Alan Cotton 2017 - Drawings into Paintings

Alan Cotton

1. Co Kerry – Brilliant Light

at Dooneen Harbour

pen and wash 30 x 40 cms 113⁄4 x 153⁄4 ins

2. Venice – Still Morning Reflections ink and watercolour 40 x 30 cms 153⁄4 x 113⁄4 ins

Alan Cotton Drawings into Paintings

2017

www.messums.com 28 Cork Street, London W1S 3NG  Telephone: +44 (0)20 7437 5545

3. Devon – River Otter Near Colaton Raleigh pen and ink 30 x 28 cms 115⁄8 x 111⁄8 ins

Foreword

Drawings into Paintings Alan was drawing long before I met him, even from a very young

a fine day Hartland can still be a wild and windy place and I have

child. Since our early days together, I have accompanied him on

often watched, heart in mouth, as he gets far too close to the cliff

most of his travels, always doing the driving so that he can take

edge, to find the composition he wants to draw.

time to look around – without landing us in a ditch! Most of our country walks have been with a sketchbook under his arm and when packing for holidays a drawing book is always the first thing

In Provence, Tuscany and Piemonte, however, we will sit late into the evening and Alan will spend hours, developing his work into

in the case.

detailed finished drawings and watercolours.

Alan says, “At art school, no one ever explained that the purpose

He says, “It isn’t just about the landscape. It’s also about feeling the

of drawing is a process, to enable you to construct, to select or

sun on your back or the wind in your hair, the sounds and smells

to eliminate. For me it is a vital part of the painting. In landscape

around you. When I am painting back in my studio, all these are

you absorb the moment – the whole ambience of a place and try

evoked by the drawing from which I am working. This is all part of what

to capture it on paper. As I draw I am looking towards the finished

goes into the painting”.

painting, selecting what I will include and what I will leave out”.

I have memories of sitting with Alan in Caterina’s Vineyard in the

The locations very much affect the way in which Alan draws. On

Langhe, in Northern Italy, when the sun, low in the sky, illuminated

the West Coast of Ireland we are forever chasing the light. We will see the sun catching a distant mountain or piece of coastline and go for it, trying to arrive before the light has gone. Often it has, so we will make a note to be there earlier the following day.

Sometimes we are lucky and Alan will draw frenetically before the light has disappeared.

In Connemara or Co Kerry he will often start a drawing in brilliant sunlight and then the storm clouds roll in from the Atlantic and he will finish it with rain spattering the pages. These are just quick ‘aide memoirs’, annotated with colour notes. This is true of our trips to Scotland, where sometimes there is no light at all, as happened for most of the time on a recent trip to the

the autumn vines, so they became like a mosaic of stained glass. Many of these drawings are dotted with colour notes and from these come the abundance of glowing vineyards in his Piemonte paintings.

Alan has dozens of drawing books, full of hundreds of drawings, watercolours and pastels, from his many travels around the world.

They are his source material for all the oil paintings completed back in his Devon studio. He has always in the past been reluctant to sell his drawings and watercolours completed on the spot. At his Retrospective Exhibitions at the University of Bath and the Royal Albert Museum and Art Gallery in Exeter, however, he included a gallery of framed drawings to show the starting points for his work. None of these were for sale, but they aroused such

Isle of Skye.

interest and talking points about the process of arriving at the

At Hartland, in North Devon, which is just an hour away, we

felt that works on paper, with many of the paintings resulting from

choose days when we know there is going to be both sunshine

them, would make a fascinating and very informative exhibition of

and clouds, as it is the contrast of light and shade on the sea, the

his work.

rocky outcrops and cliff-face that excites Alan to draw. Even on

finished paintings, that Alan, in conjunction with David Messum,

Patricia Cotton

Walking the Line This is an exhibition with a difference. For the first time the public is offered the chance to explore the art of Alan Cotton from its inception to its conclusion. Alan’s paintings, widely acclaimed for their strength of composition, their rich colour and heavy impasto, are made in the studio, but all are derived from drawings made on the spot, in front of the motif. Over the years he has accumulated huge numbers of drawings in sketchbooks that have never been seen in public. These are the seed-corn from which his prodigious output of paintings is harvested. A selection of Alan’s drawings, extracted from his sketchbooks, are now on view, many of them alongside the paintings that they have informed.

Alan Cotton has always been a painter of nature, unabashed to be part of a romantic tradition that has often been marginalised by later developments in art. In this the wisdom of previous generations

Alan and Tricia Cotton

of artists stands behind him and supports him. Alan’s early experiences of being in beautiful countryside – in sharp contrast to the grime of the Midlands town where he grew up – fixed him on his path. Throughout the years he has travelled widely to seek

For Alan, experimenting with ways of depicting landscape has

out particular landscapes that fire his imagination and make him

become an obsession. He has been remarkably adventurous in his

want to paint. The painting of ‘landskip’, once considered inferior

search for special painting grounds. Starting from his Devon home

to other genres such as History Painting, was hotly defended,

and the quiet reaches of the river Otter, he found the ultimate

almost two hundred years ago, by John Constable: ‘What are the

contrast in the precipitous cliffs and rocky shores of Hartland.

most sublime productions... but selections of some of the forms

Since then he has travelled far and wide, got stuck in Irish bogs,

of nature, and copies of a few of her evanescent effects... Painting

been devoured by Scottish midges, got damp in Venice, sat under

is a science, and should be pursued as an inquiry into the laws of

Transylvanian haystacks, and chased the seasons and the light

nature. Why, then, may not landscape be considered as a branch

around France and Italy, Morocco and Greece, Sicily and Cyprus.

of natural philosophy, of which pictures are but experiments?’

He has perched precariously on clifftops as far afield as New

Zealand, and climbed high in the Himalayas and the Alps. In all these

and field and suggest the play of light. The marks are important

places Alan draws. His sketchbooks are full of rock formations,

indicators of texture, with the lines leading the eye around the

serpentine channels carved by tides, sun breaking through clouds,

subject. As it bends around the contours Alan’s line is as fluent and

waves pounding shorelines. Sometimes he disappears for several

cursive as handwriting. And with brushes and dilute ink washes he

hours, engrossed in his subject, and his companions start to worry.

evokes cloudy skies or shadowy rockfaces. Some of his drawings

More often his wife Patricia sits beside him as he works, flicking

are detailed, some more perfunctory notes, but the marks are

away the flies or shielding him from the rain. It can be a struggle

informative enough to provide him with all the material he needs

to get down on paper the magic of the moment, as Edgar Degas

for future paintings. As he draws, he often finds himself planning

emphasised. ‘There is courage indeed in launching a frontal attack

these pictures-to-be: ‘I’m longing to do a painting of that’.

upon the main structure, and the main lines of nature... art is really a battle.’ But to find the essential dynamic of the subject and to capture that sense of the ‘quotidian’, that transient ‘here-andnow’ of the moment, is to win the battle. Each artist selects those elements in the motif that excites him, his personality emerging in the drawing. As Walter Sickert described the process, ‘all dross, external to what has interested the painter, has been fired out.

Each line and each volume has been subtly and unconsciously

Recently Alan has been revisiting old drawings in his sketchbooks and adding colour in pastel or watercolour. Looking at the drawings after many years, he finds that they still hold potent memories of the places themselves, the people around him, the sounds and smells, the light and colour. Where he cannot remember the exact colours of the subject, he invents them, just as he does when painting. Back in the studio, in luscious oil paint on canvas,

extended here, and contracted there, as the narrator is swayed

he reinvents the experiences that are locked within the drawings.

by his passion, his rhetoric. The drawing has become a living thing

Jenny Pery

with a life, with a debit and credit of its own.’

Alan loves the act of drawing. He admits ‘I am happier drawing than anything else I do’. For him, ‘taking a line for a walk’, in Paul Klee’s phrase, is a real delight, a natural and instinctive, pleasurable thing to do. Using black or sepia Indian inks, fibre or dip pens of differing sizes, as well as the sticks fashioned for him by his daughter Juliette, he ‘walks with his line’ into the scene that confronts him. Marks of varying size and thickness delineate the forms of mountain

July 2017 A new book by Jenny Pery, to be published next year, will explore Alan Cotton’s artistic journey and celebrate his full creative life.

above

4. Venice – Swirling Waters

oil on canvas 61 x 51 cms 24 x 20 ins

right

5. Venice – Multicoloured Reflections

oil on canvas 61 x 51 cms 24 x 201⁄8 ins

left

6. Venice – Reflections in the Canal Basin oil on canvas 51 x 41 cms 20 x 16 ins

above

7. Venice – Reflections in a Narrow Canal

ink and watercolour 40 x 30 cms 153⁄4 x 113⁄4 ins

8. Venice – Vertical Reflections watercolour 40 x 30 cms 153⁄4 x 113⁄4 ins

9. Venice – Reflections from My Studio ink and watercolour 40 x 30 cms 153⁄4 x 113⁄4 ins

10. Venice – Ochre Reflections oil on canvas 61 x 51 cms 24 x 201⁄8 ins

11. Piemonte – Radiant

Vines in Misty Landscape

oil on canvas 41 x 51 cms 16 x 20 ins

12. Piemonte – Villa Amongst

the Vines

oil on canvas 51 x 61 cms 201⁄8 x 24 ins

13. Piemonte – Rhythms of the Langhe oil on canvas 61 x 61 cms 24 x 24 ins

above

14. Tuscany – San Gimignano oil on canvas 36 x 36 cms 141⁄8 x 141⁄8 ins

right

15. Piemonte – Cottages

near Montelupo Albese

oil on canvas 36 x 36 cms 141⁄8 x 141⁄8 ins opposite

16. Piemonte – Olive Trees

among the Vine

oil on canvas 116 x 91 cms 455⁄8 x 357⁄8 ins

17. Tuscany – Church beyond the Orchard at Strove watercolour 32 x 40 cms 123⁄8 x 151⁄2 ins

18. Tuscany – Cherry Orchard in Evening Light oil on canvas 91 x 102 cms 36 x 401⁄8 ins

19. Tuscany – Vines near the Church at Strove watercolour 29 x 39 cms 111⁄4 x 153⁄8 ins

20. Provence – Bonnieux From the Meadows oil on canvas 51 x 51 cms 201⁄8 x 201⁄8 ins

21. Provence – Gordes - Jewel of the Vaucluse oil on canvas 91 x 91 cms 357⁄8 x 357⁄8 ins

22. Provence – Across to Bonnieux

from a Courtyard at Lacoste

mixed media 40 x 20 cms 153⁄4 x 77⁄8 ins

23. Provence – Evening Across the Luberon pastel 55 x 75 cms 215⁄8 x 291⁄2 ins

24. Provence – Bonnieux from a Courtyard at Lacoste oil on canvas 77 x 62 cms 301⁄4 x 241⁄4 ins

25. Provence – Towards Bonniux from the Terrace at Lacoste mixed media 30 x 40 cms 113⁄4 x 153⁄4 ins

26. Provence – Terraces at Lacoste oil on canvas 71 x 91 cms 28 x 357⁄8 ins

27. Provence – Winter Vines

watercolour on board 32 x 40 cms 123⁄8 x 151⁄2 ins

left

28. Provence – Gnarled Vines in the Luberon watercolour 29 x 42 cms 113⁄8 x 163⁄8 ins

below

29. Provence – Gnarled Vines pen and wash 42 x 59 cms 163⁄8 x 23 ins

right

30. Provence – Bonnieux from the Shadows of Lacoste oil on canvas 77 x 62 cms 301⁄4 x 241⁄4 ins

31. Provence – Cathedrale

d’ Image at Les Baux

ink and wash 32 x 45 cms 123⁄8 x 171⁄2 ins

32. Provence – Mont San Victoire pen and ink 37 x 51 cms 145⁄8 x 197⁄8 ins

33. Sicily – Autumn in the

Madonie Mountains Study 1

watercolour 16 x 28 cms 63⁄8 x 11 ins

34. Sicily – Autumn in the

Madonie Mountains Study 2

watercolour 31 x 40 cms 12 x 157⁄8 ins

35. Sicily – Autumn in the

Madonie Mountains Study 3

watercolour 23 x 29 cms 9 x 111⁄4 ins

36. Sicily – Autumn in the

Madonie Mountains Study 4

watercolour 31 x 39 cms 12 x 151⁄8 ins

37. Sicily – Autumn in the Madonie Mountains oil on canvas 91 x 91 cms 357⁄8 x 357⁄8 ins

38. Cyprus – In the Foothills of the Troodos pen and watercolour 29 x 41 cms 111⁄2 x 161⁄8 ins

39. Cyprus – Summer at Paphos oil on canvas 91 x 102 cms 357⁄8 x 401⁄8 ins

40. Cyprus – Cyprus Olive Groves and Fields in Evening Light oil on canvas 92 x 102 cms 361⁄4 x 401⁄8 ins

41. Skye – Rivulets into the Loch ink and wash 42 x 58 cms 161⁄2 x 227⁄8 ins

42. Skye – Wind Driven Clouds at Dusk oil on canvas 51 x 51 cms 201⁄4 x 201⁄4 ins

left

43. Skye – Neist Light House in Morning Light oil on canvas 51 x 41 cms 20 x 16 ins

below

44. Skye – Neist Light House in Evening Light oil on canvas 51 x 41 cms 20 x 16 ins

right

45. Skye – The Neist Peninsula in late Evening Light oil on canvas 61 x 51 cms 24 x 20 ins

46. Skye – In the Foothills of the Cuillins ink and wash 42 x 58 cms 161⁄2 x 225⁄8 ins

47. Skye – Pinnacle Ridge in the Cuillin Mountains oil on canvas 61 x 61 cms 24 x 24 ins

48. Skye – Streams

among the Rocks at Loch Mor

oil on canvas 61 x 61 cms 24 x 24 ins

49. Skye – Cloud Reflections

Across Loch Scavaig

oil on canvas 61 x 61 cms 24 x 24 ins

50. Scotland – The Dragon’s Tooth above Loch Linnhe watercolour 42 x 57 cms 163⁄8 x 221⁄4 ins

51. Skye – Grazing Cattle beside Loch Scavaig oil on canvas 51 x 51 cms 201⁄8 x 201⁄4 ins

52. Co. Mayo and Connemara – Three Mountain Studies ink and watercolour 40 x 30 cms 153⁄4 x 113⁄4 ins

53. Skye – Swirling Clouds Above the Loch oil on canvas 51 x 51 cms 201⁄4 x 201⁄8 ins

54. Co. Galway – Coastal Path at Inveran pen and wash 42 x 60 cms 161⁄2 x 233⁄8 ins

55. Donegal – Amongst the ‘Twelve Pins’ ink and pastel 42 x 58 cms 161⁄2 x 227⁄8 ins

56. Connemara – Derelict Cottage watercolour 30 x 40 cms 115⁄8 x 153⁄4 ins

57. Connemara – Golden Light Over the Twelve Pins oil on canvas 61 x 76 cms 24 x 30 ins

58. Wales – Snowdonia ink and wash 67 x 96 cms 263⁄8 x 373⁄4 ins

59. Devon – Boats at Hartland watercolour 31 x 41 cms 121⁄4 x 161⁄8 ins

60. Devon – Spring Tide at Hartland oil on canvas 36 x 36 cms 141⁄8 x 141⁄8 ins

61. Devon – Evening Rock Pools at Hartland oil on canvas 51 x 51 cms 20 x 201⁄8 ins

62. Devon – Boats on the Rocks at Hartland oil on canvas 61 x 61 cms 241⁄8 x 241⁄8 ins

63. Devon – Silver Rock Pools at Hartland Quay watercolour 41 x 28 cms 161⁄8 x 107⁄8 ins

64. Devon – Hartland - A Storm Approaching pen and gouache 42 x 58 cms 163⁄8 x 225⁄8 ins

65. Devon – Dazzling Light at Hartland oil on canvas 51 x 51 cms 201⁄8 x 201⁄8 ins

66. Devon – Silver Rock Pools at Hartland oil on canvas 61 x 61 cms 241⁄8 x 241⁄8 ins

67. Devon – Evening

Coastline at Hartland

watercolour 42 x 58 cms 161⁄2 x 227⁄8 ins

68. Devon – Purple Rock

Strata at Hartland

pastel and watercolour 42 x 58 cms 163⁄8 x 225⁄8 ins

69. Devon – Cliffs Above Welcombe Bay oil on canvas 61 x 61 cms 24 x 24 ins

above

70. Devon – Hartland Cliffs at Sunset watercolour 41 x 30 cms 16 x 113⁄4 ins

right

71. Devon – Dazzling Light at Hartland watercolour 42 x 29 cms 163⁄8 x 111⁄4 ins

opposite

72. Devon – Evening Sky at Hartland oil on canvas 92 x 71 cms 36 x 28 ins

73. Tibet – Fiery Clouds Beyond the Summit oil on canvas 41 x 51 cms 161⁄8 x 201⁄8 ins

74. Tibet – Drifting Snow Towards the Summit oil on canvas 71 x 92 cms 28 x 361⁄4 ins

75. Tibet – Silver Light on Everest oil on canvas 71 x 91 cms 28 x 357⁄8 ins

76. Tibet – Prayer Flags in Warm Evening Light oil on canvas 51 x 41 cms 201⁄8 x 161⁄8 ins

77. Tibet – Drifting Clouds Towards the Summit oil on board 71 x 91 cms 28 x 357⁄8 ins

Alan was brought up in Redditch, Worcestershire, where he attended the local Grammar and Art Schools, before moving on to study at Ruskin Hall, Bournville School of Art. He progressed to Birmingham College of Art and after three years in the Painting School there, completed his training at Birmingham University and at the University of Exeter, where he took his Master’s Degree.

In 2005, he was honoured to accompany His Royal Highness, The Prince of Wales to Sri Lanka, Australia, New Zealand and Fiji as his Tour Artist. In 2009, he was nominated as an icon by the Duke of Edinburgh Awards Committee and attended two fundraising dinners at Windsor Castle, together with many Alan and Tricia Cotton celebrities. Alan was a founding member and the first President of the South West Academy of Fine and Applied Arts, which encourages and supports young artists. For many years Alan has been a central figure in the Arts of the South West and through his charitable works has raised substantial amounts of money for a range of charities, including the Art for Life Auction for Children’s Hospice South West, Cancer Research UK, Kids for Kids (Dafur) Alzheimer’s Society and Art 4 Macmillan for which he is also a Patron In 2006 he was awarded an Honorary Doctorate (D.Litt) by the University of Exeter for his ‘outstanding contribution to the Arts’. He was later appointed Hon. Professor of Arts at the University of Bath, giving his inaugural lecture on 2nd November 2011 and in 2017, the Vice Chancellor invited him to sign her Roll of Honour at a dinner in London “… in recognition of his generosity and philanthropic support”.

EXHIBITIONS Messum’s Fine Art, London Alan Cotton is represented internationally by Messum’s, who, for over 25 years have presented regular solo shows of his work.

Messum’s Exhibitions and Publications: 1985 Alan Cotton, Opening Exhibition 1988 Paintings From Provence 1990 An English Painter Abroad 1991 Recent Paintings from Cyprus, Provence, Tuscany and Venice 1992 Essentially Provence 1994 Cotton on Canvas 1995 Reflections 1996 New Paintings 1997 New Paintings 1998 Paintings from Ireland and Elsewhere 1999 Predominantly Piemonte 2001 A Sense of Place 2002 More Than Morocco 2004 As I See it 2006 From Donegal to the Southern Hemisphere 2008 Hartland, Provence and Co Kerry 2010 Hartland, Ireland, Piemonte and Provence 2011 The Series Paintings 2012 A Painter’s Journey to Everest 2014 Hartland and Beyond 2016 On the Road to Transylvania 2017 Drawings into Paintings In association with Messum’s he has exhibited with other galleries, including: • The Edge Galleries, University of Bath Contours in Colour – A Retrospective 2015 • Royal Albert Memorial Museum, Exeter Contours in Colour – A Retrospective 2015

• Lewis Elton Gallery, University of Surrey 2012 • Walker Galleries, Honiton and at Sidbury Mill • John Davies Gallery, Stow-on-the-Wold • Falle Fine Art, Jersey Other One-Man Exhibitions include: • City of Plymouth Art Gallery • Dorset County Museum, Dorchester • Exeter Royal Albert Memorial Museum • Nuffield Gallery, Southampton • The Bournemouth Gallery, Hampshire • Stroud Art Gallery, Gloucestershire • The Brewhouse Theatre, Taunton, • Otterton Mill Gallery, Devon.

• Canada Arts Gallery, Victoria B.C. Canada • City Gallery, Dinan, Brittany, France • Hammer Galleries, New York Mixed Exhibitions include: • Royal Academy Summer Exhibitions • Royal West of England Academy • Royal British Society of Artists • Royal Birmingham Society of Artists • South West Academy of Fine and Applied Arts • 20th Century British Painting Exhibitions, London • Waterman’s Fine Art • W. H. Patterson – London • West Country Painting Austin Desmond Gallery, Devon • Charles Causley A Tribute From the Artists – Tour: West Country and London • Bath, Chichester, Sidmouth and Honiton Festivals • Falmouth Art Gallery British Impressionists in Cornwall and Cornish Collections 2011 • Toronto International Art Fairs October 2012 to 2016 • Torre Abbey 2013 Afloat • Gloss Gallery Exeter Paragone – Sculpture or Painting 2014 Paintings in Collections: • His Royal Highness, The Prince of Wales • Queen Mary II Commissioned by Cunard • City of Plymouth Art Gallery; • Royal Albert Memorial Museum, Exeter; • National Collection of Paintings in Hospitals; • University of Southampton; • University of Exeter (6 paintings) • Royal Marine Commandos Lympstone • Kings Norton Conference Centre, Birmingham (13 paintings) • Carlton Westcountry Television.

• Alan also has work in private collections in the UK,, Canada • United States, South Africa and many European countries.

Television – A selection of films: • A Step or Two Away the Picture is Complete Directed by Kevin Crooks BBC (30 min.)

• An Artist On Every Corner Directed by David Spires BBC (30 mins.)

• Paint Directed by Kevin Crooks ITV (30 mins.)

• Alan Cotton at Home with David Young ITV • So You Want to Be an Artist Directed by Kevin Crooks ITV • Cotton on Canvas Two 30 minute films. Presenter Hugh Scully. Director Philip Speight ITV Films: Return to Hartland 2008 Directed by Gary Vernon Produced by Laura Collier Books: Alan Cotton – On A Knife Edge by Jenny Pery, published by Halsgrove 2003 Alan Cotton – Giving Life a Shape by Jenny Pery, published by Halsgrove 2010

Publications Alan Cotton – Giving Life a Shape *

By Jenny Pery Published by Halsgrove 2010.

This lavishly illustrated book begins by picturing the painter working intensively for his latest exhibition. Illustrations, combined with text reveal the way in which his ideas take shape through drawing in the landscape and show how these drawings become the seed corn from which he composes the knife paintings that have made his name. The book describes how the imperative to produce a body of work for an annual exhibition has shaped his life, and how his travels and charitable activities fit around these exhibitions. It dips into his past life to recall formative events and provides valuable information about current working practice. It gives a fascinating insight into the artist/dealer relationship and the running of a fine art galley. With interviews with collectors and reminiscences with friends, as well as pithy commentary from Alan himself, this book gives a comprehensive overview of Alan Cotton’s work through more than three decades and also contains much of interest for the would-be painter. * from Jean Anoulih “The purpose of Art is to give life a shape”

Alan Cotton – Books 2003

Alan Cotton ‘on a knife edge’ by Jenny Pery

2010

Alan Cotton - Giving Life a Shape by Jenny Pery

Alan Cotton – exhibition catalogues by Messum’s Fine Art 1985

Alan Cotton, Opening Exhibition

1996

New Paintings

2008 Hartland, Provence and Co Kerry

1988

Paintings From Provence

1997

New Paintings

2010 Hartland, Ireland, Piemonte and Provence

1990

An English Painter Abroad

1998 Paintings from Ireland and Elsewhere

2011

The Series Paintings

1991 Recent Paintings from Cyprus, Provence, Tuscany and Venice

1999

Predominantly Piemonte

2012

A Painter’s Journey to Everest

1992

Essentially Provence

2001

A Sense of Place

2014

Hartland and Beyond

1994

Cotton on Canvas

2002

More Than Morocco

2016

On the Road to Transylvania

1995

Reflections

2004

As I See it

2017 Drawings into Paintings

2006 From Donegal to the Southern Hemisphere

inside back cover

78. Co Kerry – Towards the Blaskets from Dooneen Harbour ink and wash 30 x 40 cms 113⁄4 x 153⁄4 ins

CDXXXII

ISBN 978-1-910993-24-8 Publication No: CDXXXII Published by David Messum Fine Art © David Messum Fine Art

All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing from the publisher.

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