Pallant House Gallery Magazine 20

John Tunnard Inner Space to Outer Space St Ives and Beyond Maurice Broomfield Julian Trevelyan Events, Talks and Workshops

£2 Number 20 March–June 2010 www.pallant.org.uk

LG 1879-1961

Charleston Drawing Room c.1945 oil on canvas 61 x 50.8 cms 24 x 20 ins signed with initials and inscribed with title on reverse

Vanessa Bell

The present work represents the corner of the sitting room at Charleston Farmhouse, the house situated in the Sussex Downs near Firle and formerly occupied and decorated throughout by Duncan Grant and Vanessa Bell.

Twentieth Century British Paintings At least twelve exhibitions each year encompassing British Impressionism, Modern British and Contemporary paintings and Sculpture.

Consult our programme online and register at www.messums.com to receive regular up-dates and a free catalogue of your choice.

MESSUM’S 8 Cork Street, London W1S 3LJ Tel: +44 (0)20 7437 5545

30TH MARCH SPRING SEASON BEGINS tuesday – sunday, 1030 – 1630 www.sculpture.org.uk

pictured: daniel bosia & matthew ritchie – the last scattering

Contents Features 20

26

28

34

36

38

John Tunnard: Inner Space to Outer Space

by Simon Martin A Panoramic View Jeremy Gardiner A New Look at Industry

by Maurice Broomfield Toby Paterson Julie Brown St Ives and Beyond Michael Bird 'Outside In' in profile Jasna Nikolic

Friends 45 46

Chairman's Letter Forthcoming Friends Events

Regulars 7 9 16 40 43 48 58 60

Director's Letter What's On: Exhibition Diary Collection News Bookshop Gallery News What's On: Events Pallant Photos Artwork of the Month

Top and Cover (Detail) John Tunnard, Outfall, July 1946, Oil on gesso-prepared board, with incised lines, Collection: Prof. Brian Whitton, Š Estate of John Tunnard/Clody E. Norton Bottom Alfred Wallis, Four Boats by a Lighthouse, On Loan from a Private Collection (2009)

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Editorial

We are very grateful to the following Patrons of Pallant House Gallery for their support:

Editorial Editor Harriet Judd, h.judd@pallant.org.uk Sub Editor Emma Robertson, e.robertson@pallant.org.uk Gallery Editorial Julie Brown, Simon Martin, Emma Robertson Guest Editorial (with thanks) Micheal Bird, Maurice Broomfield, Jeremy Gardiner, Jasna Nikolic, Liz Walker Design, Editing and Production David Wynn, d.wynn@pallant.org.uk

Mr and Mrs John Addison Smith Keith Allison Lady Susan Anstruther David and Elizabeth Benson Henry Bourne & Harriet Anstruther Frank and Lorna Dunphy Lewis Golden Mr and Mrs Scott Greenhalgh Mr and Mrs Alan Hill James and Clare Kirkman Robin Muir and Paul Lyon-Maris Catherine and Franck Petitgas Sophie and David Shalit Tania Slowe John and Fiona Smythe

Advertising Booking and General Enquiries Kim Jenner +44 (0)207 3005658 Jane Grylls +44 (0)207 3005661

If you are interested in becoming a Patron of Pallant House Gallery, please contact Elaine Bentley on 01243 770844 or e.bentley@pallant.org.uk

Headline Sponsor of the Gallery 2010

Gallery Information Pallant House Gallery 9 North Pallant, Chichester West Sussex, PO19 1TJ, UK Telephone +44 (0)1243 774557 info@pallant.org.uk, www.pallant.org.uk Follow us on Facebook. www.facebook.com/pallanthousegallery Opening Times Monday Tuesday–Saturday Thursday Sunday/Bank Holidays Gallery FREE Day

Closed 10am–5pm 10am–8pm 12.30–5pm 15 May 2010

Art Library +44 (0)1243 770824 library@pallant.org.uk Friends Office Events +44 (0)1243 770816 friendsevents@pallant.org.uk Membership +44 (0)1243 770815 friends@pallant.org.uk Bookshop +44 (0)1243 770813 shop@pallant.org.uk

Willard Conservation Limited, The Priory and Poling Charitable Trusts, The Garfield Weston Foundation, Cawley Financial Services (Sponsor of Pallant House Gallery Friends 2010) and other Trusts, Foundations and anonymous benefactors.

Field & Fork at Pallant House Gallery Reservations +44 (0)1243 770827 / 816579

Pallant House Gallery makes every effort to seek permission of copyright owners for images reproduced in this publication. If however, a work has not been correctly identified or credited and you are the copyright holder, or know of the copyright holder, please contact the editor.

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full-length survey of Bryan Wynter’s career.

Generously illustrated with works from all periods of Wynter’s creative life, including many works never previously reproduced, this book makes an important contribution to the history of post-war British art.

290 x 240 mm. 216 pages Includes 179 illustrations ISBN 978-1-84822-009-6. Hardback.

March 2010. £35.00 ‘A most enjoyable read’ –The Royal Academy Magazine

‘A fascinating and highly readable account of St Ives and its artists’ –Cornwall Life

Includes 22 illustrations ISBN 978-0-85331-956-6. Paperback March 2008. £19.99

publication brings together, for the first time, a complete catalogue of Sir Terry Frost’s prints.

New

Painter, printmaker and teacher this important

The result is a colourful visual history of Frost’s remarkable printmaking career.

270 x 249 mm. 304 pages Includes 270 illustrations ISBN 978-1-84822-035-5. Hardback. £45.00 Limited edition with colour etching ISBN 978-1-84822-036-2. £400.00 February 2010

To buy your books, call into Pallant House Gallery bookshop or order online at: www.pallantbookshop.com or www.lundhumphries.com

www.lundhumphries.com

‘... a book of startling anecdotal richness and imaginative historical reinterpretation.’

–The Art Book 234 x 156 mm. 192 pages

For information visit:

New

A valuable source of reference, this is the first

The St Ives Artists

lund humphries – leading art-book publishers for over 60 years

Clavell Tower, Kimmeridge

PAISNEL GALLERY IS PROUD TO REPRESENT

Jeremy Gardiner A Panoramic View Showing at Pallant House Gallery 13 March to 31 May 2010

Fully illustrated catalogue with essay by Peter Davies Contact: Paisnel Gallery, 9 Bury Street, St James’s, London SW1Y 6AB Tel: 020 7930 9293 Email: info@paisnelgallery.co.uk www.paisnelgallery.co.uk The catalogue is also available to purchase from Pallant House Gallery Bookshop

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Director's Letter Stefan van Raay

John Tunnard, Installation, 1942, Tempera on gesso-prepared board, with incised lines, Lent by the Ingram Collection, The Lightbox Š Estate of John Tunnard/Clody E. Norton

'John Tunnard: Inner Space to Outer Space' is the first major exhibition of this important English Modernist since the 1977 retrospective at the Royal Academy and we are delighted to be reappraising him this spring with works from collections across the UK. Tunnard's interests encompassed music, nature, science and space travel, and this exhibition examines his work under these themes, charting his progression from the inner world of the imagination to Outer Space in the 1960s. Simon Martin, Curator, uncovers his fascinating story on page 20.

Given Tunnard's interests in science and space travel it is fitting that the opening of this exhibition will coincide with National Science and Engineering Week (12–21 March). Art and science are sometimes seen as mutually exclusive, but several elements of our spring programme aim to unite them. Art + Science Day is on Saturday 20 March (p 50) while the De'Longhi Print Room hosts a series of photographs documenting Britain at work in the 1950s and 1960s by the photographer Maurice Broomfield in a homage to pre-Thatcher industrial Britain (p 28).

Tunnard lived for most of his life in the Cornish fishing village of Cadgwith and was even invited to join the Penwith Society of Artists in St Ives. A new exhibition, 'St Ives and Beyond' explores the enduring influence of the renowned coastal town with works by Ben and Winifred Nicholson, Alfred Wallis, Christopher Wood and others, many of which are on long-term loan to the

Gallery (p 36).The influence of St Ives is also evident in a display of works by Jeremy Gardiner shown as part of the contemporary element to the spring programme (p 26), alongside a specially commissioned mural by the artist Toby Paterson (p 34) and a small group of works

by Morag Ballard.

Many of you will already have heard about 'Surreal Friends', the three complementary summer exhibitions of works by the English painter Leonora Carrington, the Spanish painter Remedios Varo and the Hungarian photographer Kati Horna who each found refuge in Mexico following the Spanish Civil War and the outbreak of the Second World War. The exhibition comes with many partnerships including the Chichester Festivities with whom we are delighted to be collaborating with for this year's NEWS. We are also pleased to announce the forthcoming launch of the Surreal Friends website which is being developed as part of the new Gallery website (p 44). The site will feature a host of information about the themes and backgrounds to the extensive exhibition and event programmes, as well as opportunities to participate in competitions and create responses to the artworks. I am very grateful to the Foyle Foundation for their generous support in making this possible.

Finally, we are very excited to have recently received a major new long-term loan of a work by Francis Bacon, 'Two Figures' (1975), a significant addition to the Gallery's representation of British figurative art (p 16).

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exhibitions:

Unknown Girl, found in a skip in Prague by Paul Arden

A New York style gallery in Petworth

to mid March

James Kirkman inspired me Juxtapositions in paintings and photographs.

Paul Arden Collection Eastern European Photographers An homage to Irving Penn Eight photographs from the collection.

new

Kingston University opens with their yearly show from mid march Jane Ashley from May see janeashleyphotography.com

Arden and Anstruther 5 Lombard Street, Petworth, West Sussex, GU28 OAG. tel:

01798 344411

see website for more details www.ardenandanstruther.com Opening times Mon, Tues, Fri, Sat 11-5pm

What's On Exhibitions Jeremy Gardiner: A Panoramic View 13 March–31 May 2010 A group of paintings by the British contemporary artist Jeremy Gardiner, whose work explores the landscape of the south coast, incorporating references to fossil fragments and geological time as well as the Modernist tradition of John Tunnard and Ben Nicholson.

John Tunnard, Messenger, 1969, Oil, tempera, sand and pencil on gessoprepared, board, with incised lines, The Ingram Collection, The Lightbox, © Estate of John Tunnard/Clody E. Norton

John Tunnard: Inner Space to Outer Space 13 March–6 June 2010 The first major exhibition for thirty years of the British abstract artist John Tunnard (1900-1971).

One of the most accomplished, yet frequently overlooked painters of his generation, Tunnard's paintings were inspired by his many and varied interests including 'Music and Surrealism', 'Nature and Landscape', and 'Science and Space Travel'.

St Ives and Beyond 6 March–31 May 2010 Paintings, drawings and sculptures celebrating the inspirational friendships and intimate family connections between the artists associated with the Cornish town of St Ives. Includes works by Ben and Winifred Nicholson, Barbara Hepworth, Christopher Wood, Alfred Wallis and Peter Lanyon.

The Search for the Real: The Figure from Sickert to Auerbach Until 23 May 2010 Paintings, drawings and prints from the Gallery's collection revealing how figurative artists across the twentieth-century approached the human form, both clothed and nude. Including works by Andrews, Auerbach, Bomberg, Coldstream, Kitaj, Minton, Rego and Sickert.

Matthew Smith, Reclining Nude (Vera), 1924, Oil on canvas, Presented by Mrs Margot Simon (1997)

Surrealism and Sussex 29 May–5 September 2010 Drawing inspiration from the rich tradition of Surrealism in Sussex including works patronised by the famous benefactor and resident of West Dean Edward James, and key pieces by the photographer and model Lee Miller and Roland Penrose who lived at Farley Farm in Chiddingly.

Winifred Nicholson, Touching Spheres, 1930s, Oil on board, On Loan from a Private Collection (2009) © Mr A. Nicholson and Mr J Nicholson

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What's On Exhibitions WOKmedia: A New Breed Until May 2010 A startling installation by the art collective, WOKmedia, in the centre of the carved stairwell of the 18th century house featuring giant porcelain eggs painted inside with ancient Chinese erotic scenes, suspended from the ceiling and smashed on the ground.

Henry Moore, Two Sleepers, 1941, Crayon, chalk and wash on paper, Hussey Bequest, Chichester District Council (1985) © Henry Moore Founcation

Modern British Art: A Collection of Collections Permanent One of the best collections of 20th century British art in the world including important works by amongst others; Andrews, Auerbach, Blake, Bomberg, Caulfield, Freud, Hamilton, Hodgkin, Nicholson, Moore, Paolozzi, Piper, Sickert and Sutherland, shown throughout the gallery spaces including the original Grade 1 listed Queen Anne townhouse.

Toby Paterson: Mural 13 March–6 June 2010 A specially commissioned mural by the Scottish contemporary artist Toby Paterson (b.1974), a former Becks Futures winner whose work is informed by postwar architecture and Modernist art, and explores the relationship between abstraction and reality.

Installation at Tate St Ives © Toby Paterson

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WOKmedia, A New Breed, 2009 © WOKmedia

Francisco Toledo: Papalotes May–September 2010 To coincide with the major Surreal Friends exhibitions, the eighteenth-century stairwell will be filled with art kites by Francisco Toledo, Mexico's greatest living artist, and his studio team. Each art kite is an exquisite work of art, rich with the themes and symbolism of Francisco Toledo such as snakes and turtles and human figures from Mexican history.

PALLANT HOUSE MAGAZINE FULL PAGE 215 x 148mm

JOHN PIPER

Prints and works on paper 15 March to 17 April 2010 Piper in Print Book Launch Contact us for an invitation

Bohun Gallery 15 Reading Road, Henley-on-Thames Oxfordshire RG9 1AB Open 10:00-13:15 & 14:15-17:00 Closed Wed & Sun Tel/fax 01491 576228 www.bohungallery.co.uk

Petworth Park Gate c.1958 Lithograph 171/ 8 x 221/4 in

JULIAN TREVELYAN

1910-1988 Bohun Gallery represents the estate of Julian Trevelyan

Bohun Gallery 15 Reading Road, Henley-on-Thames Oxfordshire RG9 1AB Open 10:00-13:15 & 14:15-17:00 Closed Wed & Sun Tel/fax 01491 576228 www.bohungallery.co.uk

Tom Among the Flowers 1978 Etching and aquatint 133/4 x 183/4 in

10013_pallant_215x148.indd 1

21/12/09 12:36:25

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What's On The De'Longhi Print Room and Studio Maurice Broomfield: A New Look at Industry 2 March–9 May 2010 An exhibition of photographs documenting Britain at work in the 1950s and 1960s. Maurice Broomfield visited British factories to create his carefully-crafted images of industries such as nylon, insulation and shipbuilding, and his works present a glamorous and essentially humanistic view of workers and work in British industry during this period.

Julian Trevelyan: Centenary 10 May–13 June 2010 Celebrating the work of the renowned British artist and printmaker Julian Trevelyan, who initially gained recognition for his 1930s Surrealist prints and participation in the 1936 Surrealist Exhibition, later becoming one of the most influential tutors at the Royal College of Art and counting Hockney and Kitaj among his students.

Forthcoming Exhibition Surreal Friends: Leonora Carrington, Remedios Varo and Kati Horna 19 June–12 September 2010 Three major international exhibitions celebrating the work of three leading women surrealists including the English painter Leonora Carrington (b 1917), shown alongside works by her friends, and fellow Mexican residents, the Spanish painter Remedios Varo (1908–1963) and Hungarian photographer Kati Horna (1912–2000).

Remedios Varo, Harmony, 1956, oil on masonite, 76 x 94 cm, Private Collection Courtesy of Artemundi Global Fund

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Studio Exhibitions Partners in Art: Sally Mather 2 March–28 March An exhibition of personal and idiosyncratic work by long-time friend of the Gallery and Partner in Art, Sally Mather Outside In Award Winner: Jasna Nicolic 30 March–25 April A solo show of 'Outside In' Award Winner 2009, Jasna Nikolic, whose work is influenced by Naive, Folk and Outsider Art as well as art of ancient civilisations such as Mesopotamia, Knossos, and the Far East.

Northbrook College 1–27 May An exhibition of works by students from Northbrook College involved with the drawing project.

St Wilfrid's Hospice 3 June–2 July An exhibition of selected work from the second joint open art competition held to raise funds for St Wilfrid's Hospice.

External Exhibition Outside In Award Winner: Carlo Keshishian 1–30 June 2010 A solo exhibition at the Otter Gallery, University of Chichester, of the paintings of Carlo Keshishian showing the passionate, obsessive, confessional and emotional elements which are intrinsic to his vision of himself and the world around him.

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Collection News Crash Pallant House Gallery will be lending Richard Hamilton's iconic 'Hers is a Lush Situation' (1958) to the exhibition 'Crash' at the Gagosian Gallery in London (February 11–April 21 2010). The exhibition takes its title from the famous novel by JG Ballard and is a response to the enormous impact and enduring cultural significance of his work, following his death in spring 2009. Highlighting Ballard's great passion for the surreal and his engagement with the artists of his own generation, 'Crash' includes examples of his specific inspirations as well as works by contemporary artists who have been inspired by his vision.

Richard Hamilton, Hers is a Lush Situation, 1958, Oil, cellulose, metal foil and collage on panel, Wilson Gift through The Art Fund © Richard Hamilton

William Nicholson Loan A landscape by Sir William Nicholson (1872-1949) has been loaned to the Gallery from a private collection.

'Spanish Hills' is also titled 'Five Hills behind Malaga' and appears to be an oil sketch made on the spot in Spain. Nicholson stayed with friends in Malaga for four weeks over May and June 1935. He had a studio there, where he painted most of the landscapes and still lifes that he exhibited at the Leicester Galleries in London in the following year. The picture complements the other works by family members currently on show in 'St Ives and Beyond' including paintings by his son Ben Nicholson and the portrait of William Nicholson by his daughter-in-law Winifred.

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Major Francis Bacon loan An important painting by Francis Bacon, 'Two Figures' (1975) has been placed on long-term loan to Pallant House Gallery from a private collection. The work has recently been a centrepiece of the major exhibition 'Carravaggio-Bacon' at the Galleria Borghese in Rome.

It depicts two intertwined figures, so completely united Francis Bacon, Installation that they appear almost shot of Two Figures, 1975, Pallant House Gallery, (On loan as a single figure, echoing from a private collection) Michelangelo's drawings and Muybridge's photographs in motion. The loan is a significant addition to the Gallery's representation of British figurative art, and complements iconic paintings such as Michael Andrews' 'Colony Room' which features Bacon in the line-up of London's artistic bohemia.

Cross Purposes The crucifixion is an image capable of holding many narratives. 'Cross Purposes', a new exhibition at the Mascalls Gallery in Paddock Green, Kent (5 March–29 May 2010) brings together 20 of the most important artists of the twentieth Craigie Aitchison, Crucifixion IX, and twenty-first centuries 1963, Oil on canvas, Wilson Loan, © Artist's Estate who have depicted the crucifixion for secular as well as spiritual means.

Pallant House Gallery will be lending Crucifixions

by Graham Sutherland and Craigie Aitchison to the exhibition which also features Marc Chagall's drawings for the stained glass of Tudeley Church.

Collection News Without from Within Pallant House Gallery will be lending a group of works to the exhibition 'Without from Within' at the University of Nottingham. Paul Nash's 'Dead Spring' (1929) which shows the view out of his father's Judd Street flat, John Armstrong's enigmatic 'The Open Door' (1930) and William Coldstream's 'View from the Kitchen Window, Cannon Hill' will be on display at the Djanogly Art Gallery from 6 March to 2 May 2010. Taking as its subject the view through the window, the exhibition looks at the way artists have treated interior and exterior space and examines the development and variation of the motif in the work of major twentieth-century and contemporary British painters.

Hogarth's Election Series To coincide with the forthcoming General Election a new display in Room 3 focuses on the painting' A Scene from 'The Beggar's Opera' Act III' (1728-9) and the bawdy print series 'An Election' (1755-58) by William Hogarth (1697-1764). Born out of Hogarth's concern for the way greed and self-serving political corruption were endangering national interests, the works reveal a murky view of politics in the time of Sir Robert Walpole, Britain's first Prime Minister.

More Moore Radical, experimental and avant-garde, Henry Moore (1898–1986) was one of Britain’s greatest artists. Following the ‘Henry Moore Textiles’ exhibition at Pallant House Gallery there is an opportunity to see the work for which Moore is better known in a major exhibition at Tate Britain (24 February – 8 August 2010). Pallant House Gallery will be lending the tender alabaster carving ‘Suckling Child’ (1931) to this stunning exhibition, which takes a fresh look at his work and legacy, presenting over 150 stone sculptures, wood carvings, bronzes and drawings.

John Armstrong, The Open Door, 1930, Oil on canvas, On loan from a private collection (2006), © Artist's Estate

David Medd Bequest A major bequest of Modern British prints and drawings has been left to Pallant House Gallery by the leading post-war schools architect David Medd (1917-2009). The works include six prints by Edward Bawden such as his iconic 'Liverpool Station' and 'Brighton Pier' linocuts, etchings by Henry Moore, wood engravings by Robin Tanner and George Mackley, linocuts by Claude Flight and Walter Hoyle, screenprints by Graham Sutherland and watercolours by Bawden, William Russell Flint and Kenneth Rowntree. They will be shown in the De'Longhi Print Room later this autumn in the exhibition 'The David Medd Bequest of Modern British Prints'.

Henry Moore, Suckling Child, 1930, Hussey Bequest, Chichester District Council (1985), Henry Moore Foundation

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De'Longhi Announces its Support for Pallant House Gallery with its continued Sponsorship in 2010

Nina Saunders and her work, supported by De'Longhi in 2009

De'Longhi is pleased to announce its headline sponsorship of Pallant House Gallery for the second year, as the brand continues its support of the arts in the local community.

Last year saw De'Longhi, makers of premium Italian coffee machines, establish links with the Gallery for the first time in a partnership that included a variety of creative projects throughout the year.

August saw the installation of five prints in the Gallery 18 foyer by world renowned coffee artist Søren Stiller Markusson and Richard Foster, a leading lifestyle and fashion photographer. The images, commissioned by De'Longhi, were a reflection on contemporary coffee culture and were on display for two weeks before being auctioned off at the annual Macmillan De'Longhi Art Auction in London.

With its presence at regular Gallery open events throughout the year as well as at the highly acclaimed Mark Knopfler Get Lucky concert last September, De'Longhi secured its position as one of Pallant House Gallery's key partners.

De'Longhi will continue to contribute to the work of the Gallery in 2010 and maintains its sponsorship of the Print Room, set to feature a variety of dynamic exhibitions including photography by Maurice Broomfield and prints by Julian Trevelyan. So look out for the opportunity to sample a De'Longhi coffee at upcoming events.

For more information about De'Longhi visit www.seriousaboutcoffee.co.uk

Headline Sponsor of the Gallery 2010

Several artists who have close ties with the Gallery, including Langlands & Bell, Nina Saunders and WOKMedia, also benefitted from De'Longhi's support and were the focus of national media attention in a series of columns in The Guardian, The Times and The Daily Telegraph.

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CHICHESTER FESTIVAL 2010 THEATRE

Highlights include PATRICK STEWART TOM

STOPPARD RUPERT EVERETT 42ND STREET GEORGE BERNARD SHAW LOVE STORY PYGMALION BRIAN FRIEL HENRY GOODMAN DAVID HAIG YES, PRIME MINISTER BINGO STEPHANIE COLE THE CRITIC MICHAEL PENNINGTON THE RAGGED TROUSERED PHILANTHROPISTS THE REAL INSPECTOR HOUND HENRIK IBSEN ENRON A MONTH IN THE COUNTRY PHILIP PULLMAN EDWARD BOND RICHARD BRINSLEY SHERIDAN HOWARD BRENTON THE MASTER BUILDER

NOW ON SALE 15 April -16 October www.cft.org.uk 01243 781312

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John Tunnard: Inner Space to Outer Space Simon Martin

Peggy Guggenheim called him a 'genius', Mark Rothko name-checked him, and to Julian Trevelyan he was 'a hot jazz king' and a 'scream' yet the life and work of the Surrealist artist John Tunnard remains relatively unknown. To mark the opening of a major retrospective of Tunnard's work, Simon Martin, Curator of the exhibition, uncovers the neglected story of one of the most complex and accomplished painters of his generation.

These days the British abstract artist John Tunnard (1900-1971) is not a household name. Yet according to the American heiress and collector Peggy Guggenheim, he was 'a genius.' Her belief in Tunnard's creative abilities was such that she gave him a one-man show at her London gallery Guggenheim Jeune in March 1939, describing his gouaches as being, 'as musical as Kandinsky's, as delicate as Klee's, and as gay as Mir贸's.'

Such praise placed him on a truly international platform and was remarkable for an artist who had never been to continental Europe, but instead had settled in a Cornish fishing village on the Lizard Peninsula. Indeed, his paintings are now in collections around the world including the Museum of Modern Art in New York, the National Gallery of Victoria in Australia, the Tate, the Israel Museum and the Peggy Guggenheim Collection in Venice, and his significance was even acknowledged

by Mark Rothko. All of this begs the question of why he is not better known. Over thirty years have passed since his retrospective exhibition at the Royal Academy, which toured around Britain, and so the current exhibition at Pallant House Gallery is timely, for Tunnard is an artist whose reappraisal is long overdue.

Tunnard's paintings have long been coveted by collectors who, like Guggenheim and Alfred Barr the Director of the Museum of Modern Art, have been drawn to their complex explorations of depth and space, their rhythmic abstract forms, distinctive paint surfaces, and their unusual visualisation 21

Page 20 John Tunnard, Magnetic Field (detail), Summer 1945, Oil on gesso-prepared hardboard, with incised lines, Ferens Art Gallery, Hull Museums, UK, © Estate of John Tunnard/Clody E. Norton Left John Tunnard, Diabolo on the Quay, 1936, Oil and tempera on gesso-prepared board, with incised lines, The Sherwin Collection, © Estate of John Tunnard/Clody E. Norton Opposite Top John Tunnard, Self-Portrait (detail), 1959, Oil on gesso-prepared board, with incised lines, Lent by the National Portrait Gallery, London, © Estate of John Tunnard/ Clody E. Norton Opposite Bottom John Tunnard, Phi = O at Wiggenhall St Peter, Spring to Summer 1944, Oil, gouache and ink on gesso-prepared board, with incised lines, Private collection, © Estate of John Tunnard/Clody E. Norton Page 24 John Tunnard, Final working study for a mural inspired by Crystallography for the Regatta Restaurant at the Festival of Britain (detail), 1950–1951, Four panels: Watercolour, gouache, ink and pencil on paper, mounted on cardboard, Collection: Prof. Brian Whitton, © Estate of John Tunnard/Clody E. Norton Page 25 John Tunnard, Vision of Moon Craters (detail), 6 April 1969, Watercolour, gouache, pen and ink on paper, Collection: Prof. Brian Whitton, © Estate of John Tunnard/ Clody E. Norton

of technology. His paintings reflect the artist's complex character: a man of fascinating and perhaps unconventional interests that were ahead of his time. He was a pacifist and opposed to hunting, a jazz musician who could do an impressive softshoe shuffle, a naturalist with a passion for ecology, science and space travel. By all accounts he was tremendous fun. Indeed, according to his friend Julian Trevelyan, he was not so much a painter, but rather: 'Tunnard's a hot-jazz king, Tunnard's a good cook, Tunnard's the man who talks outside the performing fleas, Tunnard's a husband, Tunnard's a scream.'

Tunnard had a passion for jazz music and he played the drums for several bands during the 1920s whilst studying design at the Royal College of Art and subsequently working as a textile designer and later fabric selector for John Lewis. He turned to painting in the late 1920s, producing traditional landscapes of Cornwall that were shown at the Royal Academy and London Group exhibitions in the early 1930s. After a successful exhibition of his landscapes in 1933, Tunnard bought a gypsy caravan with the proceeds, in which he and his wife Mary Robertson (known to all as 'Bob') lived before moving to a cottage in the fishing village of Cadgwith, where they set up a hand-block printed silk business. Tunnard began to move away from representational art in the mid-1930s and instead created abstract paintings that fused the seemingly opposed tendencies of Constructivism and Surrealism.

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His understanding of textile design undoubtedly shaped his feeling for form and abstract patterning, although he also acknowledged the influence of Paul Klee and Joan Miró on his technique. Herbert Read's seminal book 'Surrealism' (1936) consolidated his interest and although he never formally joined the Surrealist group, he did exhibit in several Surrealist exhibitions in the late 1930s. His love of jazz was manifested in the musical symbols, rhythmic forms, and the strings that connected the structures in his paintings, articulating the space in a similar way to the strings in the Constructivist sculptures of Henry Moore, Barbara Hepworth and Naum Gabo that emerged in 1937.

As a pacifist, Tunnard spent the war years as an Auxiliary Coast Guard, and the experience of looking out over the sea in search of enemy aircraft and submarines influenced the deep space and technological aspects of his paintings, which were celebrated for their layered 'inner landscapes.' The landscape was a major influence on his post-war work, reflecting his increasing interest in natural history. He spent many hours collecting entomological specimens on the seashore for the Natural History Museum and identified with them to such an extent that he even included a depiction of a sawfly 'Hymenoptera symphyta' in his witty self-portrait (1959, National Portrait Gallery). Marine life, egglike shapes and seabirds in flight appear in numerous works, including the scarf that he designed for Zika

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Ascher's series of silk squares by modern artists that also included Henry Moore and Alexander Calder.

The geology of the Cornish landscape provided a further source of inspiration for paintings like 'Levant Zawn' (1949, British Council), which shows the oxidised rocks by the celebrated Cornish tin mine.

Tunnard's work was increasingly inspired by developments in science and engineering, drawing on the technology of oscillography and the Radar stations that were situated along the Cornish coast in paintings such as 'Frequency' (1943, private collection) and 'Magnetic Field' (1945, Ferens Art Gallery, Hull).

His interest in science made him an ideal choice to paint a mural inspired by x-ray crystallography for the Regatta Restaurant at the Festival of Britain in 1951 (the studies for which are included in the exhibition), which both complemented the work of the Festival Pattern Group on the same theme.

Tunnard responded to the darker side of technology such as nuclear weapons testing in menacing images such as 'Aftermath' (1962, private collection) and the positive spirit of the advent of the space race in the 1960s. He keenly followed the Apollo space missions, creating paintings based on photographs of the moon surface and in 1969 he produced a remarkable major work, depicting the Telstar satellite antenna at Goonhilly Downs on the Lizard Peninsula, which had beamed the images of the first moon landings to televisions across Britain and Europe.

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The exhibition is structured to explore these themes and variations, charting Tunnard's career from his Surrealist inner spaces of the mid-1930s to his late visual explorations of outer space. This metaphorical journey through the exhibition will hopefully be one of discovery, providing a new view of Tunnard's extraordinary work that will confirm his place as one of the major figures in Twentieth-century British art.

Exhibition John Tunnard: Inner Space to Outer Space 13 March to 6 June 2010 Talk John Tunnard: Space Age Painter Thurs 15 April, 6pm Curator's Tours John Tunnard: Inner Space to Outer Space Sat 24 April, 11am and Weds 2 June, 2.30pm Friends Tour John Tunnard: Inner Space to Outer Space Fri 26 March, 2.30pm

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A Panoramic View Jeremy Gardiner

In his paintings and digital installations the contemporary artist Jeremy Gardiner presents a deeply personal response to the landscape of the South of England, one that reveals the influence of artists such as Peter Lanyon, Ben Nicholson and John Tunnard. Here, he explores the roots of these inspirations.

It was 1972 when I saw my first John Tunnard painting 'Tolpen' at the Royal Academy Summer Exhibition, a year after his death. I was 15 years old and a few years later I went to Newcastle University to study Fine Art. In 1977 the first Tunnard retrospective arrived at the Laing Art Gallery. At Newcastle I had embarked on an art course first introduced by Walter Gropius into the curriculum of the Bauhaus. The course aimed at developing modes of thinking which were designed to induce a self-critical attitude in the student. When I saw Tunnard's composition and surfaces I knew I had to learn to question the significance of every mark I made. I believe Malevich, Klee, Maholy-Nagy and other artists at the Bauhaus influenced elements of Tunnard's painting in the form of planes, perspective, proportion, kinetic effects and colour. By studying Basic Design Principles I was able to understand the formal aspects of Tunnard's work. He had been a coastguard during the war and spent much of his working life observing the coast and light of Cornwall and that was also an integral part of his pictorial language.

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For several decades I have been exploring the ancient history of the Jurassic Coast in Dorset on long walks, boat rides and flights, forever seeking out new points of view for my landscape painting. My adventurous spirit has led me to discover the geology of other parts of the world, from the volcanic forms of Fernando de Noronha, an archipelago 300 miles off the north east coast of Brazil, to Milos, one of the Cycladian Greek islands.

But it is Dorset that stirs my imagination the most and I am constantly drawn towards it, making new discoveries and finding fresh sources of inspiration as I venture further into unknown territory. The Jurassic Coast is England's first natural World Heritage Site, a ninety five mile long stretch of coastline running from Orcombe Point in East Devon to Old Harry Rocks in East Dorset. Its geology spans the Triassic, Jurassic and Cretaceous periods, 185 million years of the Earth's history. By creating distinct layers of color, my working method involves scouring, building accretions of paint, collaging and sanding down, in an attempt to emulate on the surface of my paintings the effects of geological time on the landscape. I like to combine different features from different locations of the coastline in the same paintings, achieving images that take the viewer on a new exploration of familiar territory, from multiple perspectives.

Exhibition A Panoramic View 13 March–31 May 2010

Jeremy Gardiner, Freshwater Steps

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A New Look at Industry Maurice Broomfield

A series of commissions for British Factories in the 1950s and 60s led the photographer Maurice Broomfield to create his carefullycrafted images of people at work in industries such as nylon, insulation and shipbuilding.

Ahead of his show 'A New Look at Industry' in the De'Longhi Print Room Emma Robertson, Marketing Officer at Pallant House Gallery, speaks to Maurice Broomfield about his glamorous and humanistic visions of workers during the heyday of British Industry.

Emma Robertson How did you reconcile the agenda of the factory commissions with your own artistic preoccupations?

Maurice Broomfield It was quite a difficult path because originally, and understandably, most photographers were commissioned for their expertise in handling a camera – this magical object that no-one but the photographer seemed to understand in its complexities. Further than that, the photographers expected to be instructed and the people who commissioned them undertook the job of telling them what was to be photographed or not. I discovered this is very often a bad idea because the person working inside has not the same feelings as the person looking at a picture from the outside and they would often make mistakes. So, the first thing for me to do was to persuade the management that instead of taking a long shot of a mill that was designed for producing textiles not engineering for example I should concentrate upon the close-ups of people working in individual pictures. This was very difficult initially for them to accept but I was helped by the fact that I had also had some of my pictures published in the FT and this produced a certain amount of respect from the industries which enabled me to say to the companies, 'yes I will do it but I want a free hand', and they did in time give in to me completely. The only stipulation I would make was that they should let me know if for security reasons they did not want something to be 29

Page 28 Maurice Broomfield, Examining Nylon shirts after washing, 1959 courtesy of HOST Gallery, London Page 29 Maurice Broomfield in the Plant Room of Pallant House Gallery by Miriam Nabarro (2010) Page 30 Maurice Broomfield, Stainless Steel Tubes, 1958, courtesy of HOST Gallery, London Page 31 Maurice Broomfield, Removing a Coffee Pot from a Mould, 1955, courtesy of HOST Gallery, London Page 33 Maurice Broomfield, Examining Nylon shirts after washing, 1959 courtesy of HOST Gallery, London

photographed. So, after a while, I was given a free hand all the time. And occasionally I would advise the client to commission a painter instead of a photographer.

ER Much has been said about the deliberate manufacturing of the scenes. Why did you decide to make them appear so staged?

MB This was perhaps to do with the elimination of the unnecessary which was made possible by lighting. I was tremendously influenced by Joseph Wright of Derby my father, who was also an artist, had taken me at a very early age to the Derby Museum to see his works - and his paintings using the one light technique gave me a lifelong source of inspiration. The Bauhaus School of influence of leaving out the unnecessary came later.

However I was actually very, very careful not to depart from anything that would be normal practice because I didn't want to be open for criticism that normally this wouldn't be done. This was made easier when I made a stipulation that I would go without cameras and spend time there, sometimes a whole week wandering around the factory, making notes and little drawings of people at work, the positions of the hands, the positions of their arms. Then when it came to actually photographing I had these as reference points.

One time at the milk marketing board I went along and found they had wonderful pictures to take but they were spoiled by the chaps wearing black Wellington 30

boots which made them look as if they worked for a colliery instead of a milk-producing plant so I asked them if they could get some Dulux and paint their Wellington boots white, which they did to disastrous results! There were white footprints everywhere on the floor but anyway I got the pictures. I went along to the next place and they said 'we've got the boots - we've already painted them so they should be dry as we didn't want to spoil our floors', so word had got round. After a while they made it regulation issue and they still to this day wear white Wellington boots. It was always about building up a picture.

ER One thing that comes across in these pictures is the dignity and individuality of the workers. Was that something you were conscious of trying to capture?

MB I didn't have to try to capture it, it was there the pride of workmanship. Now people look at the pictures and ask why someone is wearing red shoes with high heels or that woman is wearing a scarf or a very nice knitted jumper at work? But the reason was that their best clothes got shabby and when they did they either used them on the allotment or would take them to work so it was not unusual to see a chap in a trilby hat or waistcoat or something like that working on the machine. And the pride they had in dressing when the clothes were new, although they had become shabby, was still with them when they worked on the machine. They made sure that the machines

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were kept clean too, they didn't like to leave them at night before 'wiping them down' as they called it. It was a way of life – to have this pride in your work.

pictures people would be a bit more understanding about us.

ER It has been said that an air of melancholy pervades the scenes – a sense of lost industry which is particularly pertinent in light of the recent sale of Cadburys today. Were you aware of that at the time?

ER I wanted to ask specifically about the image from the nylon factory (see opposite) which appears very surreal in composition. I wondered if this was a conscious decision or whether it was a result of the subject matter?

MB Well yes, these industries came very often from little family concerns like the making of bicycles and cars and they developed into larger companies but they still retained the family feeling. There was a kind of allegiance, a wonderful loyalty that was actually encouraged by firms such as Cadburys and Rowntree's which is why I'm terribly sad to read about Cadburys today. Their interest was not in profit, it was in making a good product but, on equal par, their interest was with the welfare of their workers.

This was to be found with Rowntree's, Cadbury's, Terry's, the companies who were mostly of a Quaker origin. I left Rowntree's eventually because I found this tolerance - I hate to say the word suffocating – but I found it just too easy to live your life. You had all your problems taken away, your housing, every amenity you could enjoy was there for you. They really looked after you from the cradle to grave and I wanted to do my own thing and when I told them the reason why I would like to leave they could hardly believe it but they respected it but for the majority of people it was the reason they wanted to stay.

MB I felt this was surreal, yes surreal is the word.

When I first saw it, it reminded me of the high jinks or the Can-Can – the girl kicking her legs - and then in the background there is the scientific lab. If you take it out it’s a completely different picture and the resemblance of the dancing and the entertainment world in the surrealist atmosphere of the factory struck me immediately as being a fascinating picture.

The extraordinary thing is that I had a big exhibition a few years ago and my grandson came to help me. I had put that image in but at the last moment I had thought it out of context. Anyway my grandson said ‘gosh, I like that!’ so I put it in and I think it was the most admired there. He could see it straight away. In terms of composition - I didn’t move anything. I always tried not to because if you take something in situ you have a kind of honesty about it. What I did do was drop all the internal lights and just have enough spillage of light to have the two shafts at the top which would take the eye. They are deliberate and done by lighting which lights the subject and very carefully with a little bounce light, brings the eye into it.

ER The images have been described as essentially British – were you conscious of trying to achieve that in the work?

Exhibition Maurice Broomfield: A New Look at Industry 2 March–9 May 2010 The De'Longhi Print Room

MB Yes, I felt very strongly about this because I suppose, having experienced the rough times of the Depression through my parents, our inability to make the most of our achievements and tell the world about them saddened me. I mean we made the finest steel in the world in Sheffield, wonderful steel. There's a tale about a steel conference where worldwide steel makers came and brought their swords to show how fine the steel was and how well it bended etc - with typical English humour, a chap arrived in a top hat and they said to him 'where's your sword' and he took off his top hat and curled inside was the sword, of course better than anyone else's – a nice touch of English humour. I felt this was the sort of thing we were very quiet about and I hoped that through some of my 32

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Toby Paterson Writing on the Wall Julie Brown

His recreational antics earned him the nickname of 'Skateboarder Scott' but the work of contemporary artist Toby Paterson deals with such lofty subjects as the failure of modernism, and his influences include twentieth-century heavyweights Ben Nicholson and Victor Pasmore. This March he comes to Pallant House Gallery to design a specially commissioned mural on the Garden Gallery Wall.

Toby Paterson was born in Glasgow in 1974 and studied painting at Glasgow School of Art. A keen skateboarder, his work is greatly influenced by the built environment, in particular post-war architecture.

Much of the 'New Brutalist' style architecture has in recent years undergone a reappraisal of its design credentials, following the collapse and degradation of its utopian intentions. Many of the housing schemes now in states of disrepair have been commandeered as hang-outs for skateboarders and graffiti artists.

Paterson is interested in finding sculptural elements within this type of architectural framework in the everyday urban environment. Components such as ramps, staircases, diving boards and car parks punctuate his artistic vocabulary, and when removed from their context emphasise the beauty of their original design principles. As part of the Golder-Thompson Gift in the Pallant House Gallery collection is 'Sunlit Emergency Exit' one of a series of 34

prints Paterson undertook at Peacock Visual Arts in 2003, which features the iconography of a concrete water tower floating on an endless blue expanse.

Paterson translates these 3D architectural elements into his paintings, wall drawings and assemblages.

In 2004 he was commissioned by Tate St Ives to undertake an installation entitled 'An Isometric Plan'. His geometric and non-representational style based on the perception of his surroundings is also reminiscent of the work of St Ives artists who took direct inspiration from their surroundings in developing an abstraction of nature in their work.

It reflects developments in design, technology and engineering which inspired the work of John Tunnard.

Both Tunnard and Victor Pasmore, who Paterson cites as an influence on his work, created murals for the Regatta Restaurant, a central component of the Festival of Britain in 1951. The Festival of Britain on London's South Bank aimed to showcase British design talent in the wake of the Second World War and promoted a sense of optimism and encouraged the idea of regeneration through art and science.

Paterson is now lead artist on the extension to the Docklands Light Railway as part of the renewal scheme in preparation for the London Olympics in 2012. He will be resident in the Garden Gallery in March to undertake a mural which will be on view from 13 March until 13 June 2010.

Installation at Tate St Ives Š Toby Paterson

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St Ives and Beyond Michael Bird

Ahead of the new show 'St Ives and Beyond' art historian Michael Bird in this extract from his book explores the town’s artistic reputation began with an unlikely meeting in 1928 'During their stay at Pill Creek near Falmouth in August, Ben Nicholson and Kit Wood made a day trip to St Ives.

Wood already knew the place – he had painted there while on holiday from Paris in the autumn of 1926 – but it was new to Nicholson. Their route took them from coast to coast, from the wooded shores of the Fal, where an unbroken canopy of oaks bulged over the tide-line like mangroves, to treeless, Atlantic-facing St Ives. Wood led his friend through the old harbour town, and they ended up walking across Porthmeor, St Ives's exposed northern beach, slung between two promontories known as the Island and Man's Head.

Away from the station and the tourist hotels, there were few holidaymakers on the sands, where St Ives women spread out their laundry to dry. Maybe, as they approached the Island, they could hear the singing of the girls who worked at the Cryséde silk factory near by. At this point, where the narrow streets run up against the sea wall, Wood and Nicholson scrambled off Porthmeor.

As they turned into Back Road West, heading for the harbour, they noticed a doorway giving onto the dark front room of a cottage. Inside, among the mahogany furnishings and stuffed birds, they could make out a weird array of pictures nailed to the wall – the smallest ones, Nicholson observed, were fixed with particularly large nails. They clearly weren't the work 36

of St Ives's conventional marine painters, in whom neither Nicholson nor Wood had the slightest interest.

Done on irregularly shaped bits of greengrocers' crates and Quaker Oats packets, they showed sailing ships full-rigged like urgent ghosts, exclamatory lighthouses, startled house façades like masks caught in the sweep of headlamps. In the circles in which Nicholson and Wood moved, Primitivism was chic. Parisian Cubists, Surrealists and their patrons were amassing eclectic personal hoards of African masks, carved animals hedgehogged with nails, and other loot of colonial empire. You had to agree (if you were at all modern) that this stuff, despite being the work of 'primitive tribes' or 'savages', had something that was lacking in Western art. Whatever it was – vitality, virility, immediacy or childlike unselfconsciousness – Wood and Nicholson felt at once that they'd stumbled on it again, completely unexpectedly, right there in St Ives.

What Alfred Wallis, the gnome-like septuagenarian with a 'dough-coloured face' staring back at them from his twilit parlour, made of these two eager young gents with sand on their shoes isn't recorded.'

Extract from 'The St Ives Artists: A Biography of Place and Time', chapter 2 (Lund Humphries, 2008) Exhibition St Ives and Beyond 6 March–31 May 2010 Ben Nicholson, 1946 (still life - cerulean) (detail), 1946, Oil on canvas over board, Kearley Bequest, through The Art Fund (1989), © Angela Verren Taunt

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'Outside In' in profile Jasna Nikolic

Last August Pallant House Gallery played host to Outside In, the groundbreaking competition for outsider and marginalised artists held across the south of England. Jasna Nikolic is one of the six award winners selected to hold a solo show in the studio at Pallant House Gallery. Here, she talks about her work and influences.

During my 20 years experience as an artist, many people in France and here in the UK have told me that my art is very close to Art Brut or Outsider Art. Personally, I like Naive Art, Folk Art and Outsider Art a lot. Also, I find inspiration in Medieval Art in particular and art of ancient civilisations like Mesopotamia, Knossos, and the Far East.

Playfulness helps a lot, and I try to stay in a child-like state of spirit. It might be one of the reasons why I like watercolour, mono-print, collage and all other Surrealistic methods, including humour.

I was a professional artist for many years, but during my life journey, I have been through some traumatic experiences. I can’t cope with a stress of everyday life successfully.

I am fascinated with the fact that we are mortal.

Rationally, we all know that, but after several experiences of illness that brought me very close to death and War experiences in ex-Yugoslavia, I feel that my understanding is complete.

I feel in Art Brut an area that is home.

I find that I am outsider in society. However, I don’t like my post-war syndrome to be publicly mentioned, because I feel ashamed if I remember all other people from ex-Yugoslavia region that are suffering in many different ways from the consequences of War.

Trying to express my deepest inner personality - my true self, I needed to break many rules and accepted methods that I learned during my art studies.

This exhibition is very important to me. I feel that I am finally in the right venue. I like outsider art and like to be associated with it.

I analyse and evaluate my work only when it is done.

During an art process I just act, trying to avoid my rational side becoming an obstacle. I am struggling to stay free.

Exhibition Outside In: Jasna Nicolic 30 March–25 April 2010

I am an iconographer as well and I find that this experience is present in my artwork.

For me, inspiration is a visit of a Holy Spirit, and any talent or gift is a present from God. 38

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www.pallantbookshop.com Bookshop 01243 770813

Bookshop

John Tunnard: Inner Space to Outer Space A fully illustrated catalogue containing essays by Simon Martin, chronology

by Brian Whitton and Alan Peat Published by Pallant House Gallery, 2010 £19.95 (Special price £14.95 for magazine readers and Friends)

The St Ives Artists: A Biography of Place and Time Michael Bird £19.99 Jeremy Gardiner: A Panoramic View A new publication published to coincide with the exhibition of the same name at Pallant House Gallery. Foreword by Simon Martin and essay by Peter Davies Published by the Paisnel Gallery, 2010 £3

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The Art of Entertaining Venue Hire at Pallant House Gallery Wine and canapé receptions, Cocktail parties, Private dining events, Seminars and conferences, Away days, Children’s parties

The Venue Hire brochure can be viewed online at www.pallant.org.uk (Click on Information and scroll down to Venue Hire) For further details please contact Helen Martin, Events Co-ordinator on 01243 770838 or h.martin@pallant.org.uk

Gallery News Call for entries Pallant House Gallery and St Wilfrid's Hospice are pleased to announce the launch of the second 'Open Art' competition. This exciting project brings together two diverse organisations working together to raise money for the Hospice and Outside In, Pallant House Gallery's project for marginalised artists, while providing an opportunity for artists of all backgrounds to gain exposure for their work. It is open to artists of all ages and images of artworks in any medium may be submitted. For more information or to submit your work online go to www.openart.stwh.co.uk or www.outsidein.org.uk

St Wilfrid's Hospice in association with Pallant House Gallery, Chichester

Open Art Competition 2010

Entry Now Open

LOCUS in motion Pallant House Gallery are lending their support to an innovative arts project for refugees, asylum seekers and other members of the community organised by ArtRefuge. Participants will be encouraged to look for their personal LOCUS, define it, name it, capture it and use various media to achieve it. Activities resulting from this may include the use of digital media, mobile telephone technology, drawing, performance and photography. For further information visit the website http://www.locusproject.blogspot.com Brighton Open Houses Last year, for the first time, Brighton's annual festival of artist's Open Houses in May introduced a new visual arts festival featuring individually-curated houses.

Appropriately titled 'House' the festival inverted the concept of transforming homes into galleries by bringing the 'domestic' into local small galleries and art spaces. This year 'House' returns and Pallant House Gallery will once again curate an Outside In house at the Wellington House Day Centre.

For more information go to www.aoh.org.uk or www. outsidein.org.uk

Charlie Finnamore, People 2009 Open Art Entry

To find out more and enter online visit www.openart.stwh.co.uk For further information please email openart@stwh.co.uk or call 01243 755181 Closing date Wednesday 31 March 2010 Exhibition dates Thursday 3 June–Friday 2 July 2010

Scottish Colourists nominated for Hollis Award We are delighted to announce that Thomas Eggar have been shortlisted for a Hollis Sponsorship Award for their sponsorship of 'The Scottish Colourists: Paintings from The Fleming Collection'. The Sponsorship Awards are designed to reward and recognise the very best sponsorship campaigns in the UK and internationally, across all sectors and all budgets. The winner will be announced at a ceremony on 9 March hosted by the BBC's Garry Richardson.

Registered Charity No. 281963

Registered Charity No. 293093

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Gallery News Your Gallery needs you Are you a practising artist or interested in the arts? Would you enjoy sharing your interest with another person? Pallant House Gallery is seeking volunteers to take part in the exemplary Partners in Art scheme which pairs volunteers with artists who need additional support due to disability, health, mental health or social exclusion. Spearheaded by Sandra Peaty and Marc Steene, Head of Learning and Community, the programme has been running successfully for seven years and was recently the subject of a documentary by the award-winning film maker Justin Edgar. Please contact Sandra Peaty for more details on partnersinart@pallant.org.uk

Pallant House Gallery online Changes are afoot with the Pallant House Gallery website! The project is being developed by the Bureau for Visual Affairs whose previous projects include Creative Review, Art Rabbit, and the National Gallery.

A special satellite site for Surreal Friends is also being constructed alongside. Both sites will feature a host of information about the themes and backgrounds to the extensive exhibition and event programmes, as well as opportunities to participate in competitions and create responses to the artworks. We are grateful to the Foyle Foundation for their generous support in making this possible. Keep checking back over the next few weeks to see what's new. www.pallant.org.uk www.surrealfriends.com www.facebook.com/surrealfriends www.facebook.com/pallanthousegallery

Film still from 'Partners in Art' Š Pallant House Gallery

Outside In at the Museum of Everything The critically-acclaimed Museum of Everything – the London-based Outsider art collection of James Brett - has purchased several works from the 2009 Outside In exhibition to sit alongside works by renowned Outsider artists Henry Darger and Judith Scott.

Ronald Burkett, Abstract Formation

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Chairman of the Friends' Letter Lady Nicholas Gordon Lennox

Dear Friends, Patrons and Gallery CLUB Members The Art Raffle 2009 which raised £10,000, was finally drawn on 3rd December. We received £900 in donations in addition to ticket sales, and I do want to thank everybody who so generously supported this fund- raising event. We are deeply indebted to the artists who donated their works, and to Julia Cooper whose idea it was and to all her helpers.

The first Art Lunch Course which ran during the autumn was such a success that further sessions have been planned. On 29 April the first of these about Ben Nicholson and St Ives will take place, this should compliment the St Ives and Beyond exhibition very well.

For details of the course please see page 50.

The season of Pallant Proms which began last September and continues through until March has been extremely well attended and thus a tremendous success. We are delighted to have been able to give these young pianists a chance to perform at the Gallery and they in turn have been very pleased the way their performances have been received. Many of you kindly expressed your appreciation by way of the donations box, thank you very much.

On 24 April there is to be an exciting musical fundraising evening called Modern British Arias: Songs from the Collection. Darren Abrahams, accompanied on the piano

by Lindy Tennant- Brown will perform pieces from Bach to Cole Porter relating to works in the Gallery. This should be a lovely occasion and we hope many of you will come. For details please see page 50.

I am delighted to tell you that Cawley Financial Services Limited, a Chichester based company, have generously offered to sponsor the Friends on an annual basis. This will be a great help to us and is very good news indeed.

I wonder if any of you who are Friends of the Gallery might consider upgrading your membership of the Friends to become Gallery Club members or even Patrons? There is an interesting programme of events for both of these and should you wish to upgrade your membership please call Elaine Bentley, Head of Development on 01243 770844 or the Friends' Office on 01243 770815.

My thanks to you all again for your much valued support. I hope that the number of Friends of Pallant House Gallery will continue to grow during the next decade as well as it has during the last one.

Lady Nicholas Gordon Lennox

Pallant House Gallery Friends

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What's On Friends' Events

Tickets 01243 774557 (Booking Required)

Visits A Day at The Ashmolean Museum, Oxford Tues 13 April, 9am–7pm approx The Ashmolean Museum, originally built in 17th century to house the curiosities of Elias Ashmole, became the world’s first University Museum. An exciting £61 million redevelopment designed by Rick Mather opened last November doubling gallery space with a roof top restaurant overlooking Oxford.

There is also a Café for coffee and light lunches. £26. Please note transport is included in the ticket price.

Refreshments are not included.

Ashmolean Museum, University of Oxford © Ashmolean Museum

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Pallant House Gallery Friends

Mark Gertler: Natalie Bevan (née Ackenhausen, later Denny), 1928 Oil on canvas. Collection National Portrait Gallery, London NPG 6877 © estate of Mark Gertler. From the exhibition From Sickert to Gertler: Modern British Art from Boxted House

Compton Verney, Stratford Upon Avon and Upton House Friday–Saturday, 18–19 June Two day trip to Stratford to see King Lear at the Courtyard Theatre visiting Compton Verney on the outward journey and Upton House on the return journey. The current exhibition at Compton Verney will be Francis Bacon: In Camera focusing on Bacon’s work in relation to film and photography. £230 single occupancy £185 double occupancy, includes travel, entry to Compton Verney, theatre ticket and dinner, bed and breakfast at the Swan’s Nest Hotel, Stratford.

For more information contact the Friends Office.

A Day in Brighton Sat 8 May, 11am–5pm approx 'From Sickert to Gertler: Modern British Art from Boxted House' at Brighton Museum and Art Gallery in the morning and in the afternoon, a guided walking tour of Brighton Festival exhibitions.

Meet at Brighton Museum and Art Gallery at 11am. £20. Please note transport and lunch are not included in the ticket price.

St Ives and Area 17–21 May Four nights away based in St Ives. Visits include Tate St Ives, Porthmeor Studios, Barbara Hepworth Museum, Bernard Leach Pottery, and museums and art galleries in Penzance, Newlyn and Falmouth.

For more information contact the Friends Office.

Greg Hicks as King Lear, RSC King Lear. By Manuel Harlan © RSC

What's On Friends' Events

Gallery Events Friends Private View John Tunnard: Inner Space Outer Space Sun 14 March, 11am An opportunity for Friends to enjoy their own private view of this first major exhibition of the British abstract artist John Tunnard whose paintings draw on both Surrealist fantasy and developments in science and engineering.

Free. De'Longhi coffee and biscuits will be provided.

Friends' Art Book Club Thurs 25 March / 15 April / 20 May / 17 June, 6.30–8pm Continuing the popular art book club led by Greg Mosse, creative writing teacher and co-director of the Chichester Writing Festival.

Booklist available from the Friends Office. £5 includes glass of wine

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Tickets 01243 774557 (Booking Required)

Friends Coffee Morning Weds 21 April, 10.30am An informal get-together with new Assistant Curator Julie Brown who will be talking about her training to date and some of the Pallant House Gallery Scottish prints. £5 includes De'Longhi coffee and biscuits.

Friends' Tours John Tunnard: Inner Space Outer Space Fri 26 March, 2.30pm A special Friends only tour of the exhibition of the British abstract artist John Tunnard whose paintings were inspired by his many and varied interests including 'Music and Surrealism', 'Nature and Landscape', and 'Science and Space Travel'. £5 (£2.50 student Friends) includes De'Longhi coffee and biscuits.

23/2/10

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Terry Frost, Red Painting October 62/May 63, 1962–1963, oil on canvas, On loan from Bishop Otter Collection, University of Chichester, © Estate of the Artist

St Ives and Beyond Fri 14 May, 2.30pm A special tour of this exhibition of paintings, drawings and sculptures which provide a unique insight into the friendships and family connections of an extraordinary group of artists including: Ben Nicholson, Barbara Hepworth, Alfred Wallis, Christopher Wood, Peter Lanyon, William Scott and Terry Frost. £5 (£2.50 student Friends) includes tea and biscuits.

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What's On

Tickets 01243 774557 (Booking Required)

MJ Long: Designing Artist's Studios Thurs 29 April, 6pm Currently involved with the renovation of the Portheor Studios in St Ives, architect MJ Long provides a personal account about her projects for Sir Peter Blake, Paul Huxley and RB Kitaj and others, offering candid observations on designing the artist's studio.

Followed by a book-signing. £10 (students £8.25, Friends £6.25) includes a glass of wine

Talks Christopher Andreae on Winifred Nicholson Thurs 25 March, 6pm Drawing on the artist's correspondence, Christopher Andreae offers a fresh view of Winifred Nicholson, who emerged in the 1920s as a ground-breaking painter, celebrated for her flower paintings and landscapes. The event will be followed by a book-signing. £10 (students £8.25, Friends £6.25) includes a glass of wine

Winifred Nicholson, Sequence of Rectangles (detail), c.1934, On Loan from a Private Collection (2009), © Mr A. Nicholson and Mr J Nicholson

Jeremy Gardiner: A Panoramic View Thurs 8 April, 6pm Senior Research Fellow on Computer Art and Technocultures at Birkbeck College and the V&A, Gardiner discusses the relationship between painting and digital technology to explore the landscape of the south coast, incorporating geology and the Modernist tradition of Tunnard and Nicholson. £10 (students £8.25, Friends £6.25) includes a glass of wine

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John Tunnard, In Many Moons, 1966, Oil on gesso-prepared board, with incised lines, Collection: Prof. Brian Whitton, © Estate of John Tunnard/Clody E. Norton

John Tunnard: Space Age Painter Thurs 15 April, 6pm Simon Martin, curator of the John Tunnard exhibition, considers a new perspective on the artist's unique style, revealing passion for jazz, interests in natural history and visual explorations of developments in science, engineering and space travel. £10 (students £8.25, Friends £6.25) includes a glass of wine Toby Paterson Thurs 22 April, 6pm Contemporary artist Toby Paterson speaks in person about his role as artist in residence at Pallant House Gallery, the mural he has created whilst in this post, and the wider influences which inform his work. £10 (students £8.25, Friends £6.25) includes a glass of wine

MJ Long © Anne-Katrin Purkiss

Where You Are and Who You Know: The Real St Ives Story Thurs 6 May, 6pm St Ives is unique – a small seaside town that became famous as a centre of international art. Author and art historian Michael Bird takes a new look at one of modern art's unlikeliest stories, exploring how local themes of landscape and community reflected much wider social and cultural changes during the Austerity era and beyond. £10 (students £8.25, Friends £6.25) includes a glass of wine

What's On

Tickets 01243 774557 (Booking Required)

Artwork of the Month Talks An opportunity to hear a Gallery Guide focus on one work from the Collection, exploring techniques and placing it in the context of the artist's life and times.

Last Wednesday of the month. Free with Gallery admission. Please meet at reception. No booking required.

Weds 31 March, 12pm 'Gladrags' by Susie MacMurray Guide: Julie Brown, Assistant Curator

Weds 28 April, 12pm 'China Dogs in a St Ives Window'

by Christopher Wood Guide: Alan Wood

Weds 26 May, 12pm 'The Absentee Pig'

by Julian Trevelyan Guide: Liz Walker

Weds 30 June, 12pm 'L'Engrenage Rouge'

by Fernand Léger Guide: Judy Addison Smith

Christopher Wood, China Dogs in a St Ives Window, 1926, On Loan from a Private Collection (2009), © Pallant House Gallery

Films and Screenings Bauhaus Thurs 1 April, 6pm To coincide with the exhibitions of John Tunnard and Maurice Broomfield who were both influenced by Bauhaus artists, this film explores the history and legacy of perhaps the twentieth century's most influential art school. Written and narrated by the art historian Frank Whitford, this film memoir includes contributions from former students, a strong selection of artworks and archival footage including interviews with founder Walter Gropius. (2008, 49 minutes) £8 (students £6.25, Friends £4.25) includes admission.

St Ives double-bill:

'The Art of Barbara Hepworth' and 'Sandra Blow' Thurs 13 May, 6pm An evening celebrating two great abstract artists associated with St Ives. The first film explores Hepworth's work in her own words, with commentary from curators and the artist's son-in-law, art historian Sir Alan Bowness. The second film, made in Blow's studio in St Ives in 2006, captures her reflections on a lifetime creating beautiful and distinctive abstract paintings. (2003/2006, 76 Minutes) £8 (students £6.25, Friends £4.25) includes admission.

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What's On

Performance Pallant Proms Sat 27 March, 12pm The last of our new season of concerts by young up-and-coming pianists organised in collaboration with the University of Chichester and the Royal College of Music. £5 (students £2.50, Friends free) includes admission.

Modern British Arias: Songs from the Collection Sat 24 April, 7pm A special fundraising evening of live operatic music inspired by the Gallery's collection. British tenor Darren Abrahams and concert pianist Lindy TennentBrown re-interpret familiar works through songs from Bach to Cole Porter. The two acts will be preceded and interspersed with drinks and canapés inspired by the performance and created especially for the event by Chef Sam Mahoney, making this an evening to remember.

Tickets £40. A fundraising event for the Friends of Pallant House Gallery.

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Tickets 01243 774557 (Booking Required)

Recital: Schumann in Love Sat 17 July, 11am and 2pm Mark Wilde (tenor) and David Owen Norris (piano) perform Robert Schumann's 'Dichterliebe' sung in English in a newly commissioned translation by Amanda Holden, and Clara Schumann's 'Three Romances, Op.11' in this special performance at Pallant House Gallery.

Tickets £15 (unreserved).

Public booking opens 4 May. Booking details in the Southern Cathedrals' Festival leaflet available from the Cathedral office (01243 782595) or visit www. southerncathedralsfestival.org.uk

Art + Science Saturday Sat 20 March, 10am–5pm Part of National Science and Engineering Week, the Gallery explores the fascinating link between art and science. There will be a chance to meet artist Jeremy Gardiner and experience the natural sciences through his 'Purbeck Light Years' interactive multimedia projection, learn about the Gallery's unique geo-thermal heating and cooling system generated by piles buried deep beneath the Gallery's basement, and children can take part in a special art and science workshop in the studio. (see page 54 for details).

Special Events Free Open Day Sat 15 May Celebrating Museums at Night 2010, the Gallery opens its doors for free for the day, and offers a tour of the Collection, and free coffees provided by De'Longhi, the Headline Sponsor. Free

Short Course The Art Lunch: Ben Nicholson and St Ives Thurs 29 April, 10.30am–2.15pm Continuing with the popular art history adult learning programme, this one day short course introduces the radical and influential Ben Nicholson who played a significant role in the modern movement in Britain. An illustrated talk is followed by a private lunch and tour, and a discussion of Nicholson's works in the Gallery. £55 (Friends £48)

What's On

Exhibition Tours Curator's Tour: John Tunnard Sat 24 April, 11am and Weds 2 June, 2.30pm Join the Curator for a personal insight into the artworks on display in 'John Tunnard: Inner Space to Outer Space' exploring the artist's development and influences, and focussing on highlights of the exhibition. £8 (students £4.50) St Ives and Beyond Weds 14 April, 12pm An in-depth look at the drawings, paintings and sculptures produced by this group of artists including: Ben Nicholson, Barbara Hepworth, Alfred Wallis, Christopher Wood, Peter Lanyon, William Scott and Terry Frost. £8 (students £4.50) The Search for the Real Fri 7 May, 12pm A guided tour exploring how figurative artists from Sickert through to Auerbach have approached the human form. £8 (students £4.50)

Collection Highlights Tours The perfect introduction to the Pallant House Gallery collections: a free tour led by knowledgeable Gallery Guides.Every Saturday at 2pm. Please meet at reception.

Free with Gallery admission.

No booking required.

Tickets 01243 774557 (Booking Required)

Thursday Evening Tours Thursday Evening Themed Tours Discover a new perspective on familiar works with a themed guided tour every Thursday at 6pm. Please meet at reception.

Free with Gallery admission.

No booking required.

Collectors and Collecting 15 April / 3 June The Gallery's permanent collection stems from a handful of individual's private collections. Learn who the collectors were, what and why they collected, and how the works came to reside at Pallant House Gallery.

Portraits: Image and Identity 4 March / 22 April / 10 June Who are the people whose portraits hang on the walls of the Gallery? Why where they painted?

From nudes to the buttoned-up 18th century aristocrats, explore the people behind the paintings.

Creative Liaisons 11 March / 29 April / 17 June True stories of love, friendship, affairs and liaisons can all be found in the personal stories of the artists in the Collection. Find out how these relationships inspired.

Landscapes and Modernity 18 March / 6 May / 24 June From the romantic to the abstract, the idea of landscape has changed over time. Discover how different artists have responded to this time honoured theme.

Still Life: The Language of Objects 25 March / 13 May / 1 July Fruit, vases and mirrors: the humble still life always reveals more than first appearances. Explore how still life has been used a vehicle for artistic innovation from traditional symbolism to Cubism and Pop Art. The Eighteenth Century House: Fine Arts and Furnishings 1 April / 20 May Learn about the history of Pallant House: one of the best examples of a Queen Anne townhouse in the country, and explore highlights from the historic collection including artworks by Hogarth, Romney, the Smith Brothers and the Bow Porcelain Factory.

Pop Art and the Swinging Sixties 8 April / 27 May A chance to find out more about the revolution in society in the 1960s heralded by British Pop Art, including iconic works by Peter Blake, Patrick Caulfield, Richard Hamilton and Eduardo Paolozzi.

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What's On

Tickets 01243 774557 (Booking Required)

Sunday Art Classes A programme of workshops based on the collections and led by artists experienced in traditional art techniques.

Please bring your own art materials, as specified. Book early. £9 per person. Life drawing classes: £12.50 per person inclusive of £3.50 model charge.

Life Drawing Sun 7 March, 1–4pm Artist: Sue Halloway This workshop will relate to selected works in the figurative exhibition 'Search for the Real'. We will make use of diverse techniques ranging from expressive charcoal drawing to the use of a precise line.

Materials: Bring a range of materials of your choice and, if possible, a fine line pen and good quality paper.

Life Drawing Sun 25 April, 1–4pm Artist: Irina Brzeski Learn how to approach the figure in a new way. Based on the exhibition 'Search for the Real', find out how to create and use a searching line. A searching line aids sizing, structure, proportion and placement of the figure, and enables it to become part of a harmonious whole.

Materials: Bring a selection of pencils, erasers and good quality A2 paper.

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Susie MacMurray, Galdrags, Presented by the Artist (2008), © Susie MacMurray

Two-colour Intaglio Printmaking Sun 16 May, 1–4pm Artist: Susan Ryland Inspired by the stylized, figurative prints of Julian Trevelyan, you will experiment with two colour intaglio printmaking using drypoint (scratching into the surface of the plate) to create striking contrasts between expressive lines and subtle blocks of colour.

No previous experience required.

Materials: All materials will be provided.

What's On

Artwork of the Month Workshops For adults and students Please book early as places are limited. Participants need to bring their own art materials, as specified. £6 per person (plus a £3.50 model charge where applicable.)

'Gladrags' by Susie MacMurray Weds 31 March, 1–3pm Artist: Deborah Harwood.

Explore creating different textures on textiles. From a bubble effect to crinkling and lots more in between!

You will then be able to use these methods in quilting, cushion making or a beautiful picture.

Materials: All materials will be provided.

'China Dogs in a St Ives Window'

by Christopher Wood Weds 28 April, 1–3pm Artist: Jenny King Explore hidden shapes lost in pattern. We will look at textile design and use a limited colour palette.

Materials: Please bring watercolour paints and either good quality cartridge paper or watercolour paper.

Tickets 01243 774557 (Booking Required)

'The Absentee Pig'

by Julian Trevelyan Weds 26 May, 1–3pm Artist: Suzie Darcel Explore colour, tone and texture and create small, vibrant images using monoprint and drypoint (scratching into the surface of the plate) printing methods. You'll be working from a simple photomontage composition that you will make as part of the workshop.

Materials: Bring your own oil paints, if you have them, plus mark making materials and any images you would like to include in your photomontage.

'L'Engrenage Rouge'

by Fernand Léger Weds 30 June, 1–3pm Artist: Louise Bristow Working directly from a still-life set-up based on Leger's painting, we will be experimenting with the versatile and bold technique of monoprinting. Further colour and/or detail will be added by overworking the prints (once they are dry) using watercolour, acrylic paints and pastels.

Materials: Bring pencils, pastels, water-based paints and good quality, white A3 cartridge paper. All monoprinting materials will be provided.

SameSky Family Workshop Contact Heather Fray for booking (01243 576227) Piñatas, masks and kites Sat 5 / Sun 6 / Sat 12 / Sat 19 June, 10am–4pm Artists: Antonio Rodriguez/ John Varrah. A series of workshops in collaboration with Chichester Festivities and 'Same Sky' to create Mexican themed objects to parade though the streets of Chichester at this year's NEWS on 26th June. Part of the Surreal Friends programme of events. Free Aztec Drumming: Learn how to make music Mexican style!

Sat 5, Sun 6, Sat 12 June 10am–4pm Sat 19 June, 1–4.30pm (venue tbc) Artist: Alonso Mendoza Four workshops designed to teach you how to make music Mexican style! In collaboration with Chichester Festivities and NEWS and part of the Surreal Friends programme of events.

Free

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What's On Children's Saturday Workshops

Tickets 01243 774557 (Booking Required)

Children's (Ages 5–16) FREE Holiday Workshops

Young Artists FREE Workshops

Please book early as places are limited

Booking essential as places are limited

Booking essential as places are limited

£6 per child

Free

Free

The Science behind the Art 20 March, 10.15am–12.15pm Artist: Louise Bristow Calling all young scientists and artists! Come and make creative links between the two subject areas in an experiential workshop based on the exhibition of paintings

by John Tunnard and designed to tie in with National Science and Engineering Week. (Ages 8+)

Magical Landscapes Sat 3 April, 10.15am–12.15pm and repeated 2–4pm Artist: Janet Sang Make a secret shoe-box landscape based on a painting in the collection and light it using coloured filters and torches. (Ages 5–10)

Young Artists Workshops Sat 27 March, 24 April, 22 May, 10.15am–12.15pm A new series of workshops aimed at young artists inspired by the temporary exhibition programme.

Booking essential. Please go to www.pallant.org.uk for more information. (Ages 13+)

Satellite View of My World 15 May, 10.15am–12.15pm Artist: Jane Chitty If you could see down from the sky on your bit of the world, how would it look? Using geometric shapes paint your ideas the way Paul Feiler did when he painted Boats and Sea. (Ages 5–10) Surreal Worlds 29 May, 10.15am–12.15pm Artist: Derek Matthews Take inspiration from the exhibition of work by Julian Trevelyan.

Combine cut paper shapes and drawing to bring out the surrealist in you. Let your imagination fly and even incorporate text to create some very dreamlike imagery. (Ages 11–14)

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Easter Parade Tues 13 April, 10.15am–12.15pm

repeated 1.15–3.15pm Artist: Jane Moran A twist on Easter Bonnets: choose an artist from the collections and come and have fun making a hat in the style of your chosen artist. (Ages 5–16) All About You Tues 1 June, 10.15am–12.15pm repeated 1.15–3.15pm Artist: Ann Smith Using some of Peter Blake's ideas from his biographical portraits, we will create a story around a portrait of yourself using mixed-media.

Bring along any favourite images and a photo of yourself, if you have one. We will also provide images and other materials. (Ages 5–16)

Community Programme To find out more about the Community Programme please contact the Head of Learning.

Hans Feibusch Club Thurs, 2.30–4.30pm Free art workshops for Partners in Art and other community groups and individuals that require extra support. Please book early.

What's On Booking Form Please print and check all details carefully.

Incomplete forms and incorrect details will delay the processing procedure.

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We endeavour to accommodate any special requirements. Please ring 01243 774557 to discuss your needs.

Artists Open Houses The UK’s Largest Free Art Exhibition?

1,200 artists 240 venues Brighton & Hove 4 weekends 1 - 23 May 2010 See houses, flats, gardens and studios in and around Brighton, transformed into impromptu galleries, showing art and crafts of every description.

www.aoh.org.uk

Henry Moore Textiles Preview

Simon Martin, Curator and Anita Feldman, Curator of the Henry Moore Foundation (HMF)

Laura Robinson, Conservator (HMF), David Miles, Jennifer Harwood, Curatorial Assistant (HMF)

Chris Stephens, Curator at Tate and daughter

Richard Calvocoressi and Stefan van Raay, Director of Pallant House Gallery

Richard Calvocoressi, Director of the Henry Moore Foundation and Frank Dunphy

58 Charlotte Wainwright and Nigel Wainwright, De'Longhi

Danielle Lockwood and Friend, Ian Lockwood

Photographs by Jason Hedges

Artist's First Preview

59 Photographs by Maria Riese

'The Absentee Pig' by Julian Trevelyan (1943) Liz Walker

It is hard to imagine any painter, other than Julian Trevelyan (1910–1988), painting 'The Absentee Pig'.

It has an originality and quirkiness, combined with a feeling of enchantment which is almost child-like in its exuberance. He wrote: 'I had been looking at some Russian engravings of debtors escaping from creditors through chimneys. I painted several canvasses on the same theme. One, I remember, was called 'Poet escaping the Call-up'. I was then rather influenced by Chagall. I suppose the idea behind this painting is no more than that a pig in his sty longs for freedom, and that this is a kind of dream of his.'

In fact, the painting is rather more than this, for Trevelyan was a remarkable man – gregarious, enthusiastic and with a gift for friendship. But he was also capable of a deep despair and depression and such a time was when 'The Absentee Pig' was painted.

By the outbreak of the Second World War, Trevelyan had managed to pack more into his 29 years than most people pack into a lifetime. At Cambridge, he became interested in Surrealism, eventually deciding to abandon university and move to Paris to become an artist. Here, he enrolled in S.W. Hayter's Atelier 17, where he learnt the techniques of etching, and met Miro, Max Ernst, Giacometti, and Picasso.

He returned to London in 1934, buying Durham Wharf on the Thames the following year which remained his home and inspiration for the rest of his life. He shared it first with Ursula Mommens, the potter and then with his second wife, Mary Fedden, whom he married in 1951. In 1936, he exhibited at the International Surreal Exhibition, and a year later he became involved with Mass Observation, painting industrial scenes in Bolton and the Potteries. He said of this period that he 'found' himself as a painter', and was able to leave the 'various clichés of Surrealism and Abstraction' and 'to paint the things I cared about in the way I felt them.'

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Julian Trevelyan, Absentee Pig. 1943, On Loan from Chichester High School for Girls, © Estate of Julian Trevelyan

When war broke out he joined the Industrial Camouflage Unit and served as a camouflage officer with the Royal Engineers. Trevelyan was ideal for the job as it required imagination, ingenuity, originality – the pill box made to look like a ruined cottage, the lorry transformed into a tank. But in truth, it was an alien way of life - he came from a pacifist background and had a detestation of things military. It was in this spirit, surely, that he painted 'The Absentee Pig', for it was not only the pig that longed for freedom but he himself who longed to be free of the army and its constraints.

Shortly afterwards, he was invalided out of the army and was able to pick up the threads of his former life.

As a painter, etcher and lecturer he continued to give lasting pleasure and delight to all those who saw his work.

Exhibition Julian Trevelyan: Centenary 10 May–13 June 2010 Talk Artwork of the Month: 'The Absentee Pig' by Julian Trevelyan Weds 26 May, 12pm

Modern Prints featuring works from the St Ives School Tuesday 25 May at 1pm Knightsbridge Invitation to consign We are currently accepting consignments for our sale of Modern Prints featuring works from the St Ives School, to include works by Wilhelmina Barns-Graham, Terry Frost, Naum Gabo, Barbara Hepworth, Patrick Heron, Roger Hilton, Peter Lanyon, Ben Nicholson, Victor Pasmore, William Scott, John Wells and Bryan Wynter.

Closing date for entries: Monday 12 April For further details and valuations, please contact the Print Department.

Enquiries Robert Kennan +44 (0) 20 7468 8212 robert.kennan@bonhams.com Tabitha Philpott-Kent +44 (0) 20 7468 8262 tabitha.philpottkent@bonhams.com Illustrated: Terry Frost (British, 1915-2003) Red on Yellow Rhythm Screenprint with Collage Estimate: ÂŁ700 - 1,000 Bonhams Montpelier Street Knightsbridge London SW7 1HH www.bonhams.com/prints www.bonhams.com