Tuesday, 27 September 2016

Hiding Out in the English Countryside: Geoffrey Household & Samuel Palmer

David Rooney, illustration for 'Rogue Male' by Geoffrey Household, Folio Soc, 2013
Whenever I investigate an artist described as Neo-Romantic I discover that they either a. disliked the term or b. vehemently rejected it. Was there anyone who actually wanted to be thought of as Neo-Romantic, in the way that artists queued up to be labelled Surrealist? I'm not sure it's a very helpful term either, except as a description of a certain mood. You know a Neo-Romantic painting when you see one.

I have a book called 'This Enchanted Isle'. The author, Peter Woodcock, was apparently taught by Bawden and himself taught for many years at Camberwell. Aside from that I know nothing about him, but I love this book. It is everything an art history book is not supposed to be. You might call it anti-academic in its joyous mixing-up of artists, writers and film makers spanning two centuries.

'This Enchanted Isle', Peter Woodcock, Gothic Image Pub. 2000
When I first got it out of the library I baulked at the subtitle: 'The Neo-Romantic Vision from William Blake to the New Visionaries'. The new what? And then the list of names, from Palmer and Nash to Keigh Vaughan and John Craxton. So far it made sense. Blake, Palmer, then the 'Neo-Romantics'. But what about Elizabeth Bowen, Peter Ackroyd... Iain Sinclair? Powell and Pressburger, David Lean, Derek Jarman?

Instead of reading it as one would an art history book, looking for analysis and explanation and a clearer sense of how x fits with y, I dipped into it before going to sleep, reading a chapter here and a paragraph there. Gradually I realised that this wasn't a conventional book with a thesis but one built around mood, feeling and suggestion. The author had evidently spent years reading, watching and studying the various writers and artists, and wanted to share both his enthusiasm and his sense of a connection between disparate creative minds.

Graham Sutherland, Entrance to a Lane, 1939 (Tate)
One writer who was new to me was Geoffrey Household, and having read about him I rushed out to find his best-known book, 'Rogue Male'. Ostensibly a thriller about a man on the run from more or less everybody, it is evidently the work of a strange mind. The protagonist spends much of the novel hiding in a sort of burrow, in the side of an impenetrable holloway not far from Beaminster, and this experience is vividly described. On one level it reminds me of childhood den-building and grubbing about in ditches.

John Craxton, Poet in Landscape, 1941
But the thorny lane and earthy hollow are also Neo-Romantic motifs. At least they are subjects explored by Graham Sutherland and then by younger artists who were influenced by him. Sutherland in turn was the most ardent of Samuel Palmer's many early 20th century admirers. And when Palmer set to work in the 1820s portraying the Kent countryside in ink and paint and gum arabic he did so in a manner reminiscent of  Blake, cramming trees, churches, cornfields and shepherds into dense compositions, as his hero distorted human figures to fill the page.
William Blake, illustration from 'The First Book of Urizen', 1794
When I was reading 'Rogue Male' I thought about the late Tom Lubbock's description of Palmer's dense, dark ink drawings known as 'blacks':

'These pent twilit views lie snugly within their frames, with framing trees at the sides. Hills hump up at the back, the clouds close in , in the middle more trees gather into a mass, and underneath the sleeping sheep are folded into a mound, the fields of sheaves likewise. Everything is enfolded, cradled, tucked up and oystered...' (English Graphic, p141)

Samuel Palmer, Drawing for the Bright Cloud, c1831-2 (British Museum)
Later on in the same essay he describes the earnest viewers of a Palmer show (presumably the British Museum's brilliant 2005 retrospective) and asks himself, 'Are we a bunch of enclosure-seekers, hobbit-minded back-to-the-wombers? Is this bad?'

Is the urge to bury oneself in the countryside a primal human instinct, a reaction to stress or the prospect of change? Or is it a British - even English - peculiarity? I have no idea, but I'm glad Peter Woodcock wrote his book, and that he found a publisher that shared his enthusiasm.







Wednesday, 21 September 2016

'Century' at Jerwood: Dora Carrington

Dora Carrington, Iris Tree on a Horse, mixed media on glass, 1920s (Ingram Collection)

This jewel of a picture was made for one of the most famous models in early 20th century Paris. A British actress and poet with a bobbed haircut and scandalous reputation, Iris Tree (1897-1968) modelled for artists as diverse as Modigliani, Jacob Epstein and Vanessa Bell. In this case Carrington has portrayed her as a modern Joan of Arc, complete with spurs and sword – an upbeat, talismanic image that Iris Tree herself evidently admired. Years later, when she lived in a one-room flat in Rome (and appeared in Fellini’s celebrated film ‘La Dolce Vita’), she had it with her, propped against a pile of books.

Dora Carrington is among one hundred modern British artists whose work will be shown in 'Century', an exhibition of paintings, sculpture, drawings and prints from the Ingram Collection and Jerwood Collection, which opens next month at the Jerwood Gallery, Hastings.


Tuesday, 6 September 2016

Ravilious & Bawden at the Art Workers' Guild



Neil Jennings has gathered together an intriguing group of pictures for his next exhibition at the Art Workers' Guild in deepest Bloomsbury. Alongside drawings, engravings and lithos by Ravilious and Bawden he's showing more recent work by two artists whose shared skills and interests make them almost the heirs of Eric and Edward.

Edward Bawden, The Economy Committee, 1930 (copyright artist's estate)
Ian Beck and Glynn Boyd Harte were close friends until the latter's death in 2003, and both worked on either side of the (unnecessary) line between fine art and commercial design, as Ian continues to do.

Eric Ravilious, Introductory Lithograph, Submarine Series, 1941

For people who don't know the Art Workers' Guild I recommend a visit anyway. It's one of London's hidden delights. Besides Neil's exhibitions always seem to offer a good balance of the familiar and the less familiar - and they're always fun.

Ian Beck, Communication, 1981 (artist's copyright)
Glynn Boyd Harte painted the watercolour below shortly before his death. If I remember rightly, in fact, he had already survived one scare, and took the opportunity provided by his reprieve to produce a whole series of still life pictures like this - nobody else saw the world quite like he did.

Glynn Boyd Harte, Etrilles, 2003

Sunday, 4 September 2016

'Century' at Jerwood: Gerald Laing

Gerald Laing, Panoply, 1964-9, Ingram Collection (copyright artist estate)

A British artist who moved to New York in 1964, Laing embraced the big scale and glamour of American Pop art. Thrilled by the energy and excitement of modern life, he painted movie stars, skydivers, drag racers and astronauts. Here, we see two sides of the astronaut’s experience, on one hand the silent world of space represented by the repeated image of a floating figure, and on the other the rocket’s violent flaming energy.

Gerald Laing is one of 100 modern British artists to be featured in 'Century' at Jerwood Gallery, Hastings. Laing is also the subject of an exciting retrospective show at the Fine Art Society, London, which begins on 19 September.




Friday, 2 September 2016

'Century' at Jerwood: Euan Uglow

Euan Uglow, The Blue Towel, 1982-3, Jerwood Collection (artist copyright)

‘Basically I’m trying to paint a structured painting full of controlled, and therefore potent, emotion.’ So wrote Uglow of a painstaking working method in which precise measurement and great care in paint handling played an important role both in defining figures and in evoking a specific mood. In this unusual composition we see a figure – modelled on artist Liz Barratt – in three consecutive poses as she collects a towel and walks away to bathe. We sense her almost floating on silent feet, immersed in a private ritual.

'The Blue Towel' is one of over 100 works by 100 modern British artists, selected from the Jerwood and Ingram Collections, which will be featured in 'Century' at Jerwood Gallery, Hastings this autumn.