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.
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. 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
Signs of the Times Prints by Jenny Meehan
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. 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:
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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 seeThe distant scene–one step enough for me.
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2. I was not ever thus, nor pray’d that thouShouldst 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.
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3. So long thy pow’r hath blest me, sure it stillWill lead me onO’er moor and fen, o’er crag and torrent, tillThe night is gone.And with the morn those angel faces smile,Which I have loved long since, and lost awhile!
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Text: John Henry Newman, 1801-1890Music: 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 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.
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.
*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.
How to Support Jenny Meehan
If you like my art working and would like to support me you can!
Just put
in your browser and follow instructions. There’s no option for me to thank you via the PayPal Me process but do contact me via contact form and let me know if you have gifted me so I can thank you.
You can buy my original paintings directly from me personally.
Just contact me via the contact form. Price range is between £250 and £400.
Sometimes they are offered for sale during exhibitions too. Normally its more expensive to buy them this way, (though not always). Some organisations enable me to price my work in an accessible way due to the way they operate, but if a submission fee is required I obviously have to factor it in.
I dislike this system, but art exhibitions are used to generate funds for different organisations and charging artists to submit artwork (to submit… Even if not accepted!) is one way this is done. There are also other costs incurred by the artist in supplying the artwork for exhibition. So artists artworks sold during an exhibition are frequently more expensive for an art collector to purchase. It is often preferable to approach an artist directly and view work by arrangement in person.
If you are thinking of buying one of my original paintings I can arrange a viewing for you. If you are looking for something specific in terms of colour and/or style, just let me know because I have many more paintings than I am able to display online. I can send you further information on the process of buying artwork directly from me if you would find that helpful. I appreciate that it is unfamiliar ground for many people.
Also available via redbubble, the well known print on demand marketplace, you can buy unsigned prints on many substrates. This is an easy and convenient way to purchase my art online.
Take a look here:
It’s also a very good place to get a feel for quite a big strand of my creative artworking. Any problems locating what you want, feel free to contact me via the contact page on this Art Journal/ Artist Blog.
I have TWO Redbubble Artist portfolios! The “jennyjimjams” one has most artwork on it at the time of writing.
My two Redbubble Artist portfolios are;
I have mostly the abstract, flat colour geometrical art in Redbubble as it makes nice prints. I selected work for that platform in order to help my work become more accessible. There’s also a lot of surface pattern designs. I post more of those on my
Artist profile. I find creating patterns very therapeutic!
The main style of my original painting is Lyrical Abstraction/Abstract Expressionism. I also enjoy working with black and white photography tending towards pictorialism. I frequently use collage and digital collage.
Copyright and Licensing Digital Images Information – Jenny Meehan
Copyright in all images by Jenny Meehan is held by the artist.
Permission must be sought in advance for the reproduction, copying or any other use of any images by Jenny Meehan. Individuals or businesses seeking licenses or permission to use, copy or reproduce any image by Jenny Meehan should, in the first instance, contact Jenny Meehan.
Copyright for all visual art by Jenny Meehan is managed by the Design and Artists Copyright Society (DACS) in the UK. If you wish to licence a work of art by Jenny Meehan, please contact Jenny Meehan in the first instance to clarify your requirements.
DACS always make an initial proposal for image licensing fees in line with the industry standard. Personally, I am open to negotiation. So contact me in the first instance so we can discuss your requirements, project, and budget. The Designer and Artists Copyright Society will administrate accordingly.
It is I, the artist, who determines the final licensing fee, and there are often projects, charitable organisations, people and smaller ventures with which I am particularly keen to work with because of a shared vision. I appreciate budgets can be restrictive. While image licensing fees for my art images will broadly based on the industry standard, this is a guide amount, and can vary subject to circumstances.
The administration for organising an image licence is straightforward for both parties, and is done through the Design and Artist Copyright Society. They provide you with the licence paperwork and I supply you with the image.
Jenny Meehan - Art Journal 