Paintings for Spring – Instantly Alive

We launched spring at the gallery with Alice Mumford’s new solo exhibition ‘Paintings for Spring’. Despite lockdown we did it in style, inviting you into the gallery via Instagram Live. What a success that was! Over 100 of you came, and from at least five different countries.

Writer and curator Dr. Ian Massey (@ianmasseyart) hosted the event. Ian and the videographer were our eyes – they gave us a wonderful in-depth tour of the exhibition; zoning into detail and paint surfaces just at the right moments.

A recording of the event can be found here – you need an Instagram account to access it. (An account is very easy to set-up if you want to give it a go, and it’s free.)

We had a number of questions sent ahead that were nearly all answered. A few came in during and after the event, and Alice has been busy answering those. A number of you asked about the books on display at the gallery, particularly the one by Alice and Ian. Here are the details:

Alice Mumford – Colour from Coast to Coast

Book; 25.5 x 21 cms

80 pages + cover
Published by Sansom & Company
Introduction by Alice Mumford
Essay by Ian Massey
Richly illustrated throughout
Price shown does not include postage and packing
Please call gallery for details

Price: £20

A few of you asked about the whites Alice uses, here’s more detail:

Daler Rowney, Graduate; Daler Rowney, Georgian Titanium White
She says ‘I am yet to try Lukas, Titanium White’.

There are key anchor paintings in the exhibition, which Ian highlighted during the event. One that is important is Peeling Apples Together (about half way into the tour). The title of the painting jettisons us straight to Seamus Heaney’s poem ‘When all the others were away at Mass’ – we promised we’d send a link to the poem.

Ian asked the videographer to take us straight to the faces in the mirror found in the painting. (The use of the mirror as a device (bifurcation of space) is discussed during the event whilst landing on the painting Reflected Reading) He asks Alice about the faded faces, a recalled memory? Alice says yes. The flowers are sharp and take you into the faces to fond memories of peeling apples with her niece and in the more distant past, her mother. Hence the connection to the poem as well as the idea of reflection. Ian and Alice discuss the poem in greater detail. Ian talks about the profundity of Heaney; Alice about the playing of time in painting.

We are Heaney fans at the gallery. To have this painting threading ideas through the exhibition makes you look at all the paintings even closer and we are often standing in front of it. Below are graphics from the wonderful Seamus Heaney HomePlace reminding us why Heaney is one of the greatest poets in the world; he tugs at our memories and has helped us see how the everyday is extraordinary. We know even more now to cherish such lived moments, which is why Heaney has probably been breaking records during lockdown even though he is no longer with us.

‘A line from Heaney – a former Nobel laureate – has become an almost ubiquitous refrain on banners, airwaves and social media: “If we winter this one out, we can summer anywhere.”’ The Guardian, 17th May 2020.


Alice and Ian talked about the structure of painting a lot, particularly through the painting Pink, Vermillion 2020. It made us think about Heaney and poetry again. Here’s another graphic from Heaney’s HomePlace to dwell on before you look at the painting and listen to the recording. It’s the last painting discussed in the recording, so zoom forward to 45 minutes if you just want to focus on that. It’s really great to hear them articulate and move across the canvas.

'Anatomy of A Poem' wall graphic, captured at HomePlace by the gallery in 2017. 

From April 12th you can book in with us to view the exhibition. It covers three spaces in our new location at Higher Bussow Farm, Towednack, St Ives. The full exhibition can be viewed online here and an exhibition catalogue is available from the gallery. Email us info@belgravestives.co.uk

10 / TEN: Abstract Figurative – Installation

5 – 26 March 2018

Our exhibition of 10 Abstract and Ten Figurative paintings, mainly by artists not usually associated with St Ives, is now OPEN. Works in the show are drawn primarily from the gallery collection.

Artists include: Muriel Archer, John Bratby, Joyce Cairns, Maurice Cockrill, Richard Cook, Fred Crayk, Emanuel Phillips Fox (attributed to), John Hopwood, Francis Hoyland, Henry Inlander, John Kingerlee, Antoni Malinowski, Nicholas May, Derek Middleton, Alastair Morton (attributed to), Jerzy Panek, Jonas Plosky, Fred Pollock, Gary Wragg and Phil Whiting.

Please click on images above to view a slideshow of the installation, or view individual works in the exhibition on the gallery website using this link:

VIEW WEBSITE

Installation: Prints & Drawings 2016

 

Our annual Prints & Drawings exhibition is now hung, opened, online and HAPPENING! Please enjoy these informal shots of the show, which is presented across all gallery spaces. Including the corners…

Containing some 120 works by Contemporary, Modern British & St Ives Modern artists, the show can be seen in the gallery until 7th January 2017, and can be viewed online here:

belgravestives.co.uk

Last days of ‘Lost Ways’ and St Ives Exhibition 2009

People were coming to view the gallery in earnest today in order to re-visit Amanda Wallwork’s map-based painting show before it came down or because they had just made it to St Ives from North Cornwall or ‘up country’ in time to catch the St Ives Exhibition 2009. It seems everyone who has been to the gallery has enjoyed becoming immersed in one of the spaces, if not both. The spaces are rich and quite intense for different reasons but what connects them is that the historical and cultural past in relationship to the landscape seep into both.

Amanda’s work will come down on Monday, whereas in our main space the Moderns show will stay much as it is. There will be a few changes but not until the following week will this space feel completely different. As this is written, the next catalogue is winging its way around and out of Cornwall.

The catalogue highlights key works from Eric Ward and Chris Insoll with a write up about how the artists are connected. The title of the show is ‘Two Colonies’ and the full list of works available is now showing online with up-to-date biographical information about Eric and Chris. We will post some exhibition shots of the hang as well as some of the characters themselves.

In the meantime, gallery staff as well as gallery visitors and passer-bys can continue to gaze at the breathtaking Dolan by the window. It has been much admired.

St Ives Exhibition 2009

Margaret Mellis WomanAndFish II oil on canvas 1957
Margaret Mellis WomanAndFish II 1957

Our annual show of work by British Modern artists, focussing particularly on artists of the St. Ives School, is looking good in the main gallery. Dominating the space are a group of large canvasses by Patrick Dolan, and it’s been great to see these works being shown after so long in a private collection. Dolan is remembered, still, in St Ives, by some of our artists and visitors. Bob Crossley and John Emanuel both have strong memories of the artist and his work. And, as one visitor commented the other day, ‘they (this group of works by Dolan) have more energy and strength than anything in the Tate (St. Ives) at the moment!’

Between these monoloithic canvases, a striking range of small and medium sized works by names like Heron, Hepworth, Frost, Scott, etc are strung out in eye catching lines. The early, representational Frost oil ‘Fish Bones‘ is a little gem, and the largish 60s Weschke landscape provides a firm focus to the rear of the gallery. The William Gear painting is brooding and bequiling, there is a rare Fishwick oil and a delightful group of works by a great gallery-staff favourite, Patrick Hayman. These works had originally been slated for a separate show, but have ended up making 2009’s St Ives show a particularly engaging one.

There are several accessible prints, including lithographs, screenprints and/or etchings by Barbara Hepworth, Karl Weschke, William Scott, Roger Hilton, Patrick Heron, Bryan Ingham and Terry Frost, as well as more substantial paintings by Margaret Mellis, Michael Canney, Patrick Hayman, Padraig Macmiadhachain, Frank Beanland and, again, Terry Frost. Small sculptures by John Milne and Denis Mitchell sit in the cabinet alongside a few pieces of Troika Pottery. The Troika ‘Ashtrays’ have been re-branded ‘Concave Forms’  by the post-smoking gallery staff.

Do come and see St Ives Exhibition 2009 if you can.