TERRY FROST A Book of Ideas

New One-Person Exhibition:

TERRY FROST A Book of Ideas Paintings and Collages from the Artist’s Large Format Work Book. 19 June – 15 July 2017. Private View 17 June 6 – 8pm.

A rare opportunity to view a selection of work from the artist’s large format work/sketch book – never previously exhibited.

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A Book of Ideas – Page 22, Acrylic; 46 x 37cm by Terry Frost

Following Terry Frost’s death in 2003, the studio contents were gradually relocated to a specially converted art store. Whilst archiving the artist’s collection some years later, a large format, cloth-bound sketchbook was discovered amongst the artist’s retained paintings and effects.

The richly illustrated volume contained over 50 paintings and collages. A number of these images were developed into known paintings or worked into recognisable print media editions, but some have remained as fascinating prototypes/imaginings of what might have been. Several of the artist’s favourite subjects are explored here, for example ‘Suspended Forms’, ‘Sun and Moon’ theme, the ‘Lorca’ series, etc. The book covers the period 1970s up to 1981.

We have selected a group of 32 individual works from the sketchbook to be mounted and framed for this exhibition. Mostly mixed media, all the works are a standard page size of 46 x 37cm single sheet and 46 x 74cm double sheet. The artworks have been reproduced for this exhibition catalogue in approximately the same sequence they appear in the original sketchbook, to follow the artist’s thought processes.

Sketchbook_Overview_smOver half the originals from the Book of Ideas are reproduced in an archival catalogue published to accompany the exhibition.

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A Book of Ideas – Page 7, Collage, gouache and oil pastel; 46 x 37cm by Terry Frost

SIR TERRY FROST RA (1915 – 2003)

Frost was born in Leamington Spa within a working class family. He was encouraged to paint by the artist Adrian Heath, a fellow captive, whilst a Prisoner of War in Germany. Frost moved to St Ives in 1947 and formed part of the group of younger artists (including Sven Berlin, W Barns-Graham and Bryan Wynter) attracted to the place by the cheaper living costs, better climate/light than much of the UK and the other artists already established in the area – Barbara Hepworth, Ben Nicholson etc.

Quickly gaining recognition amongst his peers, Frost was awarded the Gregory Fellowship at Leeds University (1952). Teaching at Leeds College of Art, he later became Professor of Painting at Reading University (a position he held until retiring from Teaching in 1981).

Frost exhibited extensively in the UK and Overseas in both one person and significant group exhibitions. He was one of a small number of British Artists at the time with an international reputation. He was elected Royal Academician in 1992 and Knighted for his services to Art and Art Education in 1998. His work is in major private and public collections worldwide including Tate Gallery, Arts Council and British Council. There is also an extensive bibliography for the artist.

Best know for his exuberant and colourful abstract paintings, collages and prints, Terry Frost shared his zest for art and life with boundless energy and enthusiasm.

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Portrait of Terry Frost in his Newlyn studio c.1999, courtesy of the Artist’s Estate

BELGRAVE ST IVES

The gallery has a long association of working with the artist Terry Frost and subsequently with the Artist’s Estate. The artist’s first one-person show with the gallery was held in 1989.

The Belgrave Gallery was established in London in1974 and its sister gallery opened in St Ives in 1998, becoming independent as Belgrave St Ives in 2010. The gallery specialises in exhibiting Modern British and Contemporary Art with an emphasis on work produced in Cornwall.

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A Book of Ideas – Page 14/15, Gouache and graphite; 46 x 74cm by Terry Frost

NOTES TO EDITORS

For further information and images (and higher resolution), please contact Richard Blackborow: Belgrave St Ives, 22 Fore Street, St Ives, Cornwall TR26 1HE richard@belgravestives.co.uk tel. 01736 794888

ENDS

Brian Rice – Paintings, Press and Preview

On March 4th 2017 we held Brian Rice’s private view, which included the artist signing his new book Brian Rice – Paintings 1952-2016. You can purchase this from us during the exhibition at a special price of £30. Through our installation shots you can peruse the front and back gallery, and to help context, there have been a number of publications about the exhibition including ‘Country Life’ and below ‘Resurgence & Ecologist’. You can view the full exhibition here. We will soon post images of Brian’s Prints in Gallery 2. Here’s a sneak of Brian at the Private View!  You can Find us on FB, Twitter and Instagram #belgravestives  as well as this blog.

Above left: Brian Rice, ‘Drawing No.6 (Yellowfield)’, Gouache and pastel on paper; 59 x 40.5 cms. Right: Brian Rice’s catalogues and books previously published.

resurgence_brian_riceAbove: ‘An Artist Renewed By Time, Earth and Place’ •  A profile of Brian Rice, ‘Resurgence & Ecologist‘ magazine, March/April 2017, No. 301 MANIFESTO FOR A GREEN MIND.

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Brian Rice Paintings 2017 © Graham Gaunt Photowork

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Celtic 1964, Oil on canvas; 69 x 69 cms.

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Brian Rice Paintings from the Artist’s Archive 2017 © Graham Gaunt Photowork

Rice_WessesxLandscape_1982_LoResAbove: Brian Rice, Wessex Landscape 1982, Gouache on Bockingford paper; 58.5 x 76 cms.

Rice’s career trajectory has seen a working-class country boy going to the city and then returning to the country – very Thomas Hardy, very Jude the Obscure. In London, instead of fields and hedges, Rice was looking at street signs and advertisements, and for a time that suited him and his art. But the sustenance of such popular imagery – and its formal geometrical counterpart – was soon exhausted, and Rice had to look elsewhere to refresh the week-springs of his art. He re-encountered the countryside and began to explore it in greater depth. As chevrons now became the patterns of fields emerging through snow, so did his more heavily worked paintings express his new understanding. (‘What’s underneath became as important for me as what’s on the surface.’ he declared.)

Andrew Lambirth, November – December 2015, Extract from essay in Brian Rice Paintings 1952 – 2016.

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Brian Rice Paintings from the Artist’s Archive 2017 © Graham Gaunt Photowork

brian_riceBrian Rice: The Creation of the Buddha of Time Passed, 1962, Oil on canvas; 121 x 91.5 cms.

WILHELMINA BARNS-GRAHAM – St Andrews and St Ives and Mrs Rogers

Below is a favourite diary entry by Wilhelmina Barns-Graham dated Oct 30th 1945. We have transcribed this with the permsission of the Barns-Graham Charitable Trust in light of the current exhibition we are holding (which ties in with the exhibition at Penlee House, Penzance 10 September – 19 November 2016, titled Wilhelmina Barns-Graham: A Scottish Artist in St Ives and the St Ives September Festival 2016. 

This entry is very relevant to us as the portrait of Mrs Rogers hangs in our exhibition and many in the town have come to see her. It is striking on many levels and the entry below alludes to this.

Mrs Rogers / The Sloop

I am painting in the Sloop. This is a job. The light is poor and time limited. 2.45-4pm. I hope to keep this a decorative composition. On a different colour scheme to my recent paintings using:

Aureole Yellow
Alizarin Crimson
Viridian Green

She is a handsome clear-cut woman with most distinctive hair dressing and a charming attractive personality. Tall and angular. With a sensuous mouth yet almost hard faced. Something of the Duchess of Windsor style. So she had often been told and I can see it.

Mrs Rogers gives me tea after upstairs in a tiny well furnished room obviously the larder. A wonderful orange russet thick carpet and when the light is on it, oh!

barnsgraham_portraitofmrsrodgers_sloopinn_c1945_belgravePortrait of Mrs Rogers – Sloop Inn c1945
75 x 63 cms; Oil on canvas
Provenance: The Barns-Graham Charitable Trust

Janet Axten of St Ives Archive held a talk during the festival where more entries were read. The audience throughly enjoyed this way of looking at the artist and we heard some wonderful stories recounted in the week.

September 13th ST IVES ARTS CLUB, Westcott’s Quay 1 – 2.15pm
Wilhelmina Barns-Graham in her own words 
The Scottish artist who came to St Ives in 1940 was a constant letter writer and kept a diary of her early life in the town. Janet Axten, Heritage Manager, St Ives Archive, reads excerpts from these papers. They give a vivid insight into wartime life and the artists that she met. Supported by The Barns-Graham Charitable Trust. (This replaces the programme entry ‘Talk: In Search of Wilhelmina Barns-Graham’ by Lynne Green)

GRAHAM RICH ‘A Conceptual Voyage’ – Gallery Installation

The voyage unfolds in an anti-clockwise direction around the gallery, starting here...
The voyage unfolds in an anti-clockwise direction around the gallery, starting here…
...and continues around the coast and around the gallery...
…and continues around the coast and around the gallery…
...finishing with a logbook here.
…finishing with a logbook here.
Overview 1
Overview 1
Overview 2
Overview 2

‘I have a history of cruising the Devon and Cornwall Coast in the gaff rigged cutter ‘Jouissance’. I have kept logbooks, made art, and speculated on the possibility of developing a form for a voyage installation.

A chance encounter with Belgrave St Ives Director, Michael Gaca, on the staircase at the London Art Fair has originated yet another presentational form.

Following the ‘Cluster’, and the ‘Square Yard’, Michael has now added the ‘Conceptual Voyage’: Dartmouth – Salcombe, Polperro – Fowey, St Michael’s Mount – Penzance, Zennor – St Ives’. With the ‘Conceptual Voyage’ Michael has provided a matrix capable of structuring units of time – a 22-day voyage in 22 parts, which records 22 days of sailing and of exploring the South West Coast.

Each day of the Voyage is marked by a vertical unit recovered from a marine paint-testing programme. All the vertical units have survived severe testing for long periods under water. They could be seen within the conceptual frame as articulating a water level as well as a period of time. Above these conceptual units, is the voyage hung as a narrative sequence.

The last image is of a logbook in a glass box, which brings the voyage to its conclusion.’

VIEW INDIVIDUAL WORKS ON THE GALLERY WEBSITE HERE

V & A Prints Collections

Great news for gallery artist Sarah Poland

Oats And Whisky

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Aberystwyth : Paper Press Print has been accepted into the print collections of theVictoria and Albert Museum.

It has also been accepted into theUniversity of Wales Art Collectionswhere research is an important aspect of their activities, with emphasis particularly upon the history of graphic art, the development of new processes in etching, lithography and relief printing. The University of Wales Collection currently has an archive of over 10,000 prints, drawings and photographs and the galleries regularly host both touring and in-house curated shows of historical and contemporary prints by leading practitioners of national and international repute.

This is very exciting and prestigious and allows me to now have the heading of ‘Public Collections‘ on my artist’s biography.

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I wrote about the portfolio in a previous post outlining,  ‘On his web-site Paul describes it as ‘a portfolio celebrating the diversity of printmaking…

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Summer Exhibition 2013 – Installation Shots

Here are some informal shots of the exhibition in the gallery. It’s a really rich and diverse show…hopefully this will give you a sense of it. You can view all works in the exhibition individually by visiting the gallery website.