Winifred Nicholson: Music of Colour

Winifred Nicholson, Daffodils & Bluebells in a
Norman Window, 1950s (Kettle's Yard)

Walking around Kettle's Yard, the former Cambridge home of art collector HS (Jim) Ede, a few years ago I was struck by an expansive painting of a beach and the sea beyond. The picture was wide and soft and strangely luminous and, since there are no labels at Kettle's Yard (the house, I mean, not the gallery), rather mysterious. I found myself in the awkward and unusual position of having no-one to tell me whether or not I should take this picture seriously.

All I could do was look. The brushwork was loose and flowing, as if the artist had liked the scene very much and enjoyed painting it. In turn I found myself enjoying the muted colours and the lively brushwork. It seemed an original kind of vision. Then someone came by and said something about the artist being very good but not well known. I knew the name, Winifred Nicholson, through association with her husband Ben, but I didn't know her as an artist in her own right.

Winifred Nicholson, Sound of Rhum from Isle of Eigg, 1950s

This is hardly surprising, given the lack of opportunity to see her work. While there are stacks of weighty tomes devoted to Ben Nicholson (who left her for Barbara Hepworth in the 1930s), finding a book on Winifred was, until recently, quite a task. Now there is a colourful, spacious monograph by Christopher Andreae, although it's fairly pricey if you're not a fan already. There's also an excellent website, which has some gorgeous reproductions of her work. And, until December, you can see a small selection of her pictures on display at Kettle's Yard Gallery, complete with labels.

Current exhibition at Kettle's Yard Gallery

Winifred Nicholson (1893-1981) enjoyed a long, varied and productive career. During the 1920s, a decade traditionally overlooked by historians of British art, she and Ben worked side by side, developing their own response to the modernist revolution and finding inspiration particularly in the landscape around their home at Banks Head in Cumberland. This became, in the words of Christopher Wood, 'a Painter's Place', where visitors included Paul and Margaret Nash, Ivon Hitchens and Wood himself.

Winifred Nicholson, Seascape (Sea and Sand), 1926 (Kettle's Yard)

He and Winifred became close friends, yet she tends to be sidelined when the story of Wood, Ben Nicholson and Alfred Wallis is told. The famous 1928 meeting in St Ives comes across as a rather masculine affair, but Winifred was staying there too (as was Wood's delightfully named lover, Frosca Munster). It is arguable that poor doomed Kit Wood was influenced as much by her as by Wallis, and when you look at Ben and Winifred's work from the late 1920s side by side you can see plenty of similarities.

Winifred Nicholson, From Bedroom Window, 1930

'She has probably no equal among modern British painters,' wrote a critic of her 1929 exhibition, 'as a colourist of the most exquisite refinement.'

Two years later she responded to her husband's departure by removing to Paris with their children, there continuing both to paint and to write about her ideas, before returning to Britain shortly before the war. For the rest of her life she would divide her time between her family and her painting, exhibiting regularly in London and enjoying periods of intense creativity and experimentation. Some of the work she painted later in life, especially in Scotland and around Banks Head, is as fresh and luminous as the pictures from the 1920s. Throughout, she maintained a warm, lively correspondence with her former husband and retained an endless fascination for the music of colour.

Winifred Nicholson, Flower Table, Pots, 1929

Thanks to Winifred Nicholson's estate for allowing me to show these pictures. Copyright of course remains with them. Do have a look at their website.

FFI
www.winifrednicholson.com
www.kettlesyard.cam.ac.uk

Small is Beautiful: Kettle's Yard and the Fry

'Von Ribbentrop in St Ives' at Kettle's Yard

Thank you to everyone who came to my Ravilious talk in Saffron Walden on Wednesday, and to the organisers - Nigel and Iris Weaver and staff at the Fry Art Gallery. I was just reading a post by Jonathan Jones about cuts at Tate Liverpool and it made me appreciate all the more the virtues of small, quirky galleries. I feel the same about bookshops, but we'll come back to them another day...

I had to go to Cambridge en route to Essex and, while there, braved the bikes and crowds of French schoolkids muddling about in the road to visit Kettle's Yard. I hadn't been for years and had completely forgotten that the permanent collection lives not in the gallery but in the house itself, the former home of Tate curator and collector Jim Ede and his wife Helen.

Having worked at the Tate during the 1920s and 1930s, Jim amassed a diverse collection of British art from the period, and in 1966 he donated house and contents to Cambridge University. His vision was to create not 'an art gallery or museum, nor ... simply a collection of works of art reflecting my taste or the taste of a given period.'

HS 'Jim' Ede at Kettle's Yard

Christopher Wood, Jean Bourgoint, 1926

Instead he sought to preserve 'a continuing way of life from these last fifty years, in which stray objects, stones, glass, pictures, sculpture, in light and in space, have been used to make manifest the underlying stability.'

At a time when exhibitions tend to be dominated by great walls of explanatory text, it is a pleasure indeed to wander around this eccentric dwelling, looking at paintings in a domestic context and, quite naturally, unlabelled. With interest in 20th century British art on the rise, I can think of few better places to see work by Ben Nicholson, Alfred Wallis, Winifred Nicholson, David Jones, Barbara Hepworth, Henry Moore, Christopher Wood and others, alongside work by modern European artists. The selection is eclectic, reflecting not the depth of Ede's wallet but the warmth of his friendships. The paintings, sculptures and other objects BELONG in the house and are all the more enjoyable for that.

Kettle's Yard interior

The strangeness of the experience is heightened by the fact that you have to ring a doorbell for admission, much as if you were popping round to visit a friend; the staff are helpful but you can't get hold of a guidebook (which has a numbered plan of all the art) until you've been all the way round. When I was there a woman was trying to buy a guidebook but had given up her handbag, as requested, at the front door. You'll have to go and get it, she was told firmly - NOT the handbag, JUST the purse.

From there it's a half-hour drive to Saffron Walden and the Fry Art Gallery, where 'Ravilious in Essex' is entering its final month - 4000 visitors and counting. The Fry was also established by public-minded collectors, a succession of them in fact, going back more than a century - it takes its name from a scion of the Bristol family of chocolate makers who owned it in the 19th century. Nigel and Iris Weaver discovered the place in a ruinous condition when they moved to Saffron Walden in the 1980s, restored it and in 1987 opened the building to the public once again. Like Tate Britain in miniature, it is a gorgeous building with a fascinating permanent collection.

With a focus on the artists of Great Bardfield (John Aldridge, Edward Bawden, Tirzah Garwood/Ravilious, Kenneth Rowntree...), the Fry has become the principal port of call for admirers of Eric Ravilious, who lived in north-west Essex for the last eleven years of his life. Paintings, lithographs, Wedgwood china and wood engravings are beautifully presented, with a collection of the artist's wood blocks a particular treat.

David Oelman at the Fry... now those books look familiar!

Both Kettle's Yard and the Fry have mildly eccentric opening hours, so do check before you set out. I was just too early for the Kettle's Yard show 'Von Ribbentrop in St Ives', which opens on July 16th. 'Ravilious in Essex' runs until August 14.