MAvAS
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The Magazine of the Manchester Aviation Art Society
Issue 69 June 2011
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Editorial Change, change, change. Oh not more I hear you cry. Yes indeed I reply.
Cover Image. “Silk Route” by Keith Woodcock. An original view and a very apt title. Keith says :The "Silk Route" was my first attempt at producing an aviation painting, other than a portrait, which didn't include an aircraft. I had been threatening to do it for years and finally decided that a pattern of vapour trails would give a slightly abstract feel, although it took me some time to work out a suitable composition. The vapour trails alone didn't really produce the impact needed so I added the RAF pilot, who was no doubt relieved to see his canopy open. It also gave a nice opportunity to have a parachute coming directly at, and directly involving the viewer instead of the usual profile. With no horizon shown I also felt I needed to somehow locate the viewer and give an indication of where he was looking - obviously upwards. We tend to automatically think of a horizontal view unless shown otherwise.
It was only after taking over the editing of the magazine that I realised how things had changed since last I sat in this hallowed chair. We now have in effect 2 different editions of the mag the print version and the pdf all colour job. As I threw myself into the pdf version of the March issue, after completing the print version, I realised that the web version still lay ahead. Many mugs of tea later and after consulting with P.G.N. it was decided to utilise a reorganised website, containing society information and gallery only, to host a download button which would allow the surfing public to download the pdf version of the magazine. This would mean I wouldn’t have to replicate the magazine yet again and could therefore concentrate on the pdf version which gives greater visual freedom. I hope you will bear with the changes and continue to contribute articles – even short snippets - are welcome.
Dave
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Contents Points to Ponder - Keith Woodcock looks to the future Dave Bates shows how his computer helps his paintings The Digital Way Forward , Peter Nield rattles his keyboard Gallery - Editor’s choice of paintings from the slightly different to the way out In the Spotlight - Peter Grove A Grand Day Out, with Ron Leigh Meeting Report - The Annual General Meeting Peter Nield takes another Irreverent Look at Perspective Meeting Report - Rob Knotts on Cartooning in Aviation Book Review - “The Lives of Ken Wallis - Engineeer and Aviator Extraordinaire” Meeting Report - Aviation in Modern Art by Peter Grove Diary Dates - keep up to Date Rear Cover Image - “Lockheed P38 Lightning” by Sam Markland
4 7 8 10 14 16 18 20 22 24 26 27 28
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Keith Woodcock’s
Points To ponder Firstly I am delighted that Tate Britain has finally accepted aviation art as a true art form with a recent exhibition by Fiona Banner in the Duveen Galleries section. Whatever your personal opinion of the usual “artb****cks” in the Sunday supplements, this is a highly significant breakthrough, and before anyone accuses me of introducing unwelcome language, I should point out that “artb****cks” was the official heading given to a regular feature in the Art Review magazine. Meanwhile, Fiona’s completely original and innovative view of aviation art using actual full size Sea Harrier and Jaguar aircraft is to be congratulated. Could this lead to our chosen subject being acknowledged by the “Fine Art Establishment”? Or should we be lampooning it because it has not been produced/made by the artist? After all, isn’t it merely a concept? If we look back at the past masters we find that they used apprentices, so great swathes of their finished paintings were not necessarily done by their own hand, but were, though, conceived by them. So the concept itself can be perceived as the real art and its method of production irrelevant. Much of today’s art is not actually produced by the artist but by a team of technicians – Damien Hirst is an example of this system which certainly appears to be very profitable indeed. Similarly, bronze sculptures are not produced by the artist but by skilled foundry artisans. Only the master model is produced by the sculptor’s hand, although the sculptor will often be involved in its patina, yet it seems to be
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acceptable for a bronze to be exhibited as an original. However, original prints such as etchings are currently banned from major aviation art exhibitions, so what is the difference between a bronze and an etching? Both are divorced from the original artist’s work and each can be made in any quantity, as can digital prints, so are not therefore unique. I frequently enter my paintings in Open Exhibitions nationally yet my aviation and motoring subjects are only rarely accepted, when they will hang alongside etchings, serigraphs, photographs, digital imagery and even textile wall hangings. What is the reason for this lack of acceptance of our genre by the Fine Art Cognoscenti? Perhaps it is because we display a lack of originality, merely concentrating on honing our skills and techniques, and replicating an extremely limited range of subjects. Replicating? That’s a kind way of saying copying, but as realists we are only copying what we see in front of us, whether it is a photograph or working “en plein air”. In the case of extinct aircraft we have no alternative but to use photographs as our only source of research, but many of these can be easily recognised in our displayed paintings. “Interpretation”, I hear you say, and quite rightly. That’s alright but where is the innovation and imagination needed to break out of our blinkered views. Is true realism and ultimate accuracy the only option? There is a wider public audience out there and many galleries will not even touch traditional aviation or motoring art. Don’t dismiss modern or abstract art without first trying to understand what you see. Look at composition, harmony, originality and colour as each and every one of us can learn something, even if it is only a small facet of the piece of art displayed. It might just be an unusual colour scheme which you can incorporate into a future painting. I recently came across news of an American survey of professional artists which had found that over 50% use computers at some stage during the origination of their paintings. Manipulation of photographs and working out compositions on screen is obviously common practice, yet we take a very dogmatic view against digital art. Surely this is a little hypocritical? The computer is only a tool,
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no different to projecting a photo onto canvas to ensure accuracy, or using a camera obscura, as artists have done for many years. We now even have software available to translate a 3-view drawing into perspective and I know aviation artists are using this. But are we losing some of our traditional skills by doing this? Are we in danger of just applying paint to a canvas in a pattern pre-determined by the computer? The incongruity here is that many professional digital artists actually produce original pencil drawings from their own imagination first, which they then scan and work up to a finished image digitally. In other words they are only working in reverse to a modern aviation artist painting in oils. So who is the more creative? It is an inescapable fact that much of the traditional market for aviation art is being rapidly eroded by digital imagery. The “brush brigade” will need to be aware of this and look to either new markets or a new genre. Book jackets, model kits, greetings cards, posters and magazines are all increasingly turning to digital artwork. Remember those wonderful Roy Cross paintings on the Airfix boxes of yesteryear? Well that company has now decreed that all their future artwork will be digital and recent advertisements show that they have gone for “hyper-realism” with every rivet showing. I don’t intend to make any preferences as that is for the viewer to decide, but the time WILL come when aviation art societies worldwide are obliged to accept digital imagery, if only to attract the younger element. It may well be a separate category, perhaps linked with photography, which is also fast becoming a very collectable ART form in its own right. Digital images have been exhibited in the past despite rigorous judging to eliminate them. My only proviso for displaying such work would be that they are clearly labelled as such, and have an edition number added to the artwork by the artist as done on all traditional prints such as serigraphs, woodcuts, etchings, etc. Hopefully this diatribe will give members some food for thought. Having loaded the gun, so to speak, it is now up to you to fire the first shots in what I see as being a useful discussion. As for myself, I am currently doing some abstract stone carving, although I won’t be giving up the day job. Yet!
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Dave Bates keys in a few words on
Using The Computer as a Tool My use of the computer at the moment is to provide the most attractive view of an aircraft when painting a ‘portrait’ of an aircraft and using multiple models to get interaction between them in formation or combat. Eventually as my skills improve I hope to design the background and add textures and markings and produce fully digital images. Though I hope it will not prevent me from using traditional methods as well, computing can be compulsive.
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The Digital Way Forward for Email from Peter Nield MAvAS? Prior to publication of this issue of the MAvAS magazine, I had the opportunity to read Keith Woodcock`s article, “Points to Ponder”, in which he touches upon the relentless progress being made by Computer Generated Imagery (CGI) at the expense of traditional art. There is no doubt that CGI is here to stay and is ever more popular with the younger element who, as in so many areas of their lives, appear to enjoy a quick return for little effort – or so it might seem to older folks. However, I suspect that this is far from true and competent digital art requires considerable knowledge and skill. This was very much evident when Dave Bates presented his illustrated talk entitled “Digital Art” in August last year. When MAvAS was born in 1983, traditional art was the name of the game and, like most societies, we experienced a steady turn over of members, all of whom had the same preferred methods – oils, watercolour, acrylic, pencil etc. Then, as time went by, the turn over became less and less and nowadays it is very small. New older members are harder to come by and we continue very much with the older members we have had for some time. There is certainly a dearth of younger traditional artists. The reason for this could be that when digital art made its impact upon the scene a few years ago, traditional methods ceased to have the same attraction to the younger computer generation. In addition, the very notion of a society probably did not particularly appeal to these individuals who tended to communicate electronically in isolation. Having stirred the pot a little, Keith asked for comments in response to his article, so here`s a thought. There is no doubt that we are in the throes of a technological revolution and, therefore, if we are to increase membership and survive, we should perhaps consider embracing this new art form and make an effort to encourage those who practice aviation digital art to join our ranks.
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The alternative is to carry on as we are, struggling to get new younger traditional artists on board, and end up in, say, ten years time with a “last man standing” situation and the demise of MAvAS. If we did decide to pursue digital art, we would have to identify the sources of younger digital artists, meaning schools, art colleges etc., and approach them accordingly with aviation in mind. However, the first thing to decide is whether or not we want to go down that road. Unlike myself, some members may not be comfortable seeing computer generated images exhibited alongside our on-going traditional aviation art. Well, there is no reason why that topic cannot be debated further in the columns of the MAvAS magazine. I am sure our Editor, Dave Bates, would welcome relevant “Letters to the Editor”. My personal view is that digital art can easily be accommodated by MAvAS on the proviso that it is clearly identified as such. P.G.N. – 23.04.11
Ronnie Olsthoorn cover painting for Midland Publishing Secret Projects series Japanese Secret Projects http://cghub.com/forum/showthread.php?t=1552
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If digital is not for y push the boundar further?
Some of our mem visions beyond the s portrait, unfortunat include all I wou
Keith Woodcock’s view of the shuttle the original painting is heavily textured.
Charles Thompson, nice angle and effective colours show advantage of painting from life.
Keit Deck Phan on th
Peter Grove’s high impact Comet Racer “Black Magic”, chosen over the winning “Grosvenor House”. The background dunes are pleasantly stylised .
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you, can you ries a little ?
mbers have staid aircraft tely I couldn’t uld like to.
th Woodcock, k Landing a ntom thumps down he carrier’s deck.
Obviously not aircraft but could they be inspiration for aviation art? Automotive artist seem more adventurous and it seems it is accepted.
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Editor’s Choice - paintings that are in some way different
Peter Grove, inside out.
Geoff Wright, a ? In the sun.
Chris Stone, close up formation.
Keith Stancombe, symbols of the event only, but evocative all the same.
Two from Ron Sargeant, con trails and sonic boom.
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Ron Wong, bird or flying fish? Charles Kadin, spatial awareness.
John Williams, how did they miss?
Jean Shevelan, unusual treatment
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PETER
I have been a member of MAvAS for about six years, four as Treasurer, beneficial to me in meeting fellow artists with similar enthusiasms and b range of different techniques and styles. It has also been useful in provid space, such as the Stockport Art Gallery, Towneley Hall, Burnley and Space Museum. I was fortunate enough to win the Society’s Mackendric and 2010.
I am a self-taught artist whose real job was in the aircraft industry, and sub consultant to that industry. I have been intermittently painting and drawing racing cars, for over twenty years, having been interested in both all my life
I have worked principally in oils or pencil, both of which have the capability out and fiddled with to get right. However, I’ve just started experimenting w many ways, I find more demanding but gives a luminous quality that I like to develop a slightly looser style. I have worked to commissions on occas female Bugatti Grand Prix driver (with her car) and also a fairground organ have also sold a range of Christmas Cards to an aviation supply company,
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, which has proved very being exposed to a wide ding access to exhibition the Manchester Air and ck Trophy in 2007, 2009
bsequently as a part-time g, principally aircraft and e
y to be reworked, rubbed with watercolour which, in e. It also encourages me sion, including a pre-war n (an awful lot of pipes). I , based on my paintings.
Top - Waiting to Go Above - Enemy Coast Ahead Background image -Black Magic
Tel: 0161 788 8786 e-mail: peterwgrove@btinternet.com Web Page www.picture-this-art.co.uk
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Ron Leigh takes us on another
Grand Day Out
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I was lucky enough to atten I took our American friend is a big Luscombe fanatic an Grass strip around 1-30pm the wings of the aircraft tha corners of the UK. Once th and blue skies and thankful
Numerous types took to the air including a T6 Harvard, a Hornet Moth, a Stearm biplane and a few civil types including Cessna's and a Piper Tri Pacer. Seve Luscombes took to the air and one in particular gave a memorable flying display doi everything but a loop and a barrel roll.
There is something quite charming about grass airstrips and older airplanes that makes me want to get out my paints and try and capture this scene. It was nice after driving down 150 miles to relax, enjoy the aircraft flying and around suppertime enjoy a curry and a pint of local Real Ale in the clubhouse.
nd a Luscombe fly in at Oaksey Park Airfiield in Wiltshire, ds Dave and Betty who were on holiday from Arizona. Dave nd owns two of the type. We arrived at the small but charming to be greeted by a rain shower. Dave and i sheltered under at attended the gathering - approximately 13 aircraft from all he shower had passed we appreciated some warm sunshine lly a bit of flying.
man eral ing
It certainly gives me the idea to learn to fly and purchase one of these inexpensive light aircraft. A Luscombe can be purchased in flying condition for around ÂŁ17k to ÂŁ18k. I saw an advertisement for one (and many other aircraft for sale) on the webpage called Barnstormers.
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A G M 1st March, 2011
Fifteen members attended the meeting on 1st March which is a reasonable turn out for the A.G.M. As members will know, Peter Nield had given considerable previous notice of his intention to stand down as Hon. Secretary at this A.G.M.. In the absence of any offers to take up the job, Hon. Treasurer Peter Grove offered to look after the Agendas and Minutes for meetings and generally work with the Chairman in this respect. Peter Nield has agreed to act as Membership Secretary and will work closely with Peter Grove in this area. Peter Nield will also continue with other duties relating to Conference Room bookings, the Display Panel exhibitions, Diary Sheets, Magazine distribution and maintaining the MAvAS Archive. At the end of the A.G.M., Ron Sargeant kindly presented Peter Nield with a “Water Colour� package in appreciation of services given over the last 27 years.
Committee for 2011-2012 President Chairman Vice Chairman Treasurer/Agendas Membership Secretary Mag Editor and Webmaster Selection Panel Chairman Refreshments Officer Committee Members
Harry Holmes John Williams Eric Yuill Peter Grove Peter Nield David Bates Peter Carter Ron Sargeant Ossie Jones Len Sakowicz
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“Now who wants to be the Hon.Se c.�
The A.G.M. was followed by the Ordinary Meeting, an open forum on Aviation Art that was chaired by Eric Yuill. Prior to the start of the forum, Eric was belatedly presented with the MAvAS Trophy for winning the Open Display Panel competition last month with his painting of a Gladiator of 72 Squadron.
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An Irreverent View of Perspective - Part 4 The compact eye, or rather the lens, that God had invented had sent ripples right across the universe. The revolutionary perspective that went with it had changed things forever. Three months had passed since Gabriel had discussed the basic principles of perspective with God and, having once again overheard the blob people talking about their fantastic eyes, he was itching to find out about a few more things that were troubling him. With this in mind he wandered off through the clouds to visit God in his workshop. As usual, God was brewing up. “I knew you`d be back” he said “What is it now?”. “Well, said Gabriel. “It`s those blob people again. I heard them talking about Line of Sight, Cone of Vision, Centre of Vision, Centre of Interest and Picture Plane – what`s that all about?” “Well” said God “I guess those things are more to do with the way my eyeball design functions rather than my magical perspective which was covered in the last three issues of the MAvAS magazine”. “I can see what you mean” said Gabriel “but how do these things help me in everyday life?” “Not a lot” said God “but someday you might join MAvAS and become an aviation artist and then this knowledge would help you a lot”. “Gee, do you think they would let me in” said Gabriel, excitedly, “I already have the wings so I`m half way there – so tell me all about these other things!” “OK smartie pants” said God
OK” said God “Let`s take Line of Sight first – we`ll call it LoS for short. This LoS is the centre line of my basic eyeball design and it points wherever your eyeball is looking - you got that?” “Yep” said Gabriel. “What folks don`t realise” said God “is that the LoS is incredibly slender, maybe less than 1mm in diameter and that very small area is the only bit you are actually focused on”. “You`re having a laugh” said Gabriel “I find that hard to believe”. “OK smartie pants” said God “Check this out. See my Jeep parked over there?” “Yep” said Gabriel. “Well, look at one of the wheel nuts and then the one next to it” “OK, done that” said Gabriel. “Did you notice that you consciously had to move your eye?” said God. “I sure did” said Gabriel “that really is amazing – but I could still see all of your Jeep and quite a lot more”. “Not so” said God “Trust me, you are only truly seeing that teeny weeny little area – the rest is in your fluffy peripheral vision. However, as Master of all Things, I have arranged for the brain to take this fluffy peripheral information and create a coherent perceived image all around the LoS”.
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“Can we do Cone of Vision next?” said Gabriel. “Oh, alright then” said God “Think of it like this. The Cone of Vision is like a big imaginary cone stuck on the front of your face, becoming wider and wider with distance and the spread of this Cone of Vision represents the limit of your peripheral vision – very roughly 18º either side of LoS. We`ll call it the CoV – that OK?” “Yep” said Gabriel “So the LoS runs smack down the middle like a centre line – am I right?” “Sure thing” said God “And what else have you deduced?” “Well” said Gabriel. “Would I be right in thinking that the Eye Level Horizon slices straight across the middle of the Cone?” “Right again” said God, “and, of course, the very slender LoS runs out from the eye along the flat plane of Eye Level Horizon” “but what the hell is a Picture Plane?”
“So what`s Centre of Vision?” said Gabriel. “Well” said God “we refer to the Centre of Vision, as the CV – OK? The CV is the point on a Picture Plane where it is intersected by the LoS”. “That`s straightforward enough” said Gabriel “but what the hell is a Picture Plane?”. “Language” said God “Watch your language – just remember where you are!” God`s patience was wearing thin but he knew Gabriel had tramped across umpteen big cumulus clouds to get there and he had done pretty well so far. “Right” said God “A Picture Plane – which we will call a PP – is simply a surface on to which is projected whatever you are looking at. In my cute little design, the PP is the retina at the back of the eyeball (pretty cool, eh!) but if you are an artist you need to put what you see on a PP in front of your eye, i.e., a canvas. If you like, think of the canvas as a piece of glass through which you see an object along your LoS. Where your LoS passes through the glass is the CV and, providing the glass is square to your LoS, the viewed object can be traced on the glass to create an accurate image”. “Put like that” said Gabriel “I suppose it`s not too difficult to comprehend, but what about the Centre of Interest – what`s that?” “You really are the pits sometimes” said God “but you`ve done pretty well today so I`ll stretch a point. I shall say this only once so are you listening?” “I am, I am, I am” said Gabriel, happy at last that he was getting used to the jargon. It`s simple enough” said God “The Centre of Interest – CI for short – is just any particular point on an object that you want to concentrate on. All you have to do is to line it up with your LoS which passes through the CV on the canvas. Similarly, if you have a group of objects just make sure that what you might call the centre of gravity or focal centre of the overall group sits on the CV.
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“Well” said God, “don`t even go there”.
“Hmm” said Gabriel “I guess that seems OK but if I join MAvAS and become an aviation artist, how would I decide on my canvas size and what about viewing distance and the size of the drawing. I can see some problems there”. God could see this session going on and on so he said gently “Look here Gabriel, old chap, we`re going to have to call it a day. We will have to tackle these other things in the September issue – OK?” “Agreed” said Gabriel, “but …….” God cut him off short. “No buts, you were going to mention ellipses, weren`t you?” he said. “Well” said God, “don`t even go there. That subject, especially in relation to circles viewed at an angle which appear as ellipses when sketched on a flat piece of paper, has been beaten to death in past issues of the MAvAS Magazine. Nearly caused some members to have heart attacks. I wouldn`t dare enter the fray. Maybe a private chat in the workshop sometime but I hesitate to go into print” “OK” said Gabriel “that`s fair enough. I`ll pop back later to talk about the sizing thing” “Right” said God “I must say you`ve done well today but my brew`s gone stone cold so push off whilst you are still in one piece!”
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Meeting – 5th April
“Aviation Cartooning” Member Rob Knotts presented a very interesting illustrated lecture entitled “Aviation Cartooning”. The twelve members present were able to enjoy seeing around forty examples of aviation cartoons, including many of Rob`s own excellent pieces plus other artwork by many notable cartoonists. Rob pointed out the various ways that cartooning can be used to address particular topics, ranging from slapstick humour through to education and serious political comment. There is no doubt that the exaggerated artwork of the cartoonist requires a full understanding of the subject in question before it can be successfully represented and, equally, an innate sense of the bizarre is always useful. Finally, our thanks go to Chris Barnett, A.V. Technician at the Museum, for providing the electronic projection equipment for the evening.
Rob cannot figure out the gear
No time for a tea-break
Keith and Ron play at being in a Phantom
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Roger Rumbold submitted this book review of :-
“The Lives of Ken Wallis - Engineeer and Aviator By Ian Hancock
In spite of it’s extravagant-sounding title, this informal biography of Wing Commander Ken Wallis is a very readable and down-to-earth little volume. Most people seem to have heard of his autogyro exploits and in particular his stunt flying in the fifth James Bond film, ‘You Only Live Twice’, and many will have read of his wartime operations in Wellingtons, but these are only two of his “lives”. Ken was born in 1916, into a family already steeped in motor car and motor cycle engineering. In 1910, his father, Horace, and uncle Percival had also built, and possibly flown short hops in, the Wallbro Monoplane, which was a bit like a Bleriot. Horace built and raced motorcycles and Ken built his first motorcycle in about 1927, at the age of eleven, using bits from his father’s workshop! When he left school at sixteen, he joined his father’s motorcycle business at the Walbro Cycle and Motor Works in Ely and gained a lot of practical engineering knowledge. By the age of eighteen, in 1934, he had become interested in motor boats and built his first racing hydroplane, which he raced with considerable success on the broad waterways of East Anglia. Other racing boats followed, variously powered by outboard and inboard engines and even a couple of airscrew-driven ones.
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Also between 1934 and 1938, he built several motor cars and learnt to fly in DH 60 Moths. At the outbreak of war, Ken joined the RAF and flew Lysanders, amongst other types, before transferring to Bomber Command and being operational on Wellingtons for much of the war After the war, he became involved in armament research and development work and later trained as a Senior Specialist Armament Officer, working on Canberras at Binbrook. In 1956 he was sent on a two-year exchange posting to the Strategic Air Command USAF headquarters in Nebraska and flew the mighty Convair B.36. Whilst still in the RAF, Ken built and flew his first autogyro, the Wallis-Benson B.7M , G-APUD, which is normally resident in the Air and Space Hall at the Museum of Science and Industry (MoSI), Manchester. The moulded pilot’s seat evidently came from a Mosquito! (see photo below, courtesy of MoSI). This machine is currently away on loan to a Spanish museum. In 1973, Ken and his cousin Geoffrey decided to create a flying replica of the Wallbro Monoplane, and Ken first flew the aircraft (G-BFIP) in 1978. It is now displayed in the Ken Wallis Hall in the Norfolk & Suffolk Aviation Museum at Flixton where Ken’s entire collection will one day be placed on permanent public view. Ken has been its President since 1976. A trawl of the web throws up a multitude of sites including gyroplanepassion.com and kenwallisautgyro.com
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Meeting – 3rd May
Mino delle Site Velocità
“Aviation in Modern Art”
“Homage to Bleriot”
“Dead Sea” Paul Nash
Peter Grove gave us an excellent illustrated talk, taking us through the evolution of modern art and its links to the rise in the popularity of aviation. Cubist Robert Dellaunay , painted his “Homage to Bleriot” in 1914, and the Futurist movement which flourished in Italy, from just before WW1 to just after WW2, embraced aviation as part of its delight in science and the portrayal of movement in time and space. Paul Nash’s war paintings also covered this period. Peter’s talk went on to cover the Pop art of Roy Lichenstein and on upto The installation by Fiona Banner at Tate Britain. Peter’s audience were interested and made frequent contributions, and a first occurred when both members of the evenings tea detail turned up.
“Nose Dive” Tullio Crali
“Divine Wind” T. Crali
“Battle of Britain” P. Nash “Whaam” Roy Lichenstein
“Jaguar” Fiona Banner
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Diary Dates Meetings are held from 7-00pm to 9-30pm in the Conference Room in the Air and Space Hall at the Museum of Science & Industry in Manchester on the first Tuesday in the month unless otherwise stated Sunday 3rd July, 2011 “Family Day at Barton Aerodrome” Exhibitions Officer – Peter Nield Paintings supplied for the Society stands require hooks and string and labels. Runs approx 9-30am to 4-00pm Deliver paintings before 9-00am – Collect at end of day Tuesday 5th July “Sketching in Air and Space Hall” Hosted by Len Sakowicz Sat/Sun 23rd/24th July “Southport Air Show” Exhibitions Officer – Steve Ridgway Paintings supplied for the Society stands require hooks and string and labels. More details from Steve nearer the time Tuesday 2nd August “Aircraft in the Dark” An illustrated talk and demo by Ossie Jones Saturday 6th August “Workshop – An Art Forum” Conference Room 10-00am to 4-00pm Headed by Eric Yuill Tuesday 6th September “Details to be Announced” Via Peter Carter – arrangements pending
Editor: Dave Bates 9 Busk Road, Chadderton, Oldham. OL9 6SF Tel: 0161284 3467 Email: david-bates@ntlworld.com Society Website: www.mavas.co.uk If any member has an objection to the Society holding membership records on a computer and using the information for Society purposes deemed suitable by the Committee, eg the production and distribution of a membership list, please notify the Editor.