Re-imaginining John Opie at Trerice

Re-imagining John Opie at Trerice

Introduction Upon visiting Trerice manor house, there was much was to be discovered.

The building is brimming full of many inspiring works of art and furniture - a museum of many collections.

Whilst absorbing the art on display, one particular artist’s work instantly captivated me; that was John Opie.

The photographs themselves are a way to represents the wondrous jigsaw that Trerice exhibits.

- Farah Hughes The Trerice manor has had many alterations from the Arundells over the years, as well as experiencing severe deterioration due to the weather. Once Trerice was in the care of the National Trust, many planning applications were made to improve and salvage the building.

There has been much controversy over the need of the National Trust to modernise due to concerns that the authentic appeal would be lost.

However, when visiting the manor, one can see that this is already sympathetically taking place, inspired by the architectural history of the building.

The photographs of children in this booklet are an homage to John Opie’s paintings. While they were shot and edited using the latest digital technology the photographs retain the essential spirit of Opie’s works within the modern context of the Manor, with the use of Trerice’s Tudor costumes, inspired by Tudor portraits.

Children at Trerice

“His mother would not let him stay up late working by candlelight because it might turn his brain. As a result he secretly spent his pocket money on candles and worked after his parents had gone to bed.”

(Hendra, 2007)

“When Opie was gazing through the windows in Truro he was gradually understanding that everybody would want a portrait and that he was already being paid in shillings to produce them. Why should he not become a proper artist? Why must he be trapped in an apprenticeship which he did not want?”

(Hendra, 2007)

The Noverre Children 1805 John Opie

“In 1953 George Edward Micael Trinick joined the National Trust as Assistant Agent... Unusually during this time he simutaneously as Historic Buildings Representative, a curatorial role that saw him not only facilitate the aquisition of Trerice, but also prepare it as a visitor attraction.”

(Holden, 2015)

“Another major focus was the presentation of the sites, his hand written instructions issued on postcards became infamous and much feared.”

(Holden, 2015)

“...The house was largely unrecorded, but by pegging away at its history and development, the story became reasonably clear. It was the greatest fun to furnish it (Holden, 2015)

“Your visits help us to preserve and protect the heritage at our places and spaces - for ever, for everyone�

The National Trust

Boy in Blue

“Wolcott started to tell Opie about the correct materials to use, giving him some good brushes and paints; he sent him off with instructions to keep on painting and to show him all of his work.”

(Hendra, 2007)

“Children were also painted with success. Opie had a gift for capturing the vitality and innocence of youth in soft, sensitive portraits.”

(Hendra, 2007)

“The boy was wasting his time learning the carpenter’s trade from his unsupportive father. Wolcott decided to buy him out of his apprenticeship and move him into his own house in Truro to study properly. With tuition and proper management, the standard of his work would rise steadily, leading to more commissions, earning far more money than a mining carpenter could expect to earn.

Wolcott was offering the boy a free education and perhaps a decent job at the end of it.”

(Hendra, 2007)

Girl with a Cat Circa 1800 John Opie

Girl in Elizabethen Garden

“Opie studied composition from stacks of paintings. In engravings, the effect of light and shade is emphasised, while colour is lost. The rich colouring of oil paints is replaced by what Opie valued as “chiaroscuro” – light and shade.”

(Hendra, 2007)

“Over time, the brush became larger and the minute details gave way to more confident sweeping lines.”

(Hendra, 2007)

“In these Truro years, then, Wolcot taught Opie the basic courtesies of society.

It all demanded a tremendous amount of hard work – and Opie loved it.

Later when he found himself at the pinnacle of the art world, Opie was to give lectures on art and they were to follow these principles.”

(Hendra, 2007)

Sir Jacob Astley, 6th Bt, 16th Baron Hastings, as a Child with a Hobby Horse 1800 John Opie

“With more of the house available for visitor access Trinick’s interpretive vision was to create a mythical family home appearing as if the family members had just departed.

His inspiration was how he imagined or remembered a small manor house between the wars when such houses were often found to be too expensive to maintain by their owners and were therefore let without contents.”

(Holden, 2015)

“To create a local interest two paintings by the eightneenth century Cornish artist John Opie were acquired, two more arriving in 1988 from a bequest of his great friend the late Lady Mander of Wightwick.”

(Holden, 2015)

Trerice, like many other National Trust properties in the south-west, flourished through the belief and guidance of Michael Trinick.”

(Holden, 2015)

“We care for one of the world’s largest art and heritage collections.

With close to one million objects at over 200 historic places, a surprise discovery awaits you around every corner.”

The National Trust

Child holding Hat

“...Truro was not so very big and there were not many potential clients left.

Perhaps they should try their fortunes elsewhere... November 1779 saw them living in Coinagehall street, Helston... Opie was no stranger down here; his reputation had been well established on previous visits.”

(Hendra, 2007)

“Some say that at this time he was at the height of his powers.”

(Hendra, 2007)

“St Aubyn was a wealthy man, influential in Cornwall and in London.

He became Opie’s chief patron, returning to him over the years for a magnificent series of paintings including a superb portrait of himself and one of his beloved mistress, later his wife. St Aubyn was to keep in touch in London and stay as a friend and confidant right up to the very end, where he was a pall bearer at Opie’s magnificent funeral.”

(Hendra, 2007)

Master William Buckle Frost 1805–1806 John Opie

Girl by Fireplace

“Opie really was ready for London now; St Aubyn with his London house said so, the officers at Penryn said so.”

(Hendra, 2007)

“Wolcott had had enough of Cornwall… Everything he had done for Opie was a preparation for the move to London, ever since the first time he saw the childish drawings. If the boy was to be launched in the capital, they would have to do it carefully.”

(Hendra, 2007)

“The boy was good enough to work in London now, but he needed a device to attract attention. Wolcott had devised the plan; John Opie was to be presented as a boy from the remotest countryside who was self-taught, never had a lesson in his life, and who was manifestly a genius.

The boy was to be The Cornish Wonder!”

(Hendra, 2007)

Beggar Boy 1782 John Opie

“Trust New Art: contemporary arts inspired by our places.�

The National Trust

School Girl at Trerice

“Thomson sat with Opie that night. At around four in the morning of April 9th, he heard him groan heavily. It was the end of his suffering. The Cornish Wonder was dead.

None of the doctors asked any payment for their treatment of so important a man.”

(Hendra, 2007) “Then the funeral was discussed. It was an awkward situation. Amelia was determined that her husband’s body should be buried with Reynolds in the area of the crypt of St Paul’s dedicated to great artists. He had always wished it himself.”

(Hendra, 2007) “Opie was laid to rest next in the crypt next to Reynolds, exactly as he had desired.”

(Hendra, 2007) “In Cornwall he became a great legend, a symbol of the triumph of Cornishness itself.

He had gone to London and shown those Londoners what Cornishmen can do.”

(Hendra, 2007) “In the 1980s the present author (Viv Hendra) became fascinated by the work of Opie and determined to track down what he could.”

(Hendra, 2007) “Telephone calls to museums and houses frequently followed an amusing pattern.

The person who answers the phone has never heard of Opie and does not think there are any works by him there.

Then there is a pause and then the voice returns to the phone with, “Ah, yes you were right. It seems we do have something here after all.

I would have to find out where it has gone…”

Sometimes the picture has been lost or is unaccounted for, but often it is eventually located high on a dining room wall or in a quiet corridor.”

(Hendra, 2007)

Self-portrait by John Opie 1761 Displayed at Trerice Manor

By Farah Hughes

Acknowledgements I would like to thank the staff at Trerice, National Trust.

Viv Hendra for permission to quote from his book The Cornish Wonder John Opie

Paul Holden for permission to quote from his article - ‘How the King of Cornwall’ brought history to life, in The Architectural Historian.