Sussex Artists – Page 4 – Toovey’s Blog

I do like to be beside the Seaside…

Arthur H. Buckland - 'Brighton from Hove', oil on board

I really do like to be beside the seaside! The shingle beaches of the Sussex coast have delighted me since I was a small child. If ever life seems a bit hectic I only have to head to the seaside. Within a short while the whoosh and clatter of the waves breaking upon the pebbles and the salty wind stills me.

The famous seaside music hall song ‘I do like to be beside the seaside’ was written in 1907 by John A. Glover-Kind and made famous by the singer Mark Sheridan. In those same years, before the First World War, artistic activity in Britain was largely London based, though this did not prevent artists from venturing outside the city to paint.

The New English Art Club was started in 1886 to provide an exhibiting body for painters sympathetic to the artistic innovations emerging from France. By 1888 the Club had become factional. Amongst their subjects they painted the English seaside with a broken touch and increasingly brilliant colours influenced by French Impressionism. Alongside the art schools and galleries there were a number of circles which promoted work of a ‘modern’ nature. Amongst these were the Fitzroy Group and the related, but more famous, Camden Town Group. These two societies would eventually become known as the London Group. In the winter of 1913 and early 1914 they held an exhibition which was titled ‘English Post-Impressionists, Cubists and Others’.

Many followed in the footsteps of Post Impressionists like Lucien Pissarro, Anthony Devas, and Edward Le Bas in celebrating the coast of Sussex and her Downs. Their depictions of the Sussex landscape are not wholly representational, rather they allow us to see beyond our immediate perception of the world around us. As we glimpse the hidden rhythms and beauty in creation we come to understand something of our place in it.

Others, too, found a communion with the Sussex Landscape. Take for example the delightful oil shown above by the painter and illustrator, Arthur Herbert Buckland (1870–1927). In this summer scene people promenade and sit on the beach at Hove beneath their parasols. Brighton and her piers shimmer distantly in the heat and light. The handling of paint heightens the viewer’s sense of light and movement leaving room for the scene to come alive in our imaginations.

Henry Bishop - View of a Promenade and Beach at Deal in Kent, oil on canvas

The oil on canvas by the artist Henry Bishop (1868-1939) is thought to depict the promenade and beach at Deal in Kent. Here once again the artist depicts that particular summer light which presents a paler palette to the eye. This is an early morning scene. A few cars are parked and figures walk past a row of bathing huts upon the beach. The air is still cool with the promise of a warm summer’s day ahead.

Joseph Henderson - 'Ayrshire Coast', oil on canvas

In the late 19th and early 20th centuries artists across the country painted Britain’s wonderful coastline and not just in the South-East. The Scottish artist Joseph Henderson (1832–1908) painted portraits, marine pictures, genre and coastal scenes. The cool light of his oil on canvas ‘Ayshire Coast’ is reflected in the blue of the sea. The two figures on the beach, together with the sail on the horizon once again draws us into the landscape and narrative of the scene.

In these paintings we see the continuing renaissance of the British Romantic Tradition, often articulated with a fresh voice. Prices at auction for oils by these artists range from middle hundreds to tens of thousands of pounds.

As I sit writing this the weather forecasters are predicting a heat wave this week! Perhaps these paintings will inspire you to revisit the Sussex coast. I hope that the whoosh and clatter of the waves breaking upon the pebbles and the salty breeze will bless you as they do me.

By Revd. Rupert Toovey. Originally published on 1st July 2015 in the West Sussex Gazette.

Returning to Petworth with Mr Turner

Petworth House and Park © National Trust Images, Chris Lacey

This week I am returning to Petworth House to revisit Mr. Turner – an exhibition, which explores some of the central themes of director Mike Leigh’s remarkable film Mr. Turner. The exhibition adds depth and context to Turner’s relationships, his restless travelling, his interest in natural philosophy and his many visits to Petworth House.

It has often been said that the character of Turner’s enigmatic and enlightened host, George O’Brien Wyndham, 3rd Earl of Egremont (1751-1837), informed the artist’s time at Petworth. Certainly, his relationship with Egremont is recorded as being particularly warm, especially in the decade before the Earl’s death.

The 3rd Earl’s independent thought and patronage gave opportunity for artists to develop their talent, qualities described by the Royal Academician George Jones as being profoundly important to the development of English art.

This independent, enlightened and philanthropic landowner was an expert agriculturalist and horticulturalist, an amateur scientist and a breeder of livestock and racehorses. The Agricultural Depression began with the end of the Napoleonic Wars in 1815 and lasted until 1836. Crushing taxation connected with the post-war national debt, a glut of workers returning from military service and the subsequent collapse in prices came with heavy social and economic costs. The depression’s severity brought financial ruin upon landlords and tenant farmers alike. During this period the 3rd Earl planted different crops, fed and clothed the destitute and provided employment on a mass scale.

A scene from Mr. Turner in the Carved Room at Petworth House, with Timothy Spall, Karina Fernandez and Patrick Godfrey playing J.M.W. Turner, Mrs Coggins and the 3rd Earl of Egremont © Thin Man Films

The Carved Room at Petworth House, sometimes called the Long Dining Room, was created by the 3rd Earl from two rooms. It housed the remarkable Grinling Gibbons carvings and work by the famous carver’s Sussex contemporary, John Selden. The room would have appeared very much as it does today, although the panelling was papered and painted white. Lord Egremont held his dogs in great affection and it was in this room that he would feed them at breakfast before setting out each day to hunt and shoot, even in his seventies.

In the 1820s Turner painted four landscapes for this splendidly ornamented dining room. They are quite extraordinary, combining Turner’s strength and energy with the culmination of over thirty years of experience. They capture more than just the Earl’s possessions. The patron’s philanthropic investment in agriculture, industry and the Sussex economy are brought to the fore, diverting our attention as viewers from status alone. One of them, for example, is a pastoral scene with local people playing cricket in Petworth Park amongst an unusual, diverse array of breeds, illustrating the Earl’s generosity and his innovative approach to farming.

J.M.W. Turner – Petworth Park with Lord Egremont and his dogs, oil on canvas © Tate, London, 2014

However, it is a preliminary sketch of the same landscape, titled Petworth Park with Lord Egremont and his dogs, which captures my eye. Here we watch Lord Egremont as though from the Long Dining Room. He strikes out walking confidently across the sunlit sward with his dogs, bathed in luminous light, as a herd of deer grazes and looks on. The horizon is marked by the Sussex Downs and a copse broken by the distinctive spire of Tillington Church. Painted in 1828, this intimate picture provides a particular insight into the personal passions and delights of this enlightened patron. There is a spontaneity reflective of these two remarkable men’s good-humoured bonhomie. Turner’s friendship with the 3rd Earl of Egremont was such that he described his patron’s death as his “loss at Petworth”.

Mr. Turner – an exhibition illuminates the life and work of this great artist with many rarely seen works and personal objects on display. Demand for tickets has been high, so I recommend you book yours as soon as possible. The exhibition runs at Petworth House until 11th March 2015. For more information and to book tickets go to www.nationaltrust.org.uk/petworth-house or telephone 0844 249 1895.

By Revd. Rupert Toovey. Originally published on 11th February 2015 in the West Sussex Gazette.

Frank Brangwyn at Christ’s Hospital School, Horsham

The interior of Christ’s Hospital School’s chapel with Frank Brangwyn’s panels

Frank Brangwyn (1867-1956) was an important and influential artist in the late 19th and early 20th centuries. He bought a house in South Street, Ditchling called The Jointure in 1918. It was to remain his Sussex country home. He and his wife, Lucy, divided their time between London and Sussex.

In Ditchling he was reacquainted with the artist Eric Gill who had moved there in 1907. Together with a group of fellow artists Gill founded the Roman Catholic Guild of St Joseph and St Dominic at Ditchling. Thanks to their work this Sussex village had become a centre for the Arts and Crafts movement. Whilst Brangwyn was sympathetic to the cause of the craftsman artist he strongly disagreed with many of the views and practices promoted by some members of the Guild.

As a child Frank Brangwyn displayed a precocious artistic talent. His father, William, ran a thriving ecclesiastical atelier in Bruges whose output was predominately sold through his Baker Street shop in London. Brangwyn was introduced to William Morris by the renowned designer and architect Arthur Heygate Mackmurdo. In 1882, at the age of fifteen, Brangwyn began to work in the Morris workshops. He brought some of the necessary skills from having worked with his father. The young artist showed a particular gift for transferring Morris’s designs onto squared up canvases, skills necessary for the manufacture of tapestries and woodblocks for wallpapers.

‘St Wilfred First Bishop of Selsey Teaching the South Saxon’s A.D. 687’

Brangwyn had begun work on the panels in the chapel at Christ’s Hospital School in 1912 though they were not completed until 1923. Christ’s Hospital School was re-sited from the City of London to its current location near Horsham between 1893and 1902. The architect Sir Aston Webb, with his partner Ingress Bell, designed the Tudor-Gothic revival buildings which are still central to the school’s character today. Sir Aston Webb had supported Frank Brangwyn putting him forward for large scale projects over many years. Webb was able to secure Brangwyn the commission to paint the school’s chapel. The subjects were devised by the headmaster, the Revd. Dr A. W. Upcott. The scheme follows a procession from the earliest stories of the Church to the conversion of Britain and the mission of the Church of England.

‘St Augustine at Ebbsfleet “Turn O Lord Thy Wrath From This People” ’ — ‘St Augustine at Ebbsfleet “Turn O Lord Thy Wrath From This People”’

The panels are painted in tempera which gives them their luminous quality. They follow in a long tradition of wall painting in Sussex which stretches back to Saxon times. I am therefore particularly struck by the panel depicting St Wilfrid (c.633-709) who converted the South Saxons to Christianity when he came to Selsey from Northumbria and Ripon. Here he is depicted standing teaching as the Saxon’s draw in their nets. It is said that the South Saxons fished only for eels and that it was St Wilfred who taught them how to catch fish. Their first catch numbered three hundred and the amazed people turned to God. As they were baptized the rain began to fall ending three years of drought and despair. In thanks King Ethelwalh gave Wilfred eighty-seven hides of land at Selsey. St Wilfrid built a monastery and Cathedral on the Selsey peninsular which was lost when a new Cathedral was built by the Normans at Chichester. The panels show the influence of the Renaissance. Brangwyn, had visited Assisi and Venice soon after his marriage to Lucy in 1896. But these decorative paintings also show the influence of the Arts and Crafts movement, the Post-Impressionists and the strong, rich use of colour promoted by artist like Henri Matisse. The panels are united by the titled friezes with their rich blue grounds.

‘St Ambrose Training the Choir in His Church in Milan A.D. 687’

The panels are important not just as fine examples of Brangwyn’s work, but because they form part of a common narrative amongst modern British artists at the time who sought to reaffirm what it is to be British and to redeem our nation from the experience of the first industrialized world war. The panels are honest about the costs of standing up for righteousness with illustrations of Christian martyrs, many associated with Britain. But they are also hopeful in their vibrant Mediterranean palette, clearly depicting the triumph of good over evil.

Brangwyn articulated the view that work should be done meaningfully, to the highest standards, with humility and for the love of God rather than for gain or self-promotion. These aspirations still resonate with the school today. Christ’s Hospital is in many ways unique, offering an independent education of the highest calibre to children with academic potential, from all walks of life. It is a child’s ability and potential to benefit from a Christ’s Hospital education that determines their selection not their ability to pay. The Christian character of the Foundation and School has remained a constant in the life of Christ’s Hospital for over four and a half centuries. Christian values sustain the whole of Christ’s Hospital’s life, instilling care for the individual and tolerance whilst supplying a moral framework for the delivery of every aspect of education.

These values are at the heart of our nation and we should be grateful to all who make aspirational education and opportunity accessible to the broadest cohort of students from diverse social backgrounds. For more than a century Christ’s Hospital has added to the richness of the Horsham District by its example, outreach and patronage of the arts. It is rightly celebrated. Christ’s Hospital is a working school dedicated to preparing young people to flourish and contribute to our society. However, you can enjoy the remarkable Frank Brangwyn’s and some of the school’s artistic, architectural and historical treasures by joining one of the Verrio tours. Tours are available on Thursdays strictly by prior arrangement. For further information and to book a tour contact Lucia Brown on 01403 247407.

By Revd. Rupert Toovey. Originally published on 3rd December 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.

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.