no.9 — SPRING 2013 Newsletter

The bigger picture: Today’s art in churches re-visited on its Golden Jubilee The Collection in Chester, Piano Nobile and at Monnow Valley Arts no.92 Friends of the Methodist Modern Art Collection Friends of the Methodist Modern Art Collection 3 — SPRING 2013

Dear Friend I am delighted that our first Newsletter of 2013 takes Contemporary us firmly into the future – in terms of design and presentation. This has long art in sacred spaces been promised but, courtesy dr. koestle-cate speaking at bath university of the highly professional input of Phil Allison and his company Cultureshock Media, we now have a document that I feel that we can take pride in. We start this Newsletter with a focus Nicholas Mynheer, Jesus and Simon, limestone carving, seen on the increasingly high at the 2012 exhibition, in Blythburgh Church, Journeying profile of ‘new art’ in places towards Easter. (1944) and ’s Crucifixion (1946), both of worship. in St. Matthew’s, Northampton; Anthony Gormley’s Sound II (1986) in the crypt of Winchester Cathedral, deemed perfect for the space and Bill Viola’s video installation The Messenger (1996) in Durham Cathedral. Rather more recent commissions include Stephen Cox’s St. Anselm’s Altar (2005) in Canterbury Cathedral, ’s widely publicised neon installation For You (2008) in Liverpool’s Anglican Cathedral and the two award winning windows in St. John’s, Healey, (2011), by James Hugonin and Anne Vibeke Mou (see Newsletter No. 8 – September 2012). Aesthetics and tastes change over time. Guy Read’s beautifully executed stone sculpture of a Madonna and In Britain the relationship between modern art and the Child (2000) initially caused a storm of controversy among Roy de Maistre, Crucifixion, c. 1959, recently exhibited at church is often perceived to be limited to a few high-profile the Catholic membership of St. Matthew’s, Westminster. Monnow Valley Arts. venues like and the Metropolitan As both the Madonna and Christ Child are shown naked Cathedral (‘Paddy’s Wigwam’) in Liverpool. A couple of the piece was dismissed by many as blasphemous. Twelve months ago I was fortunate enough to be able to attend years on it is now regarded with great warmth and affection. a fascinating, superbly illustrated public lecture, at Bath Rose Finn-Kelcey’s Angel emoticon on an external wall of Friends of the Methodist St. Paul’s, Bow Common (2004) – sadly, only a temporary Modern Art Collection (The University. Dr. Koestle-Cate, of Goldsmiths College, Supporters of the Methodist considered the degree to which contemporary artwork installation – was guaranteed to turn heads and elicit Modern Art Collection) Patrons: a smile. Best use of abandoned space (often inviting to President of Conference, The continues to play a significant role in the life of the church, Very Revd. Nick Bury, The Revd. through a wide variety of projects across the UK. contemporary artists) is exemplified by David Holgate’s Tom Devonshire Jones, The Revd. David Gamble I have been unable to access a full transcript of the Mother Julian and St. Benedict (2000) in the cathedral lecture but Friends might like to make a note of some of at Norwich, as well as Ian Mckillop’s wonderful triptych Bob Williams Secretary to the Friends of the the highly rated pieces of ‘Ecclesiart’ on Dr. Koestle-Cate’s (2004) set into the rather battered stone medieval reredos in Collection and Newsletter Editor ‘recommended to view’ list. Early and perhaps better known the lady chapel of Gloucester Cathedral (see Newsletter No. 11, Late Broads, Winsley Bradford-on-Avon examples include Henry Moore’s Madonna and Child 5 – February 2011). Wilts, BA15 2NW Phone: 01225 720188 [email protected] Cover story Newsletter 9 — Spring 2013 4 Friends of the Methodist Modern Art Collection 5

the art treasures of coventry Journey cathedral – their making and meaning into light

The mention of Coventry Cathedral in my introductory with both and the cathedral commissioning article links appropriately with this review of the exhibition team. Clarke’s High Altar Cross is a remarkable piece of Journey into the Light. In his sermon of the 25 May 2012, 20th-century religious sculpture. Anything but orthodox, fifty years to the day after the consecration of Basil Spence’s it breaks out into organic forms with echoes of the charred new cathedral, Archbishop Dr. Rowan Williams included cross, itself very much a symbol of Coventry, and suggests the words ‘A sacred building should be a building that helps a bird preparing for flight. Cradled at the heart of the us to see afresh’. Visiting the cathedral to view its special sculpture is a diminutive cross of nails. The design of the Golden Jubilee exhibition, some forty-five years after my cross is totally in sympathy with Sutherland’s ; previous visit to this remarkable building, I was most the latter focuses on glory and triumph while the former, certainly seeing its multitude of treasures with a fresh eye. poised below, is a permanent reminder of the pain and the Unique to an English cathedral, the specially cost involved in this victory over death. commissioned artwork that can be seen in Coventry is Hans Coper’s six monumental stoneware candlesticks integral to the building itself; everything from the windows in the sanctuary; Frink’s lectern eagle and her small to the candlesticks, from the doorknobs to the calligraphy. It Crucified Christ, added to the pulpit in 1987 to mark the is readily demonstrated at Coventry that, whereas traditional, cathedral’s Silver Jubilee; Hutton’s breathtaking Great religious art was more often telling people what to think, the West Window, an inspired visual link between the ruins Sir Jacob Epstein, Archangel Michael vanquishing the Devil and Ecce Homo art of our own time, in whatever media, invites the viewer of the former cathedral and Spence’s construction, are all to think for him/herself and allows the artworks to speak to exemplars of beautiful work by very differing craftspeople. each one of us as individuals. The work of such luminaries as Then who could fail to be moved by spending time in Graham Sutherland, John Piper, John Hutton, Ralph Beyer, front of the Piper/ Reyntiens Baptistry Window.... ‘a Geoffrey Clarke and Dame are masterpieces creation of immense beauty which not only gladdens the eye, SON OF MAN IS COME TO SEEK AND TO in their own right and yet, remarkably, combine in a unique but reaches deep into the soul’. SAVE THAT WHICH WAS LOST THE GOOD expression of the cathedral’s spiritual personality and Mission For those with close associations with the Collection, SHEPHERD GIVETH HIS LIFE FOR THE of Reconciliation which is as relevant today as it was in 1962. the opportunity to gaze upon Ralph Beyer’s eight large SHEEP+’. Enthused by his period of apprenticeship — The exhibition featured a number of the two hundred stone tablets, on either side of the Nave and all carved under Eric Gill, Beyer carved the inscriptions on For those who delight in the variety of work contained within the Collection and who are keen to investigate equally exciting work across the UK, I individual sketches and design studies, constantly refined, in situ, must always be rather special. We are indeed Haddington Stone, a very personal style of lettering would recommend Contemporary Art in British Churches. Published by for the Sutherland tapestry . It seems that fortunate to have, within the Collection, the working ACE in 2010, it is a very good read and packed with useful references. It Christ in Glory to echo and re-assert the spirit of the earliest Christian also includes a particularly informative chapter by Paul Bayley who is, of Sutherland enjoyed a somewhat difficult relationship drawing for the panel that bears the inscription ‘THE inscriptions. course, one of our Collection trustees.

Features Newsletter 9 — Spring 2013 Features Newsletter 9 — Spring 2013 6 Friends of the Methodist Modern Art Collection Friends of the Methodist Modern Art Collection 7

Gleanings

William Roberts (1895–1980), The Collection on its travels... and Reflections The Crucifixion, c. 1922, oil From the Methodist Church Collection of Modern Christian Art In the Image The Wesley Church Centre, Chester (Sept.-Oct. 2012) This was a major exhibition in the city to mark the end of Wesley’s Year of 200th Anniversary Celebrations. It was formally opened by the Right Reverend Peter Forster, Bishop of Chester, with the Trustees of the Collection represented by the Revd. Graham . The exhibition was successfully linked with some 10 supporting events including a series of artists’ talks that proved popular with the estimated 1,350 visitors. It was pleasing to note Hurstpierpoint links that Ghislaine Howard, Clive Hicks- Hurstpierpoint’s interesting link with the Collection.... Jenkins and Nicholas Mynheer were In the early 1970s, a new frontage was put on town (and you may notice the Portsmouth Millennium among those listed as conducting Hurstpierpoint Methodist Church and the front window Tower on the right). The Downs and the sea represent both these seminars, talking primarily was removed, leaving an arch-shaped moulding on the her time in and Sussex, with the cross clearly about their own work to be seen in the church’s interior. Last year the Church council asked Sarah, visible on the hill. The twelve fish speak about discipleship Chester exhibition. It was good to note

Revd. Pauline Crispin’s daughter, if she would create a work and the five sheep are a reminder of so many parts of the inclusion of a popular workshop © TMCP of art for the church. In the final year of a degree in Creative scripture, and the five books of the Law. Five is also the programme for both local Primary Risen! Arts for Theatre and Film, Sarah designed, painted, number of people in Pauline’s own family and in ministry Schools and High Schools. 670 Year The Piano Nobile Gallery, mounted and installed the work. She was awarded a well one must never forget one’s own loved ones. The whole 3-6 pupils, 100 Year 8 and 30 Year 10 (Feb–March 2013) deserved First for the project. The painting is simply entitled design with its swirling motifs and intricate detail, sewn students were able to participate. After formally opening the Risen! inspired as she was by the movement of the Holy together by Juliet Hemingray, is a work of art and perhaps Movement, exhibition at the Piano Nobile Gallery, Spirit. Others have said it speaks to them of creation and another representation of ‘movement’. the Revd. the Lord Leslie Griffiths God moving upon the water. — exchanged greetings with many Pauline shares her daughter’s love of art and design Reproduced from the April 2012 URC/ Methodist Central Sussex United Area Newsletter, by kind permission of Christina Chelmick. who came to see the Collection and and has created her own stole, each part of which holds works by other contemporary artists particular personal significance. The rainbow is of course on the theme of the Crucifixion a sign of God’s promise; it is also used as a symbol for the and Eastertide. Leslie spoke of the Walk to Emmaus movement of which Pauline is part. Collection’s importance in the The crescent moon is firstly a link to the moon in the witness of the Methodist Church. painting (1944) by Jyoti Sahi (from The Dalit Madonna He paid tribute to the vision of the the Methodist Modern Art Collection), the subject of Gibbs Family, the trustees, and the Pauline’s dissertation for her Theology degree. In India the organisers of this exhibition which will image of the moon is deeply related to birth, partly because move on to Monnow Valley Arts in the crescent moon in Indian skies lies on its back, and . looks like a cradle. The crescent moon and the star are also — part of the coat of arms for Portsmouth, Pauline’s home Report on the Private View and photo contributed by trustee Sarah Middleton.

Gleanings and Reflections Newsletter 9 — Spring 2013 Gleanings and Reflections Newsletter 9 — Spring 2013 8 Friends of the Methodist Modern Art Collection Friends of the Methodist Modern Art Collection 9

Qassim Alseady, Crucifixion with nails, 2004, mixed media

The Collection on its travels... cont.

RISEN! Monnow Valley Arts and other Border venues (March-April 2013)

After a successful airing at Piano stained glass, instantly caught the Nobile this exhibition moved eye for the manner in which it was westwards, to Monnow Valley Arts displayed; suspended just proud of and, enhanced with further works a large, vertical window against a from the Collection, to half a dozen background of a particularly lovely associated venues in the Hereford/ part of the Herefordshire landscape. Monmouthshire area, including I understand that this will become a Hereford Cathedral. permanent feature at the gallery. The The galleries at Monnow Valley artist claims that her work is about Arts featured nine pictures from the reflection – a continuous, two-way Collection and the inclusion of some process between the material (of glass) twenty pieces by other contemporary and the deep contemplation of a theme. artists of considerable stature. It made It is indeed so. for an impressive show. Seeking out Richard Bavin’s The Empty Tomb artists whose work I was viewing for the 2012 (watercolour on paper) is a simple first time, my eye was particularly taken yet immediately powerful image. by the paintings of Greg Tricker and We view the scene from within the Richard Bavin, the stained glass work tomb looking outward. It is an image of Nicola Hopwood and a collage by primarily of absence but the emptiness Qassim Alseady. It was interesting too is suggestive of a new beginning, of to compare a work by Roy De Maistre despair turned to hope. The external (Crucifixion c.1959) with our own Noli crescent of light, revealed by the me tangere from a similar period. partially rolled away stone, can be read Greg Tricker’s Magdalene – The as the darkness of a total eclipse now Grieving (2009) is a riveting image of clearly receding. the distraught Mary grieving for her lost Qassim Alseady is another very Lord. This is a work boldly executed in interesting artist. As an Iraqi who oil, charcoal and acrylic, on rough planks. initially trained at the Baghdad The grain in the timber is used brilliantly Academy of Fine Arts in the ‘70s, to enhance both the form and the over- his work is deeply rooted in the riding sense of desolation. Tricker is also tradition of Iraqi art of the 20th a skilled exponent of work with antique century. He has lived through a profound respect for the prophet writings suggesting an unknown stained glass. A further striking image of difficult times, experiencing both Jesus. In his painting Crucifixion language from ancient times that Mary Magdalene, in this medium, was imprisonment and exile. His work with nails (2004) the suffering, roots the Christian narrative in the another captivating image included in reflects the eternal struggle of war, crucified Christ is represented by the land of Alseady’s birth. the exhibition. hatred, ugliness and wickedness rusted nails driven into the board. Nicola Hopwood’s triptych St. – and their opposites: peace, love, Around the nails and corpus from goodness and beauty. Brought up an 18th-century devotional crucifix Nicola Hopwood, St. Thomas’s Doubt, Thomas’s Doubt, Ascension and the Ascension and the Coming of the Holy Spirit, Coming of the Holy Spirit (2012), in as a Muslim, Qassim Alseady has are hieroglyphs or indecipherable 2012, stained glass triptych

Gleanings and Reflections Newsletter 9 — Spring 2013 Gleanings and Reflections Newsletter 9 — Spring 2013 10 Friends of the Methodist Modern Art Collection Friends of the Methodist Modern Art Collection 11

Elsewhere in the art world...

The Ocean in a Tree The artists were in two minds The Northern Renaissance: events within his empire. It was too The Art of the Gospel Robert Hughes Snape Maltings, .... as to how to present the exhibition. Dürer to Holbein valuable to destroy, so instead he had it Sister Wendy Beckett... The Shock of the New.... at the Queen’s Gallery The Maltings, the home of Benjamin Wagner says, ‘despite the similarity altered. At various points on the canvas I do hope that you managed to catch The death in August 2012 of the Britten’s music, is well known for of inspiration our paintings use Exhibitions at The Queen’s Gallery, there is (sometimes rather crude) this gem of a programme screened on Australian author and art critic (thirty its engagement with art and artists. very different palettes – mine often in Buckingham Palace Rd., are all too evidence of over-painting images of BBC2 on Christmas Day, in which years with Time Magazine) robbed From September to December 2012, cool, Mark’s often warm – and the often overlooked. It is not the easiest doomed or murdered children with a the inimitable Sister Wendy talks us of an extraordinary observer of the Concert Hall Gallery hosted a question was, should we separate venue to access by public transport swan, a calf, a boar and even loaves about the cultural importance of the evolution of 20th-century art. I very moving, magical exhibition of the work or mix it up? In the end but well worth the effort of doing so. of bread. the Gospel Stories. Now 82 years of suspect that a good number of Friends drawings, paintings, chalk works and we decided to mix and juxtapose our The exhibitions never disappoint and age, she was born in South Africa, took the opportunity of viewing the prints by artists Roger Wagner and paintings, which has I think produced the Dürer to Holbein show was no Trustee Sarah gained a First at Oxford under the repeat screening of his remarkable Middleton Mark Cazalet (whose works we have a more interesting and certainly a exception; wonderful work by both tutelage of Prof. J.R.R. Tolkien, and series The Shock of the New (BBC Guest Speaker at the AGM of Friends in the Collection). The title of the more collaborative exhibition.’ these masters of the art of drawing. became an instant TV star when Time-Life 1980). His book of the same of Renewal Arts (UK).... show, The Ocean in a Tree, is drawn — Included in this exhibition, under the first appearing on the small screen name (still available on Amazon!) was As your Editor was, sadly, unable to view this We are delighted to record that Sarah from lines from Wagner’s Fire Sonnets banner of the Northern Renaissance, in the 1990s. In the programme she described in an obituary as ‘much the exhibition for himself the above review is kindly was invited to address the above and admirably sums up the spirit of the contributed by fellow trustee, Meryl Doney. was Peter Bruegel the Elder’s Massacre talked, for the first time, frankly, best synoptic introduction to modern art organisation, speaking about the exhibition: of the Innocents, which was acquired for humorously and profoundly about ever written’. Bronze the Royal Collection by Charles II some history and work of the Collection, her life and spirituality, making some on the occasion of their AGM, held in And that exulting love which made at the Royal Academy.... one hundred years after it was painted. very pertinent reflections on the London SW1 on 26 January last. all things What an immensely interesting show With echoes of both the ferocity and contemporary world and lamenting this was; an absolute feast for lovers beauty of our own recent severe winter Whose laughter is the ocean in a tree Pictures on the Move upon today’s widespread lack of public That rustles like a thousand angels’ of sculpture in metal. There were weather, it is all too easy to dismiss this Tim Egan speaks to the Bradford- knowledge of key Bible stories. Using wings votive sculptures in abundance and work as another of the artist’s snowy on-Avon Arts Assoc. about his years no notes, she gives a performance that Stirred by a wind no human eye can see. a veritable army of Greek, Roman landscapes (with very little evidence of with Amgueddfa Cymru/ National Mus. comes from the heart. Her wonderfully and Indian gods although, sadly, not shocking goings on) but it is, in fact, a of Wales.... lucid interpretation of Veneziano’s many works of Christian spiritual painting with quite a history. The artists have in common a On 3 February a Friend of the painting of the Annunciation, Bassano’s significance. Nevertheless, there were The artist set out in 1567 to depict love of the Suffolk countryside Collection, who will be familiar to a Good Samaritan and Caravaggio’s three pieces that certainly caught the one of the Bible’s darkest moments, around Snape and Aldburgh, which number of you, gave a most erudite Supper at Emmaus left us, the viewers, eye: A Donatello relief, Herod’s massacre of all infant boys was clearly evident in the works Lamentation talk on the pitfalls involved in the in no doubt as to what the artist was (1460), a hefty in Bethlehem. But he plainly had shown. Cazalet contributed a series over the Dead Christ business of moving valuable artworks intent on putting across. Likewise, bronze, (1607) by Adriaen another purpose, too. His homeland, of chalk drawings, each made on the Seated Christ around the globe on loan exhibitions. her views on Lorenzo Lotto’s Woman de Vries, and the imposing, larger than Flanders, suffered horribly at the spot, in one sitting, in Parham wood, Stress related anxieties involving hours taken in Adultery revealed another life-size trio of sculptures by Giovanni hands of Spanish armies and German a place that has become central to of pre-planning, security, insurance great painting in an entirely new light. Francesco Rustici (1506–11) of mercenaries in the cruel religious wars his inspiration in recent years. Each John indemnity, deadlines, and the vagaries I would give anything to hear her views of his time. By coupling the hated work offered a shimmering impression the Baptist Preaching to a Levite and a of the weather were part and parcel of on Clive Hicks-Jenkins’ working of the Although frozen in time for Spanish with the reviled Herod, of colour, light and shade and the Pharisee. the day’s work for Tim who was, for same theme which, of course, we have more than 500 years, this is a wonderful Bruegel was striking the only blow he combined effect of the works shown in twenty-three years, the Registrar at the in the Collection. image of John’s audience of two being could against the invader. But that close proximity was inspired. National Museum of Wales. enraptured in what he has to say. The tree theme was further invader, in the form of Holy Roman — drawn out in a number of works Emperor Rudolf II, was himself soon Tim is also a much-valued adviser to the Trustees on matters of conservation and restoration. Ed by Roger Wagner from his Biblical to come into possession of the painting. narrative prints, miniature oil He rapidly decided that the events paintings and jewel-like mixed media depicted were too ghastly to gaze upon works such as Oak Tree with Gold. and too easily mistakeable for actual

Elsewhere in the art world... Newsletter 9 — Spring 2013 Elsewhere in the art world... Newsletter 9 — Spring 2013 FORTHCOMING TOUR PROGRAMME FOR THE COLLECTION

2013 2014

8 – 29 June 5 March – 29 April Peterborough Cathedral Trinity Methodist Church Contact: Mr. Ian Cornall South Wirral Circuit 01733 649345 Contact: Revd. Christine M Jones e-mail: [email protected] 0151 355 1294 e-mail: [email protected]

August July – August Oxford - Christ Church Cathedral Leyburn/Yorkshire Dales (A number of works on display, in conjunction with Yorkshire Dales, Leyburn a meeting of the Oxford Institute). Contact: Revd. Alan Coustick, 01969 625749, Email: [email protected] 28 September – 26 October The Young Gallery Market Place, Salisbury, Wilts, SP1 1BL – and Salisbury Cathedral. Contact: Revd. Margaret Jones (Churches Together in Salisbury) 01722 421224 e-mail: [email protected]

25 – 28 November Bath and Wells Diocesan Retreat Swanwick (not open for public viewing)

Rock of Ages, Monnow Valley Arts Sculpture Garden.

A Thought to leave with you.... ‘There’s great grace there, in the paintings of the Gospel Stories, for those who care to look’. — Sister Wendy Beckett 2012

Elsewhere in the art world... Newsletter 9 — Spring 2013