Weaving Painting and Poetry Together “Alabaster Loving”- Art and Life 1920 – 1931 at Dulwich Picture Gallery – Standing Charcoal Drawing – Painters William Nicholson and Gary Wragg – John Newman “Lead Kindly Light”

June 18, 2014

Ben  Nicholson – Winifred Nicholson – Christopher Wood – Alfred Wallis – William Staite Murray – “Art and Life 1920 – 1931 – 4th June – 21st September

As I have recently joined as a friend of Dulwich Picture Gallery I duly received my invitation to the Private View of “Art and Life 1920 – 1931” and made my  first trip to Dulwich Picture Gallery on the 9th June.  It was a very nice visit, but as I don’t drink alcohol, I was disappointed with the soft drinks option being water, and that was that.  Need to email them and request Teetotallers are better catered for I think.  It was a day of sun, and green.

You were not allowed to take photographs of the paintings.  Oh, so sad.  No sense.  It would have been handy for reference.  But I will remember the colour, and the poetry, particularly of Winifred Nicholson’s paintings, which I liked the most.

I have long admired the paintings of both Ben and Winifred Nicholson, but also very much loved the paintings of William Nicholson… but his were not to be seen… I am certain they must have had an effect on Winifred, in particular.   I spent some time when at West Dean a few years ago enjoying “The Art of William Nicholson: British Painter and Printmaker – by Colin Campbell, Merlin James” which was published in 2004 by the Royal Academy of Arts.  I would buy this book but unfortunately it is rather costly at £85!

Info on William Nicholson below, taken from the above website. He was born 1872 and died 1949.    Text credit included below.

  • British painter, printmaker, and designer. He briefly attended Herkomer’s school in Bushey, then studied at the Académie Julian, Paris. Early in his career he worked mainly as a printmaker and designer, notably on some brilliant poster designs in the 1890s, done in collaboration with his brother-in-law James Pryde under the name ‘J. & W. Beggarstaff’.

Text Source: The Oxford Dictionary of Art and Artists (Oxford University Press)

“Nicholson, Sir William” The Oxford Dictionary of Art and Artists. Ed Ian Chilvers. Oxford University Press 2009 Oxford Reference Online. Oxford University Press.

I’ve just been looking at an image of this painting, and it has left me quite speechless… It is the emotional dimension and poetry of the painting which I love…each mark is tender and full of freshness and life.  There is no need for moving images with paintings like this to see.  The movement happens internally, and the spirit stirs at the sight, not of the illusion, for the picture is simply a vehicle, but because of the expression, which not only depicts an external scene, but traces the heart movements of the painter at the same time.

 

paintings influencing jenny meehan, A Glade Near Midhurst  by William Nicholson(c) Elizabeth Banks; Supplied by The Public Catalogue Foundation

A Glade Near Midhurst by William Nicholson(c) Elizabeth Banks; Supplied by The Public Catalogue Foundation

I include this image with credit to The Public Catalogue Foundation.  A Glade Near Midhurst by William Nicholson is copyright Elizabeth Banks.

See my text on my usage of this image*

I just love it.  It makes me want to paint immediately!   I feel a bit lost right now with respect to my painting, but mostly because all the domestic things which need doing are running off with my time in their hands.  Once I am doing it, all will be well.  Painting doesn’t seem like a problem when I am doing it, only when I am not!  Maybe the best problem to have then, better than the other way around.

In the Dulwich Picture Gallery it was Winifred Nicholson’s paintings which caught my interest and provided the most enjoyment.

Winifred Nicholson, Summer1928. copyright The Trustees of Winifred Nicholson

Winifred Nicholson, Summer1928.
copyright The Trustees of Winifred Nicholson

Winifred Nicholson, Summer1928.
copyright The Trustees of Winifred Nicholson. See my copyright note*(tried to email, no success)

Winifred Nicholson  “Summer1928”  was just one of many examples with the surface of the canvas utilised in that wonderful way which brings a softness to the brightest colours.   It is the feeling, so direct, so personal, that comes across.  This is not painting for anyone else but herself.  This is the best way.

“Nicholson particularly enjoyed painting flowers and said: ‘I have tried to paint many things in many different ways, but my paintbrush always gives a tremor of pleasure when I let it paint a flower’.

However, Nicholson was not concerned with botanical accuracy, but rather wanted the plants and flowers to signify the time and place in which they were painted. This painting with its gestural and loose brush strokes illustrates her ability to communicate mood and atmosphere using few brush marks.

Nicholson believed that colour was the most important element of painting and in 1944 published the article, The Liberation of Colour, under the name Winifred Dacre.”

Text taken from http://www.gac.culture.gov.uk/nicholson.html

 

Gary Wragg Interview on Abstract Critical

Smashing Interview at Abstract Critical on Gary Wragg:

Gary Wragg talks to Matthew Collings… Very worth while combination!

http://abstractcritical.com/note/matthew-collings-talks-to-gary-wragg/#comment-499265

Abstract Critical has some very interesting articles in it.  I shimmy along for a read from time to time.  Keeps the brain matter challenged.  I am not an academic by nature, but I have always enjoyed critical analysis.   Come to think of it, it was one of my strong subjects when studying Literature at Kingston University.

 

Poetry and Painting Relationship

http://poetrychina.net/wp/calligraphy-painting/poetry_painting/2

 

Mmm…

 

Alabaster Loving - Abstract Painting by Jenny Meehan

Expression of stamina within the experience of brokenness.

 

The drawing is titled ” Standing” . The drawing is an  visual exploration of a female figure.  I find the expressive power of economic mark making of great interest to me.   The way that broken marks  hold together conveying the figure expresses  my own personal feeling of standing upright in life,  by the grace of my Creator, and I hope that the image will also be an encouragement to other women who have for whatever reason undergone considerable suffering in their lives.  The figure has no feet, and the marks run over the edge of the bottom of the paper, which communicates a sense of the figure being held in place, rather than standing on firm ground.  The ground we stand on in life is often not very firm or solid at all, and it is the love and compassion we have access to which keeps us standing, even in the most difficult times.  (154 words)  (Drawing is 55cmx75cm framed.  Charcoal on paper.) 

Charcoal with it’s text below it…  I entered this for the Women’s Interfaith Network Competition a while ago.  To no avail.  But entering things can be helpful as this forces me to attempt to articulate my thoughts on the work, which I don’t always do… Well, never normally do, unless pressed to do so.  The work should always stand on it’s own two feet… Ha Ha…even if it hasn’t got any.

Signs of the Times”  Prints to Buy over the Internet

I now have available selected prints from the “Signs of the Times” series on my Photobox Gallery.  The Photobox Gallery is a handy facility for enabling people to buy my prints in a quick, easy and affordable way.  The prints I describe as “Poster Prints” because they are not signed and checked by me, but I am very confident about the quality.  They are in fact  A2 and A3 sized laser prints printed on Fuji Crystal Archive Paper.  Here is the link to my Photobox Gallery:

Here is the link to my Photobox Gallery:

http://www.photoboxgallery.com/19507 

There are other options for different types of prints on the Photobox Gallery, but at the present time I am restricting the distribution of my work over the Photobox Gallery to just A2 and A2 laser prints.   However, if you do want something specific, just contact me with your requirements and I am completely free, (thanks to not limiting these images to “limited edition”) to arrange to have prints made to varying specifications and to be signed and numbered.

Some of the “Signs of the Times” are at Baker Tilly in Guildford at the moment.  That was a useful body of work for me…Going all geometric like that!  And advertising annoys me terribly.  How much better to have signage which simply says what it is… and doesn’t impose some sense of what you might be lacking, or creating some need or desire that you don’t feel yourself.  Advertising creates a market for what someone wants to sell even when the market doesn’t exist….I do wonder about this.  This strategy to make us buy.  This way of selling.  We are surrounded by it to such an extent that the confusion it causes can become difficult to discern.  But my signs are my times.  Simple.  Straightforward.  As they are.  We can be as we are.

Quick Dip print by Jenny Meehan

Quick Dip print by Jenny Meehan. One of the Signs of the Times series

 

 

Lead, kindly Light, amid th’encircling gloom

I also include in this month’s Journal entry this hymn, which I discovered when doing the Labyrinth walk at St John’s Church, Waterloo, at the beginning of the year:

  1. 1. Lead, kindly Light, amid th’encircling gloom;
    Lead thou me on!
    The night is dark, and I am far from home;
    Lead thou me on!
    Keep thou my feet; I do not ask to see
    The distant scene–one step enough for me.
  2. 2. I was not ever thus, nor pray’d that thou
    Shouldst lead me on.
    I loved to choose and see my path; but now,
    Lead thou me on!
    I loved the garish day, and, spite of fears,
    Pride ruled my will. Remember not past years.
  3. 3. So long thy pow’r hath blest me, sure it still
    Will lead me on
    O’er moor and fen, o’er crag and torrent, till
    The night is gone.
    And with the morn those angel faces smile,
    Which I have loved long since, and lost awhile!
  4. Text: John Henry Newman, 1801-1890
    Music: John B. Dykes, 1823-1876

There is a huge conflict between knowing and unknowing.   I feel it a lot with my work especially, just wanting to know what is happening.  In reality, I haven’t a clue, though I speculate, right, think, and suggest.  This Journal is as stumbling as it will always be.  But I like writing.  It is some kind of reflection, at least.

I am trying to keep my Jenny Meehan WordPress Journal a little more brief than in the past, so that is it for now!

 

Jenny Meehan is a painter and designer based in East Surrey/South West London.
Her website is www.jamartlondon.com.  (www.jamartlondon.com replaces the older now deceased website http://www.jennymeehan.co.uk)

Jenny Meehan BA Hons (Lit.) PGCE also offers art tuition.  Please contact Jenny at j.meehan@tesco.net or through the contact form at www.jamartlondon.com for further details.   Commissions for paintings are also undertaken at affordable prices.

 Jenny Meehan works mainly with either oils or acrylics  creating both abstract/non-objective paintings  and also semi-abstract work.  She also produces representational/figurative artwork,  mostly using digital photography/image manipulation software, painting and  drawing.  Both original fine paintings and other artwork forms (prices ranging from between £60 and £700) and affordable photo-mechanically produced prints are available to purchase.

Enquiries welcome.  I have more artwork than I can display on the internet, so let me know if you are looking for something specific in terms of style, function, or subject matter. 

Jenny Meehan exhibits around the United Kingdom and holds regular Open Studio/Studio Sale events.  To be placed on Jenny Meehan’s bi-annual  mailing list please email j.meehan@tesco.net requesting to be kept up to date.

Also, you could follow the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed that way. 

Note About Following Jenny Meehan Contemporary Artist’s Journal 

I would be very pleased if you would  choose to “follow” the Jenny Meehan Contemporary Artist’s Journal at WordPress and keep informed of what I am up to this way.   Just press  the “follow” button and pop in your email address.  You determine how often you get updates and you don’t need a WordPress account to follow Jenny Meehan Contemporary Artist’s Journal.  I don’t have a Facebook page as yet, and won’t be on Twitter.  So this is the best way to follow my art practice.  Though I ramble on, I try to organise things for easy skimming, so you can pick and choose according to your own interests quite easily!    

You tube video with examples of photography, drawing and painting

by Jenny Meehan http://www.youtube.com/watch?v=TAXqzMIaF5k

Website Link for jamartlondon:  www.jamartlondon.com 

Digital photography can be viewed on http://www.photographyblog.com/gallery/showgallery.php?cat=500&ppuser=5491

*Notice regarding my use of images on my Jenny Meehan Artist’s Journal blog:   I always try and contact the relevant artist if I include images of their work on my blog and make clear the source.  Where images are taken from other websites, I make it my practice to  cite the source and often include a link to the place where the image was found. If this is not possible I will include a fair use rationale.   When I include images I do so in the belief that this will not cause commercial harm to the copyright holder. I  believe that this is fair use  and does not infringe copyright.  Images are used in order for me to comment and reference them in relation to my own creative and artistic practice.  When I include extracts of text, I also do so with the understanding that again, this is permissible under the widely accepted fair usage terms with respect to copyright.

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