Friends' Visit to Kelmscott Manor

 A group of the Friends visited Kelmscott Manor last week; our visit included a drink and biscuit on arrival, a guided tour followed by lunch. It has fairly recently been upgraded and restored and the house appears in good condition with in places wallpaper recreated using traditional William Morris techniques. The furniture and decorative items have been placed where they would have been when Morris lived there, it does feel quite authentic, although because no one knew what would have been in the kitchen, it's empty!! The interiors are beautiful and so is the garden. Our guide went into great detail about each of the rooms and was able to answer questions, because of his thoroughness, there was a slight feel of being a bit rushed, but it kept us on our toes and made me want to go back and look more carefully at things.

I took photos and will start with the outside where it's so beautiful and it's easy to see why Morris loved it so much and kept going back there, although even now, it feels quite remote.

The front door and path going up to it are so delightful, it's hard not to photograph them

and in a corner of the garden opposite the front door is a covered small summerhouse where I imagine people would meet, although it is not very private

I have taken some of the views inside the house where often the lighting was quite subdued, and looking at photos in the guidebook helped me see the true colours

Here's another view of a brighter room

This corner cabinet holds lots of Iznik plates and tiles which apparently were an inspiration for Morris

and below the fabulous painting 'The Blue Silk Dress' by Rosetti; a portrait of Jane Morris. According to the wonderful Kelmscott guidebook, Rosetti composed a Latin verse which connects the idealisation of love with the making of art.

Finally it's well worth having a look at the river which runs along the edge of the garden very close to the house

You will notice there are many stone slabs used as fencing around Kelmscott village, and here they were used to make a herb filled planter.

Thank you to the guides and all those people who made our trip on 18 October such a wonderful day out. We had a lovely time and would recommend the guided tour.

Parallel Lives: Eight Women Artists

 Dr Gill Clarke talked about the eight women artists who feature in this fascinating exhibition she co curated with Steve Marshal at St.Barbe's in Lymington. What is so interesting is that all eight women artists were born within 20 years of each other, and their lives span the twentieth century. A Barnes coach is taking a group of us to Lymington on 28 October, if you click on the Barnes' link you could book to come for £25. There are 70 works in the exhibition celebrating the lives of 8 artists.

Let's start with Enid Marx, a wood engraver who went to Eric Ravilious after hours in college because it was thought she couldn't draw. Paul Nash also tutored her. Enid held teaching posts, was a royal designer for industry and the first female wood engraver to receive a title. She is probably best known for her linocut with pastel colouring titled 'Wally Dogs'

Enid Marx designed fabrics for London Underground as seen below:

She also produced posters for the underground and stamps in the 1960s

Gertrude Hermes was engaged in sculpting and wood engraving, 'Thorn Apple' is a wood engraving of hers:

Evelyn Dunbar was the only salaried female war artist; 40 of her paintings are in existence. I am including the painting of her family garden painted between 1929-37.The tower you can just about see on top of the house in the distance is where her studio was situated. The house is now a B&B and the garden has been built on.

In the exhibition there are also paintings like the Canning Demonstration from 1940 illustrating what happened when you had a glut of fruit. The war paintings also show women's land army dairy training.

Ithell Colquhoun's work was shaped by surrealism and the occult. She also admired the work of Salvador Dali whose exhibition she saw in 1936. Nasturtiums seen below is produced using sepia ink and watercolour.

Wilhelmina Barns-Graham 1912-2004 was brought up in  St.Andrews in Scotland, and was fascinated by the natural world. This striking work from 1981 depicts St.Andrews' Bay:

She studied at Edinburgh College of Art and gained a post graduate scholarship where it was suggested she go to St.Ives 

 'Island Sheds' produced in St.Ives appears to have been influenced by Alfred Wallis (1855-1942)

Wilhelmina produced abstract work in her final decade and was given an OBE in 2001.

Her great friend Margaret Mellis also lived in St.Ives and attracted lots of other artists to settle down there. This is a great photo of Wilhelmina in her studio:

Prunella Clough although she lived in London all her life, often depicted fishing and fishermen because she often stayed in Southwold where her parents often went on holiday and then her Mother bought a holiday home there.

Barbara Jones was interested in follies and grottos. She produced The Fairground for the Recording Britain school series.

Our eighth artist featured in the St.Barbe exhibition is Monica Poole a wood engraver interested in plant forms, she later made linocuts and taught both disciplines.

There is so much more to these 8 artists than I have covered here, and I'm not sure I've read my notes correctly. To watch the recording of Dr Gill Clarke's talk please check out the website.

I'm very much looking forward to visiting the exhibition on Saturday when a group of us are going on a Barnes' coach trip to Lymington.

Anne Desmet talks about her Influences and Working Methods

On the 18 December last year, I visited the Pallant House Gallery in Chichester and loved Anne S-Desmet's exhibition, Kaleidoscope in the Print Room. I was fascinated by her work and wanted to know more about her detailed drawings and collages. Anne agreed to give us a talk in August ; we have a recording on the website and I took photos and made notes during the talk.

Anne spent the years between 1982-5 having many operations, so although not in school, there was plenty of opportunity for drawing in pencil and biro. Anne attended Ruskin School of Art in Oxford where she was studying woodcut and wood engraving. Her tutor Jean Lodge suggested she could lavish time on fine detail in printmaking. She was a fan of Escher, liking the escapist element of Ovid fascinated by transformations and metamorphosing images.

In addition to the Pallant House gallery exhibition, Anne also had one in the Ashmolean in 2020 celebrating a centenary of wood engraving; engraving with tools that come to fine points to get the detail required. It's important to use wood with a constant rate of growth for this; box wood is very good for wood engraving. I photographed some of the slides Anne showed which appear below:

Above: 7 small wood engravings & collages of Liverpool landmarks 2014-6

12 drawings on A4 and A5 paper 1982-5 these drawings above give an idea of Anne's work pre art school

M.C.Escher 'Fish and Scales'

In 1989 Anne won a scholarship to the British School of Rome and spent a year doing masses of drawings

Above left Panteon (Tondo) linocut prints collaged on paper 2003 and on the right Pantheon linocut print on paper 2000

The culmination of Anne's year at the British School in Rome was a book containing a year of scholarship drawings which were lost in a bag snatch; Anne returned to Italy many times  experimenting with images and how to present them. She loves the theatricality of Piranesi, Piero del Francesca, particularly his amazing compositions.

Above Anne collaged wood engravings, linocuts and lithographs onto 40 razor shells in 2022

Above 'British Museum-Blue Sky' wood engraving, linocut and stencils 2023

Above 5 views of St.Paul's mostly wood engravings on blocks of 20 year old holly which had been maturing in the wardrobe for years, although the one on the right is a digital print which raised some eyebrows

Above left, St.Paul's at Dawn and on the right, Claude Monet some of his paintings of Rouen Cathedral

Above Wood engravings and linocut prints on paper stuck onto 18 razor shells.

Anne went to college in Manhattan in 2014 where there was a windchill of -15 degrees

and completed quite a few linocuts of Brooklyn Bridge, influenced by Nevinson and Wadsworth whose works 'Looking through Brooklyn Bridge' and 'Dazzle Ship in Drydock' appear on the right.

More Brooklyn Bridge in the afternoon and in snow

Above in 'Manhattan \storm' a wood engraving and linocut, you can see the influence of Utagawa Hiroshige

Above The Tower of Babel by Pieter Brueghel was the inspiration for 'Homage to Brueghel' in 2023, it's a tower in Bologna

Above 'Build your own Babel Tower' linocuts and wood engraving collaged onto museum board, Eric Ravilious also cited as an influence

Above 'Early Flight' on the left and more Italian visits for the three on the right

I'll finish with three beautiful wood engravings, the top 'Oxford Light' and the other two of Bath Circus which work so well. The talk was fantastic as you can imagine from these images and can be seen on our website

Looking Round the First Floor of the Civic Offices and Media articles

 Although Swindon Museum and Art Gallery is currently closed, work is about to begin to convert the first floor of the Civic Offices in Euclid Street into a new museum and gallery. The Civic Offices were built in 1937-39 in the Moderne style, a variant of Art Deco which features smooth surfaces, curved corners and horizontal lines. The building was Grade II listed in 2020, and certainly has a feeling of ambition and elegance about it; one gets the feeling that Swindon had ambition at the time this building was commissioned.

Three members of the Friends were very pleased to be invited to have a look round the first floor before work begins. We were met by Frances Yeo, Swindon Museums Manager and Cabinet Member for Culture, Arts and Heritage, Marina Strinkovsky and received the following presentation:

The three museums used to function separately, since 2020, they have worked under one team with Frances Yeo in overall charge.

Even made as large as it can be on the screen, it's hard to see the plan. Visitors will walk up the stairs, or use the lift if they want to do so, and access the museum and art gallery ahead of them. The lower part of the picture shows rooms which will be galleries, a room for school parties and a library/study room whereas the rooms in the top part of the diagram will be storage areas. There's 40% more space in this building than at Apsley House and room for more items to be stored on site.

So what will be in the museum:

Plus

I took a few photos, but really there are just large rooms and lots of small rooms with stud walls at the moment.

Above Frances Yeo and Cllr Strinkovsky posing for the camera, and below one of the impressively large rooms on the first floor..

On the way down from being shown around, we posed for a photo on the stairs:

Before we left we were shown some of the results of the rebranding exercise, a new logo, statements and name. We'll let you know more soon...

Today came the latest press release with a later opening date than we had anticipated:

Swindon councillor gives update on museum and art space - BBC News 

which wasn't something that had been shared, so why this figure of 2 years was plucked out of the air I don't understand. We have been assured it will open much sooner than that.

This piece appeared in the Swindon Adver today: Work finally begins on new Swindon museum and gallery | Swindon Advertiser

And what's more the Civic Offices are now being considered as the permanent home for Swindon Museum and Art Gallery: Swindon council officers could be long-term home of museum and gallery | Swindon Advertiser

July talk: Running out of Steam

 Our July talk was also called 'Two Painters and a Poet' referring to three men who started life in the railway works and in the case of Hubert Cook (1901-1966) and Leslie Cole (1910-1976) became artists and Alfred Williams (1877-1930) was known as the Hammerman Poet. Philip Garrahan, an academic and art historian, who gave the talk was initially interested in the Ashington Group of painters who were in existence from 1934-84; they were a group of miners also known as the Pitmen Painters depicting life down the pit.

Philip was interested to explore Swindon artists who started working life at the railway works and went onto become artists. Hubert Cook and Leslie Cole were obvious contenders; both starting life in the works and leaving to become artists. What did they paint? And what did they have to say?

Here are 2 self portraits of the two artists, Cook on the left and Cole on the right; they are remarkably similar in their expressions, bearing and what they are wearing:

Hubert Cook studied at Swindon School of Art 1926-34 under Harold Dearden and then went on to Central Art School from 1935-38 and subsequently taught at Portsmouth Polytechnic

Here are a couple of his paintings, above a 'shingler' heating up metal and below a painting entitled 'The Toilers' conveying the heat and dirt in the works.

Leslie Cole went to Swindon Art School and was also taught by Harold Dearden and then went to the Royal College of Art where Ravilious and Bawden were teaching.

These first examples of his work depict social life in a pub, probably in Swindon, please see later comments from a member of the Friends.

This is one of his railway works paintings

Then we were shown several paintings made when he became a war artist from 1942-45 which depict another level of painting altogether. I have just looked at the Imperial War Museum website and found 4 pages of Leslie Cole paintings he produced as a War Artist from 1941- 46. His work is phenomenal and cranked up several gears from paintings he produced before he became a war artist.

Above 'Mother Mourning the Death of a Village Priest'.

The painting above is titled 'Malta: Preparing for the Night in the Crypt of St.Augustine's Valetta'

Above 'No Time to Lose: Soldiers Dockers unloading a Convoy during a Raid'

This one is' Belsen Camp- The Compound for Women' and below: 'Dentistry during the Hour of Gas Practice'

Interestingly after the talk, a member of the Friends emailed with the following:

'I enjoy all the SMAG talks.... but I wish my husband had watched 2 painters and a poet - the Railway artists in Swindon . I know you record them. How do I see them? .. I heard you mention UTUBE but where would I look?

My husband's father "Grandad Cooke " worked in the railway as did they all. He was in the foundry and worked on a steam hammer. When he finished  his shift he went into one of the pubs on the corner of the Railway village. No not as a sad drunk but to slake his thirst after the tremendous heat. 

The Glue pot is still there and relates to the workmen needing to keep their glue warm and  pliable  so they were able to put their glue pot down whist trying to overcome their thirst . Bet there was a nasty smell from those glues.. boiled animal bones.'

And talking of the Glue Pot, I looked it up and found an Adver article on the pub by Graham Carter, isn't it amazing how on thing runs onto another. Do have a look at his article.

To clarify the situation regarding recordings: as many talks as possible are recorded and then put onto the website under 'Videos' and can be found here:

 Videos of Talks - Friends of Swindon Museum & Art Gallery (friendsofsmag.org)

They are not edited, so there are interruptions which one would normally edit out.