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Poets in the Landscape: The Romantic Spirit in British Art 31 March−10 June 2007 John Craxton Interviewed Modern British Art: The First 100 Years R.B. Kitaj: Some Poets 1966−69 In Focus: Ivon Hitchens Event and Workshop Programme

£1.50 Number 11 April−June 2007 www.pallant.org.uk


THE GALLERY SPECIALISES IN 20TH CENTURY MODERN BRITISH ART Aitchison Birtwistle Blow Bomberg Butler Chadwick Coker Coldstream Dobson Frink Frost Gertler Gilman Ginner Gore Gowing Grant Hepworth Hilton Holzhandler John Marr Moore Nash Paolozzi Philpot Piper Sickert Reynolds Riley Rogers Smith Sutherland Trevelyan Littoral III, 1963, Gouache on paper

Turnbull Weight Wood

Bryan Wynter 1915 –1975 129 Portland Road London W11 4LW Tel: 0207 229 1099 Email: art@piano-nobile.com www.piano-nobile.com Works may be viewed in Sussex on request


MESSUM’S www.messums.com

Mary Newcomb (b.1922) Harvest Fields

oil on board 24 x 36 ins

East Coast Influences Exhibition 18th April – 5th May The sweeping expanses and big skies of East Anglia are the cradle of British landscape painting, providing the inspiration for Thomas Gainsborough, John Constable, J.M.W. Turner and Philip Wilson Steer, among many others. Messum’s have represented a number of artists who have drawn their inspiration from the coastal resorts of Southwold, Walberswick, Aldeburgh and beyond in recent years. Continuing our series of exhibitions of work by East Coast painters, Messum’s presents a selection of paintings from the studio estates of Peggy Somerville, Lionel Bulmer and Margaret Green, as well as works by the following artists: William J. J. C. Bond, William Bowyer RA NEAC, Sir John Alfred Arnesby Brown RA NEAC, Henry Garland, Derrick Greaves, Sir Cedric Morris, John Nash RA, Mary Newcomb, Mary Potter, Bertram Priestman, RA ROI NEAC, Philip Wilson Steer OM. Fully illustrated catalogue and price list £15 inc p&p with essay by Ian Collins, freelance writer, curator and the award-winning author of Making Waves: Artists in Southwold (Black Dog Books, 2005).

Exhibition and prices on www.messums.com 8 CORK STREET, LONDON W1S 3LJ TEL: +44 (0)20 7437 5545 EMAIL: info@messums.com


THE PASTO|aL T|aDITION Works by Edward Calvert · Samuel Palmer · Welby Sherman · Frederick Griggs Paul Nash · Graham Sutherland · Robin Tanner

Graham Sutherland The Garden 1931 · etching · 8½ x 6⅛ inches · 21.6 x 15.5 cm

THE FINE ART SOCIETY 148 New Bond Street · London wis 2jt telephone + 44 (0)20 7629 5116 · email tc@faslondon.com www.faslondon.com


Contents Poets in the Landscape 20 The Romantic Spirit in British Art by Simon Martin 24 John Craxton Interviewed 39 Enitharmon Press by Marco Livingstone

R.B. Kitaj: Some Poets 30 Prints Room Exhibition Explored by Harriet Wailling

Ivon Hitchens 34 A Painting Day by Peter Khoroche

John Minton, Landscape with Harvester resting (detail), c.1944, Ink, wash and bodycolour on paper, Pallant House Gallery (on long-term loan from Dr John Birch), © Royal College of Art; R.B. Kitaj, Charles Olson (detail) from ‘First Series: Some Poets’, 1969, screenprint on paper, Pallant House Gallery (Wilson Loan), © R B Kitaj; Ivon Hitchens, Early Winter Walk, 1965, Oil on canvas, Pallant House Gallery (on long-term loan from a private collection), © Estate of Artist

Gallery News 11 Director and Friends’ Chairman Letter 12 Gulbenkian Award Announcement 43 Hussey’s Legacy 48 Hidden Histories and Hans Feibusch Regulars 09 Praise for Pallant 14 Current Exhibitions 16 Forthcoming Exhibitions 46 Collection News 50 Friends News and Restaurant 53 Event and Workshop Programme 60 Diary 62 Listings 65 Pallant Photos 66 Artwork of the Month 7


M A RT I N T I N N EY G A L L E RY

Ceri Richards (1903 - 1971) ‘Woman Feathering a Bird’ oil on canvas 1944

20th Century and Contemporary Art

With particular emphasis on Welsh / Wales-based artists or subject matter. We carry a stock of Ceri Richards’ paintings, collages, drawings and prints, many of which are from the artist’s estate. Please contact the gallery for further details.

WWW.ARTWALES.COM 18 ST. ANDREW’S CRESCENT CARDIFF CF10 3DD Tel: 029 20641411 mtg@artwales.com


KEITH VAUGHAN PAINTINGS AND DRAWINGS

24 MAY - 23 JUNE 2007

Hooded Figure 1963 Oil on canvas, 121 x 89.4 cm (47.6 x 35.2 in.)

Please contact Lucy Tyler at the gallery for further information and to request a copy of the extensive exhibition monograph which includes new essays on the artist. ltyler@osbornesamuel.com

OSBORNE SAMUEL 23a Bruton Street, London W1J 6QG Tel: +44 (0)20 7493 7939 Fax: +44 (0)20 7493 7798 E: info@osbornesamuel.com www.osbornesamuel.com


Director and Friends’ Chairman Letter At the time of writing the Gallery has been long-listed, with nine other venues, for the Gulbenkian Prize which is the most prestigious award to be won in the cultural world in the UK. This prize recognises originality, imagination and excellence in museums and galleries. The winner will be announced in May 2007 and receive £100,000. We hope you will support the nomination by posting your message on the 'Wall of Support' in the entrance hall of the Gallery or vote in our favour at www.24hourmuseum.org.uk, or leave a note for the judges at www.thegulbenkianprize.org.uk. It is a good sign that many colleagues in the region have agreed to support the nomination: Chichester District Council, University of Chichester, Goodwood House, Chichester Festival Theatre, Cass Foundation, Petworth House and the Observer group as media supporters. The response to the recent exhibition and events programme has been very good. By 1 February, seven months after re-opening, the Gallery has welcomed over 40,000 visitors from across the country and continues to receive outstanding critical acclaim from the national press. It is extraordinary that over 1,100 people have joined as new Friends in the first seven months after re-opening. The exhibition, Poets in the Landscape: The Romantic Spirit in British Art (31 March to 10 June 2007) is dedicated to the memory of Simon Sainsbury, an invaluable and most sympathetic supporter of the Gallery, who died in 2006. Mr Roger Reed has decided to step down as Chairman of the Trustees at the end of the financial year on 31 March 2007. Since 2001 he has been a dedicated trustee and has led the trustees during the very challenging period of the building of the new extension and the refurbishment of the house. This was not an enviable mission, but he succeeded in seeing the project through to the opening on 1 July last year and beyond. Without doubt he deserves all our gratitude for the huge effort he has made, and we hope to see him as often as possible at the Gallery in the future.

Mr Keith Clark & Mr Roger Reed

We are delighted to welcome Mr Keith Clark as a new Trustee. Mr Clark is Managing Director and International General Counsel of Morgan Stanley the global financial services firm. Prior to joining Morgan Stanley he was Chairman of the legal firm Clifford Chance. His interest in Modern art sprang from his Chichester origins and his acquaintance with Walter Hussey. Keith’s family have been active in supporting Pallant House Gallery from its outset, and his mother, Evelyn Clark, was a volunteer for many years. In the next three months we start to celebrate the 25th anniversary of the Gallery with a Friends’ Silver Jubilee Tea Party and a Garden Party. Other big events are planned for later in the year. We have had a very positive response to the fundraising appeal to mark the anniversary year. Many Gallery Club members and patrons have joined but, of course, more are needed and welcome. In the next issue of this magazine we hope to report in more detail on our fundraising effort for the Gallery. Financial consolidation is our first concern and we are working very hard to ensure its success. Stefan van Raay, Director Lady Nicholas Gordon Lennox, Chairman of the Friends

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The Gulbenkian Prize is the single largest arts prize in the UK and serves to recognise and reward the best new development of the previous calendar year in a museum or gallery anywhere in the UK.

The panel of seven judges, including Guardian critic Jonathan Glancey and novelist, journalist and broadcaster Francine Stock, will visit the Gallery in March before drawing up the short list.

Pallant House Gallery is one of ten museums and galleries to be long listed for the prize. A short list of four will be announced in April.

2007 is the fifth year of the Gulbenkian Prize. Previous winners have included the ss Great Britain in Bristol and the Scottish National Gallery of Modern Art in Edinburgh.

The winner, to be announced on 24 May, will receive ÂŁ100,000.

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You can register your support for the Gallery in one of three ways. You can come in and add your comments to our Gulbenkian Wall of Support on the entrance level of the Gallery. Or you can write to the judges directly by going to www.thegulbenkianprize.org.uk/2007. Or, you can take part in the People’s Vote online at www.24hourmuseum.org.uk.


Š Gilbert Garcin

RICHARD AVEDON, PRINT FOR SALE.

Arden and Anstruther Photographic Gallery, 5 Lombard Street, Petworth. www.ardenandanstruther.com Telephone 01798 344411


Current Exhibitions

Poets in the Landscape: The Romantic Spirit in British Art 31 March−10 June 2007 An exhibition exploring the creative links between poetry and British art: from William Blake and his 'Romantic' contemporaries John Flaxman, William Hayley, Samuel Palmer, George Romney and Joseph Wright of Derby, to 20th century artists and poets including Michael Ayrton, Cecil Collins, John Craxton, David Gascoyne, John Minton, Ceri Richards, Graham Sutherland and Dylan Thomas. Dedicated to the memory of Simon Sainsbury. In-Focus Exhibition Ivon Hitchens 21 April−7 October An exhibition of works by English painter Ivon Hitchens (1893−1979), drawn from the Gallery’s extensive holdings. The display will highlight the artist’s West Sussex connections − most of his landscapes having been painted near Petworth − but will also consider Hitchen’s concern with creating paintings which can be read as 'visual music', as a compliment to the summer exhibition 'Eye Music'. 14

Prints Room Exhibition R.B. Kitaj: Some Poets 1966-69 27 March−24 June Although frequently labeled a 'Pop Artist', the American artist R.B. Kitaj (b.1932) has often drawn from literary sources in his art. The ten screenprinted portraits which comprise this intimate exhibition are drawn from First Series: Some Poets (1966−69) and reflect on a new generation of poets during the mid-to late 1960s. Susie MacMurray: Shell Extended until August 2007 The artist has created an installation for the stairwell in Pallant House Gallery in response to the site and history of the building. 'Shell' is made of 20,000 mussel shells inlaid with velvet which covers the walls of the 18th century stairwell. Supported by Arts Council England and Abbey Harris Mural Fund


Collections for All and the Feibusch Resource 3−27 April An exhibition highlighting the outcomes of the MLA funded 'Collections for All' project researching the 'Hidden Histories' contained within the Gallery’s collections, focusing on disability and the Gallery’s handling resources based on the work of Hans Feibusch. Studio Exhibitions 8–25 May (Tom and Molly) 5–29 June (Peter and Derek) Partners in Art/ Partnership of the Month exhibition Partners in Art helps those, who due to disability, illness, injury or other reasons, have difficulty in accessing the arts themselves. 'Partnership of the Month', is a series of exhibitions that showcases the work of each partnership.

Modern British Art: The First 100 Years Ongoing throughout the year We continue to showcase a revolving selection of works from the permanent collections across 14 gallery rooms. Artists include Andrews, Auerbach, Blake, Bomberg, Caulfield, Freud, Hamilton, Kitaj, Moore, Nash, Picasso, Piper, Sickert, and Sutherland. See page 60/61 for a daily Exhibitions and Events Diary

John Minton, Landscape with Harvester resting (detail), c.1944, Ink, wash and bodycolour on paper, Pallant House Gallery (on long-term loan from Dr John Birch); © Royal College of Art; R.B. Kitaj, Revolt on the Clyde (Hugh MacDairmaid) (From First Series: Some Poets), 1967, Screenprint on paper, Wilson Loan (2004), © R B Kitaj; Hans Feibusch, The Risen Christ, n.d., Bronze, Feibusch Studio, gift of the artist (1997), © By Permission of The Werthwhile Foundation; Joe Tilson, 1−5 The Senses, 1963, Mixed media, Wilson Loan, © Joe Tilson

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Forthcoming Exhibitions Clockwise from top John Tunnard, Ascension, 1945, Gouache on paper, On loan from Prof. Brian Whitton, © Clody E. Norton; Peter Snowdon, Eduardo Paolozzi (Hand), 1988, Photograph, © Peter Snowdon

Eye-Music: Kandinsky, Klee and all that Jazz 30 June−16 September 2007 Searching for a new visual language at the beginning of the 20th century, many artists were inspired by musical forms and ideas in their early experiments in abstract art: Paul Klee took the fugues of Bach as the model for his multi-layered paintings; Wassily Kandinsky’s friendship with the avant-garde composer Schönberg encouraged the development of his free, expressive style; and later in the century, jazz became a model for artistic improvisation in the work of Piet Mondrian, Alan Davie and others. This exhibition and the accompanying programme of events explores these relationships and other ideas, including the phenomenon of synaesthesia and the ability to 'hear' colours, the spectacle of sound and light performances, and early prototypes of abstract film.

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Snowdon’s Private View: The Artist through the Lens 29 September 2007−27 January 2008 Snowdon’s photographs of the art world including pictures of Frank Auerbach, Peter Blake, Sir William Coldstream, Salvador Dalì, Lucian Freud, Richard Hamilton, Barbara Hepworth, L.S Lowry, Henry Moore, Grayson Perry, John Piper, Briget Riley, Graham Sutherland, Joe Tilson and others.


Gallery Pangolin Michael Cooper B

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2nd April - 11th May

Polar Bear Gallery Pangolin · Chalford · Gloucestershire · GL6 8NT · UK T: 00 44 (0)1453 886527 · E: gallery@pangolin-editions.com · www.gallery-pangolin.com


Exhibiting a talent for understanding.

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UBS Wealth Management is a trading name of UBS AG, which is authorised and regulated by the Financial Services Authority. Š UBS 2006. All rights reserved.


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Clockwise from above left Samuel Palmer, The Sleeping Shepherd, c.1831-2, Brown ink and brown watercolour on paper, The Whitworth Art Gallery, University of Manchester; Joseph Wright of Derby, Virgil’s Tomb by Moonlight, 1782, oil on canvas, Derby Museums and Art Gallery; George Romney, Portrait of William Hayley, 1778, Oil on canvas, Pallant House Gallery (on long-term loan from a private collection); William Blake, Frontispiece: Thenot and Colinet, illustration to Thornton’s Pastorals of Virgil, 1821, Wood engraving on paper, Southampton City Art Gallery; (Page 22) John Piper, The Earth Scene 1, Set design for the ballet Job: A Mask for Dancing, 1948, ink, gouache, watercolour on paper, V&A Theatre Collections

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Poets in the Landscape: The Romantic Spirit in British Art Simon Martin

In the 250th anniversary year of William Blake’s birth, it is fitting that Pallant House Gallery should be mounting an exhibition considering the impact of this Romantic artist and poet on British art: for Blake spent three years in Sussex working for the Chichester poet William Hayley at the beginning of the 19th century. Hayley’s 'gentle visionary' is a central figure in this exhibition which explores the creative links between poetry, the pastoral vision and British art from 1775 to 1955. William Hayley is a little known figure today, but he was one of the most popular poets of the 18th century and was offered the Poet Laureateship in 1790, which he declined. Born, most probably, on the site of Pallant House Gallery’s new wing where his father’s house stood in the 18th century, Hayley and his epic poetry have perhaps not stood the test of time, but as a friend and patron of artists he was remarkable. There can be few poets who have been so closely associated with the visual arts: the biographer of the poet John Milton and translator of Dante, his friends included the artists Joseph Wright of Derby, George Romney (whose biography he later wrote) and John Flaxman, to whom his son was apprenticed; the poets William Cowper, Anna Seward and Charlotte Smith, and the Roman historian Edward Gibbon were also intimates. Hayley advised Joseph Wright on the poetic subjects of some of his most famous paintings such as The

Corinthian Maid (The Origin of Painting), commissioned Flaxman’s Monument to the Poet William Collins in Chichester Cathedral, played host at his villa at Eartham to Romney for over twenty years where the artist painted what is now considered one of the finest self-portraits of the 18th century, and set Blake to painting a series of Heads of the Poets for his library at Felpham. Blake’s stay in 'sweet Felpham', where he apparently witnessed a fairy’s funeral, conversed with the spirits of Milton, Homer and Dante, and wrote the hymn Jerusalem, inspired his illustrated book Milton: A Poem, but it also led to his infamous trial for sedition in the Chichester Guildhall, after ejecting a drunken soldier from his cottage garden. With Hayley’s support, Blake was acquitted and he returned to London for good in 1804, his only lengthy sojourn in the countryside over. His Sussex experiences however, continued to feed his imagination, and one of the woodcuts he created for the Pastorals of Virgil in 1821 features a view of a cathedral city set in the downs with a signpost reading 62 miles to London. 'They are visions of little dells, and nooks, and corners of Paradise; models of the exquisitest pitch of intense poetry', the artist Samuel Palmer later wrote of Blake’s Pastorals. Indeed, Blake’s work had an extraordinary impact on the engravings and sepia drawings of Palmer and the other artist members of the group known as the 'Ancients', who met in the Kent village 21


of Shoreham in the 1820s and 1830s, including Edward Calvert and George Richmond. Palmer’s own lyrical depictions of shepherd-poets sleeping by the harvest fields under waxing moons were also imbued with the bucolic imagery of Virgil, and recall lines from Milton’s L’ Allegro: 'such sights as youthful poets dream / on summer eves by haunted stream.' Palmer’s later etchings, such as The Bellman and The Lonely Tower (1879), which were based on Milton’s Il Penseroso, in turn influenced artists in the early 20th century. As Graham Sutherland later recalled, for the group of young printmakers at the Goldsmiths’ College in the early 1920s, which included Paul Drury, Robin Tanner and himself, 'the day on which one of our band, William Larkins, brought a small Palmer etching [The Herdsman’s Cottage] which he had found in Charing Cross Road was a turning point.' The pastoral etchings of picturesque cottages, rural labour and country chapels such as Sutherland’s St Mary Hatch (1926), Drury’s September (1928), and those of their elder mentor F.L. Griggs, have an intensely nostalgic feel, a conscious back-turning on modernity. As Britain marched to war in 1939 Sutherland began a very different series of more abstract responses to nature entitled Entrance to a Lane, in which he aimed for 'poetic truth' in which ‘the artist is merged completely into the subject and ceases to express a 22

romantic reaction to the subject.’ For other artists, such as John Craxton and John Minton, melancholy images of poets in landscape, were projections of themselves, expressing their desire to find refuge from the war in landscape and poetry. Perhaps more than at any other time in recent history, art and poetry were closely intertwined. Literary journals such as Horizon, Penguin New Writing, and Poetry London combined the work of poets such as George Barker, David Gascoyne, Geoffrey Grigson, Louis MacNeice and Dylan Thomas with reproductions of works by Michael Ayrton, Cecil Collins, Lucian Freud, Leslie Hurry, Ceri Richards, Keith Vaughan and others. This period of so-called 'Neo-Romanticism', during which Blake and Palmer were guiding beacons, should perhaps be considered part of the continuing romantic spirit in British Art emanating from Wright, Romney, Flaxman, Blake, Palmer and others, which John Piper identified in 1941 in his iconic book British Romantic Artists for the 'Britain in Pictures' series. As Piper wrote, the poetry of such romantic art reveals 'something significant beyond ordinary significance', recalling William Blake’s call in his 'Auguries of Innocence' to see a 'World in a Grain of Sand, and a Heaven in a Wild Flower. Poets in the Landscape: The Romantic Spirit in British Art, 31 March−10 June Dedicated to the memory of Simon Sainsbury


Original Prints

Robin Tanner (1904-88): The Gamekeeper’s Cottage Original etching, 1928. Signed in pencil First issue, printed by the artist himself, edition of 50

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Two fully illustrated new stock catalogues by annual subscription The next issue, will be published in May, entitled WATER, LIGHT & AIR A selection of atmospheric landscapes and urban scenes by a variety of British & European artists


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John Craxton: A Romantic Spirit Interview by Simon Martin

John Craxton is featured in the exhibition 'Poets in the Landscape: The Romantic Spirit in British Art'. Since 1946 Craxton has lived between the Greek island of Crete and his London studio, where Simon Martin met him to discuss his life and work.

(SM) I’d like to begin by asking you why you think there has been such a romantic preoccupation with landscape in British art? (JC) What is so important in any country is 'folk memory'. So many of us in Britain are interested in the landscape. Why? Because it was the land that our ancestors worshipped long before St Augustine turned up. People were worshipping trees and lakes, bogs, rocks, mountains, hills and groves – the sun, the moon and the seasons - that’s what they were interested in and quite naturally, because we live in that world. In a way, this interest in landscape reflects that equally ‘British’ preoccupation with the weather… Absolutely! Light and lack of light. Light coming in through clouds and beams of light, moonlight, sunlight – we’re obsessed with it in this country, and quite rightly too, because it’s part of us. Artists and poets in Northern Europe have always had a deep-rooted affinity with lakes, mountains, the evening, moon, 25


sun, sunrise, whereas the Mediterranean artists are fundamentally interested in people. That’s a totally different thing from landscape because, in a way, you can identify yourself in a landscape - that’s what it’s all about - two things: imagination and naturalism. Not for nothing is Greece the home of metamorphosis. The exhibition features one of your early works of a young poet in a dark, dramatic landscape which epitomises the central theme of the exhibition. Did you identify the figure in landscape with yourself? Yes, in a way, I did. I had been rejected from serving in the army because of pleurisy, so it represents the total calm of the seated figure while the wildness of the war goes on all around. I was also obsessed by William Blake at that time and had taken a copy of Blake’s poetry with me to the army medical examination. The painting was a combination of different things: the plants were onions that had gone to seed and I used to draw fallen trees in Dorset, while the plant was based on one I had on my window sill in St John’s Wood. It was the first landscape in which I had included a figure. Poet in Landscape was the result of my having seen a print of Samuel Palmer’s Valley Thick with Corn. Yes, I can see there is a clear connection between your early work and the pastoral sepia drawings of Samuel Palmer. Was that your first encounter with Palmer’s work? Yes. Peter Watson, the proprietor of Horizon magazine, had shown me proofs of an article by Geoffrey Grigson [Horizon V, 1941] which included that drawing. Palmer’s work gave me the courage to put a figure in the landscape. Later I bought three Palmer etchings for 7/6d each from a saleroom in Lisson Grove. And clearly William Blake was also an important influence for your work. I had a complete infatuation with Blake. I went to do some work in Oxford painting a fireplace decoration for Lord David Cecil. It was November 1941 and I was very cold and miserable. I made friends with Neville Coghill, the Chaucerian scholar, and he gave me a copy of Blake’s collected writings: I felt it kept me going. I love Blake, not only his poetry, but also his attitude to life as an artist. He was an anarchist in a way: against the 18th century 'grand manner'. He was an original, it comes out in everything he wrote and painted. He was a great, great genius and a master of the imagination.

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Didn’t you also own an original Blake colour print? Yes. I was wandering around in a bookshop called Francis Edwards in Marylebone High Street in 1942 and I came across a Blake – Satan exulting over Eve – lying on the floor. It was £15, which I couldn’t afford, but then I sold my first oil painting at the Leicester Galleries for 15 guineas. The only other person in London who knew about that print was Ruthven Todd, a great friend of mine who knew all about Blake and Samuel Palmer, but he already owed the bookshop so much money that he daren’t ask to buy it… In 1944 you collaborated with the poet Geoffrey Grigson on a poetry anthology entitled ‘The Poet’s Eye’. How did this come about? Sheila Shannon and W. J. Turner, the editors of the series ‘New Excursions into English Poetry, came to my exhibition at the Leicester Galleries in 1944 and I think it was there that they plotted the idea of doing a book about the poet’s vision. I think 'Moments of Vision' was one of the titles, but it changed to The Poet’s Eye. They got Grigson to select the poems, and he gave a whole batch of them to me and said, "These are the poems; choose what you want out of them." So I chose from his selection but I also insisted on the inclusion of a small poem by Samuel Palmer about Shoreham. Cowells, the printers in Ipswich, allowed me to work directly on the plates and to experiment with new techniques. And Sheila Shannon and W.J. Turner backed me up all the time in the most wonderful way, giving me incredible freedom. They never turned a hair about the eccentricities of what I was doing. You describe the drawings in that anthology as 'decorations' rather than illustrations… Absolutely, only one drawing was actually related to a poem, which was the one by W. H. Auden. I was also interested in the reference to cuttlefish in Tennyson’s poem because it reminded me of my childhood at Selsey Bill when I used to find cuttlefish on the beach. The cuttlefish became a sort of visual pun, its ink making it possible to write poetry and to draw. I like jokes like that. Some of the images seem suggestive of the Pembrokeshire landscape, where you went in 1943 with Peter Watson and Graham and Kathleen Sutherland. Yes, Peter Watson took me to stay with Kathy and Graham Sutherland in a farmhouse on St David’s Head, surrounded by a wonderful prehistoric landscape. One


(Page 24) John Craxton, John Craxton, Decoration for 'The Poet’s Eye', 1944, Lithograph, Pallant House Gallery, © The Artist; (Page 25) Anne-Katrin Purkiss, John Craxton, with a portrait of the artist as a young man by Ghika (c.1948); This page clockwise from top left John Craxton, Decoration for 'The Poet’s Eye', 1944, Lithograph, Pallant House Gallery, © The Artist, John Craxton, Decoration for ‘The Poet’s Eye’, 1944, Lithograph, Pallant House Gallery, © The Artist; John Craxton, Poet in Landscape, 1941, ink and wash on paper, collection: the artist, © The Artist

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of the things Sutherland taught me was how to invent. When we were in Pembrokeshire he showed me the place where he got the idea for his painting 'Entrance to a Lane' which I knew very well from Peter Watson’s flat. I said, "But there are no trees overhanging it!" Sutherland said, "Yes, I know. I took them from somewhere else." He was wonderful in that he told me "You must invent." It was a very good lesson for me, because it was very much like what Picasso was doing. He was also taking natural forms and reinventing them. Peter Watson was a remarkable patron and collector, funding Horizon magazine and later co-founding the I.C.A. with Peter Gregory, Roland Penrose and Herbert Read. He seems to have been an important influence on your artistic development. Peter Watson was rich, and he had been in Paris where he had known many painters. He was steeped in the best paintings of the Thirties. He collected Picassos - marvellous Picassos - and Roualts, Dalís, Mirós, de Chiricos and Klees. When the war started, he came to London and bought Sutherland, Piper, Moore, Frances Hodgkins and Christopher Wood. He was hugely intelligent about music. I met him at a concert of the Schostakovich 5th Symphony in the Queen’s Hall. My friend James Iliff offered me his ticket as he couldn’t go. After the concert we walked down Regent Street to a café where David Gascoyne was sitting in the corner; the first poet I ever met. Peter was an all-round connoisseur. He was also wonderfully generous with his money, particularly with painters, writers and poets. He supported Dylan Thomas, David Gascoyne, Lucian Freud, Colquhoun and MacBryde and he gave them handouts - five quid, ten quid a time, and that was a small fortune in 1941-42. You could live on £2.10s a week then, and £5 was just magical. He took you out for dinner in Soho – he took everybody out to dinner - and you’d say "thank you" and he’d turn around and say "Thank you, thank you!" Was this when you were sharing premises with Lucian Freud? Yes, thank God you said 'premises', as Lucian and I were not sharing a studio. People get it all wrong about that. Peter Watson telephoned me saying he’d been reading Miró’s article called 'Je rêve d’un grand atelier' in Minotaur or Cahier’s d’Art. He asked if I would like a studio, and at the time I was working in a narrow room with just space for a bed – this was 1942. He said, "Find yourself somewhere to work and send me the bill", so 28

I found an upstairs maisonette in a Nash-style terrace in St John’s Wood. Lucian very quickly joined me, using the top floor as a studio. We lived and painted happily there for two years. We were inseparable at that point, like brothers. He was very unlike me and that’s why we got on so well, because there was no clashing of styles. We learnt a lot from each other. I learnt from Lucian how to scrutinise, which I wasn’t doing before, and Lucian learnt how to plan pictures and use colour. We were packed off to the Goldsmiths’ College by Peter Watson. Peter was worried about Lucian not being able to draw. Peter said "Lucian must learn how to draw a hand before he distorts one." It was Graham Sutherland who recommended Goldsmiths because he’d studied there himself. His friend Clive Gardiner was the principal. You have said before that you are uncomfortable with the label ‘Neo-Romanticism’ which critics sometimes use to describe your work. Why is that? Because you are either 'Romantic' in spirit or you are not. You can’t be 'Neo-Romantic'. There was never a 'Neo-Romantic' group as such. In fact, myself, Lucian, Graham Sutherland and the others were only a group in as much as the critics decided to make us one – I find it presumptuous of them in the extreme. Let’s face it, the Ancients were a group around Palmer in Shoreham, the Pre-Raphaelite Brotherhood was a group, there was the Bloomsbury Group and the Euston Road group, but we were simply not a group. There were two groups during the war: the artists around John Lehmann and Penguin New Writing such as Michael Ayrton, John Minton and Keith Vaughan, and then on the other side, with Peter Watson and Horizon, there was Lucian and myself, Sutherland, Colquhoun and MacBryde. When you’re 19 or 20, and somebody is five or ten years older, they have their friends and you have yours. Minton and Ayrton were not my age. You can know somebody a lot older, for example I was friends with Piper and Sutherland, but when somebody is only slightly older it’s like being at school. You have your age group and that’s the way it works. Poets in the Landscape: The Romantic Spirit in British Art 31 March−10 June


Island Fine Arts Ltd Jo Bemis Coastal Waters 17 March – 14 April

Oil

South Coast Tide

35.5 x 35.5 inches

All works are for sale, please contact the gallery for a card

53 High Street, Bembridge, Isle of Wight PO35 5SE Tel 01983 875133 Office 2, Sadlers Walk, Chichester PO19 1HQ (by appointment only) Email gallery@islandfinearts.com Web www.islandfinearts.com


R.B. Kitaj Some Poets 1966-69 Harriet Wailling

Although frequently labeled a 'Pop Artist', the American R.B. Kitaj (b.1932) has drawn widely on literary sources in his art. The ten screenprinted portraits entitled First Series: Some Poets were produced between 1966 and 1969 at the mid point of the artist’s screenprinting period, and although they were not, in Kitaj’s view, 'responses to particular poems' as such, they were certainly a 'reflection' on those emerging poets of the moment. Kitaj began this first series (a second has never been produced) following an initial appropriation of a photograph of the philosopher and literary critic Walter Benjamin. That photograph, which illustrated a text by Gershom Scholem and showed a younger, impassive Benjamin, became in Kitaj’s cropped and worked over lithograph, pensive if not melancholic, revealing by shades and degrees the nuances of the author and his work. The success of this print, in conjunction with a chance introduction to contemporary American poetry that same year in a London pub, prompted Kitaj to begin his Poets series. With the idea of creating a kind of collaboration between technique and subject matter, the screenprinting method permitted a great subtlety of interpretation of the sitter and Kitaj chose his ten poets out of reverence for their work.

The first of the Poets depicted Robert Creeley, who Kitaj had met at a party in London a couple of years earlier. Creeley had sat for a pastel sketch, which Kitaj photographed and then transferred to a screen with an assortment of hand-cut stenciled pieces, creating the first lithograph in the series. The technique was repeated for the other poets, including Ed Dorn, Charles Olson, John Weiners and Robert Duncan, each of whom had either taught or studied at the Black Mountain College in North California. The other poets, drawn from beyond this community, included W. H. Auden, the Scottish poet Hugh MacDiarmid, Michael McClure from the San Francisco school, and the composer Morton Feldman, who 'was a poet' in Kitaj’s view. The intimacy of each of the Poets portraits, which at times play with composition, constructing tripartite arrangements of images on top of each other like lines or stanzas of verse, marks perhaps one of the greatest achievements in this relatively new, often criticized, photo-mechanical technique. R.B. Kitaj: Some Poets 1966-69 27 March−24 June R.B. Kitaj, Fifties Grand Swank: Morton Feldman (detail) from 'First Series: Some Poets', 1968, screenprint on paper, Pallant House Gallery (Wilson Loan), © R.B. Kitaj; R.B. Kitaj, Kenneth Roxroth (detail) from 'First Series: Some Poets', 1969, screenprint on paper, Pallant House Gallery (Wilson Loan), © R.B. Kitaj

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Currencies in Crisis Saturday 7 July 2007 The British Numismatic Society and the Royal Numismatic Society will host their annual Summer Meeting at Pallant House Gallery this July with a day programme of lectures examining the origins and impact of crises that have affected British and world currencies. From major debasements to abortive reforms, from the aftermath of wars to the decline of empires, currencies have suffered, failed and been rejuvenated. The changing fortunes of monetary systems have themselves also visited periods of economic and social disruption on the countries and regions which they operated within. The lectures will span numismatics from the Roman world to the twentieth century. Confirmed speakers include Kevin Clancy (17th and 18th centuries) and Graham Dyer (20th century currency) of The Royal Mint; Sam Moorhead (Roman currency) and Helen Wang of The British Museum; and Paul Cavill of Merton College Oxford (16th century debasement).

The day will coincide with the loan of three coins to Pallant House Gallery designed by Eric Gill from the Royal Mint, to be displayed along side Henry Moore’s Medallions from the 'Raising of Lazaurus' relief in Chichester Cathedral (1975)(Pictured). The Royal Mint commissioned Gill in 1924 to produce designs for a set of silver coins. Although never actually issued as coinage, three specimens were made by the Mint: the shilling, the sixpence, and the threepenny bit, and one of each of these coins will be on display in the Gallery. The conference is open to members and nonmembers alike, and as with all the society’s Summer Meetings, the aim will be to have a thought-provoking programme of lectures in a convivial atmosphere, with lunch included in the registration fee of £15. For tickets please send a cheque for £15.00, made payable to the British Numismatic Society, to: Dr K Clancy, Director The British Numismatic Society c/o Royal Mint Llantrisant Pontyclun CF72 8YT

Henry Moore and Jocelyn Burton, The Head of Christ and the Head of Lazarus, after the Raising of Lazarus in Chichester Cathedral, 1975, Silver, Pallant House Gallery (Hussey Bequest, Chichester District Council, 1985) © Jocelyn Burton; Reproduced by Permission of the Henry Moore Foundation

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For further details contact Dr Clancy on 01443 623005, or email him at director@britnumsoc.org


Island Fine Arts Ltd Janet Ledger The Way I See It 28 April – 19 May

Acrylic

Phone Home

12 x 12 inches

All works are for sale, please contact the gallery for a card

53 High Street, Bembridge, Isle of Wight PO35 5SE Tel 01983 875133 Office 2, Sadlers Walk, Chichester PO19 1HQ (by appointment only) Email gallery@islandfinearts.com Web www.islandfinearts.com


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A Painting Day Ivon Hitchens’ Working Day Peter Khoroche An exhibition of works by Ivon Hitchens selected from the Gallery’s extensive holdings will place his work in both the context of landscape painting and the artist’s concern for creating 'visual music'. In this extract from his new book on the artist Peter Khoroche looks at Hitchens’ daily routine.

By far the greater part of Hitchens’ work was done in the six acres of woodland that surrounded his home. The ponds, the garden courtyard, the dark rhododendron tunnels, the massive oaks and towering chestnuts provided an inexhaustible source of subjects in every season, and from the large flat roof of the one-storey house there was a completely fresh viewpoint from which to survey the dense criss-cross of branches and, beyond, the smooth outline of the Downs. Grey days were his favourite for painting, when each component of the scene shows its true colour tone and its true visual relation to its neighbour, without the confusing dazzle of sunshine or the dark of shadows. From some notebook jottings which he made to amuse himself we can get a glimpse of him on just such a painting day. On getting up in the morning he steps out onto the terrace outside his bedroom and sluices himself with the contents of his hot-water bottle. If the day promises well for painting he feels a tension from the start—an urgency to get through breakfast quickly and without too much talk, to avoid the postman and letters, to collect this and that bit of gear, to dry and clean brushes that have been left to soak in

water or turpentine since the previous day’s painting. He packs up some food, selects and straps together canvases that have already been stretched and prepared—a bundle of four, six or even eight, if there is some uncertainty about subject or suitable size. Groundsheets, paint-box and tripod, brushes, bottles of turpentine and linseed oil, a shooting-stick on which to take an occasional rest . . . and at that moment it comes on to rain. So a raincoat has to be added to the pile on the large wheelbarrow. At last he can set off. The tension eases. The day’s adventure has begun. From now on he will be at the mercy of wind and weather. There may be chance encounters with animals and foresters, or the sudden appearance of the local hunt, but most probably total solitude (though for some years he had for companion through the long days a golden retriever, Dinah, to whom he was devoted). Having reached the chosen site, he sets up the box, fixes the canvas in place and methodically lays out the paint tubes and brushes on the spread groundsheet. Now to take stock of the subject, which will usually have been sketched and thought over previously. In what order are the paint areas to be laid on? If they are in juxtaposed patches 35


(Page 35)Ivon Hitchens, Blue Shadows (detail), 1940, Oil on canvas, Pallant House Gallery (Kearley Bequest, through The Art Fund, 1989), © Estate of Artist Clockwise from top left Ivon Hitchens, Woodland Scene with Two Woodsmen, Oil on canvas, Pallant House Gallery (on long-term loan from a private collection); Ivon Hitchens, Blue Shadows, 1940, Oil on canvas, Pallant House Gallery (Kearley Bequest, through The Art Fund, 1989) © Estate of Artist

the musical notation may be correct but there may be a final lack of unity if too much white ground separates them: the paint must be laid on in such a way as to avoid too much fusion, yet also to create fusion where it is wanted. At which point it begins to rain again, or a yellow autumn sun pervades all with an orange tint. But at last he can start. Three hours later he emerges to take note of the passing daylight and realize that he is exhausted and hungry. Five or ten minutes spent munching egg sandwiches, some cheese, a fruit-bar and some coffee from the flask. Another look at the canvas, and it seems to have gone dead. What is he to do? Laboriously start packing everything up for the tramp home, or sit down dejectedly, wondering what can have gone wrong? Then, if the gods of wind and weather are kind and the genius loci friendly, suddenly his eyes are opened—of course, that’s how it should be done. There is a rush to take down the half-painted canvas and find some suitable tree to prop it against. A clean canvas is selected and fixed firmly to stop it slipping down on to the paint-loaded palette. Then in he plunges, headlong, and if thought and creation fuse, the previously planned order is imposed, but this 36

time each brush stroke provokes a response from the canvas itself, so that a dialogue begins and the painting grows. When he surfaces again it is to discover that dusk is falling and, if he is lucky, his wife can be seen in the distance, coming to help carry all home. The woods are silent now. A distant owl begins to hoot. A mouse rustles beneath the leaves. Frost is in the air, and the bright lights of the house, peeping between the trees, are a comforting sight. Hitchens usually counted on being able to paint out of doors until Christmas. With two or three layers of jumper under his poacher’s jacket, soft woollen scarves around his neck, and the artist’s beret on his head, all physical frailties were imperiously overridden by the need to paint. When it became really too cold to hold a brush, he would finally retire for the winter to his studio, where he would either work on unfinished paintings or on still lifes till early spring beckoned him out again. Ivon Hitchens: In Focus Exhibition 21 April−7 October Peter Khoroche’s book is available from the bookshop priced £35


Pallant ad 2007 (1)

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Land, Sky and Sea: sussex landscapes Oona Campbell Land, Sky and Sea: sussex landscapes figures theSea: landscape: sculptures Oona Campbell Land, Skyinand sussex landscapes Leonie Gibbs, Carol Peace, Paul Vanstone Oona Campbell figures theSea: landscape: sculptures Land, Skyinand sussex landscapes Land, Sky and Sea: sussex landscapes 6th May~17th June, 2007 Leoniein Gibbs, Peace, Paul Vanstone Oona Campbell figures the Carol landscape: sculptures Oona Campbell Leonie in Gibbs, Peace, Paul Vanstone 6th May~17th June, 2007 figures theCarol landscape: sculptures Moncrieff~Bray Gallery figures in the landscape: sculptures

Leonie Gibbs, Carol Peace, PaulJune, Vanstone 6th May~17th 2007 Leonie Gibbs, Carol Peace,~Paul Vanstone Moncrieff Bray Gallery Telephone: 07867 978 414 e: mail@moncrieff-bray.com www.moncrieff-bray.com 6th May~17th June, 2007 Thursdays, Saturdays: All other by appointment Woodruffs Farm,Fridays, Woodruffs Lane,11.00am–6.00pm. Egdean, Pulborough, W.days Sussex RH20 1JX 6th May~17th June, 2007 ~Bray Moncrieff Gallery Woodruffs Farm, Woodruffs Lane, Egdean, Pulborough, W. Sussex RH20 1JX

Telephone: 07867 978 414 e: mail@moncrieff-bray.com www.moncrieff-bray.com

Moncrieff~Bray Gallery Moncrieff~Bray Gallery

Woodruffs Farm,Fridays, Woodruffs Lane,11.00am–6.00pm. Egdean, Pulborough, W.days Sussex RH20 1JX Thursdays, Saturdays: All other by appointment Telephone: 07867 978 414 e: mail@moncrieff-bray.com www.moncrieff-bray.com

Woodruffs Farm, Woodruffs Lane, Egdean, Pulborough, W. Sussex RH20 1JX Thursdays, Saturdays: All other by appointment Woodruffs Farm, Fridays, Woodruffs Lane,11.00am–6.00pm. Egdean, Pulborough, W.days Sussex RH20 1JX

Telephone: 07867 978 414 e: mail@moncrieff-bray.com www.moncrieff-bray.com Telephone: 07867Fridays, 978 414 e: mail@moncrieff-bray.com www.moncrieff-bray.com Thursdays, Saturdays: 11.00am–6.00pm. All other days by appointment Thursdays, Fridays, Saturdays: 11.00am–6.00pm. All other days by appointment


Enitharmon Press: Poetry and Pictures Marco Livingstone

Enitharmon Press was founded in 1967 and has been run since 1987 by Stephen Stuart-Smith, who has continued the original list’s concentration on contemporary British poetry but also expanded it in other directions including fiction, translations, literary criticism and especially collaborations with artists. Looking more to the French tradition of the limited edition de luxe livre d’artiste than to the more recent notion of the mass-produced artist’s book, Enitharmon Press and more recently its sister company, Enitharmon Editions, have produced a series of elegantly designed and beautifully printed publications that marry image and text in a variety of inventive ways. The first such book, Anne Atik’s collection of poems Offshore (1991), was illustrated inside with a single image – a photoportrait by Henri Cartier-Bresson – and created a template for future publications with its hand-set typography and the inclusion of two original prints (in this case by Avigdor Arikha and R. B. Kitaj) laid loose into the slipcase. Very quickly, however, text and image became more integrated, with writer and artist offering their individual responses to particular themes – as in Neil Curry’s retelling of the closing books of The Odyssey, The Bending of the Bow (1993), interleaved with photogravures, lithographs and an etching by the great American printmaker Jim Dine – or responding to each other’s contributions. For Pendle Witches (1996), the first of three books published to date with Enitharmon by Paula Rego, the artist produced an extended series of etchings – all reproduced in the book, and with an

additional original etching included with it – inspired by the poems of Blake Morrison. In The Children’s Crusade (1999) and Jane Eyre (2003), Rego used etching and lithography respectively in substantial series of illustrations that provide her highly personal response to the chosen themes and offer complete immersion in her richly conceived imaginary world. The interaction between writer and artist has taken many forms in Enitharmon’s books. The delicate watercolours and etchings conceived by David Austen in response to Jeremy Reed’s free translations of Jean Cocteau’s poems, in boxed sets of loose sheets under the title Tempest of Stars (1992), share the freshness and vivid economy of the poet’s language. For The Disappeared and Other Poems (2002) by Harold Pinter, Tony Bevan chose a number of his paintings in dialogue with the dramatist’s poems and also created a new etching for the special edition. Seamus Heaney’s The Testament of Cresseid (2004), a powerful version of the medieval Scots poem by Robert Henryson, is brought further to life in paintings and drawings by Hughie O’Donoghue; typically for Enitharmon books, this was produced in two editions, one of the illustrated book only, the other with an original etching laid in loose in a wallet in the slipcase. Other collaborations of this type have included Monotypes & Tracings (1994), pairing figures drawn by the painter Sandra Fisher with free translations of German Romantic poetry by Thomas Meyer, and Pictures (2001), a collection of poems by the American Robert Creeley accompanied by a set of masterful lithographs illustrating tools by 39


R.B. Kitaj, Anne Atik, 1991, Lithograph from Anne Atik’s Offshore Paula Rego, Come to Me, 2003, Lithograph from Paula Rego’s Jane Eyre Previous Page Tony Bevan, Violet Interior, 2002, Etching from Harold Pinter’s The Disappeared and Other Poems

his lifelong friend Jim Dine. For Thom Gunn’s collection In the Twilight Slot (1995), Arthur Tress travelled to San Francisco to photograph the celebrated English poet in his home environment; a signed and numbered example of this original photograph was included with each copy of the de luxe edition. In the same year Christopher Le Brun provided drawings and an etching to accompany Shakespeare’s Ovid by Ted Hughes. Most recently, for Moored Man (2006), Kevin CrossleyHolland’s Norfolk poems are presented in an evocative conversation with the etchings and watercolours of Norman Ackroyd. Some of Enitharmon’s publications have been very much artist-led, with the texts either written or chosen by the artists and the entire publication, with all its visual content, designed by or with them. Such is the case with a portfolio of ten etchings by the Japanese artist Shinro Ohtake, X + Y = Love (1996), each accompanying the lyrics of a Japanese pop song (presented typographically in the original and in English translation). Jim Dine wrote and then illustrated his own poems in an astonishing tour de force of etching in Kali (1999), a book whose small format belies the fecundity of the visual imagination contained therein. The abstract painter Victor Pasmore was well into his eighties when he designed and illustrated two books of his own poetry, the culmination of lifelong projects, that brilliantly conveyed the essence of his mature artistic vocabulary: Burning Waters (1995) and The Man Within (1997). For The House I Once Called Home (2003), American photographer Duane Michals 40

produced prose, poems and photographs in concert for a haunting examination of time, experience and personal memory. In 2001 Gilbert & George revisited the previously unseen storyboard that they had produced just over twenty years earlier for their feature-length film The World of Gilbert & George. With their consent to publish the nearly one thousand bold ink wash drawings came an extraordinary offer to produce new versions of 150 of these for the de luxe edition of the book: in this way each purchaser received a unique original, made in precisely the same spirit and with the same techniques as the by now historic sketches to which they referred. Rather than relying on a single printer or designer, Enitharmon has brought together those who seemed most appropriate for each project, including binders, typographers (such as the distinguished letterpress printer Sebastian Carter at the Rampant Lions Press) and book designers. Placing a premium on the handmade at a time when mass production has all but obliterated book traditions stretching back to the late medieval period, Stephen Stuart-Smith’s company remains determined to continue bringing together artists, writers and designers for the production of publications that are equally rewarding for their visual as for their literary content. A selection of books published by Enitharmon Press are available from the Bookshop 01243 770813


Graduate & Postgraduate Diplomas leading to MA Degrees VISUAL AND APPLIED ARTS Sculpture Painting & Drawing Tapestry Weaving

CONSERVATION - RESTORATION Antique Clocks, Antique Furniture Ceramics & related materials Books & library materials, Fine Metalwork

For the Diploma prospectus contact: T +44(0)1243 818299 / 811301 E diplomas@westdean.org.uk West Dean College, Chichester, West Sussex, PO18 0QZ, UK Artist: Pippa Blake

WWW.WESTDEAN.ORG.UK


Hussey’s Legacy Frances Guy

David Hockney, Portrait of Walter Hussey, Ink on paper, Northampton City Museum and Art Gallery; (Page 44) John Piper, Design for Chichester Cathedral Tapestry, 1965, gouache, crayon and ink on paper, Accepted by HM Government in lieu of inheritance tax from the estate of John and Myfanwy Piper (2002) and adopted for Conservation by the Chichester Decorative and Fine Arts Society (2006) © The Piper Estate

The 27th May this year marks the 25th anniversary of Pallant House Gallery’s official opening in 1982. Now, with the launch of the new Gallery, the addition of the Wilson Gift and the recent nomination for the Gulbenkian Prize, it is a fitting time to reflect on the legacy that Walter Hussey has left the arts in Britain and Chichester in particular. At a crucial moment in British history, Hussey rekindled the idea that art could act as the mouthpiece of the Church by channelling its message through sculpture, painting, stained glass, tapestries, music and other art forms, reawakening a sense of spirituality in its congregations crushed by the destruction of World War Two. In his account of his time at St. Matthew’s Church, Northampton, and Chichester Cathedral, Hussey wrote: How sad it was, I felt, that the arts had become largely divorced from the Church: sad because artists think and meditate a lot and are in the broadest sense of the word religious. They create fine expressions of the human spirit which can symbolize and express worship, as well as conveying the truths of God to mankind in a vivid and memorable way.

By seeking to do this through commissions involving artists who were exploring new ways of representation rather than harking back to the past traditions of Church art, Hussey enabled great works of art to be created that truly reflect their time. This principle was applied to all art forms, Hussey’s first commission for Northampton in 1943 being a cantata by the then relatively unknown Benjamin Britten who, at that point, had not yet written any music for the Church. This was followed by Henry Moore’s 'Madonna and Child' which crossed a threshold that many found untenable: a work that eschewed convention in representing one of the most sacred and constant icons of Christian art in favour of the reductive simplicity and monumentality of a modernist approach. Graham Sutherland’s 'The Crucifixion', whilst alluding to the expressionism of the Northern Medieval Grünewald altarpiece, likewise sites Christ’s agony within the context of the modern world by referencing scenes from the liberation of the Concentration Camps. Head-hunted by Bishop Bell for the post of Dean at Chichester Cathedral, Hussey brought the same eye for quality and imagination to his new role, initially 43


working with Sutherland once more on a painting for the newly restored Chapel of St Mary Magdalen. In 1965 he approached Leonard Bernstein, a daring step to consider commissioning the composer of West Side Story to tackle Church music but which resulted in the Chichester Psalms, perhaps the most moving and haunting pieces to be written for the Church in the last century. Next was John Piper’s tapestry for the altar, considered by Hussey to eclipse all other Chichester commissions with regard to its controversial content due to its vibrant colour and unequivocal abstract design. This was followed by designs for vestments from both Piper and Ceri Richards, Geoffrey Clarke’s doors and finally, the magnificent window by Marc Chagall. Not satisfied with instigating this amazing group of artworks which was to influence other schemes, most importantly the rebuilding of Coventry Cathedral, Hussey then laid plans to give his remarkable collection of art to Chichester. Using this offer as leverage he managed to persuade the Council to restore Pallant House to accommodate the collection, at last giving Chichester the art gallery that it had sought for some 44

time. A few works of art, particularly studies and sketches relating to commissions at St. Matthew’s, went to Northampton. But Hussey’s legacy goes beyond this material evidence of his passion for art and for collecting. His enthusiasm for the cutting-edge of contemporary art is apparent in the spirit with which artists are engaged to produce new work for the Gallery, as well as the ongoing series of commissions of both musical and visual works at the Cathedral. His understanding of the way in which modern art can illuminate and accentuate works of historic art and vice versa is a guiding principle that lies at the heart of all contemporary commissioning for historic sites and which is a tradition that Pallant House Gallery is proud to uphold. To celebrate, the Gallery will be mounting a small infocus display featuring some works borrowed from the collection at St Matthew’s, Northampton, including the maquette for Moore’s Madonna and Child and David Hockney’s double-portrait of Walter Hussey. Hussey’s Legacy 17 April-2 October


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Collection News Frances Guy

Many visitors have commented on the lack of display space afforded the Geoffrey Freeman Collection of Bow Porcelain, possibly one of the most comprehensive collections of 18th century porcelain made at the Bow Factory. It was collected by Geoffrey Freeman (1910-1982) who started acquiring porcelain in 1973 on his sixty-third birthday with the intention of amassing a visually historical and comprehensive collection of the Factory’s output. The collection was gifted to the Gallery by his widow in 1982. A selection of pieces is on display in the cases set in the wall of The Pallant Restaurant. In the original plans for the new wing this entire wall was intended to serve as a glass showcase, visible both in the Restaurant and from the corridor and large enough to display the Freeman Collection together with the Arthur Miller Collection of Waterford Crystal, gifted to the Gallery in 2006 by Mrs Fiona Lunch in memory of her father. 46

Unfortunately these plans had to be shelved quite late in the project when it was understood that Fire Regulations would not sanction a glass wall in this area. A decision was taken to retain some display cases with the rest of the space to be used as closed storage for both the porcelain and the glass. An alternative display solution had to be found. Now the Gallery is proposing to buy two freestanding glass cabinets for the alcoves in Room 3, the former Dining Room where the porcelain and the glass will be shown in the context of other 18th and 19th century works of art in the Gallery’s collections. We are currently investigating funds to buy the cabinets and we hope that the works can be put on display in the spring.

The Bow Factory, Tea-Party Group, c.1760, porcelain, Pallant House Gallery (Geoffrey Freeman Bequest, 1997)


Neil Lawson Baker Painter and Sculptor

Neil welcomes visitors to his studio by appointment It is only 10 minutes away from Pallant House Gallery Graingers Studio, West Ashling, Chichester Telephone +44 (0)1243 576 082 Mobile +44 (0)7802 896 073 Email neillawsonbaker@aol.com www.neillawsonbaker.com


Hidden Histories and Hans Feibusch Marc Steene Education and Outreach Officer

Historically, art galleries and museums share and display information that describe an artists life, their works and their milieu in terms of historical, social or political significance. What is not so readily revealed, are the details of the artist’s personal life and the issues that may have profoundly influenced them, as people and as artists, in the work they created. However detailed the biographies and critical reviews surrounding any artist, collection or exhibition, there remain stories and narratives which frequently are overlooked. More often than not, these missing narratives include subjects on race, gender and disability, discouraging the very people the artists themselves might otherwise represent. Identifying disability as one of the many stories that needs to be told, the Gallery initiated a pioneering research project to look again at its own collections and those artists represented therein, uncovering in the process 'Hidden Histories' of artists and their lives. With funding from the Museums, Library and Archive Council, Gillian Birtchnell, the part time Librarian at the Gallery, is undertaking the task of researching for this 'Hidden Histories' project, reviewing archival evidence on the lives of artists and makers whose work is housed at Pallant House Gallery. One of the most poignant of these 'Hidden Histories' to come to light so far is the story behind painter and muralist Hans Feibusch. A German Jew, Feibusch fled Germany in 1933 to live and work in Britain. Today, Feibusch is predominantly known for his church and cathedral murals scattered across Britain and as an artist whose work was displayed in the Nazi Degenerate Art (Entartete Kunst) exhibition in 1937. What is far less known however is that in his latter years the artist developed the eye disorder glaucoma, all but loosing his eyesight to the disease. Unable to paint any longer, Feibusch took up sculpting and gained a significant reputation for this adapted talent. 48

In response to Feibusch’s positive attitude to his disability, the Gallery is now in the process of developing the Feibusch Handling Collection, an innovative project which specifically focuses on helping those who are visually impaired or blind. Based on the artists’ works held at the Gallery, the handling collections are designed for visually impaired and blind visitors but can also enhance the experience of every visitor to the Gallery. The handling collections have been developed by working with school children, people from a local day centre and people with visual impairments and are available to use from the Studio by arrangement. The Hans Feibusch Club (previously known as the Community Art Club) extends the Gallery’s commitment to helping those with disabilities. Indeed, the Club has been a key part of the Learning Programme at Pallant House Gallery since the Gallery reopened in July last year. It caters for the needs of people with disabilities and those that require additional support who want to take part in creative activities and learn new skills. The Club provides a safe first step for those new to the art world and Pallant House Gallery to get used to being in the building in a supported environment with like minded people and staff skilled in working with people with a range of needs. The artists who lead the workshops at the Club use the Gallery, its collections and exhibitions as inspiration exploring a range of approaches and techniques. Hidden Histories and the Hans Feibusch story then, open up a vast range of opportunities for those who have difficulty in accessing the arts on their own. As the project continues, additional text panels will be present in the galleries alongside some of the works on display revealing to everyone the 'Hidden Histories' of many of the artists in the collections.


The Hans Feibusch Club Events Thursdays 2.30pm-4.30pm FREE art workshops for Partners in Art and other community groups and individuals that require extra support. Please book your place early. To find if you are eligible please telephone Marc Steene on 01243 770835

Raised prints Thursday 19, 26 April and 3 May 3D printmaking using raised relief’s to create textural prints Artist: Louise Bristow Free; 2.30pm-4.30pm

Dry Point Thursday 7, 14, 21 June Looking at dry point prints create your own print Artist: Helen Brown Free; 2.30pm-4.30pm

Passionate Paintings Thursday 10, 17, 24 May Be inspired by Ben Nicholson, Walter Sickert and R.B. Kitaj and create your own masterpieces Artist: Teresa Mason Free; 2.30pm-4.30pm

Zimbabwean Sculpture 28 June and 5, 12 July Learn a traditional Zimbabwean way of making stone sculptures Artist: Anthony Sarireni Free; 2.30pm-4.30pm

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Friends News We are delighted to announce the appointment of Sheila Schapiro as Assistant to the Friends. After a flood of replies to our advertisement it was terrific to know that so many people wanted to work in the Gallery environment. Sheila, who joined us shortly before Christmas, has previously worked at the Cass Sculpture Foundation. She is passionate about architecture and has visited the Gallery many times. She will be a welcome addition to the busy Friends’ office, where she will be taking over from Nell Paton, organising the Members events and visits. She will also be supporting the Friends’ membership secretary Beth Funnell. Nell came to the Gallery in 1998 as a volunteer and has been a valuable asset as Assistant to the Friends for the last six years. She has been an indispensable support to both Julia Cooper, the former Chairman of the Events Committee, and to me when I took over from Julia last July. Nell will be much missed for her willing and hard working contribution.

Sheila will be working in the office three days a week and will be available to help with enquiries from our Friends regarding events and membership. Alongside Sheila, the office is staffed by volunteers, including Beth and I who typically work two days a week. Other volunteers, all of whom are invaluable to the running of the Friends office, include Win Kitchener, Diana Welland, Jackie Street, Barbara Ely and John Morrish. Jillie Moss

The Pallant Restaurant The Pallant Restaurant has been re-decorated and judging by the many compliments already, it is a triumph! We are delighted with it and if you haven’t seen it yet, please do come. March hopefully means a warm early Spring and we can, once again, open the doors into the garden and you can enjoy sitting in it for coffee, lunch, tea, a drink and soon, dinner! As from 1 March, the restaurant will be open each Thursday, Friday and Saturday evenings for dinner. Pre-theatre, pre cinema, pre any event entertainment, we will be open for bookings from 5pm and last orders will be taken at 9pm. There appears to be a demand for this, again judging from the comments made over the last few months. Last year, the Thursday evening Wine and Tapas worked well and we intend to continue this again this year. There were many evenings when the garden was full of guests having been on a tour of the Gallery, we had a small jazz trio and the atmosphere was terrific.

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The beginning of March will see the arrival of a new menu in the restaurant together with some delicious new wines. All our staff have benefitted from some serious wine tasting sessions so hopefully they will all be able to help you choose the perfect accompaniment to your meal. We have had, and have more in the future, celebration lunch or dinner parties where the whole restaurant has been taken over for a special occasion. In the Summer this will be well nigh impossible at lunch time for obvious reasons, but we would be delighted to do this in the evening, and any evening at that, should you decide this is something you would like to do. Lindsey and all her staff look forward to seeing you at The Pallant Restaurant soon. Peter Combes View the menus at www.thepallantrestaurant.com


The Pallant Restaurant Evening Dining at

The Pallant Restaurant 3 Course evening menu including lighter options for pre theatre or cinema dining. Served from 5pm on Thursday, Friday and Saturday from 1 March 2007

To reserve a table please telephone 01243 784701 The Pallant Restaurant, East Pallant, Chichester www.thepallantrestaurant.com


Pallant House Gallery is available to hire for conferences, seminars and evening receptions Please contact Helen Ward 01243 770838 h.ward@pallant.org.uk

Cracked it!

Easter Festivities

Fri 6th – Mon 9th April

What to do with the family for the holiday weekend? Problem solved with something different every day: Good Friday – traditional pastimes, storytelling and music; Saturday – a bustling Easter market; Sunday – Feast Day; Monday – games day and Easter bonnets. Museum open 10.30 – 6pm

Enjoy free re-entry!

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Your reg price Eular ticket aster free re allows throug -entry h festivitout the ies.


Friends Visits A Gallery and a Garden Thursday 3 May This tour introduces a new series of visits to the studios and galleries of artists, and to the theme of Art in Nature for our Summer Programme. Sally Marien, a talented ceramicist, will talk on the techniques of making ceramics at her stunning new Smartgallery located near the Sussex Downs. Lunch at a nearby pub will follow a viewing of her Summer Exhibition. After lunch, we will visit the Walled Garden at Cowdray, a newly restored Tudor pleasure garden. Jan Howard, who spent four years recreating the site, will talk about the garden over tea and coffee before we explore the grounds for ourselves. 10.30am−5pm approx; £25 to include morning coffee, a sandwich lunch and afternoon tea and biscuits. The British Library and University College London Tuesday 29 May In conjunction with the Poets in the Landscape exhibition, we will visit the British Library, where Paolozzi’s bronze sculpture Newton, after William Blake is on display. We will be given a guided tour and will be joined by Professor Colin St. John Wilson, the architect of the British Library and the Pallant House Gallery extension, who will talk to us about his role on these projects. After lunch, we will visit the art collections at the nearby University College London. The Flaxman Gallery has the single largest group of sculptures and drawings by John Flaxman and the Slade Collection has work by Michael Andrews, David Bomberg, Augustus and Gwen John, and Stanley Spencer among others. 8am−6pm approx; £27

Friends Events Hannah Peschar Sculpture Garden Thursday 28 June Continuing with the Art in Nature Summer Programme, we will visit the Hannah Peschar Sculpture Garden in Ockley, a unique ten acre garden developed by art dealer and curator Hannah Peschar and imaginatively planted by Hannah’s partner Anthony Paul, an award-winning landscape designer. There are over 100 sculptures throughout the garden, and each work has been placed to reflect the landscape around it, including ponds, waterfalls and bridges. We will have coffee on arrival and can bring our own picnic lunches. A stop for tea is included on the return journey. We will be doing plenty of walking and the garden may be muddy or slippery in places if there has been heavy rain. 9.45am−5pm approx; £28 to include morning coffee

There are two unique Friends social events this summer. Friends Garden Party Monday 21 May Lady Nicholas Gordon Lennox, the Chairman of the Friends of Pallant House, is kindly lending the garden of her house in West Wittering for an exclusive Friends’ Garden Party and Bring and Buy sale. The emphasis will be on home produce and plants and there will be a prize draw and a raffle. 3−5pm; £5 entry fee to include tea; transport from Chichester will be provided at a cost of £3.50 for those who require it. Friends Silver Anniversary Tea Party Monday 11 June Pallant House Gallery is twenty five years old this year! Come and celebrate this very special occasion in the Garden Gallery with tea, music, a glass of fizz and a special anniversary cake. 4−6pm; £6

Special Events Chichester Canal Dinner Cruise Wednesday 25 July Chichester canal, which opened in 1822, was a source of inspiration for JMW Turner who used it as a setting for his famous landscape of Chichester Cathedral in 1829. More than a century later in 1975, Ivon Hitchens painted the same view in his work entitled ‘A Memory of Chichester from Old Hunston’. These two paintings will be discussed as we spend a leisurely evening aboard the Richmond canal boat, gliding past the famous viewpoint whilst enjoying a buffet supper with wine. For this occasion, we will meet at the Chichester Basin. 6–9pm; £30 to include supper and wine

FREE Modern British Painting Valuation Afternoon Monday 18 June An afternoon of antique valuations focusing on Modern British painting, including Scottish artists, with specialists from Bonhams. Matthew Bradbury, the Director of Modern British Art at Bonhams, will be present to give valuations on paintings, and a general valuer will also be in attendance to look at other items. 3−5pm; Free, no pre−booking required Barbara Hepworth and the St Ives School Monday 18 June Matthew Bradbury, the Director of Modern British Art at Bonhams, will present an evening talk on the English sculptor Barbara Hepworth, one of the most important figures in the development of abstract art in Britain, and discuss her role in the St Ives School during the 1950s and 60s. 6pm; £8 to include a glass of wine

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Talks The Pursuit of Arcadia: British Printmakers in the 1920s Thursday 26th April The 1920s were a halcyon period for British printmaking, particularly in the field of etching. This lecture will place the intensely poetic pastoral etchings of Graham Sutherland, F.L. Griggs, Paul Drury and Robin Tanner in the context of wider developments in 1920s printmaking. Robert Meyrick, Keeper of Art, University of Wales, Aberystwyth is both a printmaker and art historian, and has written extensively on 20th Century printmaking, including books on Edgar Holloway and John Elwyn. £6 to include a glass of wine, £3 for students; 6pm Graham Sutherland, Paul Drury and Pastoral Printmaking Thursday 10 May Jolyon Drury is the son of the artist Paul Drury, who was one of the leading figures in the 1920s etching revival and later the Principal of Goldsmiths College and President of the Royal Society of Painter-Etchers and Engravers. Tracing the fascinating story of his father’s life and the development of pastoral etching in the 20th century, Jolyon will provide illuminating recollections of his father and artists such as Graham Sutherland, who was a close family friend until his death. After the talk he will sign copies of his new book ‘Revelation to Revolution: The Legacy of Samuel Palmer’ in the Bookshop. 6pm; £5 to include a glass of wine, £2.50 for students

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Tours Andrew Motion: An Evening with the Poet Laureate Thursday 24th May 'Compelling, simple & mysterious' Sean O’Brien, Sunday Times 'His voice is unlike any other’ Lavinia Greenlaw, New Statesman & Society Andrew Motion was appointed Poet Laureate in 1999 and has said, ‘I see myself as a town crier, can-opener and flag-waver for poetry.’ His work has received the Arvon/Observer Prize, the John Llewelyn Rhys Prize and the Dylan Thomas Prize. He is Professor of Creative Writing at Royal Holloway and recently co-founded The Poetry Archive. During the evening, as part of the Poets in the Landscape programme, he will read poems old and new and introduce his work as Laureate. After the event there will be a book signing in the Bookshop. 6pm; £15, £7.50 for students to include a glass of wine

Architecture Week: The Pallant House Gallery Architects Thursday 21 June Stefan van Raay, the Director of Pallant House Gallery, will be in conversation with the architects of the new wing, Long and Kentish in association with Professor Sir Colin St. John Wilson, as part of Architecture Week 2007. 6pm; £5, £2.50 for students to include a glass of wine

Poets in the Landscape: The Romantic Spirit in British Art Exhibition Tour Thursday 12 April/ Wednesday 25 April/ Thursday 17 May Simon Martin, Assistant Curator will lead a tour of the exhibition exploring the fascinating creative connections between poetry and British art between 1775 and 1955 from William Blake to John Piper, including artists such as George Romney, Joseph Wright of Derby, Samuel Palmer, Graham Sutherland, John Minton and John Craxton. Thursday tours start at 6pm, Wednesday tour starts at 2pm; £5 to include coffee or tea; £2.50 for students; John Flaxman and the Georgian Sculpture in Chichester Cathedral Wednesday 18 April To coincide with the Poets in the Landscape exhibition this tour, led by Cathedral Guides Ronnie Brown and Alan Bradford, explores the background to the Georgian sculpture in Chichester Cathedral, which houses some of the best works by John Flaxman, one of the artists considered in the exhibition. The tour includes Flaxman’s great monument to the poet William Collins and the monument to Dean Ball, which were commissioned by the poet William Hayley, and John Gibson’s monument to the M.P. William Huskisson, the first man to die in a railway accident. 2.40pm; £5, £3.50 for students


Children, Adult & Student Workshops Children’s Workshops Saturday Workshops £6; 10am−12am Advanced booking and payment required. 01243 774557 Hodgkin Saturday 28 April Explore the colourful work of Howard Hodgkin. Artist: Leisa Jubb Mixed media 5−8 year olds Make an Impression Saturday 5 May Draw from the Collections and make a clay tile. Artist: Natali Rawlins 9−12 year olds Sculpture in Space Saturday 12 May Get wired and float away! Artist: Dinah Kelly 13−16 year olds Plastered! Saturday 9 June Make a clay relief using found objects and cast it in plaster. Artist: Louise Bristow 9−12 year olds

Adult Holiday Workshops Free workshops but please book in advance Calligraphy workshop for adults Sunday 27 May Learn calligraphy using text inspired by the Poets in the Landscape exhibition Artist: Mary Noble 10am−12pm and 1−3pm Max 15 people Adult Art Masterclasses A programme of three hour workshops based on the collections and led by artists experienced in traditional art techniques. £9 plus a materials/model charge where applicable Please bring your own art materials Book early as places are limited. 1−4pm Landscape Masterclass Sunday 29 April Artist: Jayne Sandys-Renton Life Drawing Masterclass Sunday 6 May Artist: Jenny Tyson

Artwork of the Month Workshops £6 plus a materials charge where applicable. For adults and students. Participants to bring own art materials. Please book early as places are limited 12−2pm Gino Severini’s 'Danseuse No.5 (Dancer No. 5)' Wednesday 28 March Make a Cubist card and collage sculpture construction Artist: Louise Bristow Graham Sutherland’s 'Christ Appearing to Mary Magdalen' Wednesday 25 April Explore the impact of colour and expression. Artist: Jenny King Michael Andrew’s 'The Estuary, Thames Painting' Wednesday 30 May Explore texture and surface with drawing, painting and mixed media. Artist: Jayne Sandys-Renton Dhruva Mistry’s 'Regarding Guardian 2' Wednesday 27 June Carve your own sculpture using Zimbabwean stone and traditional techniques Artist: Antony Sarireni

Feel the Difference Saturday 23 June Explore texture using printmaking. Artist: Frances Hatch 5−8 year olds Wave a Flag Saturday 7 July Look at paintings and find fascinating patterns and cool shapes to make a flag. Artist: Helen Brown 13−16 year olds

Watercolour Masterclass Sunday13 May Artist: Jenny King

Free Children’s Holiday Workshop Free workshops but please book in advance.

Oil Masterclass Sunday 24 June Artist: Jenny Tyson

Calligraphy workshop for children Tuesday 29 May Learn calligraphy using text inspired by the Poets in the Landscape exhibition Artist: Mary Noble Free; 10am–12pm and 1–3pm

Life Drawing Masterclass Sunday 8 July Artist: Jenny Tyson

John Minton’s 'David Tindle as a Boy' Wednesday 25 July Paint an expressive portrait Artist: Jenny Tyson

Drawing Masterclass Sunday10 June Artist: Jenny King

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ESCORTED TOURS FOR DISCERNING TRAVELLERS

Rubens in Brussels 12 October 2007 - ÂŁ698 Our four night tour will visit the major Rubens exhibition at The Royal Museum of Fine Arts in Brussels, as well as the lovely art cities of Bruges, Antwerp and Ghent. You will stay at the five star Metropole Hotel in Brussels and the tour will be led by the art historian, Dr. Thomas Tuohy. Travel will be by Eurostar from London. THIS IS JUST ONE OF A SERIES OF ESCORTED TOURS AND INDEPENDENT MUSIC HOLIDAYS. PLEASE CONTACT US FOR A BROCHURE

0870 421 1214 www.kirkerholidays.com Please quote reference GPG


Cost

Number of Tickets

Visits, Events, Talks, Tours and Workshops Booking Form Friends Visits A Gallery and a Garden

Thurs 3 May

£25

British Library / University College

Tues 29 May

£27

Hannah Peschar Sculpture Garden

Thurs 28 June

£28

Chichester Canal Dinner Cruise

Wed 25 July

£30

Friends Events & Special Events £5

+ £3.50 (for travel if required)

Friends Silver Anniversary Tea Party

Mon 11 June

£6

Barbara Hepworth and the St Ives School

Mon 18 June

£8

Friends Garden Party

Mon 21 May

Talks The Pursuit of Arcadia

Thurs 26 Apr

£6, £3 (students)

Sutherland, Drury and Pastoral Printmaking

Thurs 10 May

£5, £2.50 (students)

An Evening with the Poet Laureate

Thurs 24 May

£15, £7.50 (students)

The Pallant House Gallery Architects

Thurs 21 June

£5, £2.50 (students)

Guided Tours Poets in the Landscape

Thurs 12 Apr, 2pm

£5, £2.50 (students)

Wed 25 Apr, 6pm

£5, £2.50 (students)

Thurs 17 May, 6pm

£5, £2.50 (students)

John Flaxman and Georgian Sculpture

Wed 18 Apr

£5, £3.50 (students)

Children’s Saturday Workshops Hodgkin (5−8 year olds)

Sat 28 Apr

£6

Make an Impression (9−12 year olds)

Sat 5 May

£6

Sculpture in Space (13−16 year olds)

Sat 12 May

£6

Plastered! (9−12 year olds)

Sat 9 June

£6

Feel the Difference (5−8 year olds)

Sat 23 June

£6

Wave a Flag (13−16 year olds)

Sat 7 July

£6

Landscape Masterclass

Sun 29 Apr

£9

Life Drawing Masterclass

Sun 6 May

£9

Watercolour Masterclass

Sun 13 May

£9

Drawing Masterclass

Sun 10 June

£9

Oil Masterclass

Sun 24 June

£9

Life Drawing Masterclass

Sun 8 July

£9

Adult Art Masterclasses

Artwork of the Month Workshops Gino Severini

Wed 28 Mar

£6

Graham Sutherland

Wed 25 Apr

£6

Michael Andrew

Wed 30 May

£6

Dhruva Mistry

Wed 27 June

£6

Total

£

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Free Guided Tours

Free Talks

The Gallery is offering a free (with admission ticket) monthly programme of five themed tours exploring different aspects of the Pallant House Gallery collection. Participants should meet at reception at 6pm. No booking neccessary.

Artwork of the Month Free 20 minute Artwork in Focus drop-in talk. Free with admission to the Gallery; 11am

Portraits: Image and Identity 19 April / 24 May / 28 June Pallant House Gallery’s permanent collection includes many portraits from the 16th century to the present day. This tour explores developments in the art of portraiture through aspects of pose, dress, personality, experimentation and selfrepresentation from 18th century 'conversation pieces' and grand portraits by the likes of George Romney to 20th century portraits influenced by art movements such as Cubism and expressionism; as well as self-portraits and contemporary photographs.

Landscapes and Modernity 26 April / 31 May / 5 July A tour looking at the changing way landscape has been depicted in art from the 18th century pastorals by the Smith brothers to the urban townscapes of Whistler, Sickert and Gore. The talk covers landscapes between the wars by Eric Ravilious, Paul Nash, David Bomberg, Matthew Smith to abstracts by Ivon Hitchens and Barbara Hepworth. Figurative expressionist landscapes by Bomberg and Auerbach to contemporary landscape art by Andy Goldsworthy are also included.

Still Life: The Language of Objects 3 May / 7 June / 12 July This tour explores how artists have used the still life as a means of expression and experimentation. The tour includes historic still life paintings and considers the symbolism and significance of particular objects, memento mori and the way that the still life has been used as a vehicle for artistic innovation in the 20th century. It encompasses Cubists, Surrealists, Abstract and Pop artists such as Andre Derain, Henri Hayden, Paul Nash, Fernand Leger, Ben Nicholson, Patrick Caulfield and Julian Opie. Pop Art and the Swinging Sixties 5 April / 10 May / 14 June The tour explores Pop Art and the culture of the 'Swinging Sixties' including the work of artists such as Peter Blake, Patrick Caulfield, Richard Hamilton, Eduardo Paolozzi, R.B. Kitaj and Colin Self. It explores the Pop artists’ interests such as celebrity and popular culture, new art materials and political protest. Collectors and Collecting 12 April / 17 May / 21 June Pallant House Gallery is a 'collection of collections', which have been donated, bequeathed or loaned by important private collectors. For this reason it reflects 20th century tastes in art. This tour explores the different collections and the personalities behind them: Walter Hussey the church 'patron of art', Charles Kearley, a businessman and builder of modernist architecture, Prof Sir Colin St John Wilson the architect, academic and close friend of many of the artists in his collection. It explores how these people have amassed such extraordinary collections and what drives people to collect.

Gino Severini, 'Danseuse No.5 (Dancer No. 5)' Wednesday 28 March With volunteer guide Judy Addison-Smith Graham Sutherland, 'Christ Appearing to Mary Magdalen' Wednesday 25 April With volunteer guide Liz Walker Michael Andrews, 'The Estuary, Thames Painting' Wednesday 30 May With volunteer guide Margaret Brown Dhruva Mistry, 'Regarding Guardian 2' Wednesday 27 June With Events Co-ordinator Helen Ward

Saturday Highlights Tour Free Highlights Tours are offered by the Gallery every Saturday at 3pm. Please note a British Sign Interpreter will accompany the last Tour in the month.

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Diary

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Adult Workshop Children’s Workshop Friends Event Special Events Talk Tour

Monday 26 March Closed Tuesday 27 March Modern British Art Bomberg/Borough Group R.B Kitaj Wednesday 28 March Modern British Art Bomberg/Borough Group R.B Kitaj Art Work of the Month Art Work of the Month Thursday 29 March Modern British Art Bomberg/Borough Group R.B Kitaj Still Life Friday 30 March Modern British Art Bomberg/Borough Group R.B Kitaj Saturday 31 March Poets in the Landscape Modern British Art Bomberg/Borough Group R.B Kitaj Highlights of the collection (BSL interpreted) Badge it Sunday 1 April Poets in the Landscape Modern British Art Bomberg/Borough Group R.B Kitaj Monday 2 April Closed Tuesday 3 April Poets in the Landscape Modern British Art R.B Kitaj Collections for All Wednesday 4 April Poets in the Landscape Modern British Art R.B Kitaj Collections for All Thursday 5 April Poets in the Landscape Modern British Art R.B Kitaj Collections for All Pop Art Friday 6 April (Open Bank Holiday) Poets in the Landscape Modern British Art R.B Kitaj Collections for All Saturday 7 April Poets in the Landscape Modern British Art R.B Kitaj Collections for All Highlights of the Collection Soft Boiled Eggs Sunday 8 April Poets in the Landscape Modern British Art R.B Kitaj Collections for All

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Monday 9 April (Open Bank Holiday) Poets in the Landscape Modern British Art R.B Kitaj Collections for All Tuesday 10 April Poets in the Landscape Modern British Art R.B Kitaj Wednesday 11 April Poets in the Landscape Modern British Art R.B Kitaj Collections for All Thursday 12 April Poets in the Landscape Modern British Art R.B Kitaj Collections for All Collectors and Collecting Poets in the Landscape Friday 13 April Poets in the Landscape Modern British Art R.B. Kitaj Collections for All Saturday 14 April Poets in the Landscape Modern British Art R.B. Kitaj Collections for All Highlights of the Collection Spring Flowers Sunday 15 April Poets in the Landscape Modern British Art R.B. Kitaj Collections for All Monday 16 April Closed Tuesday 17 April Poets in the Landscape Modern British Art R.B. Kitaj Collections for All Wednesday 18 April Poets in the Landscape Modern British Art R.B. Kitaj Collections for All John Flaxman Thursday 19 April Poets in the Landscape Modern British Art R.B. Kitaj Collections for All Image and Identity Friday 20 April Poets in the Landscape Modern British Art R.B. Kitaj Collections for All Saturday 21 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Collections for All Highlights of the Collection Sunday 22 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Collections for All Monday 23 April Closed

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Tuesday 24 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Collections for All Wednesday 25 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Collections for All Art Work of the Month Art Work of the Month Poets in the Landscape Thursday 26 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Collections for All Landscapes & Modernity The Pursuit of Arcadia Friday 27 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Collections for All Saturday 28 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Highlights of the Collection Hodgkin Sunday 29 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Landscape Masterclass Monday 30 April Closed Tuesday 1 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Wednesday 2 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Thursday 3 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Still Life A Gallery and a Garden Friday 4 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Saturday 5 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Highlights of the Collection Make an Impression Sunday 6 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Life Drawing Masterclass

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Monday 7 May (Open Bank Holiday) Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Tuesday 8 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Wednesday 9 April Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Thursday 10 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Pop Art Jolyon Drury Friday 11 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Saturday 12 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Highlights of the Collection Sculpture in Space Sunday 13 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Watercolour Masterclass Monday 14 May Closed Tuesday 15 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Wednesday 16 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Thursday 17 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Collectors and Collecting Poets in the Landscape Friday 18 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art

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Saturday 19 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Highlights of the Collection Sunday 20 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Monday 21 May Closed Friends Garden Party Tuesday 22 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Wednesday 23 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Thursday 24 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Portraits Andrew Motion Friday 25 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Saturday 26 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Highlights of the Collection Sunday 27 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Calligraphy Monday 28 May (Open Bank Holiday) Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Tuesday 29 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj The British Library & University College London Calligraphy Wednesday 30 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Artwork of the Month Artwork of the Month

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Thursday 31 May Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Landscapes and Modernity Friday 1 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Saturday 2 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Highlights of the Collection Sunday 3 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Monday 4 June Closed Tuesday 5 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Wednesday 6 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Thursday 7 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Still Life Friday 8 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Saturday 9 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Highlights of the Collection Plastered! Sunday 10 June Poets in the Landscape Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Drawing Masterclass Monday 11 June Closed Friends Tea Party Tuesday 12 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Wednesday 13 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art

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Thursday 14 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Pop Art Friday 15 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Saturday 16 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Highlights of the Collection Sunday 17 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Monday 18 June Closed Valuation Afternoon Matthew Bradbury Tuesday 19 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Wednesday 20 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Thursday 21 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Collectors and Collecting Architect’s Talk Friday 22 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Saturday 23 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Highlights of the Collection Feel the Difference Sunday 24 June Modern British Art Ivon Hitchens R.B. Kitaj Partners in Art Oil Masterclass Monday 25 June Closed Tuesday 26 June Modern British Art Ivon Hitchens Partners in Art Wednesday 27 June Modern British Art Ivon Hitchens Partners in Art Artwork of the Month Artwork of the Month Thursday 28 June Modern British Art Ivon Hitchens Partners in Art Portraits Peschar Sculpture Garden

Friday 29 June Modern British Art Ivon Hitchens Partners in Art Saturday 30 June Eye-Music: Kandinsky, Klee and all that Jazz Modern British Art Ivon Hitchens Highlights of the collection

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Listings Arundel Zimmer Stewart Gallery 29 Tarrant Street 01903 885867 www.zimmerstewart.co.uk Mon-Sat 10am - 5pm Free Katherine Le Hardy/Matthew Blakely 17 March - 7 April Beach and Landscape paintings by Katharine Le Hardy, with porcelain ceramics by Matthew Blakely

Brighton

Chichester

Brighton Museum & Art Gallery Royal Pavilion Gardens 01273 292882 www.brighton.virtualmuseum.info Free

Pallant House Gallery 9 North Pallant 01243 778557 www.pallant.org.uk Tues – Sat 10am-5pm Thurs until 8pm Sun/Bank Hol Mon 12.30-5pm Closed Mondays £6.50 adults, £2 children

Alice Maher: Natural Artifice 27 January - 9 April Mahers work draws on myth, history or folklore; all are beautifully and delicately crafted, yet have an underlying twist to them.

Sense of Place 14 April - 5 May A series of large coastal landscapes by Greig Burgoyne, with functional wheel thrown wood fired ceramics by Philip Revell Richard Davidson/Jonathan Wade 12 May to 2 June Paintings on the subject of uniformity by Richard Davidson, and ceramics with repetitive forms by Jonathan Wade Summer Exhibition 9 June - 11 August A lively mix including paintings (Jonathan Joubert), prints (by Tom Hammick), ceramics (by Lilia Umana Clarke) and sculpture (by Giles Penny).

Bexhill on Sea The De La Warr Pavilion 01424 229111 www.dlwp.com Every day 10am - 6pm Free

Poets in the Landscape: The Romantic Spirit in British Art 31 March - 10 June Exploring the creative links between poetry and British art from William Blake and his contemporaries to twentieth century artists and poets. Joel Peter-Witkin: Songs of Innocence and Experience 27 March - 24 June A print room exhibition showing a contemporary photographic response to the works of William Blake

Stagestruck! 200 years of Theatre Royal Brighton 5 May - 2 September Celebrating one of Britain’s oldest working playhouses, the people who have made it work, and the drama and spectacle that have filled its stage. Fabrica 40 Duke Street 01273 778 646 www.fabrica.org.uk Weds-Sat 11.30am - 5pm Sun & Easter Bank Holidays 2-5pm. Late night openings: Fri 11 & Sat 19 May 8.30-10.30pm Brian Griffiths: Beneath the Stride of Giants 6 April - 28 May A monumental boat created from a collection of second hand wooden furniture. Griffiths’ sculpture depends on our will to imagine.

Ivon Hitchens 21 April - 7 October Neil Lawson Baker Graingers Studio, West Ashling 01243 576082 www.neillawsonbaker.com Neil welcomes visitors to his studio by appointment. It is only 10 minutes away from Pallant House Gallery. Otter Gallery University of Chichester College Lane 01243 816098 www.chiuni.ac.uk/ottergallery Mon-Fri 9am - 5pm (plus some weekends and evenings) Free Sleepwalking to Extinction March 29 - April 22 Jonathan Powell and Patricia Nicholls. An exploration of ecological and existentialist issues. INQB8 April 26 - May 20 Exhibition by Fine Art students

A Secret Service: Art, Compulsion, Concealment 27 January - 15 April Explores the work of sixteen artists whose work centres on the creation of secret worlds or the exposure of hidden facts and images.

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Going Straight: Lesley Helliwell May 24 - June 24 A new work exploring a lone biro trail.


Emsworth Queen Street Gallery The Old Flour Mill Queen Street 01243 372722 www.queenstreetgallery.co.uk Tues–Sat, 10am–4pm Curtain Up 8 March - 7 April 2007 Lawrence Quigley. Act 1. Figurative Ideas, Landscapes and Theatre Works. J.A.Boyd. Act 2. A Cornish Scene.

Tony Cragg The largest exhibition of his outdoor sculptures in Britain to date Goodwood House Goodwood Estate 01243 755000 www.goodwood.co.uk 1pm-4pm Re-opens 25 March Collection

Petersfield Smart Gallery Dumpford Farmhouse, Trotton 07767 268895 www.smartgallery.co.uk Selection 24 April - 19 May Ceramics by Nic Collins, Carina Ciscato, Chris Lewis and Richard Phethean. Paintings by Peter Joyce and Sculpture by Cara Wassenburg.

Petworth Micro Macro April 2007 Iona Parkin - painter Ethereal Landscapes. Ysobel Banfield -painter Organic Horizons. Discreet Entities May 2007 Georgina Fermer - painter Structured Colour Shelagh Williams –painter Formal Colour

Arden and Anstruther Gallery 5 Lombard Street 01798 3444 11 www.ardenandanstruther.com Shots 2 March - 14 April Photographs of Shoots in West Sussex by Colin Barker

Southampton Southampton City Art Gallery Commercial Road 023 8083 2984 www.southampton.gov.uk/art Darkness Visible – Contemporary Art Collection Special Collection Scheme 19 January - 1 April A selection of contemporary photography, painting and film, the show explores the darker states of the human psyche.

Elizabeth Zechin and Hugh Gilbert 15 May - 15 June Photographs

Rooms with a View June 2007 Sasha Bowles –painter Interiors of Intrigue

Kingston College Students 18 June - End July Student show

Goodwood

Pulborough

Cass Sculpture Foundation Sculpture Estate 01243 538449 www.sculpture.org.uk Tues-Sun/Bank Hol Mon 10.30am-5pm Adults £10 Re-opens 27 March

Moncrieff-Bray Gallery Woodruffs Farm, Woodruffs Lane, Egdean, Pulborough 07867 978 414 www.moncrieff-bray.com

Evolving Display Changing display of 70 specially commissioned monumental sculptures sited within an idyllic landscape.

Figures in the Landscape Sculpture by Leonie Gibbs, Carol Peace and Paul Vanstone 6 May to 17 June 2007 Sculptures with a strong figurative tradition on both a domestic and monumental scale, drawing strength and inspiration from the landscape.

Land, Sky and Sea Oona Campbell - Sussex Landscapes 6 May to 17 June 2007 Oona Campbell’s most recent body of work highlights the still wild and romantic nature of parts of the West Sussex countryside.

Japan: A Floating World in Print 20 April - 17 June Over 60 Ukiyo-e prints including Katsushika Hokusai (1760-1849) and Ando Hiroshige (1797-1858)

West Dean West Dean College West Dean, Chichester 01243 818277 www.westdean.org.uk Weds–Sun, 11.30am–4pm Inspirational Objects and the Clarity of Mud 28 April - 17 June 2007

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London The Fine Art Society 148 New Bond Street 020 7629 5116 www.faslondon.com One of the world’s oldest art galleries, specialising in British art and design from the 17th to the 21st centuries. The Pastoral Tradition Ongoing Works by Edward Calvert, Samuel Palmer, Welby Sherman, Frederick Griggs, Paul Nash, Graham Sutherland, Robin Tanner. Messum’s 8 Cork Street 020 7437 5545 www.messums.com East Coast Influences 18 April - 5 May Paintings influenced by the sweeping expanses and big skies of East Anglia. Offer Waterman & Co 11 Langton Street 020 7351 0068 www.waterman.co.uk Mon - Fri 10am - 6:30pm Saturdays by appointment A selection of Modern British paintings, drawings, sculpture and prints. Osborne Samuel 23a Bruton Street 020 7493 7939 www.osbornesamuel.com John Blackburn: Paintings 1 March - 31 March Born in 1932, he was elected fellow of the Royal Society of Arts in 1994. His work is held in many public collections in the UK. London Original Print Fair 25 April - 29 April 2007 We will be returning to this annual event with a selection of our best Modern and Contemporary prints Keith Vaughan: Paintings and Drawings 24 May - 23 June Celebrating the work of this important Modern British artist with an extensive exhibition of oils, gouaches and drawings.

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Piano Nobile 129 Portland Road 020 7229 1099 www.piano-nobile.com 20th Century International, Modern, British and Post-War paintings, drawings, watercolours and sculpture for private, corporate and museum collections.

Michael Cooper ‘Bronzes’ 2 April – 11 May The irresistible urge to caress the surface of Cooper’s sensuous animal and human forms brings the third dimension vividly to life.

Redfern Gallery 20 Cork Street 020 7734 1732 www.redfern-gallery.com Representing over 20 contemporary artists estates. Extensive stock of modern and contemporary paintings, drawings, watercolours, sculpture and prints.

Elsewhere Bath Anthony Hepworth Fine Art Dealers 3 Margarets Builidings, Brock Street 01225 447480 www.anthonyhepworth.com Specialist dealers in Modern British & Irish Art, Tribal Art Elizabeth Fritsch and Ben Nicholson 19 May - 2 June An exhibition of new work by one of Britain’s most admired potters together with a selection of paintings and drawings by Ben Nicholson. To coincide with the Bath International Music Festival

Cardiff Martin Tinney Gallery 18 St. Andrew’s Crescent 029 2064 1411 www.artwales.com 20th Century and contemporary art with particular emphasis on Welsh and Welsh-based artists or subject matter.

Chalford Gallery Pangolin 9 Chalford Ind. Estate, Chalford 01453 886527 www.gallery-pangolin.com

Lynn Chadwick ‘Prints and Maquettes’ 11 June – 20 July Sculptures and works on paper from all periods of Chadwick’s long working life.

Isle of Wight Island Fine Arts Ltd 53 High Street, Bembridge 01983 875133 www.islandfinearts.com Jo Bemis: Coastal Waters 17 March – 14 April As a landscape and seascape painter, Jo’s paintings capture the energy of nature. Janet Ledger: The Way I See It 28 April – 19 May Misty industrial landscapes and paintings of people which have a marvellous feeling for atmosphere and colour combined with a strong sense of observation of life.

Oxford Elizabeth Harvey-Lee 1 West Cottages, North Aston 01869 347164 Original Prints Ongoing Works by Dürer, Rembrandt, Hollar, Canaletto, Samuel Palmer, Whistler, Picasso and a wide range of interesting minor masters of printmaking Vanessa Pooley 01603 663775 www.vanessapooley.com Sculpture grown out of a fascination with the female form with its beautiful curves and flowing lines.


William Roberts: England at Play Private View

Clockwise from top left Stefan van Raay, Director of Pallant House Gallery and Bryan Ferry, musician Mr and Mrs Hanno Kirner, Rolls-Royce Motor Cars Ltd, William Richards, Bonhams and Charles Rolls, Trustee, Lord and Lady Marland of Odstock, Mr and Mrs John Wells, Wilfred Cass, Paul Lyon-Maris and Adrian Dannatt, Cyd Standing 65


Artwork of the Month Thames Painting, The Estuary by Michael Andrews Margaret Brown This is a large mixed-media painting, mostly oil paint in fluid washes on canvas, with sand flung onto one area for texture. The very small distant figures on the jetty and another little group fishing near them give scale and significance to the work. Andrews was the son of strict Methodist parents. At the Slade in the 1950s he was the star pupil of Wiliam Coldstream, an aesthetically puritan master. Always a figurative painter, Andrews struggled with the problems of all modern artists who want to embrace and build on the traditions of European art without embracing the deadening clichés of that tradition.

Whenever I look at Michael Andrew’s 'The Estuary', my feelings are similar to those I experience when I listen to a slow movement by Mozart. I am moved by a profound sadness which, somehow, is both comforting and calming. The world appears a more meaningful place. This is his last work. He was terminally ill and, as he painted 'The Estuary', he knew he was dying. The use of aerial perspective is curious for such flat area; it seems as though one is looking down from a height. Is the artist looking down on his life? Perhaps the small distant bowler-hatted figure, with his back to us on the jetty and the ghost-like figure beside him, represent the artist himself. He is looking out over the luminous sea, which stretches to the edge of the canvas. Is he contemplating infinity?

Michael Andrews, The Estuary, Thames Painting, 1994−95, Wilson Gift through The Art Fund, © June Andrews

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As a Zen Buddhist Andrews made negation of self one of his themes, so he might have approved of his relatively limited reputation as a painter during his lifetime. Since his death he has received increasing recognition for the truly great artist he is and Pallant House Gallery is privileged to display 'Thames Painting, the Estuary', as well as the earlier 'Colony Room 1' (1962): two of Andrews’s most iconic works. Margaret Brown is a Volunteer Guide and a Friend of Pallant House Gallery. She will be presenting a free twenty minute drop-in talk on Michael Andrews’ painting 'The Estuary, Thames Painting' on Wednesday 30 May at 11am. The talk is free with gallery admission and is part of the Artwork of the Month series of events at the Gallery. For more information, please call 01243 774557. 28 March 25 April 30 May 27 June 25 July

Gino Severini, 'Danseuse No.5' Graham Sutherland, 'Christ appearing to Mary Magdalen' Michael Andrews, 'Thames Painting, The Estuary' Dhruva Mistry, 'Regarding Guardian' John Minton, 'David Tindle as a Boy'


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Pallant House Gallery Magazine 11