Howard Jacobson: Flesh - ACiD - University of the West of England

ISSN 2044-2653
Howard Jacobson: Flesh
David
Inshaw RWA
// Rural
Dreamer
// Alberto
Giacometti
In the Studio
// Ken Howard
BackChat
// Sir
Christopher
Frayling
03 Winter
2010 £4

Contributors
// Richard Storey took a BA
Honours degree in Drama from
Bristol University (2006). He worked
for the Bristol Evening Post for
12 years and is author of Perfect
Persuasion. He is a former Board
member of Bristol Arts Centre
and Travelling Light Theatre
Company.
// Jilly Cobbe has a degree in Fine
Art Drawing and is a practicing
artist living near Stroud. She has
a life-long fascination with the
history of art, especially the artist
behind the art.
// Cliff Hanley was born in
Glasgow, where he studied at
Glasgow School of Art. He later
took up design and writing
as a sideline to a career in music.
Gave up guitar session work in
London to return to painting
and more recently, writing.
// Michael Liversidge was
Head of History of Art and
Dean of the Faculty of Arts at
Bristol University. He co-curated
‘Canaletto and England’ for
Birmingham City Art Gallery
and ‘Imagining Rome:
British Artists and Rome
in the Nineteenth Century’
for Bristol City Art Gallery.
// Tristan Pollard is a Senior
Front-of-House Assistant at the
RWA where he has worked for
twelve years. He studied Fine Art
to Foundation level and has also
worked for the civil service and
Bristol Museum. A keen writer
and occasional artist, he lives in
Bristol with his wife and son.
// Jodie Inkson’s obsession with
typography began at school when
she painstakingly hand cut every
letter of a project. Climbing the
design ranks in London, she formed
Wire Sky in 2003, winning awards
and a position in Who’s Who. She
sees her beloved modernist chairs
as art, not sure whether she prefers
sitting on them or looking at them.
// Peter Ford is Vice President
of the RWA. He has travelled widely
to art events and exhibitions
where his etchings, woodcuts
and paperworks have been shown.
Since 2004 he has organised five
exhibitions for the RWA including
the 2009 Open Print Exhibition
and ‘Celebrating Paper’ in
January 2010.
// Alice Hendy studied Fine Art
at Exeter College, learning to use
photography to capture ideas and
document her work at Kingston
University, where she studied
Sculpture. Alice has always
loved cameras – her current beau
is a Canon D500; it makes her
heart sing.
// Hugh Mooney is an art
photographer and recently studied
Fine Art at the University of the
West of England. A physicist by
profession, he spent 30 years
in the aerospace industry prior
to retiring in 1998. A camera
is his constant companion.
// Nicky Stone is a ceramicist
based in Falmouth. She makes
‘exquisite female figures’ from
porcelain clay using her own
body as a reference. The figures
are celebratory and refer to
ancient archetypal depictions of
Goddesses and Queens. Nicky is
a mother of sons and sometimes
a teacher.
// Simon Baker is an RWA
Trustee and a solicitor on the
cusp of celebrating 40 years in
practice. An avid enthusiast of
the visual arts since discovering
that books with “pictures and
conversations” were the best,
he is too much of an impulse
buyer to qualify as a collector.
// Francis Greenacre was Curator
of Fine Art at Bristol Museum
and Art Gallery from 1969 to
1997. Together with Douglas
Merritt he has just completed
Public Sculpture of Bristol which
will be published by Liverpool
University Press January 2011.
// Ali Heywood works as a
costumier and theatre designer
and is passionate about the value
of the Arts to bring about change,
particularly for young people.
Ali is a founding member of
Stand+Stare Collective who create
interactive and immersive theatre
performances.
// Kate Morgan is the RWA
Exhibitions Manager. After
completing a History degree
and an MA at the University of
Bristol, she has worked in the
cultural sector for the last ten
years. Beginning in the world
of museums, she moved into the
realm of visual arts six years ago.
// Sheila Yeger has written
extensively for stage, radio and
television. She is at present in
the second year of the Diploma in
Art and Design at Queens Road,
Bristol. When not writing plays
or making Art, she can be found
wild swimming, or dancing the
Argentinian Tango.
What a pot pourri of delights
awaits the reader of this, our third
issue of ART.
Repressed sex is the subject
of Simon Baker’s illuminating
interview with Man Booker
prize winning novelist, Howard
Jacobson, who celebrates the way
Victorian artists depicted the
frustration of non-consummation
in their shockingly fleshy
paintings.
Alberto Giacometti’s sticklike
sculptures are well known.
Less well known is the story of
his life-long association with the
Fondation Maeght in Saint-Paul
de-Vence. Adrien Maeght shares
with us memories of his teenage
years, living and working among
some of the most seminal artists
of the post-war years.
Signs of regeneration are in
Francis Greenacre’s sights. Shop
signs, that is. Once a visual aid
to the illiterate in late medieval
and eighteenth century shopping
streets, gloriously eccentric metal
signs are now creeping back onto
Bristol’s streets. Go seek them out.
David Inshaw RWA is one
of Britain’s best recognised
artists, highly regarded for the
powerful intensity of his English
landscapes. Tristan Pollard met
rural dreamer Inshaw to explore
what it is that informs Inshaw’s
elemental, brooding and highly
charged images.
As if this isn’t enough,
we round off with equally
revealing meetings with surreal
photographer, Hannah Starkey;
master of the studio nude, Ken
Howard; and some pithy BackChat
from Sir Christopher Frayling.
Richard Storey
Managing Editor
art
Summer 2010
1

EDITORIAL
Publisher
Royal West of England Academy
Managing Editor
Richard Storey
Art Director
Jodie Inkson – Wire Sky
Editorial contributors
Simon Baker, Jilly Cobbe,
Peter Ford, Francis Greenacre,
Cliff Hanley, Ali Heywood,
Michael Liversidge, Hugh Mooney,
Tristan Pollard, Gregory Reitschlin,
Nicky Stone, Sheila Yeger
Specialist photography
Alice Hendy
RWA news
Kate Morgan
kate.morgan@rwa.org.uk
Academicians’ news
Louise Holt
louise.holt@rwa.org.uk
Friends of the RWA news
carolyn.stubbs@btinternet.com
ADVERTISING
Anouk Mercier
t: 0117 973 5129
e: anouk.mercier@rwa.org.uk
Leza Jagroop
e: leza.jagroop@gmail.com
t: 07770 888 456
COPY DEADLINE
Spring 2011 issue: 28 January
FRIENDS OF THE RWA
Friends annual subscriptions
Single £25
Joint £36
Individual life £375
Joint life £500
Student £13
Country single £20
Country joint £30
See membership application form
page 43
Royal West of England Academy,
Queens Road, Clifton, Bristol BS8 1PX
t: 0117 973 5129
General enquiries e: info@rwa.org.uk
Magazine e: richard.storey@rwa.org.uk
Registered Charity No 1107149
The opinions in this publication do
not necessarily reflect the views of the
Royal West of England Academy. All
reasonable attempts have been made to
clear copyright before publication.
To read an electronic version of ART,
or to visit the RWA online:
www.rwa.org.uk
Follow us on Facebook and
twitter.com/rwabristol
ART is printed by WPG on sustainably
sourced FSC certified paper using
vegetable inks. www.wpg-group.com
Inside
Cover
Detail from David Inshaw’s Goldfinches 2003/4
oil on canvas 91 x 91cm.
Editorial, Contributors 1
Exhibitions 4 & 5
Diary – events, lectures, workshops, tours 6 & 7
RWA news 9
Academicians’ news 12
Flesh: eroticism, prudery & British art 16
Simon Baker meets novelist Howard Jacobson to discuss
his programme, Flesh, made for the Channel 4 series:
‘The Genius of British Art’.
Rural Dreamer: David Inshaw RWA 21
Tristan Pollard and photographer Alice Hendy visit
Academician David Inshaw at his Wiltshire studio
for this exclusive interview.
Signs of Regeneration 26
Francis Greenacre celebrates the return of Bristol’s
three dimensional shop signs.
Giacometti and the Fondation Maeght 30
Adrien Maeght remembers his post-war upbringing
among the Surrealists.
Portrait of the Artist: In search of Gwen John 34
Writer Sheila Yeger re-visits her play Self Portrait,
about the life and times of Gwen John.
Close-up: Hannah Starkey 36
Hugh Mooney interviews one of Britain’s most influential
artist-photographers of contemporary life.
Inside the artist’s studio: Ken Howard OBE RA RWA 38
Richard Storey and photographer Alice Hendy visit Ken Howard,
“last of the Impressionists”, at his London studio.
Friends of the RWA notes and news 41
Letters, Reviews 44 & 45
Listings 47
BackChat: Sir Christopher Frayling 48
art
Winter 2010
3

Exhibitions
Matisse:
Drawing
with Scissors
Methuen and Milner
Galleries
8 January – 6 February
The French painter, sculptor
and designer, Henri Matisse
(1869-1954) was one of the 20th
century’s most influential artists.
His vibrant works are celebrated
for their extraordinary richness
and luminosity of colour. Matisse:
Drawing with Scissors, features 35
lithographic prints of the famous
cut-outs, produced in the last four
years of his life, when the artist was
confined to his bed, and includes
many of his iconic images, such
as The Snail and the Blue Nudes.
Main Galleries
4 art
Winter 2010
Inside-Out
Sharples, Winterstoke
and Stancomb Wills
Galleries
8 January – 8 February
Inside-Out: a cross discipline
exhibition from Jamaica Street
Artists highlighting their
vibrancy and diversity. We
showcase a number of emerging
and established artists, and
ex-studio members who have
gone on to achieve international
success. By feeding the public’s
intrigue and fascination with the
studio’s secret world of creativity
it recreates the artistic cycle of
evolution, generating a feeling
of movement and dynamism that
mirrors the RWA’s first steps
into the new-year and exciting
changes in its programme.
A series of talks, workshops and
screenings will be delivered in
conjunction with the exhibition.
Please see the RWA website.
Open
Photography 2
Main Galleries
20 February – 5 April
After its success in 2008,
the RWA Open Photography
returns this spring. With over
400 photographs on display by
amateurs and professionals alike,
this exhibition has something
for everyone. The work on display
will be truly wide-ranging, from
the controversial and provocative
to the traditional and serene.
Invited artists include Barry
Cawston, Richard Cox and Sachiyo
Nishimura. For more information
on submitting please email
openphotography@rwa.org.uk.
Association of
Contemporary
Jewellery
City
26 November – 24 December
Free of charge
ACJ Bristol and invited guests
return to the RWA with a selected
exhibition of challenging new
work exploring the human scale
in a city perspective and the urban
environment.
Glo Williams RWA
6 January – 2 February
Free of charge
Glo’s effervescent work kick
starts the New Year in the New
Gallery with a colourful, lively
exhibition of figurative paintings
and drawings covering a variety
of subjects and media. This
Bristol artist will be pushing the
boundaries on recurring themes
such as her ever popular florals.
Sebastian Smith
Bringing it all Back Home
5 February – 2 March
Free of charge
Ex Bristol artist working in
Provence returns after 14 years
with a new series of abstractions
that continue to deal with his
exploration of the horizon as a
necessary hinge between reality and
spirituality. Works will include a
8m panel worked in situ. See Diary.
Abigail McDougall
Art for Sustainable Transport
5 March – 6 April
Free of charge
Art for Sustainable Transport
features landscapes and cityscapes
reached by sustainable means:
walking, cycling or by train. Held
in conjunction with the charity
Sustrans we show sumptuous
new watercolours and oils. Artist
led watercolour workshops will
be taking place during this show.
Please see the RWA website.
Selected But
Hung Later
16 January – 15 February
Free of charge; all works for sale
The standard of work submitted
to the Friends Annual Exhibition
was high and the selectors
– Anne Hicks RWA, Peter Swan
RWA and Patrick Daw RWA –
chose more works than we could
hang in the space. This Selected
But Hung Later exhibition is
the result.
Of equal calibre to the high
standard of work shown in our
Friends Annual Exhibition we are
sure that this show will provide
a great start to the New Year.
New Gallery Friends Room
art
Winter 2010
5

ROYAL WEST OF ENGLAND ACADEMY
Patron
Her Majesty the Queen
Board of Trustees
Chairman
Dr Norman Biddle HON RWA
Honorary Treasurer
Bob Barnett
Trustees
Simon Baker
Elizabeth Boscawen
Jennifer Bryant-Pearson
Stewart Geddes RWA
Simon Quadrat PRWA HON RA
Paul Wilson
President
Simon Quadrat PRWA HON RA
Immediate Past President
Derek Balmer PPRWA
Past Presidents
Peter Thursby FRBS PPRWA
Leonard Manasseh OBE RA FRIBA
FCSD PPRWA
Mary Fedden OBE D LITT RA PPRWA
Bernard Dunstan RA PPRWA
Academicians’ Council
President
Simon Quadrat PRWA
Vice President
Peter Ford RE RWA
Honorary Architectural Advisor
Michael Jenner FRIBA FRSA RWA
Council Members
Professor Paul Gough PHD MA
FRSA RWA
Margaret Lovell FRBS RWA
Peter Swan RWA
Director
Trystan Hawkins
Facilities Manager
Nick Dixon
Gallery Assistant
Ben Harding
Senior Front of House Assistant
Tristan Pollard
Senior Front of House Assistant
Lorraine Guest
Creative Apprentice
Ben Giles
Exhibitions Manager
Kate Morgan
Exhibitions and Collections Officer
Louise Holt
Acting Membership
and Events Manager
Anouk Mercier
Marketing and PR
Louisa Davison
Front of House Assistants
Annabel Page
Joe Tymkow
Adam Hancher
Accountants
Hollingdale Pooley
Royal West of England Academy
Queens Road, Clifton, Bristol BS8 1PX
6 art
Winter 2010
December
// Saturday 4th
2pm
158 Autumn Exhibition
Gallery Tour
Led by John Eaves RWA. Free with
exhibition admission fee.
// Saturday 11th
2pm
158 Autumn Exhibition
Gallery Tour
Led by Trevor Haddrell RWA.
Free with exhibition admission fee.
January
// Saturday 8th
2pm
Inside-Out Gallery Tour
Led by Vera Boele-Keimer from
Jamaica Street Artists.
Free with exhibition admission fee.
// Sunday 9th
3pm
Matisse Gallery Tour
Led by Kate Lynch RWA.
Free with exhibition admission fee.
// Saturday 15th
2pm
Inside-Out Gallery Tour
Led by Andrew Hood from Jamaica
Street Artists. Free with exhibition
admission fee.
3 – 4pm
JSA Artist Talk –
Vera Boele-Keimer
and Jan Blake
© Max McClure
Free of charge, to book call 0117 973
5129. Jan’s sculptural installations
are concerned with light, movement
and transformation. Jan will create
new work in response to the RWA’s
majestic sense of space. Vera’s
abstract paintings demonstrate a
fascination with natural processes
and structures. Jan and Vera offer
an in-depth look at their practice.
See www.veraboelekeimer.co.uk
and www.janblake.co.uk.
// Sunday 16th
2 – 3pm
Colour in the Home
– An Inspirational Talk
by Joa Studholme
RWA Fedden Gallery £10 (£8
for RWA Friends), includes tea/
coffee and exhibition entrance
fee. To book please call the RWA
Reception on 0117 973 5129.
See colour in a new light with this
illustrated talk by Joa Studholme,
International Colour Consultant
to paint and wallpaper specialist,
Farrow & Ball. Learn how to create
the perfect scheme by developing
your knowledge of colour families,
paint finishes and wallpaper.
www.farrow-ball.com
3pm
Matisse Gallery Tour
Led by Janette Kerr RWA.
Free with exhibition admission fee.
// Saturday 22nd
2pm
Inside-Out Gallery Tour
Led by Rachel Milne from Jamaica
Street Artists. Free with exhibition
admission fee.
2 – 5pm
Food Illustration
Workshop with
Emma Dibben
RWA Fedden Gallery £15 per
person (including entrance to
exhibition and materials). To book
please call 0117 9735129. Food
illustrator Emma Dibben’s handson
workshop covers drawing
techniques, colour theory, and a
demonstration in painting with
gouache, providing an opportunity
for everyone to produce their own
vegetable painting. Emma’s work
can be seen gracing the pages of
many well-known publications.
See www.emmadibben.com.
// Sunday 23rd
3pm
Matisse Gallery Tour
© Max McClure
Led by Lucy Willis RWA.
Free with exhibition admission fee.
// Thursday 27th
7pm
Bill Viola: The Eye
of the Heart (2004)
A film by Mark Kidel, A Calliope
Media Production in association
with BBC and ARTE France,
60mins RWA Fedden Gallery £6
per person (including exhibition
entrance fee). To book please call
0117 9735129
// Saturday 29th
11am – 12.15pm
Friends Lecture
Threads of History:
The World of the
Bayeux Tapestry
Coffee and refreshments 10.15am.
£6 (visitors £8)
Rupert Willoughby is a historian
who specialises in the domestic and
social life of the past and author
of the best-selling ‘Life in Medieval
England’. Commissioned by the
Bishop of Bayeux who fought at
Hastings, and executed by skilled
English craftsmen, the Bayeux
Tapestry is the last survivor of a
vanished art form. In this illustrated
talk Rupert will present a lively
introduction to the tapestry in which
he unravels some of its mysteries
and places it in the context of its age.
2pm
Inside-Out Gallery Tour
Led by Anthony Garratt from
Jamaica Street Artists. Free with
exhibition admission fee.
// Sunday 30th
10am – 12 noon
Bristol Drawing School
Life Drawing Class
£10, materials provided. A unique
opportunity to draw from life in
the stunning RWA Main Galleries,
taught by artist Carol Peace from
the Bristol Drawing School www.
drawingschool.org.uk
3pm
Matisse Gallery Tour
Led by Heather Maclennan RWA.
Free with exhibition admission fee.
February
// Saturday 5th
10am – 1pm
Character Design for
Children with Tom Plant
and Leah Heming
RWA Fedden Gallery. Free of
charge however booking is
essential. To book please call
0117 9735129. Professional
illustrators and character
designers Leah Heming and
Tom Plant work in the world
of children’s publishing, comic
books and animation. Today they
introduce the basics of character
design with games and drawing
to inspire the group to produce
expressive and interesting visual
characters that they could use
for their own stories. See www.
tom-plant.com and www.leahheming.com.
11 – 5pm
Painting in-situ
– Sebastian Smith
The New Gallery RWA.
Admission free. As a prelude to
his exhibition ‘Bringing it all
Back Home’, Sebastian Smith
will be putting himself under
pressure to complete a painting
8m x 2.5m in 6 hours.
12 – 4pm
Bristol Drawing Club
at the RWA
Join the Bristol Drawing Club
for an afternoon of free drawing
activities and workshops around
the RWA galleries. Please
visit www.bristoldrawingclub.
blogspot.com for more
information on the Bristol
Drawing Club.
// Thursday 24th
6pm
The Making of
Landscape Photography
A talk by
Charlie Waite
£6 per person. Please call the
RWA to book your place
0117 973 5129. Widely revered
internationally as the doyen of
English landscape photography,
Charlie will be using the RWA
Open Photography as a starting
point to discuss the making of
landscape photography.
// Saturday 26th
11am – 12.15pm
Friends Lecture
Masterpieces
of the Twentieth Century
Coffee and refreshments
10.15am. £6 (visitors £8)
Professor Anthony Slinn studied
at Liverpool College of Art, spent
30 years teaching and then set up
his ‘Roadshow’ in 1983 to share
his enthusiasm for Art and artists
giving around 200 presentations
a year. Now that we are no longer
in the 20th century we can stand
and look back. Anthony chooses
a major work from each decade,
taking us through a fascinating
variety of artists and genres,
including Cubism, Sutherland,
Lichtenstein and Warhol.
2pm
Open Photography 2
Gallery Tour
Led by Dr Blu Tirohl, member
of the selection committee. Free
with exhibition admission fee.
The RWA is pleased to be
working in partnership with
Bristol Festival of Photography
this year. The RWA and BFOP
will be hosting a number of
exciting workshops and talks
during the show. For more
details please keep an eye on the
RWA website www.rwa.org.uk
or visit http://bfop.org
2011
March
Diary
December
// Tuesdays 1st
/ 8th / 15th / 22nd
10.30am – 12.30pm
Events, Lectures
Workshops, Tours//
How to get the best out
of your digital camera –
Stephen Morris
RWA Fedden Gallery. £50 per
person (£40 for RWA Friends).
To book please call 0117 973
5129. A four-week course with a
practical, need-to-know approach
to overcoming the technology
and making it work for you
creatively. A laptop with photoediting
software is desirable
but not essential.
// Friday 4th
7pm
RWA Annual Dinner
and Auction
A limited number of tickets
are now available. For more
information, or to purchase
a ticket, please contact Anouk
Mercier on 0117 973 5129 or
at anouk.mercier@rwa.org.uk
// Saturday 5th
Registration
10am – 12 noon
Photo Marathon 2011
£7 in advance, £10 on the day.
Don’t worry, there’s no running
involved. The event is a day to
challenge you to think creatively,
meet new people and have some
fun. Each entrant will receive a
disposable camera and a list of
topics to capture. This event
will be run by Second Look.
For booking information
please visit www.bfop.org or
www.secondlook.org.uk
2pm
Open Photography 2
Gallery Tour
Led by Peter Ford RWA.
Free with exhibition admission fee.
// Saturday 19th
2pm
RWA Friends AGM
2pm
to March
Open Photography 2
Gallery Tour
Led by Tamany Baker, member
of the selection committee. Free
with exhibition admission fee.
// Saturday 26th
11am – 12.30pm
Talk by Tamany Baker
Photographer and member of
the selection committee for Open
Photography 2.
2 – 2.30pm
A Series of Portfolio
Review Sessions with
Tamany Baker
Both events free of charge;
booking is essential. Please book
online at www.bfop.org.
Running throughout this period
will be the RWA Art History Day
Schools. Please keep an eye on the
RWA website for more details or
sign up through the Latest News
page to receive information.
April
// Saturday 2nd
11am – 12.30pm
Film Photography in
the Digital Age – Martin
Edwards
Personal views on the use of
silver-based and alternative
photographic processes plus a
look at analogue photography
and processes from a selection
of local photographers.
2 – 2.30pm
Colour Management
– Andy Johnson from
Calumet
Join Andy Johnson who will be
discussing colour management
from a photographer’s perspective.
Learn how to maximise the
potential of your images and use
colour profiles to prepare images
for printing.
Both events RWA Fedden Gallery,
free of charge; booking is essential.
Please book online at www.bfop.org.
art
Winter 2010
7

Practice
based
master
classes
8 art
Winter 2010
Introducing
the RWA’s new
programme of
master classes
Painted Land
Stewart Geddes RWA
Monday 18 – Wednesday 20 April 2011
Stewart Geddes, until recently Head of Painting at Cardiff
School of Art and Design, looks at developing landscape
painting as an equivalent to experience and sensation:
an extension of observation.
Revised Impressions
Peter Ford RE RWA IAPMA
Monday 11 – Wednesday 13 April 2011
Chance and risk-taking as routes to new images in etching,
relief printing and constructing collagraphs. Includes
printing without a press and an introduction
to bookplate design.
Arts School 9.45am – 5.00pm: £150/£90 (conc) per person
(£10 materials supplement for the printmaking course).
Hotel discounts available. Please call 0117 973 5129.
Hold your special event and entertain your
guests in the magnificent RWA building,
with exhibitions acting as a unique backdrop.
The galleries offer a flexible space and full
facilities which can be tailored to suit your
event, from day-time business meetings
to evening functions for up to 400 people.
Hire costs from £150 to £2000 per event.
Contact Anouk Mercier on 0117 973 5129
or at anouk.mercier@rwa.org.uk
Open Photography
Exhibition
20 Feb - 5 Apr 2011
A call for work with
contemporary approaches
to photography in art
and artwork involving
photographic processes.
Royal West of England Academy
Queen's Road • Bristol BS8 1PX
0117 973 5129
w w . w r g.uk w a . o r
• Award ceremonies
• Receptions
• Weddings
• Conferences
• Lectures
• Dinners
CALL FOR ENTRIES
For further information on submitting
please email your details to: openphotography@rwa.org.uk
Hire the RWA Galleries
for your special event
// RWA Director: Trystan Hawkins
Where there’s
a will...
I have been in post for over three
months, getting to know everyone,
finding out more about the RWA
and developing our future plans.
Soon, the RWA will have a new café,
improved physical access and dedicated
spaces for younger people, bringing
more visitors than ever into this
prestigious building.
We have also been refining our plan
to upgrade our galleries in order to
exhibit work from collections which
to date, we have been unable to show.
I’m seeking new ways to involve
artists at different stages in their
careers through a number of innovative
membership initiatives which I will be
announcing in February.
Finally, I have been looking at
safeguarding the future of the RWA
for generations to come:
158 Autumn Open Exhibition // visitors thoughts
There’s a lot
of work here
that I really,
really like.
A friend and I
were playing
the game of:
which one
would you
have most
liked to have
done, and
which would
you most like
to take home
and she chose
the same
painting for
each category.
I haven’t
decided yet.
Sophie
Howard:
Sculptor, 53
I think it’s
very good
and I like the
ones that have
meaning.
I like the
drawing
(by Helenka
Janeckova)
I also like the
painting with
the robots
and the cities,
showing how
much they are
developing.
Jonjo Cordy:
Student, 11
Some
very good
stuff here,
surprisingly.
Much better
than some
of the Opens
I’ve attended.
More quality
work, and
much more
work on show.
I just wish I
had the dosh
to buy it and
the space to
hang it.
John
Callaghan:
Artist, 59
Two extraordinary ladies... one RWA
Without the foresight and generosity
of Ellen Sharples and Augusta Talboys,
the RWA may never have gained such
a prestigious building or extensive
permanent collection.
In 1849 Mrs Sharples left a gift in her
will allowing the RWA to start building
its beautiful galleries. In 1941 a gift in
the will of Mrs Talboys set up a fund to
allow the RWA to buy work each year to
build its collection.
Today, you can help the RWA with a
gift in your will. Any size of gift will help
bring the most talented visual artists into
the daily lives of the people of the West of
England. It will mean that your children,
grandchildren, and even their children
will be inspired to come back again
and again.
Find out more about leaving a legacy
by contacting Anouk Mercier:
0117 906 7600 anouk.mercier@rwa.org.uk
I think the
158 RWA
Autumn Open
Exhibition is
better than
the 157.
I like (no 71)
I think it’s
well worth
£1200.
It’s very
enigmatic;
reminds me
of Giacometti.
I might buy it.
Corinne
Fitzpatrick:
Architect, 46
I really like
this year’s
show, one of
the strongest
for the past
few years.
There are
plenty of
strong works
to see, in
all kinds
of mediums.
I’ll have to
come back
and spend
more time;
it’s impossible
to see
everything
in one visit.
Merhrdad
Bordbar:
Artist, 27
Launch of the RWA
Patrons Scheme
2011 will see the launch of the RWA Patrons
Scheme (formerly the RWA Benefactors
Scheme). Patrons can support the RWA at
different levels, with a choice of three types of
membership: Silver, Gold and Platinum. As well
as priority access, Patrons will benefit from
a range of exclusive opportunities, including
enjoying relationships with key movers and
shakers of the RWA and a bespoke programme
of events.
Leading on from Benefactors, our Patrons
will continue to play a vital role in supporting
the realisation of projects and events at the
RWA and, in doing so, ensure the success
and growth of the Academy. As work begins
on new and exciting projects, including the
introduction of climate controls in the Main
Galleries, the development of a new Education
Programme and the building of the new café,
it is more than ever an exciting time to become
an RWA Patron.
If you are interested in becoming a Patron,
or to find out more information about the
scheme, please contact Anouk Mercier:
t: 0117 906 7600 e: anouk.mercier@rwa.org.uk
I was here
last year and
this show
is so much
more vibrant.
When I came
in, I could
immediately
feel the
difference;
the work
seems to have
been hung
very carefully.
My work was
hung last
year, and this
year. I shall
return to see
more of the
show.
Helenka
Janeckova:
Artist, 31
I really like
the artwork
but some
of them I
don’t really
understand.
I like quite
a few of the
sculptures
and the
painting
of the trees
shown from
a distance.
Lydia Ness:
Student, 11
I’ve been
coming
here for ten
years and
I think it’s
particularly
excellent this
year. More
modern, quite
a lot of Cubist
work. Overall
though, it’s
too eclectic
and difficult
to take in all
the styles
on show. It’s
great to be
able to buy
work as well.
Paul Wild:
IT specialist,
42
art
Winter 2010
9

10 art
Winter 2010
A N E X H I B I T I O N
Drawing and painting courses
in a beautiful light, airy space
www.drawingschool.org.uk
BRISTOL’S JAMAICA STREET ARTISTS TAKE
OVER THE RWA ALONGSIDE THE LATE WORKS OF
THE MASTERLY MATISSE (1950-1954) CREATING
A DYNAMIC CONTRAST OF OLD AND NEW.
An eclectic exhibition including workshops, tours and talks
Private view 7th January 2011
Opens 8th January to 8th February 2011
AT THE ROYAL WEST OF ENGLAND ACADEMY
Queen’s Road, Clifton, Bristol BS8 1PX / 0117 973 5129 / www.rwa.org.uk
Also by Jamaica Street Artists
THEARTBOX
A unique Christmas pop-up shop and gallery
Opening night and private view 1st December 2010 6-9pm
Opens 1st December to 23rd from Wednesday to Sunday
11am-6pm and Thursday late nights 11am-9pm
31 COLLEGE GREEN, BRISTOL
FOR FURTHER INFORMATION
Please contact Jamaica Street Artists at
JSADEVELOPMENT09@YAHOO.CO.UK
39 Jamaica Street, Stokes Croft, Bristol, BS2 8JP
Outside the Studio
// Inside the Gallery
The RWA will be starting
the New Year with a bang,
celebrating the diversity and
creativity of Bristol based
artists in an exhibition entitled
Inside-Out. We have invited
studio group Jamaica Street
Artists to exhibit throughout
three of the galleries, running
alongside its exhibition of
Matisse’s découpage.
The exhibition displays
the heterogeneous nature
of Jamaica Street Artists,
paying equal respect to the
multitude of mediums and
disciplines housed within its
walls. Amongst the array of
painting, illustration, ceramics,
sculpture, photography and
film will sit several unique
installations, including plans
to recreate an interior space
from the studio. The proposed
replica will allow a different
artist to work from within
the RWA each day, taking the
With thanks
to our supporters:
friends
concept of the studio outside
its traditional sphere and
transplanting it into the very
public space of the gallery.
Inside-Out is strengthened
by an enlightening narrative
of Jamaica Street Artists
impressive history, from
its disparate beginnings
to the gradual formation
of its current coherent
identity. Highlights include
international art fair Retox,
its numerous Open Studios,
and 2009’s successful auction
and exhibition at Bristol City
Museum and Art Gallery.
An accompanying
programme of screenings,
talks and tours from some of
the studio’s well-known names
also provides an additional
insight into the secret life of
the studio, bringing the art
and exhibition to life. For more
information please visit the
RWA website – www.rwa.org.uk.
2008 marked a new
era at the RWA with
the galleries being
taken over entirely by
photographers for the
very first time. Due
to the popularity of
this exhibition it will
be returning in early
2011 with some new
exciting developments.
Over 400 works will be
displayed by amateur and
professional photographers
alike, producing an array
of colour and variety in the
RWA galleries. The works
will be chosen by a panel of
esteemed judges including
Dr Blu Tirohl (Senior
Lecturer in Photography at
UWE), Tamany Baker (1st
prize winner for ‘Fine Art –
Andrew Hood – Ashok Road, New Delhi
Open Photography 2
Conceptual and Constructed’
photography at the Sony
World Photography Awards
2009), Philip Searle (organiser
of the Bristol Festival of
Photography and owner of
Photographique), Trystan
Hawkins (RWA Director),
Simon Quadrat (President
of the RWA) and Peter Ford
(Executive Vice President of
the RWA).
This year’s invited artists
include Barry Cawston (winner
of the 2008 RWA Purchase
Prize), Richard Cox and
Sachiyo Nishimura.
The RWA is very pleased
to be working in partnership
with Bristol Festival of
Photography this year.
Although the main festival
will not be returning until
2012, the festival organisers
will be putting on a number of
exciting workshops and talks
throughout Open Photography
to launch next year’s festival.
For more information on these
please keep an eye on the RWA
website – www.rwa.org.uk.
Awards this year include
an editorial feature and a
subscription to Printmaking
Today for one year, a free
place on a two-day polymer
photogravure workshop at
Spike Print Studio and a £500
cash prize and two years free
membership of the Friends of
the RWA.
CALL FOR ENTRIES
Selection will be made by
digital image. Each artist may
submit up to four works online
for £20 (£18 for Friends).
To register your interest in
submitting and to find out
more please sign up through
the RWA website (see the
open exhibitions page) or
email openphotography@rwa.
org.uk quoting ‘RWA Open
Photography exhibition 2011’.
art
Winter 2010
11

Academicians’
news
12 art
Winter 2010
Following on from his
successful one-man
exhibition in the New
Gallery this summer,
Martin Bentham’s
catalogues are available
in the RWA shop for £6.
Chris Dunseath will
be presenting work
alongside artists: Chooc
Ly Tan, Geraldine Cox,
Sam Knowles and Agata
Agatowska as part of
‘Beyond Ourselves’.
This exhibition, which
is coinciding with the
British Art Show in
Nottingham, will bring
together five innovative
contemporary artists,
demonstrating their
different emotional
responses to
understanding the
natural phenomena
in our universe. The
varied works respond
directly to man’s quest
to understand the world
and his place within it,
with some marvelling
at our physical laws
and others playfully
imagining how these
might be overturned.
Exploring man’s
passionate engagement
with both physics
and philosophy on an
everyday level, ‘Beyond
Ourselves’ aims to
inspire a new approach
for contemporary
artists. 16 November
– 2 December 2010
at Nottingham Lace
Market Gallery
25 Stoney Street
The Lace Market
Nottingham
NG1 1LP from Mon –
Fri 9am – 4.30pm
t: 0115 9 10 4 747
www.beyondourselves.eu
The Exhibition will
also travel to The Royal
Society 16 February –
April 2011 as part of
their 350th anniversary
celebrations and is
one of the first art
exhibitions to be held
there. The Royal Society
London 6-9 Carlton
House Terrace London
SW1Y 5AG. Contact
t: +44 (0)20 7451 2500
for further details.
RWA Vice-President
Peter Ford is one of
three artists receiving
the main prizes at
the 1st International
Biennale of Small
Prints to be held in
Guangzhou, south
China. Guangzhou,
a port on the Pearl
River, formerly known
as Canton, is one of
seven partner cities
twinned with Bristol.
In December 2010 Peter,
who is now a member
of the Bristol China
Partnership, will attend
the prize awarding
ceremonies, the opening
banquet and subsequent
conference. An article
in Chinese about Peter’s
prints and paperworks
is concurrently
appearing in the
latest issue of Chinese
Printmaking – surely
a first for an RWA
member.
Further east, in
September 2010, a
large relief print
on handmade paper
was accepted for the
collection of the Wonju,
S.Korea Hanji Paper
Research Institute.
This work had been on
exhibition in Wonju
where Peter attended an
international congress
on traditional Korean
paper. Also in August
2010, three small
etchings were accepted
for the collection of
prints and drawings
held at the famous
Pushkin Museum in
Moscow.
Peter Ford with
Stewart Geddes will be
presenting the first of a
series of practice based
RWA master classes
in April 2011 – see
advertisement page 8.
Alfred Rozelaar
Green will feature in an
exhibition dedicated to
‘The St. John’s Wood Art
School and The Anglo-
French Art Centre’.
This exhibition will
celebrate the rise of this
influential school and
the artists who studied
and taught there. The
exhibition will run
from 19 November – 24
December 2010 at the
Boundary Gallery 98
Boundary Road
London NW8 0RH
t: 020 7624 1126
e: agi@boundarygallery.com
www.boundarygallery.com
Ken Howard’s oneman
exhibition, ‘An
Artist’s Odyssey’ will
display 70 paintings
including recent works
from India, Crete,
Venice, London and
Cornwall. Ken Howard
will also be launching
his autobiography,
‘Light and Dark’
with a signing on
26 January 10am – 5pm.
Exhibition opens 26
January – 12 February
2011 from 10am – 5pm
at the Richard Green
Gallery 147 New Bond
Street London W1S
2TS t: 0207 493 3939
e: paintings@richardgreen.com
Work by Honorary
Academician, John
Hoyland, will be
celebrated during
an exhibition at Yale
Centre for British
Art. ‘The Independent
Eye: Contemporary
British Art from the
Collection of Samuel
and Gabrielle Lurie’
will display works by
post-war British artists,
including Patrick
Caulfield, John Walker,
R.B. Kitaj and Howard
Hodgkin and marks the
first museum exhibition
of selected works from
the Lurie collection of
British art, which will
be gifted to the Yale
Centre for British Art.
John Hoyland said
this about his medium:
“Paintings are there to
be experienced, they
are events. They are
also to be meditated
on and to be enjoyed
by the senses, to be
felt through the eye…
Paintings are not to
be reasoned with,
they are not to be
understood, they are
to be recognised.”
Independent Eye runs
from 16 September –
2 January 2011 at the
Yale Centre for British
Art 254 College Street
New Haven Connecticut
06511 United States
t: (203) 432-2800
Sarah van Nierkerk
will feature in an
exhibition at Bedales
Gallery titled PRINTS.
As a former pupil of
Bedales Schools, Sarah
van Nierkerk has
agreed to show a small
selection of her work
alongside work from
John Howard Print
Studios in Cornwall.
Exhibition runs from
8 November – 4 December,
Mon – Fri 2 – 5pm
Sat 10am – 1pm with
free admission. The
exhibition will be
closed 2 October and
20 November. Bedales
School Church Road
Steep Petersfield GU32
2DG t: 01730 300 100
www.bedales.org.uk
Maxine Relton will
be leading another
small group trip
through South India
on 12 – 27 February
2011, in support of
the Tamil Charity
SCAD (Social Change
and Development).
‘Sketchbook Journey to
India’ is an opportunity
to get close to the heart
of Indian culture,
beyond the tourist trail,
and to develop your
drawing skills. Nonsketchers
and beginners
are equally welcome.
Contact Maxine
t: 01453 832 497 or
e: maxine.relton@
tiscali.co.uk
1 Chris Dunseath, Corrugated Space,
mulberry paper, 45cm x 29cm x 48cm
2 Ken Howard, Lake Palace Hotel, Udaipur,
oil on board 25.4 x 30.5cm
3 Ken Howard, S. Giorgio Maggiore,
Summer Light, oil on board 101.6 x 121.9cm
4 Exhibition opening, Hangu, N.E. China
Peter Ford
1
2
3
4
Peter Reddick RWA
(1924 – 2010)
Remembered by George Tute MA (RCA)
RWA (Hons) RE
Peter was one of our foremost artist/wood
engravers, one of the new generations of
artists following on from the great pre-war
period of wood engraving.
Peter’s time at the Slade School of Fine
Art gave him a thorough grounding in
drawing, composition, an understanding
of tone and colour and of craftsmanship.
The scintillating quality of his engraving
was a feature giving his work a
characteristic signature.
Peter, with his wife and children, left
to work in Ghana (1960-1962) as lecturer
in commercial design at Kumasi College.
He embarked on wood engravings of the
Ghanaian scenery and it was through
these and other work for Penguin books
for example, that the public in the UK
first knew his work through Motif No 7.
Peter returned to Britain in 1962
and took up a lecturing post in design
at Glasgow School of Art (1962-1967),
finally settling with his family in Bristol
as lecturer in illustration on the Diploma
in Art and Design Degree course (now BA,
Fine Art and Design).
Parallel with his teaching career Peter
made wood engraved illustrations for many
notable publishers such as the Folio Society,
Readers Digest, the Limited Editions Club
of New York, The Fleece Press, The Old Stile
Press, the Gregynog Press, of which he was
made Gregynog Fine Arts Fellow between
1979- 1980. Notable among his output were
illustrations for the novels of Hardy and
Trollope published by the Folio Society.
However distinguished Peter was
as artist and wood engraver, it did not
overshadow his other strengths – the
attributes of generosity and kindness,
his desire to involve himself with students
in, as well as out of, College, his ambition
to promote printmaking. He had a very
heightened sense of social responsibility,
wanting to give back his experience, his
knowledge, and his skill as a craftsman,
to those who did not necessarily have the
benefit of a full time art education. He did
this without monetary reward and in doing
so followed the tradition of the Quaker
movement, of which he had been a member
since the age of sixteen.
Peter was a founder member of the
Bristol Art Space and Chairman of the Spike
Island Printmaking workshop. He was a
member of the Society of Wood engravers
and a retired member of the Royal Society of
Painter Etchers. Throughout his career he
exhibited regularly and had several one-man
shows in Bristol (1980/ 1982/ 1996) and a
recent Retrospective at Spike Island. His last
one-man show of wood engravings that I
had the pleasure of seeing was at Newnham
on Severn in August, where Peter quietly
sitting on his chair, enjoyed the homage of
many admirers, a rare achievement to have
in one’s own lifetime.
A major archive of his work is held in
the Library of Manchester Metropolitan
University.
Peter will be sadly missed but the
memory of him will always kindle warm
thoughts and a sense of optimism and
example amongst those who knew him
and his work will be a lasting memorial.
Frances Seymour RWA
(1931-2010)
Remembered by Mike Jenner FRIBA FRSA RWA
Frances Conway, initially trained in
business, had no formal art education.
She was married first to Robert Hurdle,
who was then on the staff of the Bristol Art
School, with whom she had two sons and a
daughter, and during that time she began to
paint. After the marriage was dissolved she
married the late writer John Seymour, with
whom she had a daughter.
She was elected an Associate of the
RWA in 1963, and a full Academician in
1993. She exhibited at the Arnolfini in
Bristol and at a gallery in Biarritz, had a
one-woman show at Bristol Arts Centre
and was a finalist in Courage’s ‘Bristol 600’
competition. In 2003 she served on the
selection and hanging committee for the
‘Tooth and Claw’ exhibition.
Fiercely independent, she developed a
unique style which reflected her interest
in people, who appeared in almost all her
paintings. In her sixties she travelled
alone to Morocco, returning with masses
of drawings and watercolours. On one
occasion, when she was drawing a group
of children in a remote village, she was
suddenly surrounded by their increasingly
angry and incomprehensibly shrieking
mothers. She was saved by the local Imam
who fortunately could speak a little English
and explained what she was doing. The
upshot was that the Imam and his wife
invited her to dinner, and for the rest of her
stay she was lionised by the whole village.
In her seventies, after an adult lifetime
in Clifton, Bristol she uprooted to Liverpool
where one of her daughters lived, and
opened the Atelier Gallery in which she
exhibited her own work and that of
many others. Frances Seymour died
on 25 September after a long illness.
art
Winter 2010
13

Academicians’ news
The Royal West of
England Academy HHHH
The Bristol Academy of Painters, sculptors
and architects was founded in 1844. In
1845 it received a gift of £2000 from Ellen
Sharples, wife of a painter and mother of
another, and on her death in 1849 she left
a further £3400. These sums,
then very large, decided the
academicians to build their
own premises. Two architects
submitted designs and the
trustees decided to build to
Charles Underwood’s plans
and J.H. Hirst’s elevations (a
dreadful decision which must
have been a nightmare for both
of them). The building, with
Underwood’s superb top-lit
galleries, and with uninspired
façade sculptures by the overprolific
John Thomas (almost
certainly the work of an
assistant) was opened in 1858.
Hirst’s façade was highly
attractive, with the still existing five arches
on the first floor then open as a loggia,
and a huge monumental double flight of
external steps leading up to it. By 1909 the
academicians were forced to recognise that
having to run up and down stairs in the
rain was absurd, so the free services of the
architectural profession were called upon
again. The resulting dull façade was an
14 art
Winter 2010
unhappy mixture of Hirst’s originally virile
but now emasculated upper floor and attic,
and a routine Edwardian-French base. The
alterations were a disaster, but produced
two great internal benefits. The building
works much better
than it did before,
and the stair and
entrance hall is a
major triumph. The
“
This is one
of the three
or four finest
classical
interiors in
Bristol.
rather sombre but
immensely dignified
marble stair rises to
a landing and then
divides to ascend
on each side up to
the newly-enclosed
loggia. Above the
stair is a dome,
and in the lunettes
lovely murals by
Walter Crane. His
colourful decorative
style is the perfect foil to the cool marble
below. This is one of the three or four finest
classical interiors in Bristol; the whole
building is superior to the rather leaden
municipal museum and art gallery.
Abridged from Bristol’s 100 Best Buildings
by Mike Jenner, published by Redcliffe
Press, November 2010. Softback £16.95
Art Blogs
Internet art blogs are
ten a penny. Greg Reitschlin
selects some of the best:
UK Street Art
Graffiti, street art,
exhibitions around the UK.
www.ukstreetart
Things Magazine
An online journal about
objects and meanings.
www.thingsmagazine.net
Jonathon Jones on Art
Established Guardian art
critic speaks his mind
www.guardian.
co.uk/artanddesign/
jonathonjonesblog
Saatchi
Online tv, magazine, videos,
features, news, reviews
and interviews
www.saatchi-gallery.co.uk/
blogon/
Telegraph
Architecture, art, jazz…
it’s all here.
Blogs.telegraph.co.uk
/culture/art
The Art Blog
Named as one of the top art
blogs by Art In America
magazine
– reviews, thoughts, gossip
www.theartblog.org
ArtMoCo
Modern contemporary design
and architecture
www.mocoloco.com/art
Art Culture
International art and design
news, tailored towards the
creative mind
www.artculture.com
The Acrylic Painting Course
An acrylic painting blog,
offering hints, tips and lessons
www.apaintingcourse.
blogspot.com
Peter Swan RWA
Our very own Peter Swan’s blog
www.peterswanrwa.
blogspot.com
AUREA
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mon - sat : 10:30am - 6:00pm
sunday : 11:30am - 4:30pm
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33 park street bristol bs1 5nh t: 0117 9090 225
RWA 1.4page_xmas_2010.indd 1 26/10/2010 10:18:21
art
Winter 2010
15

Flesh
Howard Jacobson
talks to Simon Baker
16 art
Winter 2010
I am meeting novelist Howard Jacobson,
soon to be Man Booker prize-winner,
at the Groucho Club in Dean Street. It is
5pm on a fine September day and serious
conversations are gearing up in the bars of
Soho. A few yards down, where Soho gives
way to Chinatown, pink paper hangings
promise a less cerebral entertainment. We
are discussing his programme, made for the
Channel 4 series: ‘The Genius of British Art’,
featuring six personalities celebrating British
art from the 16th to the 21st Centuries.
:
eroticism,
prudery &
British art
1
2

1 (overleaf)
Howard
Jacobson
Jacobson’s programme
is entitled, with blunt
frankness: Flesh.
As he says: “If you
want to understand a
culture, see how its art
tackles the subject of
sex. Whatever we claim
to think about sex, it is
only in our art that we
tell the truth. British
art and literature deny
18 art
Winter 2010
2 (overleaf)
Titania
1866
John Simmons
3 Candaules
and Gyges
c 1830
William Etty
4 The Mermaid
1857
Frederick
Lord Leighton
the myth, No sex please
we’re British – we take it
too seriously to enjoy
it. The genius of the
British is that we don’t
just do the fires of
love today. We think
about how we will feel
tomorrow. Our art of
the nude is not less
sensual for taking sex
seriously, but more so.”
“
An art, Jacobson tells me, that
celebrates richness, fullness,
plenty and excess. To be
embarrassed by it, he argues, is
to be embarrassed by life itself.
3
Flesh sets out to celebrate the most telling
emanation of the British art of sexual
desire, its wild fleshiness and torments,
its sweets and sorrows. It is to be found
where we least expect it – in the art of the
Victorians. An art, Jacobson tells me, that
celebrates richness, fullness, plenty and
excess. To be embarrassed by it, he argues,
is to be embarrassed by life itself.
His literary heroes include Tennyson,
Dickens, George Elliot and Hardy all of
whom wrote about sensual passion and
desire. For them and their contemporaries
sex was no small matter. Contrary to our
stereotypes of the Victorians, for them
sex was an obsession not an aversion.
The great subject of Victorian art and
literature is thraldom, thraldom to desire.
To demean this is a slur on the English.
Puritanical may not be the right word for
the Victorians but – so what if it is? And
what if we are shocked by their depiction
of passion in art? “When the English
‘do sex’ ”, Jacobson says, “we feel that
it is something which will disturb us.”
I ask him about what seems to be his
starting point, namely the work of the
Yorkshire born William Etty (1787-1849)
and his picture of Candaules and Gyges.
Etty started painting in the 1820s. After
spending two years in Italy he returned
home, dedicated to the art of the nude.
Jacobson says that Etty changed the
“temperature of British painting”.
He is a hero of the programme.
Jacobson first stumbled on the
Candaules picture 20 years ago. He explains
it is “about looking” and was important
to him in the writing of his second novel,
Peeping Tom. Is seeing an act of possession,
or theft? Is there a right and wrong
kind of seeing? Should we be looking at
all? Etty’s picture depicts the shocking
story, told at the beginning of Heroditus’s
Histories, of the King of Lydia, so erotically
obsessed with his wife that, at the risk
of all their lives, he arranges for another
man, his general, covertly to see her as she
undresses. Jacobson says that today “we
just don’t get it”. It is not an act of male
power and dominance but of obsessive
desire that beauty should be looked at.
To prepare for the programme
Jacobson visited Manchester City Art
Gallery where there is a wall of Etty’s
nudes including Ulysses and the Sirens,
extravagant both in its size and sensuous
figure painting. Two pairs of pictures,
English and French hanging together
in the gallery, made the point for him,
Jacobson explains. I say that a Renoir
nude, which he describes as “fruit”,
seems to me much less significant than
a Sickert nude which the programme
shows alongside. He swiftly adds: “ ...and
as a thinking woman, more enticing”.
Comparison between the second pair,
a “come on” Sappho by the French painter
Charles-August Mengin of 1877 and
Syrinx by Arthur Hacker of 1892, with
its awkwardness at the unwanted surprise
of sex, shows the English picture to be
the more interesting, complicated and
alluring. This, Jacobson says, shows the
advantage of a good collection. It gave him
the script for the programme.
For such provincial collections we
have to thank our philanthropic Victorian
businessmen and industrialists. Jacobson
says that he wanted to celebrate those
provincial movers and shakers, their love
of art and their belief in its educational
value. They were not abashed by the
sensual nature of the art which they gave
to the institutions which they founded.
They were people of high ideals and
Jacobson is fascinated by what they
felt would edify their fellow citizens.
They were not inhibited by taboos.
William Lever presented the museum he
built in memory of his wife with Alma
Tadema’s highly suggestive Tepidarium
which Jacobson describes as a witty
and insolently knowing painting. There
was no cant there. I tell Jacobson that,
when he turns to camera and delivers
his polemic championing the provincial,
he has me out of my seat and cheering.
(“It is to be impervious to the winds of
fashionable modernity which shake capital
cities, to be independent and intransigent
and alive to the genius of a particular
place, not a citizen of everywhere and
nowhere”.) Creating universal art out
of a single place is genius.
Jacobson also cites his admiration
for John William Waterhouse and his
Manchester picture Hylas and the
Nymphs shown at the RA in 2009.
He cannot understand the difficulty
which his friend Waldemar Januszczak
has with this picture while championing
the work of Jeff Koons, which is known to
be pornographic but accepted because it is
ironic. Hylas succumbs, not to the femmes
fatale, but to the erotic love in which he
drowns and which the artist depicts with
such colour and sensuality.
The human body, he says, is not
celebrated in contemporary British art.
This is a long way from the art of
Sickert and Stanley Spencer. He speaks
emphatically of the importance, as art, of
Spencer’s nude portraits of Patricia Preece
and of his unsparing depiction in them
of unattainable passionate desire and the
sheer cruelty of voluptuousness. He fears
that the Spencer family will not let the
programme makers use the image of the
“leg of mutton” portrait whose influence
can clearly be seen in the work of the “icy”
Lucien Freud.
How comfortable is Jacobson about the
Victorian love of fairy painting? His visit
to Bristol City Art Gallery, where he sees
Leighton’s Titania, is the point at which he
considers this. He acknowledges that it is
edgy and foreign to our imaginations. But
seeing women as bewitching is not seeing
them as wicked; beautiful but not horrible.
Rather it is the masochism of male desire
and that sense of being separated from
oneself and taken into a fascinating
irrational world. The Victorians were
interested in young girls and recognised
desires which they could not act on.
We are back again with the issue of
taboo and the question: who truly are
the stereotypical Victorians?
As I take my leave and plunge into
the street, my mind is buzzing with the
themes of our conversation: the power
of the provincial; the genius of British
painting; the debt we owe to those
philanthropic Victorian patrons and
industrialists, their investment and
their ideals. In the broader sweep of
the history of our art, is not our lack
of self-confidence in our provincial cities
and galleries unjustified?
“
When the English ‘do sex’
Jacobson says, we feel that it is
something which will disturb us.
4
art
Winter 2010
19

20 art
Winter 2010
The RWA is seeking a
Deputy Editor
for ART magazine
SUBTLY STRIKING
QUIETLY SHOUTING
INTANGIBLY DEFINED
EVOCATIVELY STARK
AUDIBLY SHINING
CLEVERLY SIMPLE
DRAMATICALLY CALM
UNASSUMINGLY BOLD
WWW.WIRESKY.CO.UK
we are designers, listeners, thinkers.
This unpaid, voluntary role will suit
an enthusiastic lover of Fine Art who
has a writing background.
If you have the time to devote to help
further develop this magazine, please
contact: Richard Storey, Managing Editor
richard.storey@rwa.org.uk
by 15 January 2011.
Beatrice Phillpotts 1983 / 2004
oil on canvas 175 x 122cm
Rural
David
Inshaw
Dreamer
Tristan Pollard

David Inshaw’s home,
a converted 18th
century Quaker
meeting house, is a
haven of airy calm.
Carefully placed
paintings and
drawings rest on the
floor or are ranged
in neat rows along
shelves with his own
collection of artworks,
while tidy stacks of
photographs, sketches
and other reference
material cover most flat
surfaces. His studio
space is equally tidy,
with tubes of paint
lined up, a palette of
oils waiting, a large
canvas sitting on an
easel. Elgar, Tallis and
Mozart CDs lie close to
his stereo, while a large
model Spitfire, the envy
of any schoolboy, sits
on the shelf close by.
Photographs
by Alice Hendy
22 art
Winter 2010
One of this country’s leading
painters, Inshaw has work in
private and public collections
including the RWA, Bristol
City Museum and Art
Gallery, the Department of
the Environment and the
Tate Gallery: work often seen
to embody a quintessential
Englishness, a distillation
of all that is great about this
country.
Born in Wednesfield,
Staffordshire in 1943, Inshaw
never thought he would
become an artist. “When I was
at school I stuttered badly, so
I occupied myself by drawing
rather than talking. In my
fourth year a new, dynamic
teacher asked three of us if
we had thought of going to
art school. We said we never
knew there was such a thing,
so he said “I’ll take you down
to have a look”. When we went
in it was full of beatniks: men
with beards, sandals and jeans
and women with fishnet tights
and high-heeled shoes; a den
of iniquity and we said – our
parents will never let us come
here.’’ Fortunately Inshaw’s
teacher was as persuasive as
he was dynamic, and following
a meeting at the school
parents’ evening, Inshaw was
permitted to attend art college.
“The first person I can
remember, as a painter, was
Samuel Palmer, because we
lived at Biggin Hill, not far
from Shoreham where he
used to paint. Another early
influence came from a visit to
the Tate Gallery as a schoolboy,
seeing Stanley Spencer’s Christ
Carrying the Cross. People
lean from a window, curtains
billowing out like angel’s
wings behind them. A fantastic
painting; one of my earliest
influences.”
Although Inshaw found
the training at Beckenham Art
School invaluable, acceptance
by the Royal Academy and
exposure to the work of
American artists such as
Rauschenberg, Jasper Johns
and the Pop Artists, made him
question the style he had been
taught. “I spent the next three
years trying to find a way of
producing pictures that had
the kind of immediacy I felt
the art world needed.”
“
When we went in it was full of beatniks:
men with beards, sandals and jeans and
women with fishnet tights and high-heeled
shoes; a den of iniquity and we said,
– our parents will never let us come here.
In 1966, soon after he’d
taken up a post in Bristol,
teaching printmaking, he met
Christine Butler who gave
him a copy of Thomas Hardy’s
Tess of the D’Urbervilles;
a gift which was to have a
considerable influence on his
future painting. “The thing
I liked about Hardy was the
way he used landscape as a
metaphor for human emotion,
describing the way people felt.
I thought that was a fantastic
clue to what I wanted.”
At the same time, Inshaw
was sharing a flat with
Alf Stockham, who was also
undergoing a transitional
phase in style. Together
they would drive to Dorset,
searching for Hardy country
and immersing themselves in
the dramatic scenery: “Not to
paint, but just to seek a new
beginning, to find the end
of the piece of string which
had eluded us”. From then
on Inshaw’s work became a
celebration of the power of
Nature, with his landscapes
encapsulating the various
moods of the Wiltshire and
Dorset countryside; brilliant
blue skies and golden
sunshine; dark and brooding
thunderheads; long, dramatic
shadows; darkening skies rent
by lightning.
An impressive example
of Inshaw’s Romantic style
can be seen at Bristol City
Museum and Art Gallery,
in All our days were a Joy.
A young woman wearing a
long dark dress, stands alone
in a country graveyard. The
grass around the graves is
well maintained, the greenery
growing over the graves is
rampant and unkempt, trees
surround the graveyard, silent
sentinels. Towards the right
of the painting, a large, dark
tree appears to be encroaching
upon the cemetery, Nature
regaining her foothold.
Every blade of grass and leaf is
painted in precise detail. This
work encompasses many of the
themes that were to become
Inshaw’s own; the woman is
alone, but could be waiting for
someone, or turning as she
hears a sound; dark clouds
reveal a narrow strip of blue
sky, a hint perhaps that hope
is on the horizon.
art
Winter 2010
23

“
‘I think the
only ingredient
that pulls it
all together
is sex. That’s
the only thing
that matters.’
We laugh, but
his observation
isn’t entirely
without truth.
Inshaw is careful not to analyse his
work too much. “Things do happen and
I’m aware of them happening, but I don’t
try to make a plan of how they should
happen. It’s a question of moments; I’m
always looking out for things, aware that
at any moment something could happen
that might be useful.” Although certain
landmarks, such as Silbury Hill and
the cliffs of West Bay, remain favourite
subjects, Inshaw’s work often branches
out into more whimsical and humorous
territory, with images of fairies,
mermaids and Felix the Cat making their
appearance. The emergence of a lighter
side to his work partly came about as the
intensity of working on complicated, large
works began to take its toll, physically
and artistically. ‘After about ten years of
doing carefully constructed paintings,
it became a mannerism. It was just a
process, which had lost its point. I had
to find a new way of working, while
retaining that intensity.
“I would suffer terrible stomach aches
from just sitting and painting. Then I
stood up to paint, walked backwards and
forwards to the painting – that made a lot
of difference. It created a whole new brush
mark which developed as gradually the
images became simpler. I stopped telling
constructed stories.
“I became interested in other things
and incorporated them into my work.
I like painting figures. On the beach
at West Bay, you see all sorts of things,
so I just made them into fantasies.”
24 art
Winter 2010
She Did Not Turn 1974, oil on canvas 137 x 183cm
Felix the Cat was a favourite childhood
cartoon character and Inshaw always
identified with the anxious creature who
“seemed to be striving to work out the
meaning of life”. Eventually the character
made his way into a painting as a figure
on a rucksack, from then on appearing
in several paintings. However, not happy
with having his childhood hero stuck
as a luggage logo, Inshaw decided to
emancipate Felix by painting out the
rucksack. “He was gone, free to express
himself”, laughs Inshaw. “That’s what
happens when you’re painting, you can
think, whimsically. I like humour in
painting, a sort of slight, wry humour.
It’s to do with the fact that we’re not here
forever, the transitory nature of things.
We might as well have a laugh.”
The transitory nature of man is
another of Inshaw’s recurring themes;
Nature dominates to such an extent that
at times it seems to overwhelm the canvas.
In The Cricket Game at Little Bredy,
the landscape appears to envelop the
cricketers, the human figures dwarfed
by the massive trees and rolling hills,
while in The Raven, a girl, sitting in a
chair, apparently waiting for someone
or something, is surrounded by looming,
sculpted trees that have the solidity of
rocks and mountains.
“Nature always has the upper hand,
coating man’s endeavours, layer upon
layer. For example, one of my favourite
places, Cornwall, has been raped and
pillaged by man over the centuries and
you can see evidence of that, but you can
also see that Nature does eventually take
over again, and I quite like that idea.”
Despite a difficult year, new themes
are beginning to appear in the unfinished
canvases that line his studio space. “I felt
that I’d lost direction, come up against
a brick wall and didn’t know how to get
through it, but I’m gradually beginning
to find a way. I’m interested in tents and
trees and hill figures and WWII pill-boxes,
but how you pull that lot together,
God knows.” He grins mischievously.
“I think the only ingredient that pulls
it all together is sex. That’s the only
thing that matters.” We laugh, but his
observation isn’t entirely without truth.
Many of his paintings contain elements
ranging from restrained eroticism
through to open sexuality, from the
voyeuristic to the dreamlike surrealism
of the West Bay paintings.
“I do try to give a sensuous feeling
when I paint a picture. I like to convey
a sensuality, which I don’t think much
art does today. I think painters are
voyeuristic; it goes with the job. You’re
always waiting for something to happen,
that connection to be made, so you’re
always looking, in a way which most
people aren’t.” He smiles, apologetically,
“I’m always daydreaming; at school,
my best subject was daydreaming.”
Sky Blue Framing & Gallery
Big Christmas Exhibition
The perfect place to find an original present or gift – featuring a
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• Ten newly released Quentin Blake/Roald Dahl collectors edition prints.
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27 North View, Westbury Park, Bristol BS6 7PT
Email: mike@skybluefineart.com www.skybluefineart.com
EASY PARKING NEAR WAITROSE
art
Winter 2010
25

Bristol City
Council’s
regeneration
schemes of the
1990s revived
one of the most
attractive features
of later medieval
and eighteenth
century townscapes
– imaginative
3-dimensional shop
signs. Shops come
and go and their
signs are inevitably
ephemeral. In the
hope that these
shop signs will
inspire successors
Francis Greenacre
draws attention
to some recent
examples.
26 art
Winter 2010
1 Steve Joyce,
Pet Shop
sign, 1992,
East Street,
Bedminster
Signs of
regeneration Francis
2 Richard Fox
and Benedict
Whybrow,
Radford Mill
Farm Shop
sign 1982/3,
Picton Street 1 2
Greenacre
art
Winter 2010
27

At the bottom end of Picton Street are
Bell’s Diner and the Radford Mill Farm
Shop, two surviving and pioneering
providers of good food, cooked and
uncooked, from the 1970s. Early in the
following decade, the owner of the farm
shop, the American Richard Fox, and the
engineer and artist Benedict Whybrow
created an ambitious shop sign, an
articulated row of pumpkins climbing
up the façade. It was partly inspired by
Covent Garden’s water clock in Neal’s Yard
erected in 1982 and thus also by the shopclock
automata of the nineteenth century.
It belongs, too, to the long
tradition of ornamental shop
signs that adorned our cities,
of which the spectacular
watering can, once at
12 St Nicholas Street and
illustrated here, is an apt
example. The animated
pumpkins were also a piece
of kinetic sculpture, but
like most pieces of public
sculpture that are dependent
upon electricity or water, it
ground to a halt quite quickly.
It is still there, however, as
also is Richard Fox, who is determined to
restore it. And it was itself an inspiration
to the revival in Bristol of the ancient
tradition of 3-dimensional shop signs in
the 1990s.
East Street, Bedminster’s busiest
thoroughfare, was in sharp decline even
before process was hastened by the arrival
of a vast supermarket in 1988. Bristol City
Council responded and amongst the many
components of a programme of urban
renewal, the most obvious of which was
28 art
Winter 2010
the pedestrianisation of a section of East
Street, was the assistance given to shop
keepers with the enlivening of their shop
fronts. Hugh Nettelfield of Quattro Design
Architects gave Steve Joyce his first
commissions for shop signs. Of the five
signs he designed for East Street, only one
continues to serve its original purpose,
today. Above a pet shop, five parrots and
several mice still perch on four rabbits
supported on the paws of three cats,
which stand on two terriers sitting on
Woofie, the sculptor’s own Airdale terrier,
who stands on two bags of dog biscuits.
The work is in self-coloured cast resin
and, most impressively, it holds its own
before the superb cast terracotta winged
dragons and flowers above the Edwardian
“ Collinson understood the need
to integrate ‘art and craft work
into the fabric of the place,
as it is attention to detail...
entrance to the old Imperial Tobacco
Company building opposite.
Before 1996 Steve Joyce was to
complete at least another dozen shop signs
for environmental improvement schemes
in St Mark’s Road, Easton, Stapleton Road,
Mina Road and Grosvenor Road, St Paul’s.
He had already completed three major
public sculpture commissions in Bristol,
including the bronze statue of John Cabot
on the quayside by Arnolfini, and he was
ideally suited to the complex demands of
the genre. Before going to art college in
Bristol, he had completed an engineering
apprenticeship and he later worked for
Dorethea Restorations. He had a wide
range of traditional metal-working skills
and experience of working in a great
variety of materials. He also got on well
with Ian Collinson, the Planning Officer
brought in to the Housing Department
to manage these schemes. Collinson
understood the need to integrate “art and
craft work into the fabric of the place, as it
is attention to detail, not grand gestures,
which will have the most profound effect”.
Those are the words of the sculptor Peter
Randall-Page in his preliminary report
on Castle Park in 1990. Thus in St Mark’s
Road, Easton, radical changes to
traffic management and street
lighting were supported by
painted cast-iron bollards, whose
distinctive design has now been
patented. The upper stories
of the shops were decorated
in uniform colours but with
individual motifs. And there
were a wide variety of shop signs.
The shop keepers made considerable
contributions to the costs of these signs
and consultation and agreement was
sometimes a long and fragile process.
The dragon over the Chinese
restaurant proved especially demanding.
For Steve, an exotic dragon was
essentially a Welsh dragon, a beast
wholly unrelated to the more ancient and
legendary Chinese dragon. No wonder
that his first draft design caused much
offence. The nine forms of the Chinese
dragon are very precise in their various
details and to depict them inaccurately
1
...not grand
gestures,
which will
have the most
profound
effect’
”
2
can be a greater insult than burning the
American flag. Neither the dragon nor
the restaurant has survived in St Mark’s
Road; nor has the travel agent who had
a shop sign of winged leather suitcases
covered with travel stickers for faraway
places. Shops come and go and the signs
often go with them. Sadly but inevitably
the crucial corner stone of St Mark’s
Road, the Sweet Mart, has this September
obliterated the decorative patterns on the
façade, which is now a harsh white. The
fascia boards are now an enamel black
applied with swish plastic motifs and the
canvas shop signs are photographically
printed. Opposite, on the corner of
Henrietta Street the long mural of a deep
sea scene has also recently been painted
over, although happily the excellent
coastal scene with lighthouse on the first
floor of the next door building remains.
No regrets, however, for regeneration
should be a passing process and in St Mark’s
Road it has worked triumphantly.
Mina Road in St Werburgh’s retains the
best sequence of Steve Joyce’s signs, some
painted by Jon Bentley. They include the
outstanding ear of wheat above the bread
shop, but the wittiest of Steve’s works is
arguably the delicate sheet of copper with
the cut-out pattern of scissors above Roud
fabrics in Stapleton Road. In Ashley Road,
St Paul’s, the City Council’s improvement
scheme led to the discovery of the most
impressive Victorian shop sign of Jenner
& Co, Drapers and Milliners. It was in
remarkably good condition and it was duly
retained and excellently restored – another
aspect of a great tradition that deserves
to be fostered.
3
1 Steve Joyce
and Jon
Bentley,
Shop signs
c.1996,
Mina
Road, St
Werburgh’s
2 Steve Joyce,
Shop signs
c.1995,
St Mark’s
Road,
Easton
4
3 Steve Joyce,
Shop sign
for Roud
Fabrics
c.1995,
Stapleton
Road
4 T. L.
Rowbotham,
St Nicholas
Street
looking
west, 1825,
watercolour,
detail,
Bristol
Museum and
Art Gallery
M2262
5 Victorian
shop front,
Ashley
Road, St
Paul’s
6 Steve Joyce,
Shop sign
c.1996,
Mina
Road, St
Werburgh’s
art
Winter 2010
5
6
29

© Archives Fondation Maeght, C. Germain © Succession Alberto Giacometti, ADAGP Paris 2010
Homme qui marche 1, 1960
“
His pared
down figures
epitomised the
existentialism
of post-war
Europe. He will
be remembered
as one of the
twentieth
century’s most
significant
artists – an
extraordinary
painter, sculptor,
draughtsman
and engraver.
Giacometti
Fondation
and the
Maeght
Renowned the world
over, open every
day of the year and
welcoming 200,000
visitors annually,
the Fondation Maeght
in Saint-Paul-de-Vence
has never once closed
its doors to the public
since it opened in
1964. Designed for
Aimé and Marguerite
Maeght following
the death of their
youngest son, the
Fondation owns one
of the most exhaustive
collections in the
world of sculptures
by Alberto Giacometti.
This includes two
versions of Walking
Man, of particular
interest in that the
artist painted the
bronze, rather than
using a patina finish.
Richard Storey
recently met Adrien
Maeght (born 1930),
son of the founders
and current President
of the Fondation, and
invited him to recall
his relationship with
Giacometti.
art
Winter 2010
© Archives Fondation Maeght
31

32 art
Winter 2010
Fondation Maeght
“
As for me, a young
man of 17, you
can imagine what
extraordinary good
fortune it was to
be able to talk and
spend time with
such exceptional
men as Bonnard,
Matisse, Miró,
Chagall, Calder,
Kandinsky, Legér
or Duchamp
© Archives Fondation Maeght
As a student in Nimes, my father, Aimé,
was an ardent admirer of Surrealism,
founded in 1942 by Marcel Duchamp and
André Breton. After the Liberation, Pierre
Bonnard and Henri Matisse encouraged
my father to open a gallery in Paris. He
did so, and it quickly became the preferred
meeting place of artists, poets and writers.
When he eventually met Duchamp in
Manhattan, my father suggested bringing
together all those involved in Surrealism
– and so the International Surrealist
Exhibition was born. Aimé Maeght began
work on the project with Breton, who
introduced him to his friend and witness
at his wedding, Alberto Giacometti.
My father was immediately drawn to
Giacometti and invited him to take part
in the exhibition which had a world wide
impact and guaranteed Galerie Maeght
a place at the forefront of avant-gardism.
The two men shared the same
vision. Giacometti didn’t have a gallery
to represent him, but felt that Galerie
Maeght was THE gallery where he could
belong, and so my father became his
agent. At the time, many of Giacometti’s
plaster models were still waiting to be
cast; my father, so convinced of Alberto’s
genius, immediately decided to make
bronze casts of all his work. Aimé Maeght
was young and courageous, as in those
days it cost a fortune to cast a sculpture.
Giacometti’s first Paris exhibition
at Galerie Maeght was held in 1951.
He showed 36 sculptures and 18 paintings
alongside drawings that echoed the
sculptures’ force. This was Giacometti’s
public debut as a painter; he produced
three original lithographs for the issue
of Derrière le Mirroir that accompanied
the exhibition. Hailed as a success, the
exhibition was a huge commercial flop.
Only one sculpture was sold.
As for me, a young man of 17, you
can imagine what extraordinary good
fortune it was to be able to talk and
spend time with such exceptional men as
Bonnard, Matisse, Miró, Chagall, Calder,
Kandinsky, Legér or Duchamp. But it
was with Giacometti that I most discussed
art history and the role of the artist. In
the early years I did a bit of everything
at my father’s gallery, including being
an intermediary between Alberto and
Mourlot, the firm that printed our
lithographs. Alberto used to work on
special paper with a lithographic pencil
and I would take these drawings over to
Mourlot where they were transferred to
lithographic stones. Mourlot would make
two or three proofs using more or less
ink. Then I had to get Alberto to sign
Le Chien, 1951
each approved impression. Afterwards,
we would often go for a coffee together,
in a bistro on the corner of Rue Alésia.
We’d sit and discuss engraving techniques,
the precision of a line to be reproduced,
the quality of paper that would lend itself
to the lightest covering of ink. Many years
later, in 1959, I opened my own gallery
at 42, Rue du Bac, in Paris where of
course, Alberto regularly exhibited.
In 1964, my parent’s Fondation
Maeght in Saint-Paul-de-Vence finally
opened. My father had offered Giacometti
somewhere to show his work that was on
a par with the artist’s ambitions for it: the
Fondation’s central courtyard that opened
onto the hills of the Cote d’Azur. And in
July of that year, Alberto installed his
sculptures in the courtyard, named Cour
Giacometti.
Alberto had a complex personality.
He cared about the impact his exhibitions
had on collectors; he wanted his work to
be shown at a price comparable with other
stars of the day. But, for him, money was
simply the means to creative freedom.
It meant that he could travel, take care of
his mother, return to the Swiss mountains
and draw the landscapes of his childhood.
He was very modest, but at the same time
fully aware of his worth and position in art.
Giacometti liked luxury, yet insisted
on living in a studio in Paris with a clay
floor. My father offered to buy him an
apartment above Schubert’s, a cabaret on
the boulevard du Montparnasse. Alberto
refused: “I don’t want to risk being taken
hostage by comfort.” Despite his odd
appearance and perpetually crumpled
raincoat, despite his miserable studio,
Alberto was extremely elegant. His genius,
talent and intelligence were such that
he would have succeeded come what may.
Friend of thinkers and philosophers of the
time – Picasso, Simone de Beauvoir and
Jean-Paul Sartre – his pared down figures
epitomised the existentialism of post-war
Europe. He will be remembered as one of
the twentieth century’s most significant
artists – an extraordinary painter,
sculptor, draughtsman and engraver.
Giacometti & Maeght 1946 – 1966
184pp, 161 colour illustrations.
Librairie de la Fondation Maeght
06570 Saint-Paul-de-Vence, France
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art
Winter 2010
33

Portrait of
the Artist:
In search
of Gwen John
Gwen John (1876- 1939) is
now regarded as one of the
foremost women artists of last
century, highly acclaimed
for her delicate and subtle
paintings and drawings.
Yet, in her lifetime, she
was overshadowed by
her flamboyant brother
Augustus and her world
famous lover Rodin. In her
play Self Portrait, Sheila
Yeger draws her portrait of
the artist and the woman, and
using the device of a modern
setting, explores the tensions
and dilemmas faced by creative
women both in John’s lifetime,
and in more recent
times. ART invited
Sheila Yeger
to share her
experience.
34 art
Winter 2010
“
I was reluctant to
typify her simply
as the lover of a
great man.
I first encountered Gwen John at an
exhibition at the Anthony d’Offay Gallery
in London in 1982. Her paintings, though
unobtrusive and often muted in tone, spoke
to me so powerfully that I could feel her
presence in the room. I was determined
to learn more about the woman who had
made such idiosyncratic and personal
work. That marked the beginning of a
search, which culminated in June 1987,
in the premiere of my play Self Portrait
at Theatr Clwyd.
My quest led me first to Tenby and
Haverfordwest, where John spent her
childhood and where I walked on the
windswept beaches depicted in her
painting Landscape at Tenby with Figures.
I travelled to Cardiff and Aberystwyth,
where her diaries, letters, notebooks and
sketchbooks gave me a further insight into
her working methods, her passions and
obsessions.
From Susan Chitty’s biography,
I learnt of her relationship with Rodin,
which I knew I must investigate, though
I was reluctant to typify her simply as the
lover of a great man. So I went to Paris to
read the 3000 love letters she wrote to the
sculptor over a period of 10 years. Written
in schoolgirl French and explicitly erotic,
they revealed her desperate and largely
unrequited passion for the man she
called her Master. But equally telling was
the wooden hut in Meudon, a suburb of
Paris, where she spent her last years in
increasingly bizarre pursuits, sometimes
hiding in a hedge outside Rodin’s house,
waiting to catch a glimpse of him. She
painted feverishly, sleeping with her
feet outside the hut so that she would
wake in time for Mass. On the same day
I was there, in an example of astonishing
synchronicity, the house in whose
grounds the hut sat was up for auction.
Around the corner I found the
four-square home of Vera Oumancoff,
a respectable middle-aged woman, for whom
John developed a reckless love. In my play,
I toy with the idea that her attentions
were not entirely unreciprocated. This
is a prime example of how the writer’s
imagination can embroider and embellish,
and however inadvertently, add to the
myth. Gwen John, for all she appeared
demure, was, I decided, a woman of huge
passions, undaunted by convention.
Why else would she have taken off on
the road with her brother’s lover, the wild
and beautiful Dorelia, hoping to reach
Toulouse, though they only managed
to get to Paris. En route, they slept in
hedgerows, selling portraits to pay for
food. Her love for Dorelia shines out in
the portrait Dorelia in a Black Dress.
My search for Gwen John became a
very personal journey. I became aware,
that, in delving into the life of one
creative woman, I must inevitably reflect
on the lives of others like her, both past
and present.
My first draft of the play,
a straightforward dramatic biography,
when presented to Annie Casteldine, the
Director, was greeted unenthusiastically.
She asked what I was really writing about,
and my first answers failed to satisfy.
When I finally admitted that I was writing
about women and their creativity, and the
conflict between work and passion,
she threw the draft up in the air, so that
the pages fell down in no particular order.
“Then write it,” she said. This was in
the late eighties, when we women spoke
a great deal of the very real difficulties
of developing a creative life in a male
dominated world. By giving my play a
contemporary dimension, I was able to
explore through the fictitious character
of Barbara (a would-be novelist) the
conflicts felt by both her and Gwen,
between work and love, and the struggle
to find a voice in a patriarchal society.
Looking at my play in 2010, I ask
myself how Gwen would be regarded
in the world of Art today. Would she be
considered at all controversial in either
her work or her lifestyle? Would she
find her place more readily? Would her
creative voice resonate more loudly? I am
conscious of the hugely significant part
played by women in the contemporary
Art scene, but also aware, as I think
of the work of Tracey Emin or Louise
Bourgeois, of how their Art both reflects
and debates their role in society, their
personal passions and dilemmas. Emin
subverts the traditionally female craft of
embroidery, and uses it to express her
own darkest, most private emotions. It’s
hard to imagine John exposing herself
like that, yet I learnt to see intimate
reference in almost every portrait she
painted, realising that many were veiled
self portraits, showing, through the
tormented gaze of her models, her own
inner torment.
But times do change. Gwen John
only painted women and children. Fiona
Banner, at Tate Britain, exhibits a Jaguar
and a Harrier Jump Jet. And John’s
correspondence with Rodin might now be
expressed in texts and emails, rather than
letters, becoming thus more ephemeral and
less available to the prying eyes of posterity.
...she threw the
draft up in the air,
so that the pages
fell down in no
particular order.
“Then write it,”
she said.
”
One question I asked myself was – if I
met this woman, would I like her? I knew
that I must admire her for her tenacity,
her determination to paint whatever her
personal circumstances but felt that I
might find her cold, uncompromising,
humourless, obsessive. In the end,
perhaps it is only the work that really
matters. And the work has survived, stood
the test of time, gained respect and value.
The woman I portrayed in my play, is a
fiction, the product of my imagination,
fed by my research, but influenced, as is
every writer’s work, by my own history
and predilections. I offer my portrait
cautiously, and I give the artist the last
word. At the end of the play, John stands
beside the Self Portrait in a Red Blouse,
which has been such a strong motif in
the play, and, facing the audience with
courage and defiance, says: “Do not ever
ask me to apologise.”
Self Portrait by Sheila Yeger
Amber Lane Press Ltd, 1990
Keeping the World Away
Margaret Forster, Vintage, 2007
art
Winter 2010
35

Hannah Starkey
Hannah Starkey is one of
today’s most influential artistphotographers
of contemporary
life. Hugh Mooney met her
recently to discuss her work.
The photograph, as art, can put before
us an inexhaustible variety of possibilities,
its completely realistic representation
of the world giving it unique power. The
latter is most effective in its renderings
of our social and personal spaces, where
its authenticity allied to an ability to
evoke rather than merely describe, permit
it to embrace that portion of our minds
where the everyday and the intangible
meet. Crafted by an artist-photographer
of insight such a photograph taps deeply
into our psyche and, as viewers, we are
compelled to prolong our gaze.
36 art
Winter 2010
// Close-up
Hannah Starkey is such a photographer.
Her exploration of aspects of contemporary
life has made her one of today’s most
influential photographic artists. Born in
Belfast in 1971, her work is exhibited in
New York, Tokyo and in London, where she
lives, and is included in collections in the
Tate and the V&A.
Starkey is fascinated by the mental
spaces which we inhabit and by the
photograph’s capacity for allegory and
illusion. Using actors, she makes series
of images of carefully staged situations
which reproduce the ordinary events
and predicaments of everyday life. Set
invariably in urban locations, many of
these images hover between reality and
fiction and often give the impression that
we have intruded, unseen, on the private
moments of other people. By hinting but
leaving matters unresolved, they tantalise
us, creating resonances with our own
thoughts, memories and associations.
Through them, the experiences of
strangers become our own. Other images
dwell on the appearance of modernity,
with its pervasive visual culture and its
influence on what we accept as the norm.
Taken as a whole Starkey’s work becomes
a converging locus of the outside world
and the deeply personal. The painter
Edward Hopper, with whom Starkey is
compared, was similarly preoccupied and
we react with fascination to his portrayal
of lonely urban dwellers adrift in the
transient places of 1940’s America. Many
of Starkey’s photographs exert the same,
powerful appeal. We are all, unavoidably,
voyeurs at heart.
Staged settings are often employed
by modern artist-photographers because
they permit complete directorial control
over what is to be achieved. Borrowing
from the visual language and codes of
Untitled – October 1998 The Dentist, 2004
our urban culture, Starkey’s images stand
out not only because of the situations
which are enacted but also because of
an aesthetic which frequently displays
her fascination with the architecture of
modern interior spaces. Starkey invariably
uses female actors in her work, although
she admitted that this is a largely
autobiographical device which permits
her to draw on her own experiences. Many
of the situations she portrays and the
personal responses they elicit are common
to us all.
As with the work of many
contemporary photographers, a Starkey
image is best appreciated within the
context of the series of which it is a part.
Typical of some of her work, however,
is an image in which we see two people
apparently deep in conversation in a café.
One, presumably the speaker, is facing
away from the camera, her face hidden
and wreathed in smoke: her posture is
alert but her expression is unknown. The
other, central to the composition, is sitting
back in a languorous pose – is she rapt,
distracted by her own thoughts or merely
bored? Starkey allows us, with no risk of
discovery, to pry on these two people and
provokes in us a sense of intrigue at their
relationship and their conversation.
The street scene outside the window
firmly sets its urban location. We have
all been in such a place before. We feel it.
We remember our silent thoughts.
Starkey has also developed a suite of
works which ruminate on our corporatelystyled
and sometimes high technology
urban environments. Rather than show
humans as protagonists in a minor drama
or relationship, these works often have
them as mere components of a constructed
world.
A classic example shows a woman in a
very clinical waiting room. The minimalist
composition is immaculate and evokes
a quality of stillness rather than that
of a moment seized from the flux. The
woman seems reduced to an elaboration
of the room itself much like the computer
paraphernalia beside her and there is little
scope for the creation of narrative. As we
attempt to empathise we feel a sense of
unease. We all accept sanitized, modern
environments like this as normal but
seen in Starkey’s image, they hardly seem
places for vital and responsive human
beings.
As to the future, Starkey emphasised
her commitment to the continuing
development of her photographic
language. What more can a serious artist
say? There is little doubt that her special
talents will ensure that she will continue
to meet with critical acclaim.
Recently published:
Hannah Starkey Photographs
1997 – 2007 (Steidl)
Images courtesy Maureen Paley, London
Spring issue Close-up:
Thomas Joshua Cooper
art
Winter 2010
37

Inside
the
artist’s
studio
Although well
known for glittering
beachscapes and
atmospheric rain-swept
cityscapes, it is always
to his cluttered studios
that Ken Howard
returns to produce
his best-known work
– large-scale, backlit
images of the studio
interiors themselves.
Often including highly
personal motifs and
a nude figure, always
executed with a
high degree of tonal
precision, Howard’s
work is informed by the
lines within the studio
– vertical, horizontal,
linear. The model
is incidental; these
paintings are all about
the studio atmosphere
itself. “I am,” he says,
“the last of the
Impressionists.”
Richard Storey
38 art
Winter 2010
Ken Howard OBE RA RWA
Richard Storey and
photographer Alice Hendy, met
Howard at his London studio.
Climbing the stairs in Ken
Howard’s house resembles a
visit to a Victorian art gallery.
Every inch of wall space is
covered with paintings, not
one his own. His work lives
above, in the gargantuan
studio space, stacked ten deep
against the wall, or in his
London gallery, or on the walls
of the homes of hundreds of
Howard fans throughout the
world. We mount the second
flight of stairs and begin to
smell the studio: turps, oil,
paint, canvas, wood. And
when we arrive, we enter the
definitive artist’s bohemian
hang-out, filled by luminous
northern light and crowded
with easels (several), brushes
(dozens), bottles and tins and
seemingly random pieces of
furniture. We settle down
to tea provided by Howard’s
Italian wife, Dora, as he
enthusiastically takes us on
an auto-biographical journey.
“I’ve lived and worked here
in this quiet Arts and Crafts
studio for the last thirty years,
paying £6.50 a week rent until
I was finally invited to buy it.
The studio was formerly owned
by the Irish society painter,
Sir William Orpen (1878 –
1931) and it remains much as
he designed it. I feel a great
affinity with Orpen. Like me he
was a Royal Academician and
an official war artist on the
Western Front. (Howard was
official war artist to Northern
Ireland, 1973 – 78.) I’m also a
great collector of things. That’s
Orpen’s paint box over there,
and here’s the famous convex
round mirror, in which he
was reflected painting at his
easel (The Mirror, 1900), I’ve
got a chair and easel he owned
and I’ve even got his medals
somewhere. I love collecting
these things. Sickert and
William Holman Hunt owned
these two paint boxes and this
is Pissarro’s water container.
They’re all bunged in this
cupboard; I’m not precious
about the stuff I collect.
I was raised near railway
tracks which have much
influenced how I observe the
world around me, and because
I’m Professor of Perspective at
the Royal Academy, perspective
comes in to my pictures a lot.
When I’m doing an interior I
always have a set place where
I stand. Then I line up what
I see outside the window and
mark up the window frame
and glazing bars with coloured
tape. For a self-portrait, I’ll
square up the mirror just
as Camille Corot would do,
capturing the scene exactly.
I mostly paint that way –
accurately but without being
too ‘tight’. I never place objects
within the painting. I let
things grow organically and
find the composition within
what is already there. And I
never paint from imagination;
I employ models, and friends
pose occasionally, as well
as Dora.
To set up a painting I’ll
book a model for a three-hour
session, during which I get
the composition I want by
positioning her in relation to
the window, mirror, table. For
the next sitting, I’ll concentrate
on her and her reflection so
that when she’s not here I’m
able to work around her shape.
I avoid putting too much
detail around the edges, or
outside the window, in order to
encourage the viewer’s eye to
stay within the painting .
I’m quite a prolific worker.
I’ve just sent seventy paintings
to my gallery, many of them
small ones that I call ‘one
wet’ – done in a single sitting.
When I paint outdoors I’m an
alla prima painter; I complete
‘at once’, in one go and never
touch them again,
The larger paintings can
take up to two months to
complete and I’m constantly
kicking them around. They
don’t always work; you win
some, you lose some. Someone
asked me: how do you know
when a painting’s finished?
It’s finished when it gives you
back the sensation that made
you want to start it. If I don’t
get that sensation back, I’ve
lost it. That’s not a problem
with the small paintings,
but my larger canvases are
altogether different. I’m a
bit of a stickler; when I see a
painting start to slip away,
I fight it. I once fought a
picture for two years and in
desperation put a glaze over
it – linseed oil and raw umber.
And it revived it instantly.
I subsequently entered it for
the Royal Academy Summer
show, one of those years when
the critics really have a go at
the RA, but one said “There’s
a painting in Gallery Three
that’s alone worth the price of
entry – The River at Kingston
by Ken Howard”. If only
they knew what a desperate
struggle it had been.
Apart from this studio I
have two others. I made the
old village hall in Mousehole,
Cornwall into one. My parents
moved down there in the 50s,
got what I call ‘pixie-lated’
and stayed on, so Cornwall
has become a second home.
I’ve got a third studio in
Venice, a mansarda – an
attic. All three are large and
airy; I’m a bit of a nut for big
spaces. Each studio gives me a
different sensation and offers
different inspiration. When I
turn up at a studio, I don’t take
clothes, I don’t take paints;
everything’s there, I know
precisely where things are.
I just arrive and get on with
my painting. But this London
studio is my favourite.
The reason that I paint
studio interiors is because
I spend an enormous part
of my life in one, so not to
paint the studio would be
something lost. A painter
should paint what his life is
about. But it wasn’t always
so with me. I lived in this
studio for seven years before
I painted it. It took me all
that time to truly see it and
what it had to offer. I had
been doing a lot of travelling,
painting in several countries
and after one such trip I
returned here to Orpen’s old
studio and looked around
me. I thought: what the hell
am I doing, travelling the
world when it’s all in here?
The studio is the one place
where you can set up a 40 x
60 canvas and paint what’s
in front of you, undisturbed.
Go away, come back – the
subject’s still there. The
environment is weatherproof,
the light constant. And above
all else, that’s what I’m about
– light; whether it’s Venice,
Cornwall or here, in my
beloved Orpen studio.”
1
art
Winter 2010
39

40 art
Winter 2010
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Chairman’s Column
Do let us know what you think of
the winning exhibit for the Friends
sculpture prize, which was awarded
to Michael Werbicki for ‘Sevenfold’,
catalogue no 614.
Another prize, sponsored by
the Friends, is ‘Your Choice’, which
provides the opportunity for visitors
to the Autumn Exhibition to vote
for their favourite work.
Early in 2011 there will be
an RWA Open Photography
Exhibitions and the Friends will
be sponsoring two prizes. We
look forward to seeing entries
submitted by our members.
FRIENDS COMMITTEE 2010 – 2011
Chairman
Maureen Fraser
e: mcf11@tiscali.co.uk
Treasurer
Tony Merriman
t: 01934 833 619
e: merriman38@hotmail.com
Vice Chairman & Friends Exhibitions
Gillian Hudson
t: 0117 973 5359
e: gs.hudson@toucansurf.com
Vice Chairman
Roland Harmer
t: 0117 924 5638
e: rolandharmer@blueyonder.co.uk
Cultural & Educational Visits
Tom Western-Butt
e: thomas_butt05@tiscali.co.uk
Lectures
Wendy Mogford
t: 0117 950 0712
e: wmogford@talktalk.net
Volunteers coordinator
Mary Drown
e: Mary.Drown@blueyonder.co.uk
RWA magazine liaison
Carolyn Stubbs
e: carolyn.stubbs@btinternet.com
Liz Clarke
t: 0117 977 2573
e: liz@madasafish.com
Simon Holmes
e: simonfhholmes@lineone.net
Linda Alvis
t: 0117 973 0268
e: linda@alvisfineart.co.uk
Also:
Friends Room Exhibitions
Marion Roach
t: 0117 929 0310
e: marion@manthorp.com
Membership Secretary
Jac Solomons
t: 0117 973 5129
e: info@rwa.org.uk
Committee members can also be
contacted by post addressed:
c/o Royal West of England Academy
Queens Road, Clifton, Bristol BS8 1PX
Your feedback on the Soirée,
coffee table and other activities
is welcomed by the Friends
Committee together with
suggestions for fundraising
events. We depend on the
willingness of our supporters to
plan and organise new services
so please contact Volunteers
Coordinator Mary Drown if
you are not one of our regular
volunteers and would like to help.
We are keen to know about
your art activities: it might be a
prize that you have won or a new
direction with your work. Please
The Genius of
William Samuel
Morris
Friends outing to Kelmscott
Manor 17 July 2010
Alongside the gently meandering
Thames on Oxfordshire and
Gloucestershire border, nestles William
Samuel Morris’s “Heaven on Earth”,
the embodiment of his utopian dream,
Kelmscott Manor. Here, on a gorgeous
July morning, the Friends arrived for
their visit.
Kelmscott is a Grade I listed Tudor
farmhouse which, from 1870, became
the beloved summer home of the writer,
designer and political thinker and his
wife Jane, their family guests including
Dante Gabriel Rossetti.
Entering through the oldest part
of this magical house, the Screens
Passage, one arrives in the Old Hall,
used as a dining room by the Morris
family. Strawberry Thief design fabric
adorns its walls. The North Hall, which
contains furniture designed for Morris’s
Bexleyheath house, leads into the panelled
White Room with portraits of the Morris
family and the Millefleurs tapestry.
Off the White Room is The Closet
which houses Rossetti’s famous portrait
of Jane Morris. The Blue Silk Dress
(1866-68) and finally, on the ground
floor, the Green Room containing family
souvenirs and a magnificent carved stone
fireplace decorated with Morris tiles.
The early rustic stairs, which
enchanted Morris, lead to the landing,
where Rossetti’s 18th Century tavern
send in any art related stories
to Carolyn Stubbs at
carolyn.stubbs@btinternet.com.
It is encouraging that the
Friends Exhibition has attracted
an impressive number of
submissions and we are running
a follow up show – ‘Selected
But Hung Later’. The lecture
programme for 2011, organised
by Wendy Mogford, is now in
place and details of forthcoming
talks are included in Diary page 6.
I look forward to hearing
from you.
Maureen Fraser – Chairman
clock hangs, and on into Jane’s bedroom
where the wallpaper is a modern
reproduction of one of Morris’s most
popular designs ‘Willow Boughs’.
Morris’s bedroom contains a four
poster bed of Elizabethan and Jacobean
woodwork. The bedspread was made by
Jane and her friend Augusta de Morgan,
sister of the potter William de Morgan.
Woodblock by Albrecht Dürer hang on
the walls.
In an extension to the original house
can be seen tapestries depicting the
biblical story of Samson. These date from
the Civil War and line a room which was
used by Rossetti as a studio. Here a paint
box the artist left behind in 1874 can
still be seen.
A split stepped staircase leads to
the extensive attics display of textiles,
including samples from Morris & Co’s
showrooms. These richly worked fabrics
are a testament to Morris’s love of
nature and are examples of his famously
repetitive designs which the gardens of
Kelmscott inspired.
The Society of Antiquities own and
manage the house and gardens. They
have left the newly opened Old Kitchen
unreconstructed to preserve its essential
architectural qualities. A walk around
the abundant gardens and meadow was
a delightful finale.
Linda Alvis
Friends of the RWA
art
Winter 2010
41

Friends News
Simon, Monica and the BMW
Titian:
The Last Days
by Mark Hudson
On the 20th of November
Mark Hudson gave a Friends
Lecture on the last days of Titian.
Dr Derek Balmer PPRWA
reviews his recent book.
Henry Ford said history is more or less
bunk. That said, one questions the wisdom
of such a statement and leads one to ask
if there is any justification for such a
sweeping generalisation.
Certainly in Mark Hudson’s book
Titian: The Last Days, there are
qualifying adverbs such as ‘maybe’,
‘possibly’, ‘perhaps’ and ‘supposing’
which indicate the frustrations of a
historian who, genuinely obsessed
with his subject, cannot claim with any
certainty what happened five hundred
years ago. The fingerprints are wiped
clean, the footprints gone for ever and the
gossipmongers long dead in their graves.
Nevertheless Mark Hudson resolutely
plods the alleyways of Venice with
optimistic determination and we follow
him in pursuit of evidence that will fill in
the gaps of Titian’s life and times. Hudson
42 art
Winter 2010
Simon Roberts:
The Road to
Kathmandu
Saturday 18 September 2010
in the Fedden Gallery
Hot foot from his interview with Radio
Bristol, graphic artist Simon Roberts
arrived on his trusty BMW – the bike that
had taken him on his epic journey – to
face a full house of Friends and visitors.
He spoke movingly of the tragic
sudden loss of his wife Julie to cancer –
his motivation for renting out his house
and taking to the road for the solo seven
month life-affirming trip. His journey
took him across Europe to Istanbul,
around Turkey to Iran and the Persian
Gulf, up through Pakistan as far as the
Chinese border and then around India
to Nepal and finally Kathmandu.
openly admits that the finest biography
of Titian was written back in 1877 by
L.A. Crowe and G.B. Cavelcaselle, but still
he pursues his quarry like a dedicated
detective and in doing so encounters
cranks, detractors and closed doors.
There is much information in this
book; not all of it necessary to the central
thrust of the investigation, but for all
that, the enthusiasm for his subject never
falters as the complexities, atmosphere
and very smell of Sixteenth Century
Venice is gradually brought to life.
For successful artists, the Renaissance,
as it came to be known, was by no
means a time of creative introspection.
A studio such as Titian’s would be
akin to a high level factory production
line with its succession of brilliantly
executed Madonnas, Crucifixions, Pietas,
Altarpieces and Martyrdoms; supported
by endless commissions for portraits of
the great and the good. Then there were
the Cinerama epics featuring many a
busty maiden with delicate pink thighs
and rotund cherubs zooming about in
attendance and all made respectable
by titles relating to classical myth.
Andromeda, Diana and Venus were the
upmarket page three girls of yesteryear.
Often tasteless, never dull and all the
better for it.
Yet for all his genius and remarkable
consistency, Titian and his peers sat
well below the salt and were socially
With adventures galore and more
than a few breakdowns – he achieved his
goal, making many new friends along
the way. As he said, it was a journey of
challenges and contrasts, of excitement
and discovery, during which he crossed
deserts, battled ice and snow, trekked in
the Himalayas, ate and drank a variety of
unidentified substances, and saw sights
that most of us can only dream of. To
while away the lonely evenings he began
to keep a journal of each day’s events with
accompanying comic strip illustrations.
This became a fascinating book entitled
‘Tea with Bin Laden’s Brother’ – it did
actually happen. Simon, a natural and
engaging storyteller, had us all captivated.
Wendy Mogford
Some signed copies of his book are
available at £15 from the RWA.
Contact Friends Secretary
Jac Solomons for details
acknowledged as little more than artisans.
How times have changed as we in our
day elevate the trivial to a level of celebrity
unheard of in the past.
I enjoyed this unusual book and
was grateful to be reminded of my
three favourite Titian paintings: – The
Flaying of Marsyas, Pope Paul III with
his Grandsons and the sexually charged
Venus of Urbino. This last painting
comes in for some remarkably naive and
pompous observation from none other
than Mark Twain, whose ignorance
in matters of female independence is
unbelievable. For these few pages alone
Mark Hudson’s revelation of the mindset
of the author of The Adventures of Tom
Sawyer and Huckleberry Finn is worth
the cover price of the book.
Derek Balmer
New Volunteers’
Co-ordinator for
RWA Friends
Mary Drown has taken on the
role of Volunteers’ Co-ordinator.
Volunteers are an essential part of our
support for the RWA. You will often see
volunteers at the RWA – they help with the
handing in and selection processes of the
Autumn exhibition, assist at the larger
private views, and act as stewards at the
Friends’ exhibitions. As coordinator, Mary
liaises with the RWA on their needs and
matches up the work to be done with the
people who want to do it. She then puts
together rotas for the different events.
Mary’s background is in medical
and scientific photography. She worked
for the Wellcome Foundation before
becoming the first woman photographer
for Bristol Police in the 1960s. As a
woman, she wasn’t allowed to cover
murders or anything grisly; but she was
asked to develop those photos for other
photographers. She later worked in the
research laboratories of Berkeley Power
Station, using large format cameras and
high-speed cine film. More recently, she
followed in her daughter’s footsteps to
the University of the West of England,
and successfully graduated with a B.A.
in Drawing & Applied Arts in 2007.
Visits planned
for the Friends
during 2011
An exciting and rewarding
number of excursions are being
prepared for the Friends in 2011.
Musée Rodin, Paris
As the fund-raising activities of the
Friends develop, so will the role of the
volunteers. Mary says, “It is important for
Friends to be there to help in any way we
can. I’m looking forward to helping people
become more involved by drawing on their
talents and experience.”
If you’d like to become more involved,
you can phone Mary on 01454 414433 or
e-mail her on mary.drown@blueyonder.co.uk.
Eileen Elsey
// March 12
Ashmolean and a college, Oxford.
// May
A five day visit to Paris by coach from
Bristol. Proposed outings include the
‘artist’ village of Barbizon, Monet’s house
and garden at Giverny, Fontainebleu.
Details later.
// June / July
Painting Vacation. Details to follow.
// July 12
Gloucester Cathedral and ‘Art in Nature’,
Twigworth.
// September
Severn Valley Railway and Museum.
// November
Birmingham Art Gallery and the Barber
Institute.
// 2011
Painting Days with Roma Widger
will continue during the year.
For further details contact: Linda Alvis
e: linda@alvisfineart.co.uk
//
See pages 4 – 7 for
full details of Friends
exhibitions and events
Join the
Friends
Friends enjoy: free entry to RWA exhibitions;
private view invitations to all exhibitions; a lecture
programme with professional speakers; cultural
visits and painting trips; an opportunity to submit
work to Friends’ exhibitions; preferential rates with
discounts on submissions of work to the Autumn
Open Exhibition; discounts on artists’ materials at
Bristol Fine Art and ART magazine each quarter.
Your membership will help the RWA to serve the
region and artistic community by raising funds
for the Academy.
title (optional)
first name
surname
title (optional)
first name
surname
address
postcode
telephone
e-mail
types of membership
single annual £25
joint annual £36
individual life £375
joint life £500
student (NUS card max three years) £13
For those living outside the Bath (BA), Bristol (BS),
Gloucester (GL) and Swindon (SN) postcode areas
we offer these rates:
country single annual £20
country joint annual £30
total
We can claim an extra 28p from the Inland Revenue for
every £1.00 you give us – if you are a UK taxpayer.
I am eligible as a UK taxpayer and consent to the Friends
of the RWA claiming Gift Aid on subscriptions or donations
I make. You can cancel this declaration at any time by
notifying the Friends of the RWA in writing. You must pay
an amount of income tax and/or capital gains tax equal to
the amount recoverable on your total gift aid donations.
Should your circumstances change and you no longer pay
sufficient tax, you should cancel your declaration.
signature date
Please make cheques payable to:
Friends of the RWA and return this section to:
The Membership Secretary,
Friends of the Royal West of England Academy
Queens Road, Clifton, Bristol BS8 1PX
t: 0117 973 5129 www.rwa.org.uk
Registered Charity No 1107149
Data protection: information given will be used solely for maintaining
our membership list and administering activities for Friends.
art
Winter 2010
43

Chosen by Jilly Cobbe
Artful
quotations
“What is important is to create
an object capable of conveying
a sensation as close as possible
to the one felt at the sight of
the subject.”
Alberto Giacometti
“Believe it or not, I can
actually draw.”
Jean-Michel
Basquiat
“Nothing is more foreign to
me than an art that serves
other purposes than those
of art alone.”
Giorgio Morandi
“The beautiful is in nature,
and it is encountered under
the most diverse forms of
reality. Once it is found it
belongs to art, or rather
to the artist who discovers it.”
Gustave Courbet
“Sometimes I’ve believed as
many as six impossible things
before breakfast.”
Lewis Carroll
“The flat sound of my clogs on
the cobblestones, deep, hollow
and powerful, is the note I
seek in my painting.”
Paul Gaugin
“Fantasy, abandoned by
reason, produces impossible
monsters; united with it,
she is the mother of the arts
and the origin of marvels.”
Francisco Goya
44 art
Winter 2010
// Letters // Reviews
Your news and views are important to us. Please send letters to ART,
Royal West of England Academy, Queens Road, Clifton, Bristol BS8 1PX
or email richard.storey@rwa.org.uk. Unfortunately we are unable to reply
to all correspondence individually. We reserve the right to edit letters.
I have just read the
Autumn 2010 issue
of ART.
It is gorgeous. It
looks fabulous yet
is very accessible
with clear layout and
distinction between
its different parts.
The content is varied
from the snapshot to
the more considered
(the Barry Cawston
article) with plenty of
current information
about what’s going
on at the RWA. The
interviews were
interesting and I
wonder if this could
be extended into
an artist talking
at length about
their work, or
similar, or two or
three academics’
perspectives on one
artist’s work, or on
a type of art.
Having talked about
all that lofty stuff my
favourite piece was
‘Alice Hendy meets
some visitors’. Nice
to read some others’
experiences, felt a
bit like having gone
to the cinema and
talking about the film
afterwards. Maybe
I’d like a better set
of distinctions about
art, curating and
galleries to use in
discussion.
Looking forward to
the next issue.
Carol Walker
Dear Hugh (Mooney)
My God you are good.
I really do mean it.
I cannot remember
any piece written
about me so elegantly.
You asked me in
your letter if I found
it acceptable. I most
certainly do.
Much gratitude to
you for sending me
the copy and I do
hope our paths may
cross once again
one day.
Cheerio for now and
all warm good wishes
Charlie Waite
Issue number 2 is
even better. Further
congratulations.
John Sansom
// BOOK
Art and Print:
The Curwen Story
Alan Powers
Illus 176pp: Tate Gallery Publications, 2008
ISBN 978 1 85437 721 0
Stanley Jones and
the Curwen Studio
Stanley Jones
Illus 154pp: Herbert Press
an imprint of A&C Black, London, 2010
ISBN 978 14081-02862
These two books tell, from
different perspectives, the
complex story of the Essex
and London based publishing
// BOOK
A Terrible Beauty: British
Artists in the First World War
Paul Gough
366 pp: Sansom & Company Ltd Bristol, 2010
ISBN 978 1 906593 00 1
This book describes the
plate-spinning act British
war artists in WW1 had to
master: dealing with the
trauma of the battle, their
painting techniques, army
politics, ‘pulling strings’, the
censor, being mistaken for
spies, staying alive. This is an
all-round sensual experience
as much as a history book.
Many paintings are referred
to and well-described but are
frustratingly not reproduced,
but this is made up for by its
epic scale. Cliff Hanley
house, printing workshop and
gallery that have carried the
name ‘Curwen’. The Curwen
Studios were established in
1958 and the Tate gallery
marked the 50th anniversary
with this book and an
exhibition. Alan Powers, an
architectural and cultural
historian, manages the
narrative well. Much helped
by plentiful illustrations, often
in colour, I was entranced
by the graphic design and
illustrative work of artists
such as Edward Bawden, Eric
Ravilious, Paul Nash and
Barnett Freedman.
Stanley Jones, now 77, artist
and founder of Curwen
Studios is an unparalleled
expert in lithography. His
// BOOK
Taizo Kuroda
Philip Jodidio
Illus 144 pp: Prestel Publishing Ltd, 2010
ISBN 978 3 79 135003 5
Jodidio’s monograph explains
clearly why Taizo Kuroda
has devoted the past 40 years
to making ceramic vessels.
Despite Kuroda’s insistence
that his work is not concerned
with Spirituality, readers may
well be drawn into a Zen like
state and left contemplating
the existential question of
how we human beings occupy
physical space. Exquisite
photographs capture Kuroda’s
skilful mastery of porcelain
clay as well as the tension he
creates in the rims, cracks
and openings of the beautiful
forms. Nicky Stone
autobiography, beginning in a
working class house in Wigan,
1933, will be of greatest
interest to readers of ‘a certain
age’. Stanley Jones’ story
demonstrates the formative
power of an obsession, in his
case with lithography and
other techniques of original
printmaking. The book
includes many examples of
the writer’s own artworks
and photographs of Stanley
providing his expertise
for artists such as Moore,
Hepworth and Ceri Richards.
Both books are specialist
publications but anyone who
enjoys art and design from
the 20s and 30s will want to
buy or borrow ‘Art and Print’.
Peter Ford
// BOOK
Keeping the World Away
Margaret Forster
352 pp: Vintage, 2007
ISBN 978 0099496861
Tracing the progress of an
imaginary Gwen John painting
through the lives of a chain of
women, Forster conveys John’s
awareness of light and colour.
John’s avoidance of marriage
somehow cornered her creativity
chiefly into portraits and
self-portraits of mournful,
pale-faced women. The title
confirms the impression of
a reclusive artist: “Rules to
Keep the World Away – do not
listen to people, do not look at
people…” from this isolated
viewpoint, John created her
calm and safe world.
Greg Reitschlin
// BOOK
The Sensory World of
Italian Renaissance Art
François Quiviger
206pp: Reaktion Books, London, 2010
ISBN 9-781-86189-657-5
Why did artists become
interested in representing
the senses (sight, touch,
hearing, taste and smell) at
the end of the middle ages,
and what do their images
reveal about Renaissance
attempts to understand the
relationship between what the
// BOOK
13 Sculptures Children
Should Know
Angela Wenzel
45 pp: Prestel Publishing Ltd, London, 2010
ISBN 978 3 7913 7010 1
The cover says it all.
Michaelangelo’s David,
Oldenburg’s Giant Toothpaste
Tube and Smithson’s Spiral
Jetty. A quick, eclectic dip
in to the world of sculpture,
introduces children to works
from Samothrace (c.190 BC)
through Brâncusi to Anish
Kapoor. Accessible information
about the work and the artist,
and colourful photographs will
whet the appetites of young
readers; games and puzzles
enhance this introduction
to three-dimensional
masterpieces. GR
mind conceives and sensations
that are physically perceived?
These are the questions
François Quiviger’s book
explores with lucid originality.
The middle ages believed that
sensation was dominant;
Renaissance science (natural
philosophy) elaborated a
more sophisticated model in
which reason and imagination
acquire greater autonomy as
faculties through which the
senses stimulate the intellect.
How artists represented the
senses thus provide a key to
understanding Renaissance
ideas about the nature of
art. Altogether a fascinating
enquiry into Renaissance
vision and communication.
Michael Liversidge
// BOOK
A Year In Art:
the activity book
Christine Weidemann
376 pp: Prestel Publishing Ltd, London, 2009
ISBN 978 3 79134 355 6
This beautifully produced
activity book about art does
not patronise children. It
offers a painting for every
day of the year, and includes
plenty to discover and interact
with on each page. Artists
from across centuries and
cultures are well represented
by works chosen to fascinate
any enquiring mind. Highly
recommended for the over
sevens (and probably lots of
grown-ups too).
Alison Heywood
art
Winter 2010
45

JULIAN COX ARBS
46 art
Winter 2010
INK DRAWINGS
www.juliancoxartist.co.uk
e@juliancoxartist.co.uk
m.07814556936
‘Daffodils’, hand-coated print in platinum and palladium.
Ian A Foster
Recipient of the 158th RWA Autumn Exhibition
Best Newcomer Award 2010
For more information on the current collection,
private commissions and representation,
visit www.ianafoster.co.uk
Citerna, Umbria,
June 2011.
www.lizvibert.co.uk
lizvibert@blueyonder.co.uk
or 0117 9738772 for a chat
about this & other 2011/12 events.
LIZ VIBERT PAINTING HOLIDAYS
Friendly multi-level group, versatile & inspiring guidance on
watercolours and other media from tutor Bob Ballard.
Lovely hill-top village, comfortable rooms & delicious food,
swimming pool... & Piero della Francesca on your doorstep.
Singles £718, doubles £599 pp excl. travel.
Non-painting partners welcome.
The Architecture Centre
Narrow Quay
Bristol BS1 4QA
t: 0117 922 1540
e: info@
architecturecentre.co.uk
Opening hours
Tues to Fri 11am – 5pm
Sat and Sun 12 – 5pm
Closed all day Monday
To 24 December
Breuer in Bristol
A brief 3 year period
in the mid thirties put
Bristol on the Modernist
map. The collaboration
between Bauhaus
architect Marcel Breuer
and Crofton Gane, Bristol
furniture manufacturer.
Bath Fine Art
35 Gay Street
Queen Square
Bath BA1 2NT
t: 01225 461 230
e: gallery@bathfineart.
com
www.bathfineart.com
Mon – Fri 10am – 5.30pm
Sat 10am – 5pm
and by appointment.
12 November –
4 December
Window to the Soul
A celebration of the most
talented artists in the
West of England.
Bristol Drawing School
Unit 5.3
Paintworks
Bath Road
Bristol BS4 3EH
t: 0845 680 1409
www.drawingschool.org.uk
A not-for-profit private
arts venue offering
drawing courses and
workshops throughout
the year.
Enrolling now for 2011
City Museum
& Art Gallery
Queen’s Road
Bristol BS8 1RL
www.bristol.gov.uk/
museums
Extended until 30
January 2011
Flight: BAC 100
Exhibition
A century of aviation in
the West of England.
The Clifton Arts Club
Bristol School of Art
(Adjacent to RWA)
Queen’s Road
Bristol BS8 1PX
www.cliftonartsclub.co.uk
Inviting new members,
join our busy programme
of events, £25 per year
We have lectures,
workshops, gallery
visits, annual exhibition
and painting days. Visit
our website or contact
Di Western 01454
776916 for further
information.
The Clifton Hotel Group
(The Rodney, The Square
& The Clifton)
Julian Cox ARBS
On-going exhibitions of
sensual original Indian
ink drawings by Bristol
based artist.
www.juliancoxartist.co.uk
Create Centre
Smeaton Road
Bristol BS1 6XN
t: 0117 925 0505
www.createbristol.org
To end December
Opening times Monday –
Saturday 10 – 4.00
Bristol 2020: vision for a
carbon smart city. Please
check website for details.
Supported by the Arts
Council, England.
Gallery Nine
9b Margarets Buildings
Bath BA1 2LP
t: 01225 319 197
e: info@gallerynine.co.uk
www.gallerynine.co.uk
Mon – Sat 10am – 5.30pm
Most Sundays 2 – 5pm
12 November – 8 January
2011
Exhibition of paintings
by June Miles
Innocent Fine Art
7a Boyces Avenue
Clifton
Bristol BS8 4AA
t: 0117 973 2614
www.innocent
fineart.co.uk
Monday – Saturday
10am – 5.30pm
19 November –
11 December
School of Paris exhibition
Braque, Chagall,
Cézanne, Cocteau, Dali,
Gilot, Hellau, Matisse,
Miró, Picasso, Renoir,
Utrillo.
Jamaica Street Artists
37–39 Jamaica Street,
Stokes Croft
Bristol BS2 8JP
t: 07766 221 266
Contact: Gemma Brace
at jsadevelopment09@
yahoo.co.uk
Weds – Sun 11am – 6pm
To 24 December
THEARTBOX
31 College Green, Bristol
A unique pop-up shop
and gallery.
8 January – 8 February
2011
Inside-out
RWA Bristol (see Diary
pages)
An eclectic exhibition
includes workshops,
tours and talks.
Jean Jones Gallery
13 Clifton Victorian
Shopping Arcade,
Boyce’s Avenue
Clifton Village
Bristol BS8 4AAt: 07926
196 978
www.jeanjonesgallery.com
Tues – Sat 10.30am – 5.30pm
Fine Art Original
Paintings, Jewellery
and Cards
The John Leach Gallery
Mulchelney Pottery
nr Langport
Som TA10 0DW
t: 01458 250 324
www.johnleachpottery.
co.uk
15 November –
26 January 2011
Andrea Clark: All
Creatures Great & Small
Original paintings,
drawings and prints.
Lime Tree Gallery
84 Hotwell Road
Bristol BS8 4UB
t: 0117 929 2527
www.limetreegallery.com
Tues – Sat 10 – 5pm
Sunday 10 – 4pm
December
Christmas Exhibition
Michael Clark, Vivienne
Williams, Peter King,
Philip Richardson
Martin’s Gallery
Imperial House
3 Montpellier Parade
Cheltenham GL50 1UA
t: 01242 526044
e: ian@martinsgallery.
co.uk
11am – 6pm
Wed – Sat or by
arrangement
Closes 11 December
Art of Vietnam
A mixed exhibition
illustrating the influence
of French Impressionism
and the Asian culture on
this exciting emerging
market.
5 Feb – 5 March 2011
Mixed ’11
Eight artists of varying
media and subjects
including Victor Ambrus,
Pierce Casey, Diana
Matthews, Rory Morrell,
Janet Nathan, Michael
Norman, Anthony
Slessor and Karl Taylor.
Nails Gallery
Lower Exchange Hall,
Entrance to St Nick’s
Market Corn Street,
Bristol BS1 1LJ
t: 0117 929 2083
Mon – Sat 9.30am – 5pm
New Work: from bestselling
artists Tom
White, Alexander Korzer-
Robinson and Abigail
McDougall. Also new
work from Rich Murphy,
Colin Vincent and
Rebecca Howard.
Nature in Art
Wallsworth Hall
A38, Twigworth
Gloucester
www.natureinart.org.uk
Tues – Sun 10am – 5pm
16 November –
19 December
British Contemporary
Crafts: The Variety
of Life
All items are for sale
22 January – 31 March
2011
Wildlife Photographer
of the Year
Pallant House Gallery
9 North Pallant
Chichester
West Sussex PO19 1TJ
t: 01243 774 557
www.pallant.org.uk
Until 10 January 2011
Gods & Monsters: John
Deakin’s Portraits of
British Artists
Iconic portraits of British
artists by legendary
Vogue photographer
John Deakin (1912 –
1972)
Until 6 March 2011
Contemporary Eye:
Crossovers
Interventions from
major private collections
by international
contemporary artists
exploring traditional
craft.
Richard Green
147 New Bond Street
London W1S 2TS
t 020 7493 3939
www.richard-green.com
e: paintings @richardgreen.com
26 January –
12 February 2011
Ken Howard OBE
RA RWA: An Artist’s
Odyssey
70 recent oil paintings.
Royal Academy of Arts
Burlington House
Piccadilly
London W1J 0BD
t: 020 7300 8000
www.royalacademy.org.uk
Until 19 December
Artists’ Laboratory 02:
Stephen Farthing RA
The Back Story
Until 23 January 2011
Pioneering Painters: The
Glasgow Boys
1880 – 1900
22 January – 7 April
2011
Modern British Sculpture
The first exhibition for
30 years to examine
British sculpture of the
twentieth century.
// Listings
Sky Blue Framing
& Gallery
27 North View
Westbury Park
Bristol BS6 7PT
t: 0117 973 3995
Mon – Fri 9.30 – 5.30
Sat 9.30 – 4.30
Starting on 20 November
The Big Christmas
Mixed Exhibition
featuring some of our
and your favourite
artists. New limited
edition prints from
Quentin Blake (Roald
Dahl collection), John
Knapp-Fisher, Mary
Fedden, David Brayne
RWS and gallery owner
Mike Ogden; along with
new silk screen prints
from the ever popular
Susie Brooks, Jane
Ormes and a sprinkling
of new artists.
Sladers Yard
West Bay, Bridport
Dorset DT6 4EL
t: 0138 459 511
wwwsladersyard.co.uk
Weds – Sat 10am – 5pm
Sun 12 noon 5pm
To 9 January 2011
Sea Light
Paintings: Alex Lowery,
Stephen Jacobson
RWA, Rufus Knight-
Webb, Jeremy Scrine
– Furniture: Petter
Southall – Sculpture:
Caroline Sharp –
Automata: Ian McKay –
Glass: Lindean Mill.
Somerset Guild of
Craftsmen
The Courthouse Gallery
Market Place
Somerton TA11 7LX
t: 01458 274 653
www.somersetguild.
co.uk
Open six days a week
10am – 5pm
Admission free
13 November – 8 January
Reflections of Nature
The wealth of Somerset
country life is brought
alive through a
wonderfully diverse
array of craft.
Tate Modern
Bankside
London SE1 9TG
t: 020 7887 8888
www.tate.org.uk
Until 16 January 2011
Gauguin
Until 3 January
Turner Prize 2010
Until 2 May
The Unilever Series:
Ai Weiwei
Tate Liverpool
Albert Dock, Liverpool
L3 4BB
t: 0151 702 7400
Until 1 April 2012
DLA Piper Series:
This is Sculpture
Tate Britain
Millbank
London SW1P 4RG
t: 020 7887 8888
Until 16 January 2011
Eadweard Muybridge
Until 16 January 2011
Rachel Whiteread
Drawings
Until 3 January 2011
Turner Prize 2010
Tate St Ives
Porthmeor Beach
St Ives
Cornwall
TR26 1TG
Until 8 January 2011
Peter Lanyon
Until 23 January
Tenmoku: Leach/Hamada/
Marshall
V&A
Cromwell Road
London SW7 2RL
www.vam.ac.uk
Open 10am – 5.45pm
Fri 10am – 10pm
Until 16 Jan 2011
The Art of Noh
Free admission
Until 3 April 2011
Richard Slee: From
Utility to Futility
Free admission.
art
Winter 2010
47

48 art
Winter 2010
Which painting would you like
to own?
I co-curated an exhibition
at the Tate called Gothic
Nightmares; Henry Fuseli’s
The Nightmare was the
centrepiece – a painting of
a lady lying on a bed with a
squab sitting on her chest and
a horse’s head coming through
the curtains. I’d like to own
The Nightmare; it would
remind me of the darker side
of life.
What music are you listening
to at present?
When I’m working and
thinking I prefer the soothing
sounds of Mozart and chamber
music. When on the road,
there’s nothing like driving up
the M4 with Mozart’s Requiem
at full whack.
Who do you think is the most
over-rated artist, living or dead?
Keith Haring. I find this whole
elevation of graffiti to art
gallery status very peculiar;
I don’t get it at all. Graffiti is
not necessarily art, indeed it
very seldom is.
Who would you most enjoy
sitting next to on a long haul
flight?
The 18th century philosopher
Jean-Jacques Rousseau, who
invented modern art education.
His book, Emile, is all about
learning by performing, using
your hands and the value of
a practical education. I’d love
to chat through with him how
we could introduce that idea
back into education today. That
would be a journey well spent.
Which has been your most
satisfying job?
Rector of the Royal College of
Art. I believe so much in what
it stands for. This is the sexiest
job in higher education by a
long way. I had no time for my
own work so I like to think
of the RCA as my own work
of art. So for me it was just
as creative as producing art
works.
Which play about art have
you most enjoyed?
Red by John Logan. About
Rothko, it did this very rare
thing of convincingly putting
over someone at work on a
painting; normally you don’t
believe a word of it, they
can’t do the hand movements
properly, but they actually had
him treating a canvas prior
to doing one of his great red
paintings, and I believed it.
Media studies – are they worth
the paper…?
The philosopher Umberto Eco
once said to me: “You can do
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Richard Storey
Sir Christopher Frayling
born 1946
a PhD on Mickey Mouse –
there’s nothing intrinsically
trivial about that sort of
subject matter, it’s how you
approach it”. You can do
Media Studies in a good or
a bad way. Degrees train
you to use your eyes, how to
marshall an argument, about
the use of sources, developing
a way of thinking about the
culture that’s around you.
People tend to say that the
media are trivial; I really don’t
believe that. It’s become the
Sociology of the 21st century:
if you want to bash University
education – bash Media
Studies. I hate the dumbing
down which says there are
some art forms up here and
others down there.
Most over-rated art critic?
Wild horses wouldn’t
encourage me to say Brian
Sewell – but I’m going to.
A selection of books by
Christopher Frayling:
Henry Cole and the Chamber of
Horrors: The Curious Origins
of the V&A (2010)
The Royal College of Art:
One Hundred Years of Art
and Design (1987)