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Anne Rees Mogg
Nevertheless, the family private-ness of her films does build something of a wall around them.

All of the players in her films are her intimates - family, friends, students, the collections of things that surrounded her. Coupled with the on-the-face-of-it artless manner of her films, this personal intimacy was strikingly at odds with the largely formalist aesthetic abroad in the art world, and, most relevantly and locally, in the Painting School at Chelsea. The solitary position that Anne maintained - often under fire from the fine art department, and from which she taught and supported a generation of film-making students, was a courageously original endeavour.

In the last important film before her death, Grandfather's Footsteps (1983), she clearly relishes his diary entry in praise of "this wonderful age when man who has talent communicates it for the benefit of others - philanthropy, art exhibitions, the industrial schools and so on. Endeavouring to instruct others in the matters of amusement and science". And when she recognises that the range of activities and practical investigations of this Victorian clergyman, who was actually her great-grandfather, and all that they meant to him, would have been considered a mere amateur hobby-horse beside the high art of the mainstream Victorian artists of his time, it's not difficult to see her likening this to her own reputation among 'the boys' club', as she called the Chelsea painters. She was the same sort of outsider as her ancestor.

Anne started teaching at Regent Street Polytechnic in the late 1940s, soon after graduating (in Painting) at the Central School of Art. When the Regent Street art school merged into the new Chelsea School of Art around 1960 (under Lawrence Gowing), she taught within the newly introduced 'general studies', including a course on colour, theory and practice. We became friends at this time; she came to all of my 1962-63 foundation art history lectures. I remember her delight once with a Degas quotation I found for her, defining painting as the art of surrounding one colour to make it look like another . It became one of her exercises.

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