Viva Lewes Issue #156 September 2019

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INK PAPER + PRINT PRESENTS THE 2019 ILLUSTRATION + PRINT FAIR TOWNER ART GALLERY COLLEGE RD, EASTBOURNE BN21 4JJ SATURDAY & SUNDAY 21 ST – 22 ND SEPTEMBER, 2019 FREE ADMISSION Painted by Lothar Götz, 2019 - Photo by Eva Eastman OVER 75 EXHIBITORS OF PRINTS, BOOKS + EPHEMERA Admission from 11am
ON THIS MONTH: ART Pallant House Three exhibitions Two of the three current temporary exhibitions at Pallant House Gallery in Chichester are part of Insiders / Outsiders, a nationwide arts festival running until March 2020, celebrating the contribution made by refugees from Nazi Europe to British culture. There are two singleroom displays, one devoted to Walter Nessler, the other to Grete Marks. Neither household names, of course, but regular visitors to Pallant House will know of Nessler if only because of his strange, almost apocalyptic vision of Haverstock Hill (1938) that has been on loan to the gallery from a Private Collection since 2006. And before that he featured in Alien Nation: Immigrant Artists in Britain, an exhibition that Pallant put on in 2003. Walter Nessler came to this country in 1937 with his wife Prudence, daughter of the Arts and Crafts architect CR Ashbee. The couple had met when Prudence was studying dance at the Mary Wigman School in Dresden where Nessler was painting stage sets. He was briefly interned in Liverpool before being released in September 1940 on the intercession of his wife’s parents. He then joined the Pioneer Corps. His marriage broke down in 1947, but he apparently remained on the best of terms with his mother-in-law whom he often visited in Morecambe. Interestingly, the couple of studies of Morecambe Bay on show are, to my mind, of more artistic vitality than his paintings of Paris and Spain which are pleasant enough but rather formulaic. I had never heard of Grete Marks. Born in Cologne, she studied art there and in Düsseldorf before gaining entry to the Weimar Bauhaus. There she studied ceramics, but soon clashed with her teacher and left the school after just one year. Together with her first husband she established Haël Werkstätten, a modernist ceramics factory near Berlin. After her husband’s sudden death in 1928 she took over the running of the factory. She fled to England in 1936 and found employment at Mintons pottery in Stoke-on-Trent. She later set up the Greta Pottery. Some of her ceramics are on display but the main focus of the exhibition is a group of portrait drawings that Pallant House has recently acquired. She had a very original style and some of them are beautiful. Cataloguing work is obviously still going on. One portrait, for example, that is titled ‘Hebrew Teacher’ when reproduced in the Pallant House magazine is identified in the exhibition as the Ukrainian born pianist Leff Nicolas Pouishnoff. The main exhibition at Pallant (until 13 October) is devoted to Ivon Hitchens. In his introduction to the Penguin Modern Painters volume on Hitchens (1955) Patrick Heron wrote: ‘I should like to express, if it is possible, some part of the purely pictorial excitement which the experience of seeing his works has so often afforded me; and which has prompted me in the past to make the claim that, all things considered, Hitchens is the most considerable English painter of his generation.’ This marvellous show gives us all the opportunity to experience that pictorial excitement for ourselves. Not to be missed! David Jarman Ivon Hitchens, Flowers, 1942, Pallant House Gallery © The Estate of Ivon Hitchens 53
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Viva Lewes Issue #156 September 2019

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