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Arts Guild. Finally they built a hostel for the pottery workers that doubled as a gallery for Watts’ own work. Over the last decade, the Watts Gallery Trust has been working to restore the buildings, which are now open to the public as Watts Gallery – Artists’ Village. Here we have been celebrating the 200th anniversary of the birth of Watts with a sequence of exhibitions and events. Until November, visitors can explore all aspects of Watts’ prodigious output – his sculpture, murals, drawings and paintings. Our exhibition GF Watts: England’s Michelangelo, includes loans from the major national museums as well as from private collections. But as always, there is also much else to do. There is an extensive programme of activities and our famed tea shop. GF Watts was more than an artist: he was a visionary, a prophet, a social reformer and a charismatic sage who loved the company of the glamorous and the talented. It is fitting that his legacy, at Watts Gallery – Artists’ Village, is equally much more than a picture gallery. GF Watts: England’s MichelangeloUntil 26 NovemberWatts Gallery – Artists’ Village, Compton GU3 1DQTue–Sun, 10am–5pm, £9.50 (Tue £4.75) wattsgallery.orgThe Arts Society has supported the Curatorial Fellow position at Watts Gallery – Artists Village.GF Watts realised art could be an effective medium to expose social issues. The wartime photography of Lee Miller (above) is similarly powerful.Before WW2, Miller was a model, fashion photographer and surrealist working in Paris, London and New York and mixing with artists such as Edward Steichen, Man Ray and Roland Penrose (whom she later married). With the advent of WW2, her focus turned to journalism. In 1942, she was accredited to the US Army; her images helped to bring the plight of women in war to the attention of British and American audiences. Miller, alongside Time Life’s David E Scherman, covered harrowing scenes such as the aftermath of D-Day, the siege of St Malo and the liberation of Dachau and Buchenwald. It was a truly surreal set of events that led to her bathing in Hitler’s bathtub on the day of his suicide, the mud of Dachau still on her boots, but there can have been no better person to visually representthe silent horror. Miller’s wartime experiences were traumatic and she hid the images away; they were found after her death in 1977. They can still be seen at the home she shared with Penrose, Farley Farm House in East Sussex (open Apr–Oct).leemiller.co.uk5 GF Watts, The Rider on the White Horse (c1874–83)6 David E Scherman, Lee Miller, Vogue Studio, London, 1944SOCIETY AND THE ARTIST56IMAGES: 5 NATIONAL MUSEUMS LIVERPOOL; 6 DAVID E. SCHERMAN © COURTESY LEE MILLER ARCHIVES, ENGLAND 2016. ALL RIGHTS RESERVED46GF WATTSThe Arts Society ReviewAutumn 2017