British Landscape Painting in the Twentieth Century

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BRITISH LANDSCAPE PAINTING IN THE TWENTIETH CENTURY

CRANE KALMAN GALLERY

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BRITISH LANDSCAPE PAINTING IN THE TWENTIETH CENTURY

8 June - 31 July 2004

CRANE KALMAN GALLERY LTD 178 Brompton Road, London SW3 1HQ Tel: 020 7584 7566 Fax: 020 7584 3843 www.cranekalman.com / ckg.ltd@virgin.net

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“An oak tree grows for 300 years, rests for 300 years and then spends the next 300 years gracefully declining” Anon

Image reproduced with kind permission of Noel Kingsley ARPS, renowned tree photographer. www.noelkingsley.com

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Help save our native woodland heritage Since the 1930s almost half of what little remained of the UK’s ancient woodland has been damaged or destroyed. Ancient woods now cover less than 2% of the landscape yet they are our richest wildlife habitat, places of inordinate beauty and totally irreplaceable.Today ancient woodland is still in danger with over 300 woods under threat from development.

The Woodland Trust, the UK’s leading woodland conservation charity, is determined that there should be no further loss of ancient woodland. With your help we can continue to campaign for greater protection for ancient woodland and bring threatened woods under our care and protection.

Since 1972 we have acquired over 1,000 woods throughout the UK covering about 50,000 acres. We also create areas of new native woodland and have planted over a million trees in the last three years.

For £350 you can become a Life Member of the Woodland Trust and make a lasting contribution to the conservation of our unique landscape.To thank you for your support we will dedicate 10 recently planted native trees in your name in the nearest available wood to your home.

For further information please ring 0800 026 9650 or write to The Woodland Trust, FREEPOST GM 63/2, Grantham, Lincolnshire NG31 6BR www.woodland-trust.org.uk/supportus Registered Charity No. 294344

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Prologue: Each time that I look at a fine landscape, Each time that I meet a loved friend, I raise my voice and recite a stanza of poetry And am glad as though a God had crossed my path. from Madly Singing in the Mountains by Po Chu-I (772-846) translated by Arthur Waley

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The New Road, (The South Downs) c.1918

Sir William Nicholson

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Cornish Garden with Monkey Puzzle Tree, (Cornwall) 1920

Sir Matthew Smith

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An English Landscape 1923

C. R. W. Nevinson

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The Swaites, (Cumbria) c.1923

Winifred Nicholson

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The Two Ash Trees (nr. Lyffilt, Devon) 1924

Robert Bevan

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Landscape with River and Trees, (Cumbria) 1926

Ben Nicholson

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The Snowdon Range, (Snowdonia) 1929

Victor Pasmore

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The Lonely House, (Lancashire) 1936

L. S. Lowry

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A View of the Thames from Cockmarsh Hill, (Cookham) 1935

Sir Stanley Spencer

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Welsh Mountains 1938

Graham Sutherland

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Mountain Road with Boulder, (Pembrokeshire) 1940

Graham Sutherland

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Barling, (Essex) 1940

Victor Pasmore

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The Farewell 1944

Paul Nash

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Derbyshire Landscape 1954

L. S. Lowry

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Zennor Quoit 1955

Ben Nicholson

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The Hop Garden, (Kent) 1957

Alan Reynolds

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Brown Painting with Two Circles 1958-59

Patrick Heron

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Winter Scene 1964

Paul Nash

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Ripples in Pool 1965

S. W. Hayter

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Picking a Quarrel 1968-9

Edward Burra

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Weald of Kent, (Kent) 1968-69

Edward Burra

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The Apple Pickers’ Feast, (Norfolk) 1971

Mary Newcomb

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Study of an Oak Tree 1973

Graham Sutherland

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Now 1980

Winifred Nicholson

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Willow 1980

Mary Newcomb

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Three Trees 1982

Henry Moore

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The Last Bird Home 1992

Mary Newcomb

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The Road across the Wolds 1997

David Hockney

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On Soft Foot 2002

Nicholas Jones

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Coastal Song 2003

Nicholas Jones

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Benn Eigie Circle 2003

Richard Long

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Scree Line 2003

Richard Long

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Hillcast Shadows 2003

Simon Palmer

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I cannot see what flowers are at my feet, Nor what soft incense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn, and the pastoral eglantine; Fast-fading violets cover’d up in leaves; And mid-May’s eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves.

FROM TO A NIGHTINGALE

BY JOHN KEATS (1795-1821)

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I leant upon a coppice gate When Frost was spectre-gray, And Winter‚s dregs made desolate The weakening eye of day.

The tangled bine-stems scored the sky Like strings of broken lyres, And all mankind that haunted nigh Had sought their household fires.

At once a voice arose among The bleak twigs overhead In a full-hearted evensong Of joy illimited; An aged thrush, frail, gaunt, and small, In blast-beruffled plume, Had chosen thus to fling his soul Upon the growing gloom.

The land’s sharp features seemed to be The Century’s corpse outleant His crypt the cloudy canopy, The wind his death-lament.

The ancient pulse of germ and birth Was shrunken hard and dry, And every spirit upon earth Seemed fervourless as I.

So little cause for carollings Of such ecstatic sound Was written on terrestrial things Afar or nigh around That I could think there trembled through His happy good-night air Some blessed Hope, whereof he knew And I was unaware.

THE DARKLING THRUSH

BY THOMAS HARDY (1840-1928)

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What wond’rous Life is this I lead!

Ripe Apples drop about my head; The Luscious Clusters of the Vine Upon my Mouth do crush their Wine; The Nectaren, and curious Peach, Into my hands themselves do reach; Stumbling on Melons, as I pass, Insnar’d with Flow’rs, I fall on Grass.

FROM THE GARDEN

BY ANDREW MARVELL

(1621-1678)

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And as I was green and carefree, famous among the barns About the happy yard and singing as the farm was home, In the sun that is young once only, Time let me play and be Golden in the mercy of his means, And green and golden I was huntsman and herdsman, the calves Sang to my horn, the foxes on the hills barked clear and cold, And the sabbath rang slowly In the pebbles of the holy streams.

FROM FERN HILL

BY DYLAN THOMAS

(1914-1953)

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Leaves of the summer, lovely summer’s pride, Sweet is the shade below your silent tree, Whether in waving copses, where ye hide My roamings, or in fields that let me see The open sky; and whether ye may be Around the low-stemm’d oak, robust and wide; Or taper ash upon the mountain side; Or lowland elm; your shade is sweet to me.

Whether ye wave above the early flow’rs In lively green; or whether, rustling sere, Ye fly on playful winds, around my feet, In dying autumn; lovely are your bow’rs, Ye early dying children of the year; Holy the silence of your calm retreat SONNET

BY WILLIAM BARNES

(1801-1886)

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Silver has its mines, and gold a place for refining.

Iron is extracted from the earth, the smelted rocks yield copper.

Man makes an end of darkness, to the utmost limit he digs the black rock in shadow dark as death.

Foreigners bore into ravines in unfrequented places, swinging suspended far from human beings.

That earth from which bread comes is ravaged underground by fire.

There, the rocks have veins of sapphire FROM THE BOOK CHAPTER 28

OF

JOB

and their dust contains gold.

That is a path unknown to birds of prey, unseen by the eye of any vulture; a path not trodden by the lordly beasts, where no lion ever walked.

Man attacks the flint, upturning mountains by their roots.

He cuts canals through the rock, on the watch for anything precious.

He explores the sources of rivers, bringing hidden things to light.

But where does Wisdom come from?

Where is Intelligence to be found?

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Glory be to God for dappled things For skies of couple-colour as a brinded cow; For rose-moles in all stipple upon trout that swim; Fresh-firecoal chestnut-falls; finches’ wings; Landscape plotted and pieced - fold, fallow, and plough; And all trades, their gear and tackle and trim.

All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?)

With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him.

PIED BEAUTY

BY GERARD MANLEY HOPKINS (1844-1889)

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. . . But, though I am like a river At fall of evening while it seems that never Has the sun lighted it or warmed it, while Cross breezes cut the surface to a file, This heart, some fraction of me, happily Floats through the window even now to a tree Down in the misting, dim-lit, quiet vale, Not like a pewit that returns to wail For something it has lost, but like a dove That slants unswerving to its home and love.

There I find my rest, and through the dusk air Flies what yet lives in me. Beauty is there.

FROM BEAUTY EDWARD THOMAS

BY

(1878-1917)

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The sands of light within, without, Equated and inviolable, Allow no footprint and no doubt Of savagery or trespass Where art enhancing yet revoking The random lives on which it drew Has centred round a daub of ochre, Has garnered in a square of canvas Something complete and new.

FROM THE WINDOW

BY LOUIS MACNIECE (1907-1963)

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First you dismantle the landscape.

Take away everything you first Thought of. Trees must go, Roads, of course, the church, Houses, hedges, livestock, a wire Fence. The river can stay, But loses its stubby fringe Of willows. What do you See now? Grass, the circling Mendip rim, with its notches Fresh, like carving. A sky Like ours, but empty along Its lower levels. And earth Stripped of its future, tilted FROM STANTON DREW

BY U A FANTHORPE (B.1929)

Into meaning by these stones, Pitted and unemphatic. Re-create them.

They are the most permanent Presences here, but cattle, weather, Archaeologists have rubbed against them.

Still in season they will Hold the winter sun poised Over Maes Knoll’s white cheek, Chain the moon’s footsteps to The pattern of their dance.

Stand inside the circle. Put Your hand on stone. Listen To the past‚s long pulse.

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Red apples hang like globes of light Against this pale November haze, And now, although the mist is white In half-an-hour a day of days Will climb into its golden height And Sunday bells will ring its praise.

The sparkling flint, the darkling yew, The red brick, less intensely red Than hawthorn berries bright with dew Or leaves of creeper still unshed, The watery sky washed clear and new Are all rejoicing with the dead.

The yellowing elm shows yet some green, The mellowing bells exultant sound; Never have light and colour been More prodigally thrown around; And in the bells the promise tells Of greater light where Love is found.

AUTUMN 1964

BY SIR JOHN BETJEMAN

(1906-1984)

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We’ve nothing vast to offer you, no deserts Except the waste of thought Forming from mind erosion; No canyons where the pterodactyl’s wing Falls like a shadow.

The hills are fine, of course, Bearded with water to suggest age And pocked with caverns, One being Arthur’s dormitory; He and his knights are the bright ore That seams our history, But shame has kept them late in bed.

A WELSHMAN TO ANY TOURIST

BY R S THOMAS (1913-2000)

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How like a winter hath my absence been From thee, the pleasure of the fleeting year!

What freezings have I felt, what dark days seen!

What old December’s bareness everywhere!

And yet this time remov’d was summer’s time, The teeming autumn, big with rich increase, Bearing the wanton burden of the prime, Like widowed wombs after their lord’s decease; Yet this abundant issue seem’d to me But hope of orphans, and unfathered fruit; For summer and his pleasures wait on thee, And, thou away, the very birds are mute; Or, if they sing, ’tis with so dull a cheer That leaves look pale, dreading the winter’s near.

SONNET XCVII

BY WILLIAM SHAKESPEARE

(1564-1616)

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Before the Roman came to Rye or out to Severn strode, The rolling English drunkard made the rolling English road.

A reeling road, a rolling road, that rambles round the shire, And after him the parson ran, the sexton and the squire; A merry road, a mazy road, and such as we did tread The night we went to Birmingham by way of Beachy Head.

FROM THE ROLLING ENGLISH ROAD G K CHESTERTON (1874-1936)

BY

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L I S T O F PA I N T I N G S Sir William Nicholson

Ben Nicholson

Graham Sutherland

The New Road

Landscape with River and Trees

Mountain Road with Boulder

Victor Pasmore

Victor Pasmore

Signed lower right and signed and dated on the reverse Oil on board 13 x 18 ins. (33 x 36 cms.)

Painted c.1918 Sir Matthew Smith

Cornish Garden with Monkey Puzzle Tree Painted 1920

Oil on canvas 24 x 34 ins. (?? x ?? cms.)

Painted 1926

The Snowdon Range Titled lower left and initialled and dated lower right Watercolour on paper 10 x 13¼ ins. (25.4 x 33.5 cms.)

Painted 1929

????? ?? x ?? ins. (?? x ?? cms.)

Painted 1940

Barling

Oil on canvas 10 x 14 ins. (?? x ?? cms.)

Painted 1940

Paul Nash C. R. W. Nevinson

An English Landscape

L. S. Lowry (1887-1976)

The Lonely House

Signed lower right Oil on canvas ?? x ?? ins. (71.7 x 91.4 cms.)

Painted 1923

Oil on board 15½ x 21¼ ins. (?? x ?? cms.)

Painted 1936

Winifred Nicholson

Sir Stanley Spencer

The Swaites Signed and titled on the reverse Oil on canvas 22 x 29 ins. (?? x ?? cms.)

Painted c.1923

Oil on canvas 20 x 24 ins. (51 x 61 cms.)

Painted 1944

L. S. Lowry (1887-1976)

A View of the Thames from Cockmarsh Hill Oil on canvas 28 x 36 ins. (?? x ?? cms.)

Painted 1929

Robert Bevan

Graham Sutherland

The Two Ash Trees

Welsh Mountains

Signed lower right Oil on canvas 20 x 24 ins. (50.8 x 61 cms.)

Painted 1924

The Farewell

Oil on panel 21⅝ x 21⅝ ins. (?? x ?? cms.)

Painted 1938

Derbyshire Landscape Signed and dated lower right Oil on canvas ?? x ?? ins. (50.8 x 61 cms.)

Painted 1954

Ben Nicholson

Zennor Quoit

Signed on reverse in pencil Coloured gesso relief on wood ?? x ?? ins. (38.9 x 52.5 cms.)

Painted 1955

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Alan Reynolds (b.1926)

Edward Burra (1905-1976)

The Hop Garden

Picking a Quarrel

Mary Newcomb

Willow

Signed and dated lower right Watercolour on paper 13 x 18 ins. (33 x 46 cms.)

Painted 1957

Stamped with signature Watercolour 31 x 52½ ins. (78.8 x 133.4 cms.)

Painted 1968-69

Patrick Heron (1920-2002)

Edward Burra (1905-1976)

Brown Painting with Two Circles Signed and inscribed with title on stretcher Oil on canvas 36 x 72 ins. (91.4 x 182.8 cms.)

Painted 1958-59

Weald of Kent

Stamped with signature lower right Watercolour and bodycolour on paper 31 x 53½ ins. (78.8 x 136 cms.)

Painted 1968-69

Signed lower left Black ballpoint, charcoal, charcoal and watercolour wash and gouache on paper 18¼ x 11¼ ins. (20.7 x 28 cms.)

Painted 1982

John Nash (1893-1977)

Mary Newcomb

Mary Newcomb

Winter Scene

The Apple Pickers’ Feast

The Last Bird Home

Signed lower left Oil on canvas 16 x 28 ins. (?? x ?? cms.)

Oil on board ?? x ?? ins. (70 x 93.5 cms.)

Painted 1980

Henry Moore (1898-1986)

Three Trees

Oil on board 25 x 30 ins. (?? x ?? cms.)

Painted 1971

Oil on canvas ?? x ?? ins. (121.9 x 167.6 cms.)

Painted 1992

Graham Sutherland

David Hockney

Study of an Oak Tree

The Road across the Wolds

Painted 1964

S. W. Hayter (1901-1988)

Ripples in Pool

Signed and dated lower right Oil on canvas 32¼ x 39¼ ins. (82 x 100 cms.)

Painted 1965

Gouache and watercolour 7¾ x 10½ ins. (?? x ?? cms.)

Painted 1973

Winifred Nicholson

Now

Titled, signed and dated on reverse Oil on canvas 18¼ x 22 ins. (46 x 56 cms.)

Painted 1980

Oil on canvas 48 x 60 ins. (?? x ?? cms.)

Painted 1982

Nicholas Jones (b. 1965)

On Soft Foot

Oil on linen ?? x ?? ins. (78 x 61 cms.)

Painted 2002

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Nicholas Jones (b.1965)

Coastal Song

Oil on linen ?? x ?? ins. (51 x 61 cms.)

Painted 2003

Richard Long

Beinn Eighe Circle

Signed and inscribed verso Photography and text ?? x ?? ins. (81.3 x 112 cms.)

Photographed 2003

Richard Long

Scree Line

Signed and inscribed verso Photography and text ?? x ?? ins. (81.3 x 112 cms.)

Photographed 2003

Simon Palmer (b.1956)

Hillcast Shadows

Ink, watercolour and gouache 17½ x 30 ins. (44.5 x 76.2 cms.)

Painted 2003

Page 56

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Epilogue: From The Wood by J. C. Hall (b.19??)

These names are more than names, their words More than the words mean. For, lords Of a landscape, they bequeath More than a poem to the fertile earth; Are stones, are trees, are the first roots that grew Deeper than spades go. All this I knew Once in the secret and still room of a wood, And later at the judgment of my blood.

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Museums and Public Galleries that have acquired Paintings from Crane Kalman Gallery Aberdeen Art Gallery, Aberdeen, Scotland

Arts Council of Great Britain, London, England

Art Gallery of South Australia, Adelaide

Imperial War Museum, London, England

Baltimore Museum of Art, USA

The Victoria and Albert Museum, London, England

Ulster Museum, Belfast, Northern Ireland

The Museum of London, England

University Art Museum, Berkeley, California

Whitworth Art Gallery, University of Manchester, Manchester, England

Museum of Fine Arts, Boston, USA

City Art Gallery, Manchester, England

The National Museum of Wales, Cardiff

The Felton Bequest, Melbourne, England

Yale Center for British Art, Connecticut, USA

Milwaukee Art Museum, Wisconsin, USA

Dundee Art Gallery, Dundee, Scotland

Stadtische Galerie im Lenbachhaus, Munich, Germany

National Gallery of Ireland, Dublin, Ireland

The Yale Center for British Art, New Haven, Conn., USA

Kunstmuseum, Dusseldorf, Germany

Museum of Modern Art, New York, USA

Scottish National Gallery of Modern Art, Edinburgh

The Andrew Dickson White Museum of Art, Cornell University, New York, USA

Glasgow Museums and Art Galleries, Glasgow, Scotland

Toledo Museum of Art, Ohio, USA

Hiroshima Prefectural Art Museum, Japan

The Louvre, Paris, France

The City Art Gallery, Leicester, England

Western Australia Art Gallery, Perth, Australia

Musée des Beaux Arts, Le Havre, France

Rochdale Art Gallery, Rochdale, England

Musée Malraux, Le Havre, France

Museum of Sao Paulo, Brazil

Walker Art Gallery, Liverpool, England

Art Gallery of New South Wales, Australia

The Tate Gallery, London, England

National Gallery of New Zealand, Wellington

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