December 10th 2013 sees the opening of Clare Leighton: Working Life at The Pallant House Gallery, Chichester.
The artist Clare Leighton (1898-1989) was best known for her wood-engravings illustrating rural life in England, Europe and the USA. She illustrated over 65 books, as well as writing and illustrating her own books such as ‘The Farmer’s Year: A Calendar of English Husbandry’ (1933) and ‘Four Hedges: A Gardener’s Chronicle' (1935).
In 1952 Leighton was commissioned by Wedgwood to create a series of 12 wood engravings to be transfer-printed onto dinner plates. These were on the theme of traditional industries in New England.
Several of the original wood blocks and plates will form part of the exhibition.
View more images of these plates over at Flotsam & Jetsam, a blog by Simon Martin, artistic director of the Pallant House Gallery.
Clare Leighton: Working Life is in the De’Longhi Print Room at Pallant House Gallery in Chichester UK from 10th December 2013 - 24th February 2014 Find out more
Posted by Angie Lewin on December 2nd, 2013
Many thanks to everyone who came along to the recent opening event for my Yorkshire Sculpture Park exhibition, A Natural Line.
And special thanks to Simon Martin, Artistic Director at Pallant House Gallery, Chichester for his opening speech.
The exhibition runs until 23rd February 2014 at Yorkshire Sculpture Park near Wakefield. For opening times and directions, visit the Yorkshire Sculpture Park website.
Posted by Angie Lewin on November 27th, 2013
I popped into The Scottish Gallery earlier this week to see Stephen Bird's My Dad was Born on the Moon exhibition of ceramics and paintings.
Stephen Bird was born in Stoke-on-Trent in 1964 and studied fine art at Duncan of Jordanstone College of Art in Dundee. He has made paintings, ceramics and sculptures since the early 1990s and his work is exhibited internationally. He is now based in Sydney, Australia and lectures at the National Art School in Sydney.
The exhibition runs until 4th September 2013 at The Scottish Gallery, 16 Dundas Street, Edinburgh EH3 6HZ. Visit The Scottish Gallery website for further details.
Posted by Angie Lewin on August 29th, 2013
We're hoping to get down to Chichester for a visit to the Pallant House Gallery for their latest exhibition, Eduardo Paolozzi - Collaging Culture.
Our friend Simon Martin has curated this major retrospective of the works of Eduardo Paolozzi, one of the most prolific and inventive British artists. The exhibition features around 150 works in a variety of media.
Simon explains "Paolozzi is widely celebrated as one of the leading sculptors of the post-war age, but with this exhibition we aim to present the extraordinary versatility of his approach to making art by also including textiles, printmaking, film, and ceramics. Paolozzi memorably said that ‘all human experience is one big collage'. For him collage was not just a technique, but an approach to the wider culture that surrounded him: consumerism, the space race, fashion, the machine and man's place in a changing world."
The exhibition runs until 13th October 2013 at Pallant House Gallery, 9 North Pallant, Chichester, West Sussex PO19 1TJ. Visit the Gallery's website.
Posted by Angie Lewin on July 27th, 2013
We spend a fair amount of time up in North East Scotland and I've noticed that Ben Rinnes is creeping into a number of my prints and watercolours, such as Ben Rinnes Jug with Feathers (below). Probably not surprising considering the fact it's one of the views from my studio.
At 2733 feet it's Morayshire's highest freestanding mountain but not quite tall enough to be classed as a Munro - that said, from its summit you can see eight counties - Aberdeenshire, Banffshire, Moray, Nairnshire, Inverness-shire, Ross and Cromarty, Sutherland and Caithness.
In Ben Rinnes Jug with Feathers, the mountain forms the backdrop to a still life featuring a cherished Mocha ware jug with feathers, teasels and a few beachcombed objects.
Here are a few images of the painting and Ben Rinnes through the year (the sunrise image hasn't been edited!).
Posted by Angie Lewin on June 30th, 2013
The Gentle Author’s Spitalfields Life blog has become a regular stopping off point when online, with new posts published daily. Today, guest contributor David Buckman (author of From Bow To Biennale about the East London Group) has written a feature on the artist Barnett Freedman - explaining why the work of this contemporary of Bawden and Ravilious deserves to be more widely known.
His colour and black and white lithographic illustrations for Siegfried Sassoon's ‘Memoirs of an Infantry Officer’ first attracted me to his work when I spotted a copy in a bookshop in Museum Street when I was still a student but, as it was a first edition, it was way beyond my means and stayed firmly put on the shelf.
Alongside his illustration and printmaking, he also produced typographic work embellished with the textures and patterns that resulted from his skilled celebration of the lithographic process. Clients included Ealing Films, British Petroleum, General Post Office and Wedgwood.
We were lucky enough to purchase a couple Freedman pieces a couple of years ago via Simon Lawrence at Fleece Press who is representing an archive on behalf of the Barnett Freedman Estate.
Read David Buckman’s article in full over at Spitalfields Life. Images courtesy of Special Collections, Manchester Metropolitan University and Fleece Press.
Find our more about the work available from Fleece Press.
Posted by Angie Lewin on June 2nd, 2013
My neighbour in Hackney had an inspirational formal garden of box hedging, lavender and Alchemilla mollis with a backdrop of white stemmed birches.
Our garden was a little less formal but we shared the foxgloves that would appear in cracks in the paving or in the shade beneath the birch trees. You'd often find yourself viewing the garden through their tall spires.
In our Norfolk garden, red poppies, teasels and perhaps inadvisably planted bronze fennel were the random additions to our gardening efforts.
Here in Edinburgh it's the Welsh poppy that's a very welcome invader, giving the garden its character, finding a home in just about every gap in brickwork edging, beds and pathways, even growing in the stone walls. It's easily weeded out and the fun is in keeping a balance.
Sadly, despite its clear blue flowers which perfectly compliment the yellow and orange of the poppies, the alkanet isn't so welcome. Once its tap roots are have taken hold it's a devil to pull out.
Posted by Angie Lewin on May 29th, 2013
Whilst the weather hasn't been as idyllic as we'd imagined when planning our trip to Tuscany, the converted barn that we're staying at in the hills close to Sansepolcro is about as perfect as it could be, surrounded by olive trees and wild flower meadows.
After the rain yesterday I collected a few unassuming local specimens to paint in detail. View larger images over at my Facebook page.
Posted by Angie Lewin on May 9th, 2013
We managed to sneak in a quick trip to Sissinghurst the other week. Maybe it's a bit ambitious to try to make the large scale planting schemes of these great gardens work in a small garden, but the spring-flowering anemones, snake's head fritillaries, trilliums and hellebores were just so beautiful and understated. I'm going to try to emulate it in our long, well, long-ish, narrow front garden in Edinburgh.
The Charles Rennie Mackintosh watercolour below shows the unique chequerboard pattern on the fritillary's purple flowers. Apparently, Vita Sackville-West called it "a sinister little flower, in the mournful colour of decay" which seems a bit harsh.
Posted by Angie Lewin on May 6th, 2013
Here's my latest screen print, Autumn Garden, Norfolk.
Growing cultivated and wild plants together often creates a beautifully random effect. This screen print depicts huge papery artichoke flowers, astrantia and miscanthus growing amongst teasels, wild poppies and grasses in my Norfolk meadow garden on a late autumn afternoon.
Posted by Angie Lewin on April 28th, 2013