HISTORICAL SELLING EXHIBITION – ST IVES MODERNISM

PRESS RELEASE
ST IVES EXHIBITION 2020
30 Mar – 20 Apr 2020, Belgrave St Ives

The largest exhibition to date by the gallery sees over 100 works by 50 artists associated with St Ives Modernism. It brings together key figures like W Barns-Graham, Terry Frost, Roger Hilton, Peter Lanyon, Ben Nicholson with lesser known names such as John Barnicoat, Bob Bourne, Jeffrey Harris and Inez Hoyton.

Hilton_Untitled_Chickens_1973_SmRoger Hilton Untitled (Chickens) Gouache and charcoal; 38.5 x 56 cms

It is 22 years since the Belgrave Gallery (established London 1974) opened a second gallery in St Ives to specialize in showing the work of artists associated with Cornwall from 1930s to the present day. Following the inaugural exhibition in 1999 ‘St Ives – The Modern Movement’ the gallery has presented an annual exhibition of accessible paintings, prints, drawings and sculpture by the leading artists of this period shown alongside less well known but interesting artists working at the same time.

This annual exhibition, usually held in the Spring, has gained something of a reputation among art collectors interested in St Ives Modernist Art, making it an important port of call whether visiting Cornwall or through the comprehensive printed exhibition catalogue and gallery website.

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Wilhelmina Barns-Graham Underwater Movement Pen, ink and wash; 19.5 x 26.5 cms

Artists included: John Barnicoat, W. Barns-Graham, Max Barrett, Trevor Bell, Anthony Benjamin, Sandra Blow, Bob Bourne Charles Breaker, Max Chapman, Tom Cross, Bob Crossley, Alan Davie, Michael Finn, Clifford Fishwick, Terry Frost, Jeffrey Harris, Barbara Hepworth, Patrick Heron, Roger Hilton, Inez Hoyton, Bryan Ingham, Peter Lanyon, Jeremy Le Grice, Bernard Leach, Janet Leach, Padraig Mac Miadhachain, Margo Maeckelberghe, Margaret Mellis, John Milne, Denis Mitchell, Ben Nicholson, Kate Nicholson, Simon Nicholson, Harry Ousey, John Anthony Park, Victor Pasmore, Bryan Pearce, Douglas Portway, William Scott, Michael Snow, Troika Pottery, Doris Vaughan, John Wells, Karl Weschke and Guy Worsdell

The show will be held in all gallery exhibition spaces. A fully illustrated colour catalogue is available. Higher resolution images are available for print.

#StivesModernism @belgravestives

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Jeffrey Harris Dalesman Oil and pencil on Masonite; 29 x 32 cms

NOTES TO EDITORS

For further information and images, please contact Richard Blackborow:

Belgrave St Ives, 22 Fore Street, St Ives, Cornwall TR26 1HE

richard@belgravestives.co.uk    tel. 01736 794888

Hoyton_SurfOnACornishBeach_SmInez Hoyton Surf on a Cornish Beach Oil on board; 41 x 51 cms

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Installation: Sven Berlin – Drawings from The Dark Monarch

Please enjoy these informal installation shots of our exhibition of 27 of the 32 drawings made for The Dark Monarch by Sven Berlin. Executed c.1955, these drawings were used as illustrations for his notorious roman-à-clef The Dark Monarch in 1962. The work was a thinly-disguised and irreverent portrait of St Ives, its artists, and others who lived and worked in the town. Among the loosely disguised cast of artistic characters were W. Barns-Graham, Barbara Hepworth, Ben Nicholson, Bernard Leach, Peter Lanyon, Patrick Heron, Bryan Wynter and many others. The novel was withdrawn soon after publication, when legal action was taken by four of the local ‘characters’ in the book. This is the first time that the original drawings made for the novel have been exhibited.

You can view the individual works in the exhibition by following this link to the gallery website.

Alice Mumford / Composite Shadows / Installation

Our Alice Mumford exhibition opened with a very lively Private View on Saturday evening, and the show has been visited and enjoyed by many visitors since we opened the doors on Monday. The exhibition runs until 7 Oct and coincides with the St Ives September Festival. We hope you enjoy the installation shots above, you can also view individual works on the gallery website here.

Part Earth Part Flower is Installed

Painting with Plants and Porcelain, How the Exhibition will Evolve through September and October

Autumn brings rapid change to plant life; some plants coming into their ‘best’ with late flowering blooms, others dying back to nourish the earth for future generations or drying out to form seeds for next years’ plants. The display in the gallery reflects this process of change and variety in the surrounding landscape of the here and now. Materials gathered from local gardens reflect the season, our environment, and celebrate the beauty and bounty of what surrounds us. Throughout the course of the exhibition, rather than refresh the whole display, Polly will intermittently replace only some stems, leaving others to die back or dry out.

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Photograph: Andy Hughes

The unstable nature of things can bring much joy – there is magic in the handmade. Rebecca’s pots bear traces of her manipulation of the material and refer to it in its soft state. Connections between people and materials across time and place are present in the objects, and the evolving nature of the flower displays in this exhibition reflects that. Perhaps the display will be become more dominated by dried or deteriorating flowers as time goes on, perhaps some areas will get fuller and others sparser, but this will depend on – and be influenced by – how the materials in the gallery and the gardens are behaving, much like the processes involved in gardening a garden or making a pot.

Rebecca’s pots invite the user to engage with the moment; the beauty of the objects are emphasised through their ability to reflect and absorb the changing atmosphere around them, porcelain enjoying a unique relationship with light especially. Their seemingly simple beauty can be brought to life through the introduction of plant material, however it is chosen or placed. An interaction is sparked between the two objects, facilitating the viewer to more easily observe and enjoy the simple beauty and subtle nuance in both.

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Photograph: Andy Hughes

The interaction that the pots invite through use is one of ease and joy. Collections of small vases enable single stems to be chosen, placed and valued in and of themselves, but with associations between each other enabled, as with planting in a garden. Vases with indentations invite a looseness to placing the stems, an invitation to enjoy the informality of letting it be where it falls, and form the presence of a continued line where the stem meets the rim. Where flowers rest on the of edges pf vessels, there is further opportunity to enjoy the interaction between the porcelain and plant material. This continues as the plant material deteriorates. In the case of the works with the porcelain trays, the falling petals, pollen or seed are captured and become part of the display. These behaviours of the plant are not only beautiful to watch but remind us of the interconnection between plant and the earth; one cannot be without the other.

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Photograph: Andy Hughes

Zen Buddhism encourages us to ‘see the flower in the earth and the earth in the flower’, as Virginia Woolf did in her revelation in the garden at Talland House, where she spent formative childhood summers in St Ives, and one of the gardens Polly tends. Another Buddhist saying: ‘no mud, no lotus’, describes the necessary inter-connectedness of earth and flower, reminding us of the role of imperfection and non judgement, things are as they are because of each other, although we may describe one thing as good and another bad.

“That is the whole… I was looking at a plant with a spread of leaves: and it seemed suddenly plain that the flower itself was part of the earth, that a ring enclosed what was the flower; and that was the real flower; part earth; part flower. “

Virginia Woolf, A Sketch of the Past, 1939

Polly Carter, 2019

Gallery installation images to follow 

ALICE MUMFORD Composite Shadows

PRESS RELEASE

16 Sept – 7 Oct 2019, Belgrave St Ives
Private View Sat 14 Sept 6 – 8pm

“The passing of time is explored by Alice Mumford in a new body of work that looks at the painting and history of the shadow. Ambiguous time, elongated time and the spatial elements of time are explored in these paintings.”

ALICE MUMFORD - COMPOSITE SHADOWS 31st July 2019 New One-Person Exhibition: ALICE MUMFORD Composite Shadows 16 Sept – 7 Oct 2019, Belgrave St Ives Private View Sat 14 Sept 6 – 8pm “The passing of time is explored by Alice Mumford in a new body of work that looks at the painting and history of the shadow. Ambiguous time, elongated time and the spatial elements of time are explored in these paintings”. Belgrave St Ives is pleased to announce an exhibition by the painter Alice Mumford. In her previous exhibition, Mumford asked the viewer to study and celebrate with her the importance of colour and how it can be used to picture the everyday ordinariness of life but also its wonder. This time she is asking us to look at the passing of time that is present in a painting by offering a series of still-life and landscape works that play with shadow planes through the study of open windows, roof tops, laden tables and Cornish sea-scapes. In one of her painting courses (she is regarded highly as a teacher of painting), one of her students asked her, “What time of the day do you think Bonnard painted this?” Alice and other people in the group couldn’t decide. Alice then reflected ‘Bonnard makes composite shadows like a composite character in a book. These paintings are not made from one moment but from a whole day or time, from being in a place.’ She has worked towards the exhibition with this reflection as a focus. Mumford is a painter who is entirely committed to her craft. Following training at Dartington, Camberwell, Southwark and Falmouth Colleges of Art, she has become one of the most accomplished painters currently working in Cornwall. After early successes with Cobra & Bellamy, Julian Lax and Badcocks Gallery, Mumford has been represented by Belgrave St Ives since 2005, during which time she has established herself as a pre-eminent painter of still life interiors that draw heavily on her own domestic life. Sansom & Co published a first monograph of her work in 2015. (Copies are available at the gallery.) A fully illustrated catalogue accompanies the exhibition with a forward by the artist. A special event to accompany the exhibition will be held Friday 27 September at Borlase Smart Room, Porthmeor Studios in St Ives. The artist will be in conversation with Dr Ian Massey, discussing the history of shadows and what composite shadows are. #ArtStives #CompositeShadows @belgravestives PHOTO CAPTIONS Cider and Melon Pieces on a Hot June Day Oil on canvas; 61 x 76 cms The Sea View, Summer Afternoon Light, Perranuthnoe Oil on canvas; 100 x 100 cms Alice Mumford’s Studio NOTES TO EDITORS For further information and images, please contact Richard Blackborow: Belgrave St Ives, 22 Fore Street, St Ives, Cornwall TR26 1HE richard@belgravestives.co.uk tel. 01736 794888 ENDS

The Sea View, Summer Afternoon Light, Perranuthnoe
Oil on canvas; 100 x 100 cms

Belgrave St Ives is pleased to announce an exhibition by the painter Alice Mumford. In her previous exhibition, Mumford asked the viewer to study and celebrate with her the importance of colour and how it can be used to picture the everyday ordinariness of life but also its wonder. This time she is asking us to look at the passing of time that is present in a painting by offering a series of still-life and landscape works that play with shadow planes through the study of open windows, roof tops, laden tables and Cornish sea-scapes. In one of her painting courses (she is regarded highly as a teacher of painting), one of her students asked her, “What time of the day do you think Bonnard painted this?” Alice and other people in the group couldn’t decide. Alice then reflected ‘Bonnard makes composite shadows like a composite character in a book. These paintings are not made from one moment but from a whole day or time, from being in a place.’ She has worked towards the exhibition with this reflection as a focus.

Alice Mumford - Composite Shadow, new body of work at Belgrave St Ives 2019

Alice Mumford’s studio during her work towards Composite Shadows

Mumford is a painter who is entirely committed to her craft. Following training at Dartington, Camberwell, Southwark and Falmouth Colleges of Art, she has become one of the most accomplished painters currently working in Cornwall. After early successes with Cobra & Bellamy, Julian Lax and Badcocks Gallery, Mumford has been represented by Belgrave St Ives since 2005, during which time she has established herself as a pre-eminent painter of still life interiors that draw heavily on her own domestic life. Sansom & Co published a first monograph of her work in 2015. (Copies are available at the gallery.)

A fully illustrated catalogue accompanies the exhibition with a forward by the artist.

A special event to accompany the exhibition will be held Friday 27 September at Borlase Smart Room, Porthmeor Studios in St Ives. The artist will be in conversation with Dr Ian Massey, discussing the history of shadows and what composite shadows are.

#ArtStives #CompositeShadows @belgravestives

Alice Mumford's work towards studying, exhibiting and lecturing for her exhibition called Composite Shadows at Belgrave St Ives

Cider and Melon Pieces on a Hot June Day
Oil on canvas; 61 x 76 cms

NOTES TO EDITORS

For further information and images, please contact Richard Blackborow:

Belgrave St Ives, 22 Fore Street, St Ives, Cornwall TR26 1HE

richard@belgravestives.co.uk    tel. 01736 794888

 

ENDS

A Distant Isle; Wilhelmina Barns-Graham in Lanzarote

PRESS RELEASE                                                                                         

New One-Person Exhibition:
WILHELMINA BARNS-GRAHAM (1912 – 2004)
A Distant Isle; Wilhelmina Barns-Graham in Lanzarote
10 – 29 June 2019, Belgrave St Ives
Private View: 8 June 6 – 8pm

Wilhelmina Barns-Graham’s Lanzarote series is a remarkable and significant body of work from the latter part of the artist’s career, the extent of which is still to be fully assessed. This is the first exhibition to look solely at the artist’s response to the unique topography and geology of this volcanic island. Barns-Graham returned to Lanzarote annually over a 5-year period (1989 – 93) to work in this formidable landscape, the resultant paintings and drawings demonstrate the artist’s interest in natural structures and her deep-rooted analytical observational skills.

barns_graham__timanfaya_lanzarote_belgrave_stives
Timanfaya Mt. Fuego 1989  Acrylic on paper; 36 x 49.5 cms

Barns-Graham was born in St Andrews, Fife, on 8 June 1912. Determining while at school that she wanted to be an artist, she set her sights on Edinburgh College of Art where she enrolled in 1932 and graduated with her diploma in 1937. When Wilhelmina Barns-Graham, known as Willie, moved to Cornwall in 1940, the artist’s drawings and paintings started reflecting the patterns, natural and man-made, of place, be it of Cornwall, the Scilly Isles, Switzerland’s Grindelwald Glacier (1949), the quarries and ravines of Tuscany/Sicily (1953-1955) or the rocky edge of the Balearics (1958). Her (later) studies of Lanzarote are some of the finest examples of this geological investigation. In 1951 Barns-Graham won the Painting Prize in the Penwith Society of Arts in Cornwall Festival of Britain Exhibition and went on to have her first London solo exhibition at the Redfern Gallery in 1952. Barns-Graham was included in many of the important exhibitions showcasing pioneering British abstract art in the 1950s and she exhibited consistently throughout her career, in private and public galleries. Important exhibitions of her work were held at Tate St Ives in 1999/2000 and 2005. The publication of the first monograph on her life and work, Lynne Green’s W. Barns-Graham: a studio life (2001; 2nd updated and revised edition 2011), did much to engage critical and public perceptions of her achievements confirming her as one of the key contributors of the St Ives School, and as a significant British Modernist.

01_Page26Wilhelmina Barns-Graham in Lanzarote   Wilhelmina Barns-Graham Trust

Lanzarote is an extraordinary place. The island is dominated by evidence of substantial volcanic activity, the last eruptions being very recent in geological terms. Well-documented eruptions took place in the Timanfaya area between 1730 and 1736, when lava and ash covered around two-thirds of the island burying many villages and fertile agricultural land in the process. It is thought that over thirty volcanoes erupted at this time. A century later, in 1824, there was a further eruption in the same area.

barns-graham_la_geria_belgrave_stives
La Geria (Vineyard) 1989  Acrylic on paper; 56.5 x 75.5 cms

BGT540_Barns-Graham_RedChasm_1994_LoRes
Untitled [Red Chasm] 1994  Gouache on paper; 56 x 75.5 cms

Belgrave St Ives represents Wilhelmina Barns-Graham on behalf of the Wilhelmina Barns-Graham Trust. The artist established the Trust in 1987 and the trustees have continued to advance awareness of her life and work, while using her legacy to support young people and other individuals to fulfil their potential in the visual arts. Belgrave St Ives Gallery specialises in Modern British and Contemporary Art with an emphasis on work produced by artists associated with Cornwall from the 1930s to the present time.

A fully illustrated catalogue with an essay by Geoffrey Bertram is available.

barns_graham_lava_movement_belgrave_stives
Lava Movement, Lanzarote
1993  Pencil and wash on paper; 21 x 29 cms

BGT1649_Barns-Graham_LanzaroteChurch_c1990_LoRes
Untitled [Church, Masdache, Lanzarote] c1989   Oil pastel on paper; 57 x 77 cms

For further information and images, please contact Richard Blackborow:

Belgrave St Ives, 22 Fore Street, St Ives, Cornwall TR26 1HE

richard@belgravestives.co.uk

tel. 01736 794888

ENDS