel, ''[[The Green Child]]''. He contributed to the ''[[The Criterion (magazine)|Criterion]]'' (1922–39) and he was for many years a regular art critic for ''[[The Listener (magazine)|The Listener]]''.<ref>{{cite book|last1=Goodway|first1=David|title=Anarchist seeds beneath the snow : left-libertarian thought and British writers from William Morris to Colin Ward|date=2012|publisher=PM Press|location=[New ed.]|isbn=978-1604862218|page=180|edition=New}}</ref>

While [[W. B. Yeats]] chose many poets of the Great War generation for ''[[Oxford Book of Modern Verse 1892–1935|The Oxford Book of Modern Verse]]'' (1936), Read arguably stood out among his peers by virtue of the 17-page excerpt (nearly half of the entire work) of his ''The End of a War'' (Faber & Faber, 1933).

Read was also interested in the art of writing. He cared deeply about style and structure and summarized his views in ''English Prose Style'' (1928),<ref>Read, Herbert, ''English Prose Style'', London: G. Bell & Son London; New York: Holt, 1928.</ref> a primer on, and a philosophy of, good writing. The book is considered one of the best on the foundations of the English language, and how those foundations can be and have been used to write English with elegance and distinction.

==Art criticism==
Read was a champion of modern British artists such as [[Paul Nash (artist)|Paul Nash]], [[Ben Nicholson]], [[Henry Moore]] and [[Barbara Hepworth]]. He became associated with Nash's contemporary arts group Unit One. Read was professor of fine arts at the [[University of Edinburgh]] (1931–33) and editor of ''[[The Burlington Magazine]]'' (1933–38). He was one of the organisers of the [[London International Surrealist Exhibition]] in 1936 and editor of the book ''Surrealism'', published in 1936, which included contributions from [[André Breton]], [[Hugh Sykes Davies]], [[Paul Éluard]], and [[Georges Hugnet]]. He also served as a trustee of the [[Tate Gallery]] and as a curator at the [[Victoria & Albert Museum]] (1922–31), as well as co-founding the [[Institute of Contemporary Arts]] with [[Roland Penrose]] in 1947.  He was one of the earliest English writers to take notice of [[existentialism]], and was strongly influenced by proto-existentialist thinker [[Max Stirner]].

From 1953 to 1954 Read served as the Norton Professor at [[Harvard University]]. In that final year, he gave the [[A. W. Mellon Lectures in the Fine Arts]] at the [[National Gallery of Art]]. For the academic year 1964–65 and again in 1965, he was a Fellow on the faculty at the Center for Advanced Studies of [[Wesleyan University]].<ref>[http://www.wesleyan.edu/libr/schome/FAs/ce1000-137.html#series2 Special Collections and Archives] {{webarchive|url=https://web.archive.org/web/20170314083709/http://www.wesleyan.edu/libr/schome/FAs/ce1000-137.html |date=14 March 2017 }}, Wesleyan University.</ref>

==Poetry==
Read's conception of poetry was influenced by his mentors [[T. E. Hulme]], [[F. S. Flint]], [[Marianne Moore]] and [[William Carlos Williams|W. C. Williams]], believing "true poetry was never speech but always a song", quoted with the rest of his definition 'What is a Poem' in his 1926 essay of that name (in his endword to his Collected Poems of 1966).<ref name=CollectedPoems /> 

Read's ''Phases of English Poetry'' was an evolutionary study seeking to answer metaphysical rather than pragmatic questions.<ref>Baro, Geno Review, Actual and Historical, 'Poetry' Vol 77 no 6 (1951).</ref>

Read's definitive guide to poetry however, was his ''Form in Modern Poetry'', which he published in 1932.<ref>Read, Herbert 'Form in Modern Poetry'' (first published 1932) Vision Press, Estover 1948</ref> In 1951, literary critic A. S. Collins said of Read: "In his poetry he burnt the white ecstasy of intellect, terse poetry of austere beauty retaining much of his earliest [[Imagist]] style."<ref>Collins, A. S., ''English Literature of the Twentieth Century'', London: University Tutorial Press, 1951.</ref> This style was evident in Read's earliest collection, ''Eclogues'' 1914-18.<ref>Allott, Kenneth, ''Contemporary Verse'' Penguin Poets, Harmondsworth, 1950.</ref>

==Anarchism and philosophical outlook==
Politically, Read considered himself an anarchist, albeit in the English [[Quietism (philosophy)|quietist]] tradition of [[Edward Carpenter]] and [[William Morris]]. Nevertheless, in the [[1953 New Year Honours]] he accepted a [[Knight Bachelor|knighthood]] for "services to literature";<ref name=GoodwayP180>{{Harvnb|Goodway|1998|p=180}}</ref><ref>UK list: {{London Gazette |issue=39732 |date= 30 December 1952 |pages=2  |supp=y}}</ref> this caused Read to be ostracized by most of the anarchist movement.<ref>David Goodway, "Introduction" in ''A one-man manifesto and other writings for Freedom Press'' by Herbert Read, London, Freedom Press,
1994, {{ISBN|0-900384-72-7}} (pp. 1-26).</ref> Read was actively opposed to the [[Francoist Spain|Franco regime]] in Spain,
and often campaigned on behalf of political prisoners in Spain.<ref>Herbert Read, "We Protest Against this
Spanish Tyranny..." (1952 Speech), reprinted in ''A one-man manifesto and other writings for Freedom Press'' (pp. 199-200).</ref> He was the chairman of the [[Freedom Defence Committee]] founded in 1945.<ref>''Peace News'', 23 March 1945</ref> In 1964 Read joined the ''Who Killed Kennedy Committee?'' set up by [[Bertrand Russell]].<ref>{{cite book |last1=Russell |first1=Bertrand |title=Autobiography |date=1998 |publisher=Routledge |page=707}}</ref>

Dividing Read's writings on politics from those on art and culture is difficult, because he saw art, culture and politics as a single congruent expression of human consciousness. His total work amounts to over 1,000 published titles.

Read's book ''To Hell With Culture'' deals specifically with his disdain for the term ''culture'' and expands on his anarchist view of the artist as artisan, as well as presenting a major analysis of the work of [[Eric Gill]]. It was republished by [[Routledge]] in 2002.

In his philosophical outlook, Read was close to the European idealist traditions represented by [[Friedrich Schelling]], [[Johann Gottlieb Fichte]], and [[Samuel Taylor Coleridge]], believing that reality as it is experienced by the human mind was as much a product of the human mind as any external or objective actuality. In other words, the mind is not a camera recording the reality it perceives through the eyes; it is also a projector throwing out its own reality. This meant that art was not, as many [[Marxists]] believed, simply a product of a bourgeois society, but a psychological process that had evolved simultaneously with the evolution of consciousness. Art was, therefore, a biological phenomenon, a view that frequently pitted Read against Marxist critics such as [[Anthony Blunt]] in the 1930s. Read, in this respect, was influenced by developments in German [[art psychology]]. His Idealist background also led Read towards an interest in [[psychoanalysis]]. Read became a pioneer in the English-speaking world in the use of psychoanalysis as a tool for art and literary criticism. Originally a Freudian, Read came to transfer his allegiance to the [[analytical psychology]] of [[Carl Jung]], eventually becoming both publisher and editor-in-chief of Jung's collected works in English.<ref>Goodway, "Introduction" in ''A One-Man Manifesto and other writings for Freedom Press'' by Herbert Read (1994), p. 19.</ref>

As early as 1949, Read took an interest in the writings of the French [[Existentialists]], particularly those of [[Jean-Paul Sartre]]. Although Read never described himself as an existentialist, he did acknowledge that his theories often found support among those who did. Read perhaps was the closest England came to an existentialist theorist of the European tradition.<ref>See [[Michael Paraskos]], ''The Elephant and the Beetles: the Aesthetic Theories of Herbert Read'', PhD, University of Nottingham, 2005.</ref>

== Views on education ==
Read developed a strong interest in the subject of education and particularly in [[art education]]. Read's anarchism was influenced by [[William Godwin]], [[Peter Kropotkin]] and [[Max Stirner]]. Read "became deeply interested in children's drawings and paintings after having been invited to collect works for an exhibition of British art that would tour allied and neutral countries during the Second World War. As it was considered too risky to transport across the Atlantic works of established importance to the national heritage, it was proposed that children’s drawings and paintings should be sent instead. Read, in making his collection, was unexpectedly moved by the expressive power and emotional content of some of the younger artists' works. The experience prompted his special attention to their cultural value, and his engagement of the theory of children's creativity with seriousness matching his devotion to the avant-garde. This work both changed fundamentally his own life’s work throughout his remaining 25 years and provided art education with a rationale of unprecedented lucidity and persuasiveness. Key books and pamphlets resulted: ''Education through Art'' (Read, 1943); ''The Education of Free Men'' (Read, 1944); ''Culture and Education in a World Order'' (Read, 1948); ''The Grass Read'', (1955); and ''Redemption of the Robot'' (1966)".<ref name="ibe.unesco.org">{{cite web|url=http://www.ibe.unesco.org/fileadmin/user_upload/archive/publications/ThinkersPdf/reade.pdf |first=David |last=Thistlewood |title=HERBERT READ (1893–1968) |work= PROSPECTS: The quarterly review of comparative education |location=Paris |publisher=UNESCO: International Bureau of Education |volume= 24, no.1/2 |year= 1994 | pages= 375–90}}</ref>

Read ''"elaborated a socio-cultural dimension of creative education, offering the notion of greater international understanding and cohesiveness rooted in principles of developing the fully balanced personality through art education. Read argued in Education through Art that "every child, is said to be a potential neurotic capable of being saved from this prospect, if early, largely inborn, creative abilities were not repressed by conventional Education. Everyone is an artist of some kind whose special abilities, even if almost insignificant, must be encouraged as contributing to an infinite richness of collective life. Read's newly expressed view of an essential 'continuity' of child and adult creativity in everyone represented a synthesis' the two opposed models of twentieth-century art education that had predominated until this point...Read did not offer a curriculum but a theoretical defence of the genuine and true. His claims for genuineness and truth were based on the overwhelming evidence of characteristics revealed in his study of child art....From 1946 until his death in 1968 he was president of the Society for Education in Art (SEA), the renamed ATG, in which capacity he had a platform for addressing [[UNESCO]]....On the basis of such representation Read, with others, succeeded in establishing the International Society for Education through Art (INSEA) as an executive arm of UNESCO in 1954."''<ref name="ibe.unesco.org"/>

==Death and legacy==
[[File:Herbert Read (1966).jpg|thumb|Herbert Read in 1966]]
Following his death in 1968, Read was probably neglected due to the increasing predominance in academia of theories of art, including Marxism, which discounted his ideas. Yet his work continued to have influence. It was through Read's writings on anarchism that [[Murray Bookchin]] was inspired in the mid-1960s to explore the connections between anarchism and ecology.<ref>{{cite web|url=http://dwardmac.pitzer.edu/Anarchist_Archives/bookchin/ecologyandrev.html |first=Murray |last=Bookchin |publisher=[[Anarchy Archives]] |editor=Dana Ward |editor-link=Dana Ward |title=Ecology and Revolutionary Thought |access-date=26 April 2011}}</ref> In 1971, a collection of his writings on anarchism and politics was republished, ''Anarchy and Order,'' with an introduction by [[Howard Zinn]].<ref>Boston: Beacon Press, 1971; originally published by Faber and Faber in 1954.</ref> In the 1990s, there was a revival of interest in him following a major exhibition in 1993 at Leeds City Art Gallery and the publication of a collection of his anarchist writings, ''A One-Man Manifesto and other writings for Freedom Press'', edited by David Goodway.<ref>{{cite book | last = Read | first = Herbert | title = A One-Man manifesto : and other writings for Freedom Press | publisher = [[Freedom Press]] |editor1-first=David |editor1-last=Goodway |editor-link=David Goodway |location = London |year= 1994 |isbn = 978-0-900384-72-1 |oclc=30919061 }}</ref> Since then, more of his work has been republished and there was a ''Herbert Read Conference'', at [[Tate Britain]] in June 2004. The library at the [[Cyprus College of Art]] is named after him, as is the art gallery at the [[University for the Creative Arts]] at [[Canterbury]]. Until the 1990s the [[Institute of Contemporary Arts]] in London staged an annual Herbert Read Lecture, which included well-known speakers such as [[Salman Rushdie]].

On 11 November 1985, Read was among 16 Great War poets commemorated on a slate stone unveiled in [[Westminster Abbey]]'s [[Poet's Corner]].<ref>{{cite web|url=http://net.lib.byu.edu/english/wwi/poets/poets.html|title=Poets|work=byu.edu|access-date=17 January 2015}}</ref> The inscription on the stone was taken from [[Wilfred Owen]]'s "Preface" to his poems and reads: "My subject is War, and the pity of War. The Poetry is in the pity."<ref>{{cite web|url=http://net.lib.byu.edu/english/wwi/poets/Preface.html|title=Preface|work=byu.edu|access-date=17 January 2015}}</ref>

A 1937 reading by Read lasting seven minutes and titled ''The Surrealist Object'' can be heard on the audiobook CD ''Surrealism Reviewed'', published in 2002.<ref>{{cite web|url=http://www.ltmrecordings.com/surrealismreviewednotes.html|title=Automatic Redirect|work=ltmrecordings.com|access-date=17 January 2015}}</ref>

He was the father of the well-known writer [[Piers Paul Read]], the BBC documentary maker [[John Read (art film maker)|John Read]], the BBC producer and executive Tom Read, and the art historian [[Ben Read]].

==Selected works==

*''Ecologue: A Book of Poems'' (1919)
*''Naked Warriors'' (1919)
*''What is a Poem'' (1926)
*''English Prose Style'' (1928)
*''Phases of English Poetry'' (1928)
*''[[William Wordsworth|Wordsworth]]; The Clark Lectures 1929-30'' (1930)
*''In Retreat'' (1930)
*''Ambush'' (1931)
*''Arp'' (1931) '[[World of Art|the World of Art Library]]' series 
*''The Meaning of Art'' (1931) revised 1968
*''Art and Alienation'' (1932)
*''Form in Modern Poetry'' (1932)
*''Innocent Eye'' (1933) childhood autobiography
*''The Redemption of the Robot: My Encounter with Education through Art'' (1933)
*''Art Now'' (1933)
*''Art and Industry'' (1934)
*''My Anarchism'' (1934)
*''[[The Green Child]]'' (1935)
*''Unit One'' (1935) editor
*''Paul Nash. A Portfolio of Colour Plates'' (1937) introduction 
*''Eric Gill'' (1938)
* Introduction to ''Hubris: A Study of Pride'' by [[Pierre Stephen Robert Payne]] (1940)
*''The Tenth Muse'' (1941)
*''To Hell With Culture'' (1941)
*''A World Within A War'' (1943)
*''Education Through Art'' (1943) later revised
*''Icon and Idea'' (1943)
*''Revolution & Reason'' (1945)
*''The Art of Sculpture'' (1949)
*''Education for Peace'' (1950)
*''Existentialism, Marxism and Anarchism, Chains of Freedom'' (1951)
*''English Prose Style'' (Reprinted 1952)
*''Art and Society'' (1953)
*''The True Voice of Feeling'' (1953)
*''The Paradox of Anarchism'' (1955)
*''Philosophy of Anarchism'' (1957)
*''A Concise History of Modern Painting'' (1959) 'the World of Art Library' series
*''Anarchy & Order; Poetry & Anarchism'' (1959)
*''Collected Essays in Literary Criticism'' (1960)
*''The Grass Roots of Art'' (1963)
*''Art Now'' (1963)
*''The Contrary Experience: Autobiographies'' (1963) autobiography
*''Collected Poems'' (1966)
*''Wordsworth'' (1966)
*''Naked Warriors'' (Reprinted 1967)
*''Art and Alienation'' (1967)
*''Essays in Literary Criticism'' (1969)

==References==
;Citations
{{Reflist|colwidth=30em}}

;Sources
{{refbegin}}
*{{citation |last=Goodway |first=David |title=Herbert Read Reassessed |year=1998 |publisher=Liverpool University Press |isbn=978-0-85323-872-0}}
{{refend}}
{{refbegin}}
*{{citation |last=Graham |first=Robert |title=Anarchism: A Documentary History of Libertarian Ideas, Volume Two: The Emergence of the New Anarchism (1939-1977) |year=2009 |publisher=Black Rose Books |isbn=978-1-55164-310-6|title-link=Anarchism: A Documentary History of Libertarian Ideas, Volume Two: The Emergence of the New Anarchism (1939–1977) }}
{{refend}}

==Further reading==

{{Refbegin}}

* {{Cite web |last1=Behrens |first1=David |title=Lost life of an incidental anarchist |work=The Yorkshire Post |date=2018-06-06 |url=https://www.yorkshirepost.co.uk/news/lost-life-of-an-incidental-anarchist-1-9194575 |language=en |access-date=2018-10-14 |df=mdy-all }}
*Cecil, Hugh, ''The Flower of Battle: British Fiction Writers of the First World War'' (London: Secker & Warburg, 1995) - chapter 10
*Goodway, David, (ed.), ''Herbert Read Reassessed'' (Liverpool: Liverpool University Press, 1998)
* {{Cite book |last1=Goodway |first1=David |title=Anarchist Seeds Beneath the Snow: Left-Libertarian Thought and British Writers from William Morris to Colin Ward |date=2006 |language=en |isbn=978-1-84631-025-6 |publisher=Liverpool University Press |location=Liverpool |df=mdy-all |chapter=Herbert Read |pages=[https://archive.org/details/anarchistseedsbe00good/page/n187 175]–201 |title-link=Anarchist Seeds Beneath the Snow: Left-Libertarian Thought and British Writers from William Morris to Colin Ward }}
*King, James, ''The Last Modern: A Life of Herbert Read'' (London: Weidenfeld & Nicolson, 1990)
*[[Michael Paraskos|Paraskos, Michael, (ed.)]], ''Re-Reading Read: Critical Views on Herbert Read'' (London: Freedom Press, 2007)
*[[Michael Paraskos]], ''Herbert Read: Art and Idealism'' (London: Orage Press, 2014)
*Read, Benedict and David Thistlewood (eds), ''Herbert Read: A British Vision of World Art'' (London: Lund Humphries, 1993)
*Thistlewood, David, ''Formlessness and Form'' (London: Routledge, 1984)
*[[George Woodcock|Woodcock, George]], ''Herbert Read: the Stream and the Source'' (London: Faber and Faber, 1972)
*''Herbert Read: A Memorial Symposium by [[Robin Skelton]]'' (London: Methuen, 1970)
*Treece, Henry (ed.), ''Herbert Read: an introduction to his work by various hands'' (London: Faber and Faber, 1944)
* {{Cite journal |last1=Keel |first1=John S. |title=Herbert Read on Education through Art |journal=Journal of Aesthetic Education |volume=3 |issue=4 |pages=47–58 |date=1969 |doi=10.2307/3331429 |issn=0021-8510 |jstor=3331429 |df=mdy-all }}
* {{Cite journal |last1=Parsons |first1=Michael J. |title=Herbert Read on Education |journal=Journal of Aesthetic Education |volume=3 |issue=4 |pages=27–45 |date=1969 |doi=10.2307/3331428 |issn=0021-8510 |jstor=3331428 |df=mdy-all }}
* {{Cite journal |last1=Smith |first1=Ralph A. |title=Editorial: On the Third Domain. Herbert Read (1893-1968): The Humanist in a World of Politics |journal=Journal of Aesthetic Education |volume=3 |issue=4 |pages=5–9 |date=1969 |issn=0021-8510 |jstor=3331426 |df=mdy-all }}
* {{Cite journal |last1=Wasson |first1=Richard |title=Herbert Read Now: A Salutation to Eros |journal=Journal of Aesthetic Education |volume=3 |issue=4 |pages=11–25 |date=1969 |doi=10.2307/3331427 |issn=0021-8510 |jstor=3331427 |df=mdy-all }}

{{Refend}}

==External links==
{{Commons category|Herbert Read}}
{{wikiquote}} 
* [https://google.com/books/edition/Naked_Warriors/dPJAAQAAMAAJ?hl=en Naked Warriors (1919)]
*[https://archive.org/stream/ecloguesbookofpo00readrich/ecloguesbookofpo00readrich_djvu.txt Eclogue poems 1914-18]
* [https://web.archive.org/web/20051026113342/http://recollectionbooks.com/bleed/Encyclopedia/ReadHerbert.htm Herbert Read] entry at the Anarchist Encyclopedia
* [http://voyager.library.uvic.ca/vwebv/holdingsInfo?bibId=2021196 Herbert Read fonds] at University of Victoria, Special Collections
* [http://www.panarchy.org/read/anarchism.html Herbert Read, The Paradox of Anarchism (1941)]
* Archival Material at {{wikidata|qualifier|property|P485|Q24568958|P856|format=\[%q %p\]}}
* {{Librivox author|id=18539}}

{{Authority control}}

{{DEFAULTSORT:Read, Herbert}}
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