Tag: Cornwall

Life, Light and Colour Painted by Dorothea Sharp

Dorothea Sharp, oil on canvas, The Bath

Dorothea Sharp (1874-1955) painted joyful still lifes and landscapes, often with children on the beaches of Cornwall where she lived for much of her life near St. Ives.

The artist was born into a prosperous Quaker family in Dartford, Kent in 1874. The eldest of five children she was twenty-one before she began to study painting at the art school run by C.E. Johnson in Richmond. She would later attend the Regent Street Polytechnic where she was influenced by visiting tutor, the English Realist and Impressionist painter, Sir George Clausen.

Soon after the untimely death of her father in 1900 Dorothea moved to Paris.

The hope filled scene painted by Dorothea Sharp titled ‘The Bath’ sold at Toovey’s for £8000. The price reflects her reputation as a painter and the ever growing interest in women artists amongst collectors.

Dorothea Sharp’s paintings were influenced by her time in Paris and exposure to the Impressionists including Claude Monet. Best known for her landscapes, which often include children, Dorothea Sharp’s style is spontaneous and impressionistic. ‘The Bath’ depicts a hope filled, joyful, sunlit interior as a mother bathes her baby. Through the window a sailing boat enters the estuary the blue of the sea brilliant against the grey green hills of the far shore.

Dorothea Sharp often painted her subjects looking into the light which lends her subjects a luminosity. The love of a mother for her child is brilliantly captured here by the artist’s confident palette, wonderful sense of light and spontaneous brush strokes.

Dorothea Sharp, oil on canvas, Still Life with Summer Flowers

Her confidence and ability is also apparent in the Still Life with a Vase filled with Summer Flowers which was also sold at Toovey’s for £9000. The scene is once again gifted with such life by the play of light expressed in the palette and brush work.

Dorothea Sharp was part of that remarkable group of influential women artists in the early 20th century which included Laura Knight, Dod Procter, Wilhelmina Barns-Graham and Winifred Nicholson.

She exhibited at the Royal Academy, was elected to the Royal Society of British Artists in 1907, the Royal Institute of Oil Painters in 1922, and was also President of the Society of Women Artists over a period of four years. But, it was not until 1933 that Dorothea Sharp held her first one woman show at the James Connell & Sons Gallery in London. It was a huge success.

Today this gifted 20th century woman artist’s work continues to be celebrated and collected.

Britain’s Coast Celebrated in Art

Wilhelmina Barns-Graham (1912-2004), View of St Ives, c.1940, oil on canvas © The Barns-Graham Charitable Trust
Wilhelmina Barns-Graham (1912-2004), View of St Ives, c.1940, oil on canvas © The Barns-Graham Charitable Trust

Chichester University’s summer exhibition, Coastal Connections, offers an exciting view of printmakers’ and painters’ interaction with the British coast. There is a particular emphasis on work from the artists’ colony of St Ives, Cornwall.

The show has once again been curated by Professor Gill Clarke. Art from the University’s Bishop Otter Collection is complimented by works loaned from private collections, the Barns-Graham Charitable Trust and the Swindon Museum and Art Gallery.

The exhibition is imaginatively hung so that the relationships between these artists and their works can be discovered by the viewer. The juxtaposition of representational and abstract images allows a glimpse of the breadth of art which would have been found in St Ives just before and after the Second World War.

Alfred Wallis, Fishing Boat, c.1930, oil © The Artist’s Estate, Courtesy Bishop Otter Trust, University of Chichester
Alfred Wallis, Fishing Boat, c.1930, oil © The Artist’s Estate, Courtesy Bishop Otter Trust, University of Chichester

The first picture to catch my eye is View of St Ives by the Scottish artist Wilhelmina Barns-Graham. She moved to St Ives in 1940. Her early St Ives landscapes are painted in soft colours reminiscent of the self-taught painter and former fisherman, Alfred Wallis’ palette. There is a freedom in the way that the cottages, church, boats and quay interact with the shimmering sea and Cornish light. Barns-Graham also worked in the abstract and was introduced to the circle of modern artists, which included Ben Nicholson, Barbara Hepworth and Naum Gabo, by her friend and fellow artist, Margaret Mellis.

Visiting Professor and Guest Curator Gill Clarke in the Otter Gallery with Christopher Wood’s oil on panel, Still Life with Boats, c.1930
Visiting Professor and Guest Curator Gill Clarke in the Otter Gallery with Christopher Wood’s oil on panel, Still Life with Boats, c.1930

Christopher Wood has been described as a sophisticated primitive. In the summer of 1928 he returned to St Ives with the artist Ben Nicholson. He too discovered the work of Alfred Wallis. Wood took on Wallis’ iconography depicting the Atlantic fishing industry and coast. Wood’s brushwork appears intuitive and spontaneous. Wallis’ influence is particularly apparent in ‘Still Life with Boats’. Painted in 1930, the sea is depicted as swirling bands of light greys and charcoals with boats in the distance which contrast with the intensity of colour in the pear, jug, flower and pipe. The painting brings together the naïve style which Wood had developed in Paris and a playful lyricism which imparts his sense of new-found freedom at that time.

Amongst the highlights of the exhibition are a number of significant works including a view of a Cornish harbour by William Scott painted in 1930.

Paul Feiler (1918-2013), Boats and Sea, c.1952-3, oil on canvas © The Artist’s Estate, Courtesy Bishop Otter Trust, University of Chichester
Paul Feiler (1918-2013), Boats and Sea, c.1952-3, oil on canvas © The Artist’s Estate, Courtesy Bishop Otter Trust, University of Chichester

Paul Feiler’s 1950s jewel-like abstract titled ‘Boats and Sea’ excites our senses. The light glistens in this landscape as Feiler is compelled to articulate afresh the Atlantic coast which inspired him and reflect on his place in the natural world. Its heavy blocks of colours is characteristic of his work in the 1950s.

It is exciting to see Chichester University engaging with its wonderful Bishop Otter Collection of art in an increasingly assured way reflecting this academic institution’s growing reputation and confidence. Gill Clarke is once again deserving of our thanks for this joyful and evocative exhibition. Coastal Connections runs at Chichester University until 8th October 2017 and entry is free – a summer holiday must see!

For more information go to www.chi.ac.uk/about-us/otter-gallery/current-exhibitions.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.