SPIRITS in STONE Architectural watercolours by G E R A R D S T A M P
SPIRITS in STONE Architectural watercolours by G E R A R D S T A M P
SPIRITS IN STONE Architectural watercolours by Gerard Stamp
Grapevine at the Menier Gallery 51 Southwark Street, London SE1 1RU October 30 - November 3, 2012 Burnham Grapevine, Burnham Market, Norfolk November 6 - November 18 2012 www.burnhamgrapevine.co.uk 01328 730125 Printed by Barnwell’s, Aylsham, Norfolk Catalogue design by Gerard Stamp Š Gerard Stamp www.gerardstamp.com
I was lucky enough to be born and bred in York. From a very young age, I was taken to York Minster on a regular basis and it made an indelible impression on me. Whatever the weather, the moment you enter the doors you are in a place of serenity and calm and extreme beauty. This is the effect that Gerard Stamp’s pictures had on me the first time I saw them. The great vaulted ceilings, the cool naves, and the soaring architecture which he captures so magnificently. The very English view across a ploughed field to a misty I N T R O D U C T I O N by J udi De nc h
church in the distance epitomises for me all that I have learned to love about English cathedrals and architecture. Not only does he evoke the beauty of these buildings, but Gerard manages to instil them with age and atmosphere. At the same time, there is a sense of timelessness about his paintings and you feel drawn into them, as if you could walk through the frame straight into the church or cathedral. The peace and tranquillity is overwhelming and I could sit and look at them for hours. I envy anyone coming across these paintings for the first time. They take your breath away.
“ PAINTING IS BUT ANOTHER WORD FOR FEELING”
J ohn Cons table
WHY “SPIRITS IN STONE”?
stern watching, of mysterious sympathy,
by Gerard Stamp
nay, even of approval or condemnation, which we feel in walls that have long been washed
I am often asked why I paint churches. It’s a
by the passing waves of humanity ... it is in
question which has no easy answer. I have
that golden stain of time, that we are to look
certainly loved architecture - and particularly
for the real light, and colour, and preciousness
mediæval architecture – for as long as I
of architecture.”
remember. I admire the great houses and
The idea that a structure made out of
castles handed down to us, but I have never
brick and stone can somehow impart
had quite the same passion to paint them. I
‘approval’ or ‘condemnation’ may be to the
also adore ruins, whatever the original purpose
modern cynic at best unduly romantic and at
of the structure might have been.
worst utterly ridiculous. But it is this
What I try to express is the atmosphere,
anthropomorphism which gives spirit to these
the feeling of a place. I am attracted by the
places and draws me to them. You cannot feel
melancholy, the timelessness, the tranquillity
the ‘passing waves of humanity” more
of a simple country church or the solemn ruins
strongly than in a church.
of a once great abbey. Those are qualities
We are living in an angry and uncertain
that can also be found in the bleakest of
world. In a time of great change these ancient
landscapes, like our glorious salt marshes on
buildings provide constancy for the soul. We
the Norfolk coast. These are hardly new or
also live in a crowded world where (apart from
‘original’ subjects for an artist’s attention -
some wonderful exceptions) I see around us
quite the opposite - but that is no reason not
ugliness and banality in urban planning, and
to interpret them anew, and with fresh eyes.
look in despair at the seeping industrialisation
But there is something else. John Ruskin wrote: “The greatest glory of a building is not
of our rural landscape and seascape. These buildings serve as sanctuaries
in its stones, nor in its gold. Its glory is in its
for the eyes: I paint them because they are
age, and in that deep sense of voicefulness, of
beautiful.
1
CHAPTER HOUSE STEPS, WELLS
2012 water c olour 24” x 16.5”
2
WAXHAM PISCINA
2012 wate rc olour 22” x 16”
3
SOUTHWOLD WINDOWS
2012 water c olour 22” x 16.5”
4
BYLAND ABBEY
2012 water c olour 17” x 24.5”
5
TODI DUOMO
2011 waterc olour 34” x 23”
6
SIENA DUOMO
2011 Water c olour 18” x 18”
7
ORVIETO DUOMO
2011 Waterc olour 23” x 16.5”
8
ASSISI
2011 wate rc olour 35” x 35”
9
A CORNER OF THE LADY CHAPEL, ELY
2011 Waterc olour 17” x 23”
10
FEN GANG
2009 water c olour 27” x 34”
11
FLUSHWORK ST MICHAEL COSLANY III
20 10 wat er c ol our 22” x 17”
12
BASE OF ST PETER MANCROFT TOWER
2010 water c olour 23” x 16”
13
SALLE I I
20 12 water c olour 18” x 26”
14
REDENHALL
20 12 wate rc olour 18” x 26”
15
SALTHOUSE LIGHT I
2011 waterc olour 24” x 15”
16
SALTHOUSE LIGHT II
2012 wate rc olour 24” x 15”
17
BLYTHBURGH STEPS
2012 water c olour 20” x 14”
18
HALES NORTH DOOR III
2012 water c olour 16.5” x 23”
19
BINHAM PRIORY TRACERY
2010 water c olour 16” x 20.5”
20
WOOLPIT PORCH
2012 water c olour 22” x 17”
21
HARDLEY FONT
2011 waterc olour 15” x 20”
2 2 PULPITUM SCREEN, CROYLAND ABBEY II
2012 Wate rc olour 17” x 25”
23
MALMESBURY ABBEY PORCH
2012 water c olour 22” x 16”
24
HALES CHANCEL
2012 water c olour 16.5” x 23”
25
SAXON RELIEF, INGLESHAM
2012 wate rc olour 24” x 17”
26
WELLS CATHEDRAL CROSSING
2012 water c olour 21.5” x 16”
27
THROUGH TO THE NAVE, ELY
2012 water c olour 22.5” x 17”
28
SANCTUARY STEPS, NORWICH
2009 Wate rc olour 21” x 15”
29
W I V E T O N C H A N C E L 2012 Waterc olour 15” x 14”
30
MILLENIUM DAWN
2009 water c olour 33” x 23”
31
I N ST PAULS CHURCHYARD
2009 water c olour 34” x 23”
32
CHAPTER HOUSE STEPS, WELLS
2012 c har c oal 41” x 28”
33
CHURCH CRAWLING WITH DAD
2011 water c olour 17” x 23”
Gerard Stamp lives and works in Norfolk. He went to school under the shadow of Norwich Cathedral, where he developed a passion for drawing and painting. After gaining a BA (1st) at Art College he pursued a career in London’s Design and Advertising industry before focusing full time on painting in 2002. In 2005 he held his first solo show, at the Grapevine Gallery, Norwich. 2006 saw his first London exhibition, in Cork Street. Six more solo exhibitions followed, including Marshscape, a series of G E R A R D S T A M P bor n 22 Marc h 1955
large studies featuring the Norfolk coast. In 2009 Gerard held an exhibition at Bonhams, New Bond Street, London. Entitled Twelve Churches, it celebrated The Churches Conservation Trust’s 40th Anniversary. In 2010 his life came full circle. At Norwich Cathedral he staged the inaugural exhibition for the Royal opening of the ‘Hostry’, a new Exhibition and Visitor Centre and one of the largest Cathedral developments since the rebuilding of Coventry. Gerard was delighted to be asked to present Her Majesty the Queen with a painting to celebrate the occasion.
makes, the more he suggests monumentality and infinity. What he loves most is the atmosphere evoked by the beautiful illusion of timelessness.” Ian Collins
“Gerard has, while toiling alone in Norfolk, blossomed, come of age as an artist of skill, power and originality.” Dan Cruickshank
Astonishing... his watercolour church architecture is a kind of miracle in itself.” Ronald Blythe
“His paintings show a fascination with the effect of light constantly moving across weathered brick and stone... Architectural poetry in watercolour.” Mary Miers
Architectural watercolours by G E R A R D S T A M P
“The more delicate the marks this artist
SPIRITS in STONE
“Stamp turns architecture into art. He converts stone and brick, light and shadow, the tilt of a roof and the line of a wall into a living, exhilarating picture.” Simon Jenkins