Author: Rupert

The current exhibition at Pallant House Gallery, Hockney to Himid – 60 years of British Printmaking, is drawn from the gallery’s remarkable collection of prints gifted by the teachers Dr Mark Holder and Brian Thompson over twenty years.
Across the centuries the world’s greatest artists have been drawn to the mediums of print. This exhibition focuses on the modern British artists of the 20th century including artists like Frank Auerbach, Henry Moore, Barbara Hepworth, David Hockney, Richard Hamilton, Graham Sutherland and Lucian Freud. And from the 21st century contemporary artists like Paula Rego, Bridget Riley and Lubaina Himid.

This processional exhibition highlights the extraordinary breadth of expression of experiences in print.

During the 2020 lockdown Hepworth Wakefield commissioned a group of artists to create works to engage primary school children. Amongst these artists was Lubaina Himid who produced the lithograph Bird Song Held us Together. Commenting on the project she stated “It is vital that our young people can feel that they are important to us and begin to understand that we are all committed to investing in every way we can to help them expand and extend their potential.”

Over the last decade, Himid has earned international recognition for her figurative work. Her background in theatre design is often apparent. Her art and life is currently the subject of a major exhibition at Tate Modern. Described as ‘a cultural activist’ she explores Black experience and women’s creativity.
Himid often commentates on overlooked and invisible aspects of history and the experience of contemporary everyday life as in the lithograph on paper, Birdsong Held us Together. It is an expression and commentary on how important nature became to the national experience during the early months of lockdown. I am moved to remember how bird song rose like an anthem in the silence that accompanied the absence of cars and planes. The lithograph provides a powerful expression of a shared narrative. Common stories which bind us together as communities.

Lucien Freud’s highly personal study of his stepson, Kai, captures not only the physical but the emotional state of the sitter. Freud was close to almost all the people he portrayed. The studies were born out of lengthy, intense sessions which would last for hours over days or weeks.

Here, Kai is shown casually dressed against a stark background. The setting contrasts with the detailed depiction of his facial features. Although he had exacting standards for his etchings, Freud embraced unintentional marks transferred from plate to print and faint lines that came from modifications to the composition.

This generous exhibition born out of the gift of two teachers over decades is a delight to the eye and imagination. Hockney to Himid – 60 years of British Printmaking runs at Pallant House Gallery, Chichester until the 24th of April 2022.

This week I am returning to Pallant House Gallery in Chichester to see Old Masters, Modern Masters, Drawings from the Hussey Bequest.
This small, jewel like exhibition showcases some of the most beautiful and significant objects in the gallery’s collection. The selection of old master drawings, ballet prints and British landscape watercolours are taken from The Very Reverend Dean Walter Hussey’s collection.

In the exhibition’s accompanying essay Simon Martin, Director of Pallant House Gallery, explains that by their very nature drawings are vulnerable to light and can only be exhibited very occasionally. He describes them as ‘hidden secrets’. So it is a great treat to see so many on display at one time.

Walter Hussey’s collection of artworks became the founding collection of Pallant House Gallery some 40 years ago.

Hussey held the conviction that so long as the quality was right there was no barrier to placing art of different periods side-by-side, a principle he applied to his commissions of Modern British Art at Chichester Cathedral during his time there as Dean.

Hussey often selected works on the advice of the modern British artist who he worked with. The beautiful sanguine chalk drawing of a group of figures by the French rococo artist Jean Antoine Watteau from 1708 is a good example of this. He purchased the drawing on the advice of the sculptor Henry Moore. The accomplished depiction of the drapery of the ladies’ dresses gives them form. Henry Moore often incorporated figure groups into his own work.

This is apparent in the study Two Apprehensive Shelterers from 1942. Henry Moore’s depiction of these two vulnerable figures has a poignancy which speaks into our own times with the experience of the people of Ukraine. It is one of a body of work known as his Shelter Drawings which Moore produced as a war artist during the Blitz. Returning to his studio, the Shelter Drawings were often made from his memory of the experience of people sheltering underground as the bombs fell on London and elsewhere. The figures are depicted with dignity recording feelings of confinement and claustrophobia. Whilst the figures are anonymous the relationships between them is clear.

Other drawings on show include Hussey’s passion for Old Masters and the British landscape with watercolours by Giulio Romano, Thomas Gainsborough, John Robert Cozens, Paul Nash, Graham Sutherland and others.

Old Masters, Modern Masters, Drawings from the Hussey Bequest, provides an insight into the tastes, influences and thinking of one of the 20th century’s most important patrons of art. It runs until 10th April 2022.