Rupert Toovey – Page 3 – Toovey’s Blog

Famous Picasso Painting Returns to Sussex

Pablo Picasso, Weeping Woman (Femme en pleurs), 26th October 1937, oil on canvas, Tate. Accepted by H.M. Government in lieu of tax with additional payment (Grant-in-Aid) made with the assistance from the National Heritage Memorial Fund and the Friends of Tate Gallery, 1987, © Succession Picasso/DACS, London 2014

A remarkable exhibition opens this weekend at Pallant House Gallery in Chichester. At its centre is one of Pablo Picasso’s most remarkable pictures: ‘Weeping Woman’. The painting was originally owned by the famous writer, artist and patron Roland Penrose, who made his home at Farley Farm House, near Chiddingly in East Sussex.

The exhibition, titled ‘Conscience and Conflict: British Artists and the Spanish Civil War’, is the first to focus on the artistic response of British visual artists to this conflict and the common voice and influence they found in continental artists like Pablo Picasso and Joan Miro.

Roland Penrose helped to bring Picasso’s ‘Guernica’ to Britain. Its powerful depiction of the destruction caused by the German bombing of the defenceless town of the same name had a profound impact on the public and artists when it was shown in Britain in 1938 and 1939. Roland Penrose bought ‘Weeping Woman’ from Picasso. Painted by the artist in 1937, it is an iconic work which contains an innate and powerful response to the horror of the Spanish Civil War. ‘Weeping Woman’ was exhibited alongside ‘Guernica’ in Britain.

Quentin Bell, May Day Procession with Banner, 14 July 1937, oil on canvas, The Farringdon Collection Trust, © Anne Olivier Bell

The Spanish Civil War was described by Stephen Spender as ‘the poets’ war’. It was recorded by writers like George Orwell in ‘Homage to Catalonia’ and Ernest Hemmingway in ‘For Whom the Bell Tolls’. Hemmingway described the Spanish Civil War as ‘the dress rehearsal for the inevitable European war’. Simon Martin, exhibition curator and Pallant House Gallery Artistic Director, comments: “This was a civil war with an international dimension.” The British government signed a non-intervention treaty and was officially neutral. For many British artists and writers, however, the civil war went beyond an internal conflict between the democratically elected Republicans and General Franco’s Nationalist rebels. For them and many others in Britain, the civil war represented the wider battle against Fascism. “Many artists were concerned about the appeasement,” Simon explains. In scenes reminiscent of Quentin Bell’s painting ‘May Day Procession with Banner, 14 July 1937’, artists like Roland Penrose, F.E. McWilliam and Julian Trevelyan marched in the 1938 London May Day Procession to protest at our government’s policy of appeasement. They wore masks, made by McWilliam, caricaturing the Prime Minster, Neville Chamberlain. Simon Martin notes: “You will find one of the masks in the exhibition. There is an obvious and very palpable fear expressed in these artists’ works, a fear that the rise of Fascism in Germany, Italy and Spain would lead to something which would much more directly involve Britain.”

F.E. McWilliam, Spanish Head, 1938-9, Hopton Wood stone, The Sherwin Collection, © Estate of F.E. McWilliam

Against the backdrop of these internationally turbulent times, the artists’ response is personal and charged with emotion. I ask Simon about this quality. He pauses for a moment and replies, “It is rare to work on an exhibition in which so much of the work is about deeply held matters of politics and conscience. Their response provides a deeply moving articulation of this story of human tragedy, refugees, political prisoners and victims of bombing.” These themes are powerfully reflected in this exhibition.

The show reveals to the viewer the effect of Picasso’s imagery on British artists. Take, for example, the surrealist Hopton Wood stone sculpture ‘Spanish Head’ by F.E. McWilliam. Here the mouth and eye of a head are distorted, reflecting the destructive power of this war. Henry Moore’s ‘Spanish Prisoner’, again influenced by Picasso, is equally disturbing in its depiction of human suffering.

‘Conscience and Conflict: British Artists and the Spanish Civil War’ contains not only paintings, prints and sculptures, but also banners, photographs and ephemera, which bring to life the role of British artists in this civil war in a foreign land. It marks the 75th anniversary of the end of the Spanish Civil War in 1939.

The timing of this exhibition’s opening is particularly poignant as the nation pauses this weekend, on Remembrance Sunday, to remember those who have fought and given their lives for our country and freedom.

‘Conscience and Conflict: British Artists and the Spanish Civil War’ runs from 8th November 2014 to 15th February 2015 at Pallant House Gallery, 9 North Pallant, Chichester, PO19 1TJ. For more information go to www.pallant.org.uk or telephone 01243 774557.

By Revd. Rupert Toovey. Originally published on 5th November 2014 in the West Sussex Gazette.

Talented Sussex Family Trio of Artists

'The Pond', early 20th century oil on canvas by Charles H.H. Burleigh

It was my pleasure and privilege to meet the Sussex artist Veronica Burleigh some sixteen years ago through my friend, the artist Harry Shaw. At that time Veronica was living in the poetic village of Blackstone, near Henfield. Her brick cottage was furnished with Georgian vernacular furniture, which lent a soft charm to this gentle home. The walls were hung with paintings by herself, her father, Charles, and her mother, Averil. At the bottom of the garden was her studio, where work from this trio of family artists vied for space and attention. By the time I met Veronica, her eyesight was sadly already failing, but she still took a keen interest in the world around her.

‘Troubadour’, early 20th century watercolour by Averil Burleigh

The Burleighs became a celebrated family of artists. They lived and worked for most of their lives in the Brighton and Hove area of Sussex. Their artistic styles represent many of those prevalent during the early years of the 20th century. Each studied at the Brighton School of Art and it was here that Charles met Averil. They were married in 1905 and had Veronica in 1909. In 1926 Veronica graduated from Brighton to the Slade School of Art and the Royal Academy.

Charles Burleigh’s work has an academic quality. Take, for example, this charming scene titled ‘The Pond’. Here three girls are absorbed in fishing, framed by the summer border of flowers in a walled garden. The Burleighs were a close family and Charles often painted his daughter, so perhaps one of these girls is Veronica.

‘Sawmill under Goodwood’, 20th century oil on canvas by Veronica Burleigh

Averil’s work differed from her husband’s. She perfected a graphic style, which was both imaginative and decorative. From the 1920s her work became predominantly figurative, with a stylistic simplification and restraint. Evoking the art of the early Renaissance, she employed the medium of egg tempera, an ancient method whereby a colour pigment is mixed with egg yolk, rather than oil. The striking study ‘Troubadour’ illustrates Averil’s precise, graphic style and the influence of Renaissance art in the painting’s composition and landscape.

Veronica’s work also reflects a talent for precise draughtsmanship and colour. Take the oil painting ‘Sawmill under Goodwood’. Here the stylized composition of logs draws the eye to the dramatic red beams of the mill shed and beyond to the downland crest with its crown of trees.

In 1952, three years after Averil’s death, Hove Museum & Art Gallery held an exhibition of pictures by all three artists and commentators were quick to remark on the common threads in their work.

At auction, paintings by these artists range between £50 and £1200. Examples of their work can be seen at Brighton and Hove Museums, Worthing Museum & Art Gallery and in other city art galleries across the country.

By Revd. Rupert Toovey. Originally published on 29th October 2014 in the West Sussex Gazette.

The Mercedes 300SL Gullwing, the World’s First True Supercar

The iconic gull-wing doors which give their name to the car

As the September dew begins to settle around the Goodwood motor racing circuit, the evocative sound of racing engines and smell of Castrol oil from the 2015 Goodwood Revival are fading to memories. I am visiting my great friend John Young, the renowned racing driver, who has invited me to come and see his rare 1955 Mercedes-Benz 300SL Gullwing, one of the most iconic cars of the post-war era.

As we walk down the drive together in conversation, the Gullwing comes into view and its lines still have the power to excite. The silver beauty before us is particularly special, an example of the world’s first true supercar and in wonderful, original condition. John Young explains, “I bought the car in 1973 from Dennis de Ferranti, who’d had it from new. His father was a brilliant engineer who set up the electronics company Ferranti.” John, the former managing director of the Mercedes-Benz agents Rose and Young, has a particular affinity for the marque. His father, George, founded the firm with his friend Jack Rose. George Young bought out his partner in 1937. “Mercedes were amongst the best cars and selling well,” says John, “so a dealer franchise was hard to get, but we were one of the first in the country.”

Contemporary motoring correspondents in the 1950s were fulsome in their praise of these extraordinary cars, though most acknowledged their unforgiving nature if driven hard. John Young smiles as he exclaims, “When you drive a 300SL quickly, it’s important to keep the power on in the corners or they spin – you’ve really got to drive it! Moss was the master.” He pauses and then continues, “Moss was the best driver of these; he was very good.”

After the Second World War, Mercedes were only allowed to return to racing in 1950. 1951 saw a series of victories for the marque including a 1-2 at Le Mans. The Gullwing’s body attracted sensational interest amongst the press and motoring enthusiasts. Stirling Moss’s win in a 300SLR at the 1955 Italian Mille Miglia road race helped to seal Mercedes’ dominance in motor racing and his reputation as one of the greatest drivers of all time. Moss was accompanied by the writer and navigator Denis Jenkinson, known as “Jenks”. Jenks gave an account of Moss’s remarkable drive, writing for Motor Sport in June 1955. It emphasised the driver’s concentration and commitment and his particular gift for setting up and balancing a car at extreme speed through towns and countryside. Moss would later remark that the roadside crowds gave the event a “fiesta feeling”.

Unlike Jenks, John Young remarks that he is a “bad passenger” – unsurprising coming from a man who was used to being in control behind the wheel of a racing car. Amongst many racing drives in 1955, John was a works driver to the Connaught team and raced in the Goodwood Nine Hours Endurance Race in a Lotus-Connaught with John Coombes. “I’ll never forget my mate Roy Salvadori offering to show me a circuit,” he says. “I got in the car but, my goodness, you’d hold on when he was flat out. He went so fast that I slid under the dashboard!” Roy Salvadori famously won Le Mans for Aston Martin in 1959.

John Young, co-driver to his friend John Coombs in a 2.6 Alfa Romeo in the 1988 Mille Miglia Revival

I ask John if he ever competed in the Mille Miglia. He answers modestly, “I drove the 1988 Mille Miglia Revival in an Alfa Romeo 2.6 with John Coombs.”

Gentleman racer and collector John Young in his 1955 Mercedes-Benz 300SL Gullwing

Our conversation returns to John’s beautiful 300SL Gullwing. “These cars were really advanced for their time, with their tubular space frames and in-line, six-cylinder engines, which have a racing note,” he comments. I remark on the large side vents which, like the doors, are such a distinctive feature of the Gullwing. John responds, “They are important for discharging the heat from under the bonnet. Although the lines and details are beautiful, this is above all a properly engineered car.” You sit low in the car and the evocative smell of the original blue leather captures the senses. John explains that most of these cars had fabric seats and that this was a rare option. In the driving seat, your view beyond the ivory coloured steering wheel, instrument binnacle and painted dash is of the long, gently curving bonnet with its two characteristic bulges. Underway, the engine revs rise rapidly and there is a hard note to this engine, reminding you that its heritage is in motor racing. The excitement of the engineered, mechanical qualities of this remarkable vehicle delight the senses. John acknowledges the tremendous acceleration these cars are capable of. Although they were raced, they are truly grand tourers.

Returning to John’s terrace, we sit drinking champagne as the sun begins to set on what will be one of the last warm evenings of the year. With the South Downs before us, my friend John Young regales with stories of a glamorous motor racing age of gentlemen racers and enthusiasts now overtaken. Like its generous owner, this Mercedes-Benz 300SL Gullwing stands as a wonderful testament to this remarkable post-war period.

By Revd. Rupert Toovey. Originally published on 1st October 2014 in the West Sussex Gazette.

Following in the Footsteps of Picasso to Provence

Group of Picasso Madoura editions ceramics — A collection of Picasso Madoura editions ceramics, from left to right: ‘Bunch with Apple’, ‘Bull and Picador’ and ‘Two Dancers’

I’m just back from my holidays in the south of France following in the footsteps of Pablo Picasso, who in the summer of 1946, while staying with his friend, the engraver Louis Fort, decided to visit the annual potters’ exhibition in the provincial village of Vallauris in Provence. There he met Suzanne and Georges Ramié, the founders of the Madoura workshop, who were keen to persuade him to come to Vallauris.

Rupert Toovey and Picasso bronze — Rupert Toovey admires the Pablo Picasso bronze ‘L’Homme au Mouton’ in the square outside the Musée National Picasso, Vallauris

A Pablo Picasso 'Face in an Oval' dish — A Pablo Picasso white earthenware 'Face in an Oval' dish

Picasso returned in July 1947, bringing his extraordinary imagination and creative energy to ceramics. He was first attracted by the large, almost rectangular dishes in the workshop. Here Picasso took the everyday and transformed it into high art, painting and incising with a richness of expression which still causes my heart to race. Favourite themes included figures, bullfights, still lifes and faces, as depicted on the plates, jug and dish illustrated here. In each you see the free, graphic rhythm which typifies Picasso’s ceramics. These pieces are Picasso Madoura editions. They were made in two ways; the first involved making an authentic replica of an original work by exactly repeating the size and decoration. The second method transferred an original subject, by means of an engraved, hardened plaster mould, to a fresh ceramic sheet, which would be applied in order to take a clay impression. These editions are authenticated by a stamp to the base. Their close connection with Picasso’s hand, like a handmade print, attracts the attention of an international group of collectors. Prices are strong. The dish ‘Face in an Oval’ was produced around 1955, number 74 in an edition of 100. It sold at Toovey’s for £3,400. The plate ‘Two Dancers’, from an edition of 450, and the jug ‘Bull and Picador’, one of 500 copies, were both made in 1956 and would realize around £8,000 and £3,500 respectively at auction today. Picasso’s relationship with Madoura and the Ramiés grew and between 1948 and 1955 Picasso lived at Vallauris before moving to Cannes.

A Pablo Picasso 'Vallauris' dish — A Pablo Picasso white earthenware 'Vallauris' dish

Picasso resurrected the ancient tradition of the all-round artist, exploring painting, sculpture, graphic art, engraving and ceramics. He revived the tradition of the Renaissance artist, many of whom worked in a variety of these disciplines and sometimes even as architects. Picasso delighted in the craft of the ceramicist and quickly began to talk with the Ramiés using the technical language of the potter. The Ramiés, for their part, indulged the often extremely unorthodox practices of the artist, including his forms, his glazes and his methods of firing. Take, as an example, the plate ‘Bunch with Apple’, made in 1956 in an edition of 400; it was decorated with oxidized paraffin. A plate like this would realise around £3,000 at auction today.

The white earthenware ‘Vallauris’ round dish, dated 1956, has an impressed mark and is numbered 42/100. With its marvellous abstract faces, it sold in a Toovey’s specialist sale for £7,400, despite being broken and repaired.

You approach the Musée National Picasso at Vallauris through a square filled with shops and restaurants. Amid the life of the village stands the Picasso bronze ‘L’Homme au Mouton’, given by the artist in 1949. Inside the museum there is a jewel-like array of original ceramics made by Picasso, guarded fiercely by the museum staff. The pieces have a life to them which speaks to my heart with a sense of joy. I have a real feeling of the effect that the light and warmth of Provence had on Picasso after the war years in Paris.

The vitality of Pablo Picasso’s oeuvre has the power to move collectors across continents.

By Revd. Rupert Toovey. Originally published on 10th September 2014 in the West Sussex Gazette.

Sussex Artist Andy Waite on the Arundel Gallery Trail

Artist Andy Waite at work in his home and studio in Arundel

This weekend sees the start of the 26th Arundel Gallery Trail and among the participating artists is Andy Waite, whose home at 54 Tarrant Street will once again be given over to an exhibition of his work.

I am visiting Andy as he puts the final touches to the exhibition. There appears to be an ordered approach, which speaks of a generous and enabling discipline. I ask him about his working method. He explains that he is content to paint in his studio for days and weeks without need of contact with the outside world. Yet the inspiration for his landscapes comes from his experience of walking in the countryside. Back in the studio, he returns to his sketchbooks and photographs, constantly in the process of creating, as well as recalling his sense of a particular moment and place in the studio.

Andy Waite – ‘Icon – The Last Farewell’, oil on scaffold board

Earlier series of Andy’s icons reflected memories of his family and friends. This latest series is painted on old scaffold boards. I am interested to understand what the gold halos around these purely imagined faces mean to him. He replies: “The idea there is that everyone is special.”

Andy’s spirituality is bound up with his relationship with the landscape and those who are close to him. These qualities are apparent in his work. Both his landscapes and icons seem to be connected with the 19th century Romantic tradition in art and literature, which witnessed a return to the hopeful belief in the goodness of humanity and the grandeur and power of nature. Its celebration of our senses and emotions sought to balance our reason and intellect.

As we walk upstairs past a series of landscapes, I remark on Andy’s depth of vision. His skilful handling of rich, layered oil paint strikes the viewer’s eye with a particular intensity as each scene unfolds in our imaginations. He responds, “Although I paint for myself, as a creative person it is always with the desire to share my experience of the world with other people. My landscapes don’t tell you the whole story immediately but reveal new insights over time.” Certainly, as you take time to stare and to inhabit his paintings in your imagination, you will find that your perception of the scene will change and evolve as more of the artist’s vision and experience of that particular moment and place is revealed. You will find an honesty in Andy’s work, which reflects both the joys and sorrows of our human experience in the world.

Andy Waite - ‘A Million Beating Wings’, oil on canvas

So what is it like for this contemplative artist to open his doors to Arundel Art Trail visitors, given that his work represents such a personal, connected view of the world and his relationship with it? “It’s actually okay,” he remarks. After a pause, he continues: “It may seem a strange thing to invite strangers into your home. Although it’s hung like a gallery, it is our personal living space. I enjoy it – people’s feedback gives you a real sense of their engagement with your work.” The relationships between the artist and the world and the artist and the patron clearly feed and affirm Andy and his work. My eye is drawn to a large canvas hanging in his studio, titled ‘A Million Beating Wings’. There is a musical quality in its depiction of this winter scene. The vanilla clouds dancing against the cold blue sky are reflected in the lake below, connected by the drama of the trees moving in the cool breeze, which you can all but hear and feel. The composition, light, palette and handling of paint is wonderful. Although abstracted, the subject is still apparent.

Andy Waite – ‘Walking through the Long Grass’, oil on canvas

Andy Waite’s work has been described as being united with the English Romantic tradition and he acknowledges this, pleased by the sense of place in the procession of artists which includes John Constable, Ivon Hitchens, Graham Sutherland and many others. John Piper considered his fellow artist Paul Nash to be part of this tradition. Nash, however, was keen to emphasise the ‘poetic’ in his work. He sought to look beyond the immediate to what he referred to as the ‘genius loci’, the spirit of the place, to ‘a reality more real’. This resonates with Andy Waite’s work. Andy describes himself as an occasional poet but I would say that the poet is at play in all his work, which is united by the ‘poetic’, whether that be in his oil paintings, their titles, his writing or his film-making. Certainly as an artist, he returns again and again to the poetry of the English landscape and the people close to him in his life.

It is not often people have such unmediated contact with an artist and it is very special to accompany Andy Waite and his work at his home. Andy Waite’s solo exhibition as part of the Arundel Gallery Trail runs from this Saturday 16th to Monday 25th August at 54 Tarrant Street, Arundel, West Sussex BN18 9DN. For more information go to www.andywaite.net or www.arundelgallerytrail.co.uk.

By Revd. Rupert Toovey. Originally published on 13th August 2014 in the West Sussex Gazette.