Inherited. Issue 4

Inherited.

Fornasetti, A revealed Eroticism

Creative Space, Paige Denham

Collectors’ Cohort, Life drawing

CONTRIBUTORS

Editor: Beth Hodges

Photography and Design: Tingshan Liu

With thanks to the following Contributors: Paige Denham, for her wonderful interview and accompanying images. To Ashley, Martin and Tingshan who contributed to Objects of Desire. To Tart Productions, for their fabulous life drawing event and E, the life drawing model for the evening attended by Beth. To Anne Green for lending me her book, Meet The Georgians, by Robert Peal, which provided so much information about the Ladies of Llangollen. To the BADA members, whose items feature throughout this issue.

For Media and Press enquiries, please email: media@bada.org

For further information about joining BADA Young Friends, please email: bethany@bada.org, or call 020 3876 0147

For further information about contributing to Inherited., please email: bethany@bada.org

Follow us on Social Media: @bada1918, @badafriends

Please note, the opinions shared in Inherited., are not held by the British Antique Dealers' Association and those expressed are those of the contributing individuals.

Inherited . All Rights Reserved

‘In Flight’, Artwork by Paige Denham

Letter from the Editor: Beth Hodges

Dear BADA Young Friends,

Welcome back to Issue 4 of Inherited. We hope you are enjoying the wonderful sunshine!

In recent positive news, the Cockpit crowdfunding project, as featured in last month's issue, raised a huge £17,419 75 , which is considerably over their initial target. We look forward to watching the garden take shape and can’t wait to enjoy the space when the time comes.

This month's issue is focused on Pride month and LGBTQIA+ topics. The world of Arts and Antiques is lucky to boast an abundance of incredibly inspiring individuals from the LGBTQ+ community. My main focus with this issue, was to fill it with all things joyous, vibrant and celebratory of queerness.

We look at the erotic designs and drawings of Fornasetti, who graces this months cover and we look into the fascinating life of Oscar Wilde I take a visit to London’s Queer Museum and we speak with Paige Denham, an artist who brings together communities and encourages individuals to find joy in expression

Collectors cohort provides you with a toolkit of definitions around the world of sketches, studies and drawings, alongside a glimpse into the history of life drawing and what this looks like today, with the battle to include queer, disabled and transexual bodies in the canon.

I hope you are able to find inspiration from this months issue and enjoy reading it.

As always, we look forward to hearing from you, Enjoy!,

Beth

For more information on membership to BADA Young Friends, email Co-Ordinator, Beth Hodges at bethany@bada.org or call 020 3876 0147.

Piero Fornasetti

A revealed Eroticism

In recent years, a new collection of Fornasetti’s work has been brought to the forefront, by his son. In the mid 1940’s, when he was exiled in Switzerland, Fornasetti began creating a series of erotic and surreal sketches, which depicted everything from portraits with noses replaced with penises, a flying phallus and a platter of organs. At the time, sexuality was not expressed in this way and although Fornasetti intended to publish a book, titled ‘Elogium Mentulae’, or ‘In Praise of the Penis’, he was never able to. Now, with the wider acceptance of expressions of sexuality and eroticism in the art world, these pieces are highly sought after.

Piero Fornasetti was an Italian painter, artist and designer with an eclectic style. He was a very important figure in Italian industrial design culture, to such an extent that his name is internationally known. He was involved in a variety of disciplines, including painting, drawing, graphic and product design. In the course of his career he created over 13,000 works of art and was responsible for one of the largest outputs of objects and furniture of the 20th century. His inspirations include Piero della Francesca, Giotto, Renaissance frescoes and metaphysical painting.

From the early 1930s, Fornasetti began a phase of studying engraving and printing techniques From his practice, he was able to work with artists of the time, printing artist books and lithographs for them. Through his experimentation, Fornasetti invented a printing method that allowed him to obtain graphic effects on silk scarves. In 1933, he proposed a series for the Milan Triennale V, which was rejected because it was off-topic but did earn him the attention of Gio Ponti.

In the early 1940s, Fornasetti produced a vast series of graphic works, including calendars, gifts, advertising images, programmes, posters and magazine covers In 1943, he took refuge in Switzerland, where he continued his artistic research. This period was an unprecedented opportunity for him to create watercolours, oil portraits and drawings, mostly of the human body, which he would later use in his production of graphic arts.

In the 1950s, Fornasetti founded the design and decorative arts atelier in Milan: Fornasetti. This was prompted by his meeting with Gio Ponti, who pushed him to produce everyday objects that would bring art into people’s homes. He worked with the principle of “practical madness”, where creativity is in harmony with the utility of the object and the technical process of making it.

Fornasetti began work on his iconic series, “Themes and Variations”, in 1952. It started with the portrait of a woman, Lina Cavalieri, an opera singer who lived at the turn of the 20th century and was renowned as ‘the most beautiful woman in the world’ at the time. The image continues to be used (by Fornasetti’s son) on a series of everyday objects like porcelain, furniture and accessories, in several variations

In 1980, the “Themes & Variations” gallery opened in London, and shortly after, in 1987, he worked on a monograph of his work The book was published posthumously; Piero Fornasetti died during a minor operation in hospital in 1988. After his death, his son Barnaba Fornasetti carried on with part of his father’s activity, and his work continues to be prized and collected worldwide.

BADA members, Earle D Vandekar of Knightsbridge, currently have a stunning example of the work of Fornasetti in the form of a striking black and white printed plate.

The object is accompanied by the following description, by Earle D Vandekar

“The striking gold-rimmed black and white printed plate depicts a nude female body with the iconic face of Lina Cavalieri as created by Piero Fornasetti on her stomach.

Figurines known as Baubos are found in a number of settings, usually with Greek connections They were mass-produced in a number of styles, but the basic figure always exposes the vulva in some way. One way was as a headless torso with the face in the body and the vulva in the chin of the face which, obviously, was the inspiration for this Fornasetti variation in the Themes & Variation series.

According to the myths, Demeter was wandering the Earth in deep mourning over the loss of her beloved daughter, Persephone, who had been violently abducted by Hades, the god of the underworld. Abandoning her goddess duties of bringing fertility to the land, she took refuge in the city of Eleusis. The disheartned goddess, disguised as an old woman, was welcomed into the home of the king.

Everyone in the king's household tried to console and lift the spirits of the severely depressed woman, but to no avail-until Baubo showed up. The two women started chatting, with Baubo making a number of humourous, risque remarks Demeter began to smile. Then, Baubo suddenly lifted her skirt in front of Demeter.

Different versions of this tale provide very different images of what Demeter saw under Baubo's skirt but whatever she saw, it finally lifted her out of her depression. She responded with a long and hearty belly laugh!

Ultimately, with her spirits and confidence restored, Demeter persuaded Zeus to command Hades to release Persephone So, thanks to the lewd antics of Baubo, all was once again right in the world.”

Reference:

(http://www.goddessgift.com/goddes s-myths/greek_goddess_baubo htm)

The Baubo has been, throughout history, a symbol of sexual liberation and the power of joy and laughter. The very symbol of the Baubo, calls into question the term obscenity and whether sexual matters can be seen as disgusting and indecent It has also been discussed by historians, that the ambiguity of what might have been seen under Baubo’s skirt, suggests that they may have been Intersex. Through Fornasetti choosing this design, it is suggestive of his later revealed series of erotic works and how indeed, he can be viewed as an advocate of sexual liberation and the joy found in eroticism

Fornasetti Plates featured on bada.org by Earle D Vandekar of Knightsbridge Inc.

The Ballad of Reading Gaol: Oscar Wilde, A Voice for the Outcasts?

BADA members, Walpoles are currently in possession of a copy of Oscar Wilde’s poem, The Ballad of Reading Gaol. In reference to this months focus on LGBTQIA+, Inherited. is taking the opportunity to look at the context of this object and how it can be used as a lens through which we can view the past and learn about the persecution of non-heteronormative individuals The poem, at a glance, reads as an account of Wilde’s time in prison and his witnessing of the execution of Charles Thomas Wooldridge, who had murdered his wife. On further consideration, the poem, and in fact many other publications by Wilde, reveal themselves to be a meditation on the complexities of leading a ‘Queer’ life in Victorian Britain and the ways in which art and literature were euphemistic to avoid being ‘outed’ and in turn, prosecuted.

Oscar Wilde was an Irish poet and playwright and in the 1890’s he became one of the most popular playwrights in London. He is known for masterpieces such as the Picture of Dorian Grey and his contributions to both Aestheticism and New English Renaissance in Art and Interior Decoration.

The Ballad of Reading Gaol, featured on bada.org by Walpoles.

Oscar Wilde was criminally convicted for gross indecency and homosexual acts with numerous men, but most predominantly with his lover, Lord Alfred Douglas. He was sentenced to two years labor and was jailed between 1895 and 1897 Wilde was imprisoned in the same year that he was celebrated for the stage success of the ‘Importance of Being Earnest’ At the time, homosexuality was illegal, and this only changed in 1967, when it was decriminalized in the Sexual Offences Act. In the Victorian Era, the term Homosexuality was not widely used and terms such as sodomy and buggery were used in reference to a man having sexual relations with another man. Oscar Wilde was a public figure and did not, understandably, explicitly publicise his homosexuality. He was in fact, married to a woman with whom he had two children His friends were aware of his sexuality, and he is thought to have expressed himself through his writing.

In the Ballad of Reading Gaol, Wilde states, “So with curious eyes and sick surmise, We watched him day by day, And wondered if each one of us, Would end the self-same way, For no one can tell to what red Hell, His sightless soul may stray.” This quote suggests that Wilde was empathetic to those outcasted due to crimes committed in the heat (red Hell) of a moment He suggests that many lived in fear of ending ‘the self-same way’.

He goes on to say, “Yet each man kills the thing he loves, By each let this be heard, Some do it with a bitter look, Some with a flattering word, The coward does it with a kiss, The brave man with a sword!” This stanza speaks of the risk of betrayal, as in the Bible, Judas betrays Jesus to the Roman authorities, through identifying him with a kiss. This is mirrored in Wilde’s betrayal by Lord Alfred Douglas, whose family caused him to be prosecuted. It also speaks to the fact that displays of affection were criminalised.

“So with curious eyes and sick surmise, We watched him day by day, And wondered if each one of us, Would end the self-same way, For no one can tell to what red Hell, His sightless soul may stray.”

It is important to note that there is a distinguishment to be made between a Gay Icon and a campaigner. Wilde is iconized today because of the dramatic nature of his prosecution, alongside his celebrity nature and his unapologetic ways. He was not, however, a gay rights campaigner and if he had not been outed, it is very likely he would have remained discreet It is also important to remember that the sensibilities around homosexuality today are vastly different to the time of Oscar Wilde and despite him not communicating his sexuality blatantly in his writing (most of our understanding has been gleaned from euphemisms and secondhand accounts), there is no doubt that he was openly Queer in today’s terms. The term in today’s definition denotes or relates to a sexual or gender identity that does not correspond to established ideas of sexuality and gender, especially heterosexual norms. Oscar Wilde did not conform to Victorian ideals of Masculinity, which were stoicism, athleticism and strength. Men were expected to be loyal and firmly positioned at the head of the family unit. Oscar Wilde had extramarital affairs and did not conform to Victorian masculine ideals. He was known to be extremely flamboyant in his dress, as well as in his social interactions During his time at Trinity College, Oxford, Wilde was known to openly discuss his hate of ‘manly sports’. He also decorated his room with peacock feathers, lilies, sunflowers, blue china and other art objects. Although homosociality was encouraged, sexual relationships between men was not

There was a stark difference between expectations on women and on men in Victorian times It was very common for women to have close and often sexual relationships, as it was seen as a good way to encourage domesticity and feminine activities. Lesbian relationships were often left undiscovered or overlooked, as they were masqueraded as relationships which would enable women to be good wives in the future.

“The love that dare not speak its name. It is beautiful, it is fine, it is the noblest form of affection.”

During his trial, Wilde was asked to explain a quote in a poem written by his lover, Lord Alfred Douglas. The line was “The love that dare not speak its name. It is beautiful, it is fine, it is the noblest form of affection.” Wilde told the court that there was nothing unnatural about it and rather Lord Douglas was speaking of the love between two intellectual men. This would have been acceptable between women, however, the court interpreted the line to be of a sexual and therefore criminal behavior.

Oscar Wilde had numerous love affairs in his short life, however it is said that Lord Alfred Douglas was his true love. Their relationship was tumultuous to say the least and their time together was largely spent in the Victorian era’s homosexual subculture, where there was no shortage of homosexual brothels, cross-dressers and prostitutes. Alfred’s family did not at all approve of his relationship with Oscar and his father, who was the Marquess of Queensbury and a highly conservative man who blamed Oscar for his son’s reputations. The Marquess left a calling card for Oscar in a high-end members club in London, calling him a ‘Posing Sodomite.’

Despite Oscar’s friends pleading him to go to France for safety, Oscar decided to sue The Marquess for libel and defamation of character. A few days into the lawsuit at the Old Bailey, Oscar had to withdraw as the accusations Alfred’s father made were proven true. Furthermore, it was raised by the defense that Oscar had solicited many other men in the act of sodomy and the trial brought forward selected men who had been allegedly coaxed into sexual relations by Wilde, at young ages

His withdrawal from the case was seen as a sign of guilt.

On 26th April, 1895, Oscar Wilde was tried for homosexuality on 25 counts of gross indecency In the first instance, the jury could not reach a conviction, however when the case was re-visited three weeks later, he was found guilty

In the Ballad of Reading Gaol, Wilde writes, ‘And Alien tears will fill for him, Pity’s long-broken urn, For his mourners will be outcast men, And outcasts always mourn. ” This quote communicates the heart wrenching reality that there was no sympathy for those prosecuted for homosexuality, other than from those who were also subjected to the same fate. It does, however, suggest a sense of community between outcasts at the time

Wilde began his sentence in Pentonville Prison, where he spent many hours picking Oakum- separating the fibres in scraps of old navy ropes, for repairs. He was then moved to Wandsworth prison, where his health deteriorated. His ear drum ruptured during a chapel service, following on from general poor health and an extremely restricted diet. He finished his sentence in Reading Gaol, where he witnessed the execution of Charles Thomas Wooldridge who had murdered his wife. This is said to have inspired, in part, The Ballad of Reading Gaol His wife, despite him being disloyal and causing her a great amount of pain, still visited Oscar in prison.

Oscar Wilde is the perfect example of how in history, when individuals were not able to safely express themselves and campaign for their rights, their art acted as an output into society that over time built tolerance, providing exposure to an already existing subculture.

In his unpublished letter, which he wrote in prison, called De Profundis, “To regret one’s own experiences is to arrest one’s own development. To deny one’s own experiences is to put a lie into the lips of one’s own life. It is no less than a denial of the soul.” In other words, Wilde suggests that if one remains true to themself, this is a means through which society can experience change and progress. The letter was never sent.

Find out more at…

Queer Britain is the first Queer museum in the UK It boasts an incredible archive or queer artifacts, art and writing. Having been established in 2018, the museum now has its own permanent premises in Granary Square, Kings Cross. The current exhibition, ‘We are Queer Britain’, looks at LGBTQIA history, over the last 100 years. Among objects such as a letter written by Elton John, to his younger self and Olly Alexander’s rainbow outfit from his 2019 Glastonbury performance, there are also items related to Oscar Wilde. The exhibition includes Oscar Wilde’s cell door from Reading Gaol, as well as a copy of De Profundis.

Queer Britain is a space in which visitors can explore LGBTQIA stories through a multitude of lenses and perspectives, such as experiences in different religions, classes and ages. The space itself is a hub of creativity, encouraging visitor engagement and participation, with a team of approachable and highly knowledgeable staff who are more than happy to elaborate on the objects on display

Objects of Desire.

Every month, we take a look at cultural objects or reference points that have taken our interest or inspired us creatively.

1.

I was first recommended the work of Australian author Hannah Kent by my former colleague Riley Grant, now Company Secretary of the Antiquarian Booksellers Association. Which, let’s face it, is a pretty strong endorsement. Her first two novels Burial Rites (2013), and The Good People (2016), are inspired by historical events, with Kent weaving a meticulously researched and utterly engrossing narrative around what little facts could be gained from original documentation.

By contrast, her latest work Devotion (2021), although anchored in the past, is literally and figuratively a labour of love, confirmed by the acknowledgements at the end in which Kent touchingly dedicates the novel to her wife Heidi.

Set originally in an Old Lutheran community in Prussia, and later charting their congregations travels and travails to a new life in Australia, the book tells the tale of a pure and enduring love between two teenage girls, Hanne and Thea on the threshold of womanhood

Considering themselves awkward and ostracised by their peers, both find a common strength and comfort in each other’s company that is profoundly moving. Heartrending and joyful in equal measure, Hannah has poured her heart and soul into every sentence, and I cannot recommend it highly enough.

month, my object of desire is Madame F wine, created in collaboration with Queer Britain. Susy the Frog, pictured on the label, was a design created by illustrator, Justin Kemp. Susy, was inspired by the theme of Queer Creativity for the Madame F Queer Britain Award in which artists and creators submit artworks for a competition, in which the winner will have their design on Madame F bottles. In turn, the sales support Queer Britain and the designs also feature on merchandise

Every year, the competition sees hundreds of submissions, from Queer creatives and those looking to support the community. Not only is this a really great wine, but it also boasts a great design and even better, supports a great cause!

Recommended by Inherited. Editor, Beth Hodges

This pair of vintage 18ct yellow gold, diamond and pearl earrings by British designer David Thomas, a contemporary of Andrew Grima, has a Grima-esque feel without the Grimaesque price point A perfect combination of sparkle and elegance, they seamlessly transition from the office to an evening out. You can read more about David Thomas, here: https://www.hancocks-london.com/maker/thomas-david/

Recommended by BADA Managing Director, Ashley Gallant

Fashion has no gender. The traditional binary notion of men's and women's clothing is gradually replaced by a more inclusive and diverse understanding of personal style. This shift not only promotes inclusiveness and self-expression but also empowers people to embrace their unique identities.

Vintage shirts, for example, are becoming increasingly genderless. While vintage shirts of large sizes were mostly made for men, their loose fits, relaxed silhouettes, and unisex designs make them versatile and adaptable to various preferences nowadays. This yellow shirt is one of my favourite items of clothing. It is bright, loose, and breathable, perfect for the summertime. Although it is very large, it doesn’t really matter as I can roll up the sleeves and tuck the shirt in or tie a front knot, or simply just leave it out for a casual oversized look.

Recommended by BADA team member, Tingshan Liu

Paige Denham .

Paige Denham is an artist, educator and print maker, whose bold and playful designs inspire and are inspired by her surrounding community. In a city where we are inundated by grey tower blocks and sterile new builds, Paige injects colour and inspiration into the spaces that need it the most. Her murals create a dialogue with the surrounding population and hint at the vibrancy of communities behind the walls of estates, schools and underpasses. Paige harnesses aspects of the community she is working with and plays with forms and shapes until a harmonic composition is created.

It is interesting to view Paige’s work in the context of the history of mural making which is highly politically charged Murals can be traced back to the upper palaeolithic period and of course can be recognised in cave paintings and Egyptian depictions of life at archaeological sites The use of murals to depict everyday life and society was pioneered by Da Vinci and popularised in the early 1900’s. The next big wave of mural activism was Mexican muralism which spiked in the years between 1920 and 1970. Artists such as Diego Rivera, David Alfaro Siqueieros and Jose Clemente Orozco, painted on buildings to encourage unification within communities and to communicate social and political messages. Northern Ireland also saw the creation of over 2000 murals in answer to political and social upheaval.

Today, artists such as Paige Denham aspire to create murals that do not preach political issues or explicitly depict social scenes, but rather they embellish an existing community by highlighting those positive aspects that already exist through colours, forms and shapes, but most importantly with ongoing conversations between the maker and spectators.

Artisan’s Platform: Paige Denham Artist, Print Designer, Educator

In 2023, a new mural is due to be installed in Woolwich high street, outside the DLR station. Paige has worked in line with Greenwich Council and Historic England, to design the mural alongside school children, local residents and community groups. Previously, Paige has completed projects in Brixton, Thamesmead and Trinity School Belvedere. Furthermore, Paige has hosted free, community craft workshops and has gone into schools to teach them about printing and textiles.

In this interview, Paige will talk to us about the impact her work has on the community and she will share the reality of becoming an artist and businesswoman in the current day.

BH: To begin, please could you summarise your art practice and what defines you as a creator in your field?

PD: I am an artist, print designer and educator influenced by community, pattern, and play. I create screen printed artworks, homeware, large scale public art such as murals and vinyl for shop windows. When I'm not working on commissioned projects you'll find me teaching either in schools or in my London based studio.

My mission as an artist is to encourage everyone to be creative regardless of skill, ability or access to the art world. I have this purpose because I was told at school I couldn't draw These words and not being 'allowed' to take fine art as a GCSE dented my confidence and creativity for many years, I found myself stunted from the fear of not being quite good enough.

Determined to find an occupation fuelled by my passion in the arts I studied an art and design foundation course at Loughborough University that taught me that being creative wasn’t just portraiture or painting a sunset, but it was also mark making- painting with sticks and pallet knives. I graduated with a first class honours from Loughborough University after studying Textiles, Innovation, and design with a specialism in print.

Upon graduating I won the 'Make It' award 2020 supported by Cockpit, this allowed me access to a physical studio space, a place of my own to discover who I wanted to be as an artist. By the end of 2020 I had secured my first large scale public artwork, a 10 metre mural in my hometown of Thamesmead commissioned by the housing association Peabody. This commission gave me the break I needed to access other large scale projectsprobably my favorite things to work on.

BH: Your work often involves designing and painting murals. Could you tell me about some of your upcoming projects?

PD: I have a really busy but exciting summer planned! I'm going to be painting 3 large walls as part of Thamesmead's first ever street art festival It's such a privilege to be able to paint murals in my hometown and I am a real advocate for the area. Thamesmead is a small town on the outskirts of South East London that for a long time was underloved and underfunded. However, It has been my family home for three generations and I love the fact that it's a bit rough around the edges. Thamesmead is concrete heaven, brutalist style tower blocks are what the town's known for and its architectural backdrop is often featured in TV ads and music videos (the most famous of which is Clockwork Orange) In a weird contrast though, we also have a huge amount of green space for a London town. It's this juxtaposition that I adore and that has inspired my work for many years now. The three murals that I'll be painting this summer are called 'The Ordinary Murals'. Three pieces of concrete that will celebrate the most ordinary of things about Thamesmead in a beautiful brightly coloured composition

Currently I am illustrating for Woolwich Works, a cultural venue in South East London. I am designing artworks to be installed to 10 of their windows. I was approached to work on this project because of my bold, happy and confident style. It's such a compliment to have been asked to work on this project, I feel very lucky to be able to create in such an authentic way.

BH: Could you tell me about the process of designing a mural that appeals to a whole community? What are the challenges involved in this?

PD: I learned super early on that I'll never be able to please absolutely everyone! I design things that are simple, happy, led by shape and pattern But there are a few things I keep in mind when designing which help me to be sensitive to a community's feelings. Firstly, I live somewhere where a lot of change has been happening over the past few years and so I recognise that being involved in the changes happening around us is vital Therefore, when possible I will run community workshops to involve residents in the process or at the very least I make sure that I try my best to spread the word about what I'm doing. Secondly, every shape, pattern or colour holds meaning to the environment or the people surrounding the mural. A mural in whichever environment should feel personal to its place. My work is all very considered and I hope that the respect I have for a surrounding community is shown through this Lastly, I always keep in mind who I am making this art for. For me, I imagine someone walking past my mural who hasn't had much exposure to art, they've never been to a gallery perhaps due to financial barriers or lack of interest, they might not know that being an artist can be a real job I make my art for that person who walks by and notices the wall is a brighter colour or that it has stopped getting graffitied. They might not like the mural, they might not really know what it is and that's okay My job is done if those people who aren't interested in art recognise it in their surroundings and have an opinion, positive, negative or otherwise - I don't mind.

BH: Could you describe to me what appeals to you about the process of screen printing?

PD: The traditional process of screen printing was an instant obsession for me I learned at Loughborough University how to use screen printing as a process in print design. It quickly became natural for me to experiment with the hand rendered process, to layer shapes on top of one another, to turn one silk screen upside down and print it the wrong way up, to block parts of my design out so it didn’t all print. I didn’t realise at the time but now it’s clear to see that my love of screen printing was the uncertainty of the outcome It was all play to me, and this cut and collage playful expression is something that I value in my work to this day

Screen printing is a real labour of love, it can so easily (and often does) go wrong. It's also much more expensive than digitally printing things which is why most commercial companies don't use it anymore But honestly, when you successfully register a multilayered screen print which creates multiple colours and textures you can't beat it!

…now it’s clear to see that my love of screen printing was the uncertainty of the outcome.

BH: Your artwork will be the antique of the future- what would you like people of the future to inherit from your work? What would you like to be your legacy?

PD: I hope that people will view my work as colourful and honest. I hope that I can communicate my desire for the arts to be accessible especially through free public artwork and encourage those who have been told they can't draw/paint/create to just try But really I would be happy if people were just a little happier once being exposed to my work.

BH: You are also an art educator. As someone who often gives young people their first taste of the art world- what advice would you give to the readers of Inherited. about how to begin a career in the creative industry?

PD: I have taught people from the ages of 2-100 in many different settings including schools, private workshops, universities and care homes. This is a really important part of my job because I don't want anyone to be told they can't draw. That simple statement haunted me and still does crop up when I'm having a down day My aim when I'm teaching is to provide materials and suggestions of different ways people can create that is one step removed from using pencils, rulers and rubbers in an A4 sketchbook in line with an outdated curriculum.

What I missed out of the story when I spoke about getting my first mural commission in 2020 was that the application requirements were that you had previous experience of painting large scale. I didn't have that, but what I did have was heaps of passion and a lot of drive. So I just tried. I applied and wrote an accompanying email that fought my own corner Later I was told that that email was the reason I got the job

“So with that in mind, my biggest piece of advice is just try. ”

Upcoming Events

Founded in 1998, the Young Friends aims to provide a social and intellectual introduction to the world of fine art and antiques. Join the Young Friends membership here.

BADA Week November 2023

BADA Week 2023 is a nation-wide, gallery-based and online series of events to celebrate the diverse and outstanding community the BADA represents. We want to highlight the benefit of visiting our members’ galleries, exhibition spaces, collections and specialities in person with an exciting offering of events both in person and online. For information on participating dealers and to view the full programme, please listen out for further announcements.

A Young BADA Friends Introduction Series to:

Date and Time: 26th of October, 6:30pm -8:30pm. £40

Photo by Motoki Tonn on Unsplash

Collector’s Cohort

Your Guide to collecting from the leading Trade Association in fine art, design and antiques. This month, we provide you with useful terms and concepts you may require, when navigating the world of Life Drawing.

Line Drawings take many different forms, but often present as a simple line drawing which captures the form and impression of a subject The often appear to be very contemporary, due to their minimalism, however in the 18th and 19th century, line drawings could be seen as the use of cross hatching to create shading without the infill of colour. This technique was often used in publications, before print and photography was established.

A study can be seen as an artists visual notes, before they complete a full work of art. A study can be used to explore colour, form, perspective and composition. Studies are often enjoyed by collectors because they give an insight into the artists methods and are often more detailed and focused in certain components, comparatively to the overall finished pieces.

Sapphic Couple by Armand Rassenfosse, from the Drawings collection at Colnaghi

Gouache, also known as body colour or opaque watercolour, is commonly used together with normal watercolours, usually in aid of adding highlights or precise detail. It often contains a binding agent, such as Arabic gum, and works similarly to watercolour in the sense that you activate it by adding water. It also has properties similar to acrylic, as a matte finish and opaque look can be achieved when using it. It was and remains a clever tool to discreetly cover up mistakes in watercolour paintings, which are otherwise particularly difficult to achieve accuracy with. Gouache is also used to add fine details in pastel drawings.

Red chalk is a naturally occurring pigment which has been used for many centuries. Its application creates highly pigmented marks with little pressure or crumbling. Red chalk allows an artist to begin a sketch with a mid-tone, which can be developed into a multi-tonal artwork with depth. Many techniques can be used with the application of red chalk, such as hatching and stumping, which involves the smudging of pigments to diffuse the colour. It can also be mixed with water to give a similar effect to watercolours. These techniques are ideal for modelling volume. Red chalk is also known as sanguine, as the rust colour can be compared to blood. When collecting any chalk drawings, it’s important to consider their condition, as pigments can often loosen and naturally flake away over time. They must be handled minimally, with care.

Featured on bada.org by Haynes Fine Art.

Watercolour painting is one of the most ancient forms of art. Today, it is enjoyed by many collectors, due to its versatility and the many ways in which artists choose to apply and experiment with the medium It can be said that the nature of watercolour paints requires a certain level of control and sensitivity with its application and in the 18th century, watercolour paintings illustrated a certain level of skill and accomplishment There is also a long tradition of watercolour painting (known as brush painting), in East Asia, where the medium is used for scroll painting It is favoured due to the sense of fluidity the technique evokes. In the West, watercolours were particularly popular in the 19th Century, as a means of sketching out artworks, prior to the commitment of oil paintings and full scale works.

In the early 18th Century, watercolour paintings predominantly depicted flowers, wildlife and animals, as watercolours were often taken on geological and archaeological expeditions. Map makers, military officers and engineers also used watercolours as a quick and useful way to capture details of the projects or discoveries. Today, watercolours continue to be enjoyed, as their often preparatory nature, makes the viewer feel that they are able to experience the personal and preliminary meditations of the artist and they provide a glimpse into the artists processes and sometimes, mistakes. When looking to purchase watercolours, it is important to understand their condition. They are delicate in nature and can be subject to foxing if kept in unfavourably humid conditions as well as in direct sunlight. If watercolours are mounted on acidic backing, this can also cause irreversible disruption to the surface of the paper and sometimes the pigment itself. Watercolours are also incredibly difficult to re-touch and restore, due to the transparency of the pigment and once the pigment has faded, it cannot be sympathetically re-instated. That being said, collecting watercolours can be an incredibly rewarding and varied specialism, as each piece tends to tell a story.

Life Drawing: Representing

The history of Life Drawing and the journey of Inclusivity.

Life Drawing has, throughout art history, been a benchmark for the standards and accomplishments of established and training artists alike. To capture the body and its form in all its complexities, since the Renaissance period, has been deemed the pinnacle of artistic talent. The concept of life drawing began when in Britain, creatives looked at Greek and Renaissance statues with envy They began to mimic and represent the statues in admiration of the ability to create a body out of stone. Classes developed when artists and craftsmen took on studios to learn and study in their studios.

Throughout art history, the idea of the body as a measurable symbol of beauty, has caused a great amount of upset for those who may want to model and also for those who do not see themselves represented in the art history canon as a subject worth capturing.

In the 18th and 19th centuries, the first hurdle was to overcome sexism in the academies of art. Today, the art world continues to fight for inclusivity and equal representation in the art world and as such, we have seen an increase in the number of life drawing classes and life models who are part of the LGBTQ community. This feature will explore the history of life drawing as well as examples of artists who are tackling issues of inclusivity today. Our Editor also writes an account of her participation in a Queer life drawing class, hosted by Tart Productions.

Life Drawing in the Academy

The first Art Academy was set up by Georgio Vasari in Florence, 1563. The Academia e Compagnia delle Arti del Disegno was an association patronized by the Medici family

Following this in 1648, King Louis XIV established the Academie royale de peinture et sculpture in Paris This Academy only offered practical classes and therefore drawing and subsequently life classes, were at the core of teaching. Drawing was seen to be highly intellectual, as it showed thought and processes

In 1768, the Royal Academy was established as the first state sanctioned art school in the country to run in line with continental academies Although this was a huge development, there was still an archaic approach to life drawing practices. Women were not allowed to draw male models until 1893 and even then, the models were required to be covered from the waist down. This was firstly due to the Renaissance theory that the male body was the epitome of perfection and also due to the fact that it was seen to be vulgar if women posed as models. In fact, when women eventually were accepted as models, they were paid extra as compensation for the shame of it William Hogarth was known to hold private drawing classes with individuals of both genders. The participants were however, required to be over the age of 20

Featured on bada.org by Duncan R Miller Fine Arts.

England accepted female life models earlier than the rest of Europe In fact, they employed one female model, per four male models and they worked three sessions per week. Men who were under the age of twenty and unmarried, were not allowed to draw the female models At the RA in 1767 it was the keeper of the academy, George Moser father of founding member Mary Moser, who sourced the female models.

Whereas the male models were often in full time work as porters, soldiers and boxers, the female models were often sent by brothel owners They were often sex workers and due to how such work as life modelling was frowned upon, they were often kept anonymous. Painting was looked down upon by the academicians of life drawing, as to render the flesh was seen as vulgar and over-sexualised.

Changing Times…

As art became more and more progressive outside of academies and less institutionalized, inclusivity has grown beyond that of just drawing female models

Despite there still being a long way to go, there have been significant landmarks in recent years which have highlighted an ongoing drive to include LGBTQIA+ bodies in the art canon and narrative.

In the 1990’s, Lucian Freud largely influenced arts and culture, when he began painting gay men and queer identifying individuals, because he admired their courage A series of his paintings were produced when Section 28 was abolished, which had ‘prohibited the promotion of homosexuality’.

He also changed the representation of individuals living with an AIDs diagnosis, painting healthy and active bodies, rather than the image of ill and gaunt individuals spread across the media

In 2010, The National Portrait Gallery at the Smithsonian Institute presented “Hide/Seek: Difference and Desire in American Portraiture”, an exhibition of works that address sexual and gender fluidity in the arts and their effect on wider society

In 2020, the Tate Modern hosted an exhibition by visual artist, Zanele Muholi. Zanele identifies as non-binary and their work documents the lives of South Africa’s Black lesbian, gay, trans, queer and intersex communities.

Sadie Lee (A previous winner of the Madame F, Queer Britain Award), paints portraits of queer, elderly and female bodies. Her paintings challenge the viewer to question their understanding of the parameters of gender identity Her sitters often seem to challenge the viewers with their gaze and are portrayed in scenes of undress, nudity and vulnerability. Her works challenge the idea of beauty and also situates LGBTQ bodies in a position of power, without compromising the reality of their aging, transitioning and non-conforming bodies.

Our Editor, Beth, decided to experience life drawing as it is today for herself. She attended a class hosted by T(art) Productions- a Queer events company in Oxfordshire. The class was small, with twelve participants. The model, E, was disabled and non-binary and spoke about their own art practices and how their art was complimented by their own modelling. E varied their positions and the final pose involved them sitting in their chair, which provided a unique opportunity to draw the human body against mechanical components.

Beth’s main takeaway from the experience was how being exposed to the nude form in the class, removed any preconceptions of the individual and when challenged to draw what is in front of us, the hyperfixation is on the flesh, the folds, shadows and composition of the position, rather than our ‘impression’ of the individual. Being exposed to various bodies of various genders and identities allows for people to re-set their idea of what is ‘normal’ and how queer, trans, fat and disabled bodies should not be the exception.

To live a day in the life of… a Lady of Llangollen

The Ladies of Llangollen, were Lady Eleanor Charlotte Butler and Honourable Sarah Ponsonby The two women defied typical ways of living in the 19th Century, imposed and widely accepted by society. As two upper class Irish women, with Eleanor being a Roman Catholic (her father was Walter Butler, head of the Roman Catholic Ormandes) and Sarah, part of an established church (she was the granddaughter of general Henry Ponsonby), their lives at first caused a scandal and then fascination and admiration

Both Eleanor and Sarah came from restrictive backgrounds and lived very close to each other. Eleanor lived in Kilkenney castle and Sarah was in Woodstock, county Kilkenney. They shared their discontent over how their lives were and the future that seemed to be mapped out for them. Eleanor had a very wealthy family and subsequently a comfortable life , where she was allowed to read and enjoy the finer things in life She showed no interest in being married off, like her siblings and her brother became increasingly frustrated with her disinterest.

However, when her brother became a member of the Protestant church, he conspired to have Elanor become a nun. Sarah, just a stones throw away, was experiencing her own troubles Having been orphaned as a child, she was cared for by a married couple who acted as her guardians Unfortunately, when the wife grew ill, the husband attempted to groom Sarah into taking on the position of his new wife.

The women first met in 1768, when Eleanor was 29 and Sarah was 13. Sarah’s family had asked to keep an eye on her, whilst she was at school and their friendship grew from there Sarah and Eleanor’s relationship blossomed over their love of learning and they longed for a life where this could continue, without the pressures of marriage and housekeeping. After one failed attempt to escape their respective families (involving the women dressing as men and Sarah jumping from the window of her house), they achieved freedom in the May of 1778 They began a short turn of travelling, by sailing to Milford Haven, Pembrokeshire Eventually, they settled at Pen y Maes cottage, where they stayed for the next 50 years…

6:00am 7:00am 9:00am 12:00pm

We rise from bed on a beautiful sunny day. We begin ‘the system’ with a walk around the grounds, to admire the vegetables, flowers and livestock. We carefully follow the home circuit path, so as to avoid treading on any newly planted goods

We dress in our riding clothes and beaver hats and sit for breakfast We feast on eggs from the hens, kindly prepared by Mary this morning.

We spend the morning carrying out creative activities. Sarah paints a beautiful scene of the garden, whilst I potter between knitting and brushing up on my Latin. We have our weekly class with the vicar on Thursday and I want to impress him with my newly learnt vocabulary.

We settle down for a wonderful lunch, prepared by Mary It consists of a mushroom pie, served with potatoes and asparagus from the garden, followed by a large bowl of strawberries. We chat about our recent visitors, such as Anne Lister who had suffered a recent heartbreak and enjoyed great comfort with us at Pen y Maes the day before. We had distracted Anne by giving her a tour of the grounds and laughing and talking until it became dark.

2:00pm

We bunker down in the library and get lost in our books. Sarah is reading a book on Welsh history and I am nearly finished with a book of Italian Poetry. We are extremely lucky to enjoy such a luxurious environment, surrounded by our trinkets and intricately carved panel walls. The warmth of the sun beaming in from outside makes us feel quite sleepy…

5:00pm 8:30pm

We enjoy a light supper out in the garden, with Tatters the cat settled on Sarah’s lap. I tend to the apricot and nectarine trees, as demonstrated to us by Mr Sneyde, the botanist. She reads aloud to me from her book on Welsh history and Mary joins us for a night cap as the sun sets.

We retire to our bedroom and revel in the marvelous day we have had.