Don’t try to find a picture…

This may be a strange title for a blog post about art, but they are wise words from the sketchbook of British painter Ivon Hitchens.

Hitchens career spanned 6 decades and a large part of it was spent painting the landscape around his home deep in the trees in West Sussex.  His early output couldn’t be further removed from his last paintings as he developed and refined his style and technique from pure representation to abstraction.  Hitchens was influenced by and an admirer of the late 19th and early 20th century French painters, but it was the writings of Clive bell and Roger Fry about “significant form” which was to become his moment of epiphany, and caused him to create my favourite early work “Curved Barn” painted in 1922.  While still very much a representational image of a barn in trees, the stylised forms and flowing curves highlight his awareness of shape and form, something that was to become increasingly important during his career.

Curved Barn by Ivon Hitchens
1922, oil on canvas
postcard published by Pallant House Gallery

One of the things about Hitchens’ work that appeals to me, is the draughtsmanship evident in his paintings.  At first glance some of his paintings can appear to be the result of random and sometimes haphazard placing of a colour on a canvas, yet on closer inspection these images reveal themselves to have the depth and structure brought about by careful planning.  Much as I love Hitchens’ work, I have to confess that I do find much of his mid-career work to be a little on the drab side colour-wise.  He seems to have had a fixation with the most hideous ‘hospital green’, often teaming it with other equally drab greens and greys tempered with sienna, umber, ochre and ultramarine, which dominate his landscapes of the mid 20th century.  His floral works are a complete contrast, and are my favourite genre in Hitchens oeuvre. Hitchens said about his floral painting “one can read into a good flower picture the same problems that one faces with a landscape, near and far, meanings and movement of shapes and brushstrokes.  You just keep playing with the object.”

Flower Piece by Ivon Hitchens
1943, oil on canvas
postcard published by Pallant House Gallery and Museums Sheffield

The current exhibition at Pallant House Gallery in Chichester, West Sussex is the largest retrospective of Hitchens work since 1989, showing over 70 works, covering most subject matters from his well known landscapes, flowers and interiors to some figure studies which show a strong influence of Matisse ‘Odelisques’.  Personally, I don’t think figurative work was Hitchens’ forte.  Moving through the exhibition rooms the works chart his progress on the route from representation to abstraction, with a group of 3 paintings being the perfect illustration of this being ‘Outflow’ from 1961, ‘Divided Oak’, 1958 and ‘Spring Millpond’ from 1950/51.  I have listed them as they are hung on the gallery wall, but really they should be hung with ‘Outflow and ‘Millpond’ reversed so the viewer can get a real sense of the move from the representational to the abstract.

Hitchens painted the same scenery for decades, not to achieve the perfect representation, but to express the feeling and spirit of these places.  During the 1960’s Hitchens bought a seaside home in Selsey and this was to rejuvenate his palette, casting aside the drab blue-green-greys and introducing vibrant blues, yellows, red and white.  Huge blocks of spectacular sumptuous colour now filled his canvasses.  The exhibition closes with a quote from T S Eliot which acknowledges Ivon Hitchens’ singular vision through the decades – “in my end is my beginning” and chimes perfectly with Hitchens’ own words from one of his sketchbooks –

Don’t try to find a picture.  Find a place you like and discover the picture in that”.

Publicity material for the exhibition –
Ivon Hitchens: Space through Colour
at Pallant House Gallery, Chichester, West Sussex, UK
29 June to 13 October 2019

20th Century Gothic

It’s been several years since I last visited Nymans Gardens, so I didn’t really know what to expect when I visited recently.  The weather wasn’t great, which was a shame for the middle of August, but although overcast, the rain did manage to hold off while I was there. 

The basic layout of the gardens hasn’t changed, but what had changed was the amount of activities there were available for children.  Nymans has lots of lovely wide open space which is ideal for children to run about in, and it was heartening to see that the team at Nymans has recognised that fact and come up with various garden activities including activity trails and games such as giant Jenga, skittles and croquet.  All this child friendly activity doesn’t detract from the formal garden areas where the interest is more adult orientated.  The Rose Garden had almost finished, with just a few blooms left, while the long border was looking suitably spectacular full of late summer flowers such as phlox, rudbeckia (Black-eyed Susan), dahlias and sunflowers.

Wild meadow planting at Nymans Gardens

What had changed since my last visit was the house itself.  A charming country house dating back to the Regency period, the house was remodelled first by Ludvig Messel to reflect his Germanic roots, and later by his son and daughter-in-law Leonard and Maud.  Sadly, on the night of Leonard’s 75th birthday a fire broke out destroying much of the house, with only a small part being saved.  About half of the original property still stands a ruins giving the property a romantic, gothic feel . With only 4 or 5 rooms available to visitors, there was still plenty to see and helpful room guides were pleased to chat about the past occupants and to show interested visitors a selection of albums showing the house as it was before the fire which destroyed most of it and Messel family. The upstairs has now been turned in to a gallery space showing the work of a Polish artist, Mariusz Kaldowski  depicting views around the garden and estate.

The main room have been dressed out as the house would have been in the early-mid 20th century when the Messel family were in occupation.  One of the ‘funest’ things is the stage curtain surround that has been placed around the television set.  The Messel family were very keen on theatre. 

TV ‘Theatre’ (with another scary lady portrait above)

There are several portraits of quite scary looking females which sort of reminded me of Rebecca in the eponymous Daphne Du Maurier.  

One of several ‘scary’ looking female portraits wearing period costume

I was impressed with the small collection of blue and white china displayed in a side room, and had to laugh when, as I was leaving, a man entering remarked that I looked like I had escaped from the room – I was wearing a blue and white striped dress! 

Blue and White china display

Currently the property is trying to raise money to create a special garden in the ruins of the house left behind after the fire.  Some work has been carried out to make them safer, but general public access is not permitted.  The picture here shows the charred remains of the library of rare and specialist botanical books collected by Leonard Messel.  A fitting place to site a brand new garden.

Burned library at Nymans

I enjoyed my visit to Nymans, the property has undergone some changes which make a real difference to the visitor “experience” and the staff and volunteers I came across were all very friendly and knowledgeable. It’s a lovely place and I would thoroughly recommend it.

Navigating the past

Tucked away behind the cricket ground in Guildford are the Wey Navigations.  Opened in 1653, the site was dominated by two boat building families the Stevens and the Edwards but is now owned by the National Trust. This compact property offers an interesting snapshot of a what traditional barge building yard was like. It has been over a decade since I last visited and much has changed including the  addition of the Wey barge Reliance, built at Dapdune between 1931-2 and which sank in the Thames after striking a bridge.  It was acquired by the NT it is now moored at the Wharf for visitors to board and sample cramped, dark conditions that made up everyday life for watermen. Various outbuildings and old stores provide an array of information panels and interactive exhibitions including model navigation system and the block and tackle weight lifting exhibit, where three 56lbs weights are attached to different lifting methods to demonstrate how difficult and easy it can be to lift the same weight.  The complex is very child friendly and would make an excellent schools visit, with plenty of activities available for families.

Relaince, built at Dapdune Wharf 1931-2

The day I visited was the final day of an exhibition by 4 graduate students at UCA Farnham, titled ‘Tumblehome’ it is the result of how these four artists reacted to the surroundings, history and traditions of the wharf.  I found out about this exhibition by accident, and being a huge fan of site specific artwork, was curious to see their ideas.  There was disappointment from the start as there was no information available at the entry kiosk, now it may be because it was the last day of a month long exhibition, but the reception staff didn’t make any mention of it when they spoke about what there was to see on site.

There’s an exhibition here….somewhere

A couple of inconspicuous ‘A’ frame poster boards  signalled where artworks were sited, but I almost missed the largest exhibition area completely as it was so inconspicuous!  A quick check on the NT website revealed a short section about the project and the inevitable self-important verbose statements by each artist.  Of all the work on show, the digitally printed papers and fabric of Noelle Genevier, I felt were the most engaged and relevant pieces on display.  I have to confess that the large piece of canvas and rope suspended from a makeshift wood frame did little to provoke any questions, while the slideshow running in the background opposite was pretty standard stuff, modern photographs interspersed with archive images presumably drawing comparisons to how the use of the wharf has changed from industry to pleasure.  The quirkiest piece was the installation of cottage shaped teapots on show in the Smithy and the giant papier mache teapot in the main exhibition area and which apparently draws attention to our relationship with tea and comfort, a comment I am assuming, on the changing nature in use of the site from industrial workplace to leisure attraction.

Digitally printed fabric in the old stable
teapots in the old smithy
Giant papier mache teapot

Unfortunately most of the labelling of the artworks had disappeared and in the absence of any other information I think that most visitors would have found it all very hard to engage with.  This is hugely disappointing and a massive missed opportunity.  Art is a fantastic way to draw attention to an historical collection or site and to engage a more diverse audience than may usually be expected.   Overall I suspect that the students were not given enough time to work on this project alongside their degree show work which is a shame, although I feel that some of the work missed the mark in terms of thinking and display.  Still, there is always next time.

Live your own life

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“Live your own life” – no idea who said that first!

Thank you for taking the time to read this first post of my new blog. My name is Gillian and I am an artist, curator and social history nerd. The above quote, and I assume it is a real quote although I have no idea who may have said it first, sums up what this blog is all about living my own life. The modern world puts us under so much pressure to fill our lives with ‘stuff’, buckets lists of places to go, things to do, food to eat and so on. It has even become a ‘thing’ to have a huge map of the world in your home with flag pins stuck in to show off to your friends how many place you have visited, as if this makes you a better or more superior person in some way.

I am an advocate of the global Slow movement, I think we all need to slow down and put more thought into what we do, and to care more about how our actions affect other people and the world around us. This blog will be a sort of shared ‘personal’ journal of my thoughts and ideas on a variety of mainly art and heritage related subjects and places and from which together we might stumble across something awesome that we didn’t about know before.

The image at the start of this post is the Atlas fountain in the grounds of Castle Howard in North Yorkshire. It was commissioned by the 7th Earl in 1850 from the landscape gardener William Andrews Nesfield. The gods surrounding the central figure of Atlas were carved by the sculptor John Thomas of London and were transported to Castle Howard by railway, something that not so many years earlier would have been impossible.