Geoff Cornell: a Tribute Nick Mynheer –

NO.13 — SPRING 2015 NEWSLETTER £1.00 WHERE SOLD

Geoff Cornell: A Tribute Nick Mynheer – His ‘Flight to Egypt’ series War and Peace and Reconciliation – The Collection at Banbury Nick Bury reviews Crucible II at Gloucester Cathedral NO.13 Friends of the Methodist Modern Art Collection 3 — SPRING 2015

DEAR FRIEND a tribute to

We are again delighted to bring you the first Newsletter of the year. The recent decision to mail out a printed copy, to the entire Geoffrey Richard Friends’ membership, has been widely acclaimed; a policy we intend to pursue.

The Collection with its full and inspiring supporting Cornell programme of events has 1949–2014 been very well received THE METHODIST MODERN ART during its recent showing in COLLECTION IN WALES Wrexham. A full report will feature in the autumn edition ‘The Methodist Modern Art Collection in Wales’, As we reported in the Autumn 2014 Newsletter the sudden death, in early October, of Collection of the Newsletter. a very readable little booklet, compiled by trustee trustee, the Revd Geoff Cornell, came as a terrible shock to all who knew him. The following is an edited version of the address given by the Revd Stuart Jordan, Chair of the London District, Sarah Middleton, is now available on our online at the Thanksgiving Service for Geoff at The Bourne Methodist Church, Southgate on 29 October, 2014 . In the meantime the Collection is set to cross the Irish Sea website www.methodist.org.uk/artcollection (See for the first time and will ‘Art Collection Resources’). Devised for the benefit be showing in Ballymena in of visitors viewing the Collection when it visits the ‘Church members and colleagues from the whole of that pastoral instincts, his love of liturgy and of sheer performance County Antrim. ministry will doubtless have their own memories to share. consistently melded together to inspire and uplift week after Principality, it proved very popular at the recent But all, I suspect, would unite to affirm those core features week after week. Of course his preaching and pastoring, Managing Trustees of the Collection Wrexham exhibition and will again be available for of ministry at which Geoff excelled… his mentoring and his leadership did not just depend on Dr John Gibbs (Chair/Treasurer), technical skills. They were so effective, so positive and so Revd Graham Kent (Secretary), Bob Llandudno in the summer of 2016. Williams (Secretary, Friends Group), As a pastor he was committed, compassionate, wise, always joyous because they drew on the vast hinterland of Geoff’s Prof Ann Sumner, Meryl Doney, supportive – but also seeking to help people grow and move interests and involvements as a human being. Sarah Middleton, Paul Bayley INTRODUCE A FRIEND on, so encouraging or challenging as needed and not unwilling There was also the range of his reading and cultural Administrator – Mary Roseweir to grasp nettles but never withdrawing care or prayer in the interests: Shakespeare and the theatre; novels and poetry Custodian – Dr Peter Forsaith Can you persuade a friend to become a Friend of the process. As a mentor: working alongside those new to ministry (especially RS Thomas); classical and other music; Friends of the Methodist Modern or to British Methodism, or to a new personal situation; photography, film, DVDs; the visual arts of course and Art Collection Collection? We are enormously grateful to our loyal generous in the gift of his time and his experience, able to his very active involvement as a trustee of the Methodist (The Supporters of the Methodist guide, model practice and if need be correct – all out of a Modern Art Collection – knowledgeable, perceptive, Modern Art Collection) core of Friends but, with ever increasing expenditure Patrons: President of Conference, profound respect for the other person, which both honoured recognising the significance of the arts for interpreting as The Very Revd Nick Bury, very much in mind, we are keen to increase our and empowered them. As a strategic thinker, willing and able well as celebrating human existence and relationships. The Revd David Gamble numbers. The Secretary is always delighted to receive to see the bigger picture and to reflect on it – honing his innate For the sake of his own integrity, and that of those Bob Williams reflective skills when he completed an MA in Consultancy for to whom he ministered, he embraced the need to look for Secretary to the Friends of the new Applications! The appropriate forms are, of course, Ministry & Mission in 2002. clues, hints of transcendence, finger-prints of the Spirit in Collection and Newsletter Editor As a meticulous administrator 11, Late Broads, Winsley available at exhibition sites – or may be downloaded – always preparing carefully for meetings, but also offering the most unlikely places of experience as well as in the rich Bradford-on-Avon perceptive comments to self or others afterwards, in order storehouse of suggestive imagery drawn from all the poetry Wilts, BA15 2NW from the website (Friends of the Collection section). Phone: 01225 720188 to assist his own and everyone else’s learning. And perhaps, and literature, art and music he avidly consumed. [email protected] above all, as one of Mr Wesley’s preachers, crafting sermons He always saw himself and acted as a minister under in which his skill with words, his theological literacy, his discipline, accountable to the Church. There was a Produced by Cultureshock Media Front Cover: Nicholas Mynheer Art Director: Alfonso Iacurci (b 1958), The Flight to Egypt Designer: Helen McFarland (with angels). 2009. Oil on www.cultureshockmedia.co.ukRunning head canvas. Copyright the artist. Newsletter 13 — Spring 2015 Features Newsletter 13 — Spring 2015 4 Friends of the Methodist Modern Art Collection Friends of the Methodist Modern Art Collection 5

voice which he sensed, as we do; that was used to point beyond itself to the One who upheld him throughout his life and who holds him still – and us with him – in His eternal love. And we can’t ask, nor perhaps do we need, much more than that. To God be the glory. Amen’.

—

On 29 November Stuart Jordan again officiated at a second, more widely attended Service of Thanksgiving, at Hinde Street Methodist Church, Marylebone. Geoff served as Superintendent of the West London Mission, at Hinde St., from 2001–08.

Each section of the service was accompanied by one of the

paintings from the Methodist Modern Art Collection: two John Reilly (1928–2010) as originals at the front of the Church and copied on the Raising of Lazarus 1962. service order, the third on a postcard handed out to everyone Ripolin enamel. as they came in. From the Methodist Modern Art Collection The first of the three was the acrylic painting Ecce Homo, which Geoff chose and described when he was the focus of a profile in our Spring 14 Newsletter. The second wasFool of God (Christ in the garden) by Mark Cazalet. As Stuart Jordan There was a transparent and consistent said, this was a picture to which Geoff was drawn. The subtitle locates the image in the garden of Gethsemane, but the title desire to follow Wesley’s maxim by alludes to Paul’s description of Christian life and his own ministry as being a ‘fool for Christ’s sake’ – involving its own ‘doing all the good he could, by all the Gethsemane moments of anguish, prayer and discernment. Sometimes, no doubt, Geoff with his wit and ready sense means he could’. of humour, acted the fool for no particular purpose, other than to cheer and enliven others. He also recognised the Top: Susie Hamilton (b.1950) Ecce Homo 1999. Acrylic. ambiguities and costs – and foolishness? – of the ministry to Above: Mark Cazalet (b. 1964) Fool of God (Christ in the garden) 1993. Oil on paper. which he had committed himself. to remember. So I walked and remembered. And wondered, can separate us from the love of God. Unseen, unknown, at Both from the Methodist Modern Art Collection John Reilly’s Raising of Lazarus was the focus for the not for the first time, and not for the last, about all this talk times unsuspected by us, God is working, the Spirit making final section of the service. Stuart Jordan commented that of resurrection. We want death not to be the end, but where things new. What are the odds on God being at work like transparent and consistent desire to follow Wesley’s maxim the picture transforms the ordinariness of a typical English is the evidence? We are so much beings governed by our five that, on there being a future beyond this life? It seems by ‘doing all the good he could, by all the means he could’. churchyard into an extraordinary riot of colour and possibility. senses that we can’t envisage what it will be like without ridiculous. But then …we see signs, dimly, amid all the welter Geoff embodied his own Christian conviction about It suggests a reality seen through a new (fish-eye, wide angle) any of those senses. We spend our years shaping who we are, of stuff that comes our way. We are invited to trust it. The the need to live life ‘in all its fullness’. He did it with style lens, using a high-speed shutter which shows Martha and setting out our identity, whether through the work we do… world may not know, may carry blithely on, but the truth is and with a joie de vivre that helps us see that such life needs Thomas twice in different positions at the head of the grave. or the people we engage with and how they see us… All that different. We belong to God and in Christ we can know we to be to measured, not in years but in fathoms – not by its For Geoff the language of resurrection, of God’s future we build up, all the markers of who we are, fade, are stripped are God’s children. ‘My sheep hear my voice and I know them length but by depth. breaking in, was, as often as not, an invitation to transform from us as our body declines. And then what are we? Friends, and nothing can snatch them out of my hand’. And we recognise – and we too will be eternally grateful the present reality through committed action, but alongside we are, each of us, a child of God. That’s our identity. It is Easter sermon, April 2012 for – that familiar voice he found, to joke and banter, to that – as he reflects on the death of a friend during an Easter held in God, by God. Just as Jesus was held in God, by God, pray, to preach, to lead others in worship and to faith. A day sermon in 2012 – he articulates his hope in the God by through his dying and into Easter, when those disciples had Stuart’s concluding words – ‘As we give thanks for all our voice that speaks to us still today, inviting us to live fully and whom we are held. those glimpses, for a short while, of the new future in their memories of Geoff together today we too are eternally grateful passionately, to build community, to make a difference – in ‘On Friday, in the spring sunshine and ahead of the meetings with the risen Christ. Fleeting meetings, but enough – for the husband, father, brother, colleague, mentor and the light of the gospel story if we can and by the Kingdom heavy showers, I went for a good long walk in Trent Park. to assure them that the world was not what it seemed. We friend whose life and ministry we have been hugely privileged values of justice and mercy and compassion where we can’t. A It was to enjoy the day, to make myself fitter. But it was also belong to God. We are held in God. Neither death nor life to share and whose memory will continue to inspire us’.

Features Newsletter 13 — Spring 2015 Features Newsletter 13 — Spring 2015 6 Friends of the Methodist Modern Art Collection 7 Managing Trustees A work in focus of the Collection trustee paul bayley nominates his choice

our trustee in profile is paul bayley

I grew up in Leicestershire myself as a freelance curator and project manager. I did is powerful and unsettling. Indeed it and studied Politics and however apply for what I thought might be a short-term job seems to have direct relevance to the Philosophy at Leeds with an organisation called Art and Christianity Enquiry times we are currently living through. Is University, graduating in to help stimulate contemporary art activity in churches. I that a ‘Peace Wall’ in the background? the grim recession of the was again fortunate in that this enabled me to work directly Are those uniforms of militiamen in the mid 80’s. More by accident with the late Revd Tom Devonshire Jones (a Patron of the foreground? Roberts was a founder of than design I found myself Collection), a charismatic and encyclopaedic guide to the the Vorticist movement in thrall to the working in the archive at the territory I would find myself occupying for the next decade. machine age at the start of the last century. Yorkshire Sculpture Park. I One of the first things he told me to do, with a twinkle in His exposure to the reality and barbarity then successfully applied for his eye, was to view the dreary sounding Methodist Art of war tempered his move towards kinetic a junior curator’s position at Collection, then being exhibited across three churches in abstraction but this canvas combines both the Tate Gallery, for which I was completely unqualified and the City of London. I was amazed to be able to wander into modernist bravado and humanity and it quite unprepared! I was still in my early 20’s when I moved to those deserted sacred spaces and directly encounter such remains a vital work of art. London to take up what was a fantastic apprenticeship for the powerful, museum quality, paintings. I was delighted, some On a more prosaic level I gave a career I subsequently undertook. Its new Director, Nicholas years later when I was asked to become first an advisor to the talk to a group of ordinands about the Serota, was then transforming the Tate and I worked on all Collection then, subsequently, invited to join the Board of ability of contemporary art to give a aspects of administration within the Exhibitions Department. Managing Trustees. Our small acquisitions budget means transformative experience. I couldn’t However, to work directly with artists I really needed to work we have to be strategic about every new work. Having help but notice that one of the group for a smaller institution. participated in purchases of works by Maggi Hambling, was completely disengaged from So I left the Tate to go to Cornerhouse in Manchester, Craigie Aitchison, Susie Hamilton and David Jones and the every example I showed, despite the which had a cutting edge reputation. Initially Exhibition wonderful commission undertaken by Clive Hicks-Jenkins. enthusiasm of his cohorts. I then led Organiser I was, subsequently, promoted to the position of I can say that these works not only complement thematically the same group around a small selection Exhibitions Director. Another real stroke of luck for me some of the acknowledged ‘stars’ of the collection but also sit William Roberts (1895-1980). The Crucifixion. Early 1920s. of works from the Collection and, as Oil. From the Methodist Modern Art Collection was that this coincided with an exciting, boom time for comfortably amongst them on their own artistic merit. I started talking about the Roberts, contemporary art in Britain. I worked with Damien Hirst, I am currently the Director of the Florence Trust, I could see this person literally wake Tracey Emin, and the other young British Artists of that an emerging artists’ studio and mentoring programme in up in front of my eyes. Suddenly he period, just as they were establishing their reputations. This north London and still find time to undertake freelance I have chosen William Roberts’ The was asking questions about the artist, was a happy and fulfilling role, however by 2002, I was curatorial work. Crucifixionfor two reasons. First, it has pointing out details in the canvas to his managing a team of ten and becoming slightly weary after some claim to be the most avant-garde fellow students; he became completely too many years of administrative and budgetary grind that work in the Collection. Completed mesmerised by the work. It showed me such a position of responsibility inevitably brings. shortly after the end of the First World that sometimes all it takes is a personal I made an impulsive decision to join my wife to be, who War its jagged zigzag composition and response to a single work to prove the was working for the BBC, back in London and reinvent depiction of humans driven to savagery quality of a collection.

Features Newsletter 13 — Spring 2015 Features Newsletter 13 — Spring 2015 8 Friends of the Methodist Modern Art Collection 9

THE COLLECTION ON ITS TRAVELS… Art For Our Sake… Mary’s Parish Church (adjacent to literally on her knees sketching different Banbury Cross itself!) were happy to paintings; Hazel’s input and insights involve the exhibition as part of their were invaluable. ‘Living Arts’ programme. To link in Most of our objectives were This poem was penned especially for a recent Poetry Evening held at Wrexham with the various war anniversaries of therefore met. It would have been Methodist Church, in celebration of the visit of the Collection to the town. Its author 2014, we agreed on ‘War and Peace ideal to have had the exhibition in is Welsh poet David Subacchi, who seems to express so well the capacity the works and Reconciliation’, choosing five the middle of the shopping centre, of art have to ‘draw the viewer in’ and reinforce the very special impact that the works to illustrate each of the three but I’m not sure what the insurance Collection seems to make wherever its port of call. sections. The emphasis was on moving implications would have been! As it beyond war and even peace to the turned out, there was a great deal of reconciliation that lies at the heart of ecumenical input at St Mary’s. We They bought carefully those Methodists I am there with brutal men Photo supplied God as exemplified in the life and death would have loved to have been busier, Chose the best up and coming artists In cloth caps clutching stones of Jesus. We started with Cain and but would the stewards have had such Inspired by their imagination Hidden behind their backs ‘WAR AND PEACE Abel by John Reilly and made Jacques meaningful conversations? No, the one And moved by their skills There as the poor fallen woman AND RECONCILIATION’ Iselin’s stunning The Elements of the sadness was that, despite notifying all To translate the gospel stories Staggers around in terror Banbury (29 September – Holy Communion the end-piece of the the educational establishments in the Into a visual feast There as he bends to draw 23 October 2014) exhibition that stood poignantly in the area, only one junior school came and A line in the sand What an extraordinary gift to the war memorial section of St Mary’s. engaged with the paintings; and their I am there at the mocking of Christ To end this persecution Methodist Church, and beyond, is Before the exhibition began we huge enthusiasm made it all the more In the dark sweaty room this Collection! Over the years it has were enabled and encouraged by some disappointing that others, albeit in Crammed with eight soldiers They bought carefully those Methodists been an inspiration to see the various sponsorship of our leaflets and posters these days of prescribed curricula, had As they force a thorny crown One by one they captured ways that the works of art have been from Methodist Insurance, as well not been able to spare the time too. Onto the Saviour’s head These priceless treasures exhibited and used. So when Revd Rob as advice from the trustees. Sarah Individual paintings themselves Place a reed in his hand Not for profit but to ensure Anning, then Superintendent of the Middleton, then Geoff Cornell – who clearly moved many visitors and In place of a sceptre That the beauty of his word Banbury Circuit, and I were looking so sadly died just after the exhibition in this wonderful collection of art was Strike him with contempt Would be communicated at different outreach possibilities, we Banbury had started, and a hands-on appreciated at so many levels. Together, Not art for art’s sake wondered about using these works of Peter Forsaith notably helped us in the fifteen works that made up‘ War I am there in the park But art for our sake. art to enable conversations about faith practical ways to mount a successful and Peace and Reconciliation’ enabled With the crowd with the wider community. The trustees showing of these wonderful works of art. the Circuit to promote an enjoyable At the enormous picnic were extremely helpful; we found a It’s never easy to measure success for an and meaningful month of conversation Conjured from five loaves window of opportunity for October art exhibition, but we were encouraged about God’s love for the world. And two fishes 2014 and, then set about getting the to have more than 500 ‘official’ visitors We are dressed as if seal of approval and financial backing over the twenty showing days; we know I am indebted to Michael King who not On a Sunday outing from the Circuit. But what ‘title’ for many others looked at the works on only curated this particular showing of Not for a miracle an exhibition? How to appeal to those Sundays before and after services, as well the Collection but also found the time to outside the Church as well as deepen as when other ‘Living Arts’ events were provide us with this comprehensive report understanding for those within? on in the evenings. Our official figures on the whole event. Importantly too, how to find the most refer to the people to whom the stewards appropriate venue for transformative (volunteers from the Circuit) handed Mike was, for eleven years, conversations to take place? specially-produced leaflets during leader of the Methodist From the outset, we felt it our 10am to 4pm opening hours and Church’s World Church From top to bottom: Peter Rogers (b.1933) The mocking of Christ 1961. Oil; Eularia important that the exhibition was which provided many ways into shared Relationships Team and Clarke (1914–70) The five thousand 1962. ‘owned’ by ecumenical friends and, conversations. Continuity was provided also Vice-President of Oil; Clive Hicks-Jenkins (b.1951) Christ when attempts to find more neutral by Hazel Stagg, lay worker in the Conference in 2012–13. writes in the Dust: The Woman taken in © David Subacchi ‘public spaces’ failed, the staff of St Circuit, who most days could be found – Ed Adultery 2011. Acrylic on panel. All from the Methodist Modern Art Collection [email protected]

The Collection on its Travels… Newsletter 13 — Spring 2015 Art For Our Sake… Newsletter 13 — Spring 2015 10 Friends of the Methodist Modern Art Collection 11

GLEANINGS AND REFLECTIONS

‘CRUCIBLE II’ Gloucester Cathedral (1 September – 31 October 2014) ‘Crucible’ was a hugely ambitious exhibition of sculptures set in Gloucester Cathedral in September 2010. It was a remarkable and unexpected success, in that, unlike most exhibitions of contemporary art, it made a huge difference to the regular footfall through the Cathedral. (One hundred and thirty six thousand in two months.) It was like a great snowball – more and more people came as the weeks progressed and the word was spread. The reason was the brilliant placing of the seventy works in this remarkable setting Ralph Brown’s recumbent Clochard was Thief made from coat-hangers. They, Clockwise from far left: and the very high quality of the work found four years ago. There were about a unlike many works, refer directly to David Mach (b.1956) The shown – work by Sarah Lucas, Lynn hundred works, extraordinarily cleverly Christ’s story. Others puzzle, like the Thief; Damien Hirst (b.1965) Anatomy of an Angel. 2008. Chadwick, Antony Gormley, Peter placed. Here we see Damien Hirst’s poor old deflated leather football, Resin; Lynn Chadwick Randall-Page, Sir Eduardo Paolozzi, Anatomy of an Angel next to Flaxman’s entitled Victoria, by Marcus Harvey (1914–2003) Jubilee IV. Ralph Brown, Leonard McComb, classical angels on a monument to and some are wryly amusing like Jon 1985. Bronze; Henry Moore Damien Hirst – the list went on and on. Sarah Morley who died in childbirth Buck’s set high up in a side (1898–1986) Working Model Bombird for Reclining Figure: bone skirt So it was with some trepidation that in 1784. His other angel, Fallen Angel chapel. This sculpture is among a I went to the opening of ‘Crucible 2’, is actually taken from the eighteenth number referring to the centenary of daughter of Crucible, which opened this century Canova’s Repentant Magdalene the beginning of the First World War, Silence in the cloister and Split Shadow artists have strong connections with the anonymous masons of the past and the September, exactly four years later. But but Hirst’s angel is a victim of drug the most moving and visually stunning in the crypt – both particularly fine foundry in Gloucestershire, Pangolin ancient stones of the Cathedral. In other I should not have feared. The midwives, abuse, though her glorious golden wings being Ralph Brown’s Display No More examples of this artist’s work. Editions, from whose “crucible” a good words, ‘Crucible 2’ simply underlines Claude Koenig and Jane Buck, are the suggest she too is redeemed. Rushing out in Vain the Lofty Banner – a beautiful Another triumph is the proportion of the works have been what the cathedral has being doing for same and, though they are modest (their of the south porch are two monumental nude girl proudly walking through the wonderfully produced catalogue – cast. But I think an overall theme is set almost a thousand years. names do not appear anywhere in the Lynn Chadwick figures,Jubilee IV, a Cathedral, head held high and banner superb full-page photographs of every by David Backhouse’s Pilgrim which catalogue), they are very skilled curators. bride and groom, full of joy, in a high held low behind her. And then there are work and often with enlightening greets us in the porch as we enter the — Nick Bury The cast of sculptors, too, is largely the wind, celebrating Chadwick’s centenary the animals – Chadwick’s Black Beast words and comments by the artists Cathedral. We are on a pilgrimage. same, with some new names – from year. Set against the great Perpendicular frightens, Michael Cooper’s Tortoise themselves. Take these words of We meet all sorts of different people This review first appeared in the Winter Henry Moore, who is represented by tower is Kenneth Armitage’s 30 foot charms and we smile at finding a David Mach on his works made from and ideas on our wanderings. We 2014 edition of Art & Christianity Working Model for Reclining Figure: high Reach for the Stars, both piercing number of dodos. ordinary everyday objects. “I like that hear passionate artists, wryly amusing Journal. The Very Revd Nick Bury is the Bone Skirt, wittily placed facing the the sky, one with its celebrated coronet Two sculptors contribute works they may, whilst trying to meet the characters, those who want to make former Dean of Gloucester Cathedral – reclining last abbot of Gloucester in of open parapet and airy pinnacles, the that are deeply meditative. William Pye’s viewer on common ground…confuse us think, those who make strange and, of course, a Patron of the Methodist his tomb, to Gavin Turk whose moving other with great stubby fingers. Vesqua is one of the best of his water and provoke. It’s almost as if they tell connections, those who want to charm Modern Art Collection. When still in sculpture Nomad, a sleeping bag entirely Two other massive sculptures are sculptures, reflecting beautifully the first stories you may find hard to believe.” and those who want us just to gaze, open post, as Dean, he was instrumental to covering a homeless, nameless person, in the nave – Charles Lutyens Outraged English Perpendicular vault of the south Is there a theme to this huge our minds and imagine. We overhear the success of the Crucible I exhibition is placed in just the same place where Christ and David Mach’s crucified transept and Ann Christopher’s Beyond exhibition? Of course many of the conversations between the artists, the back in 2010. – Ed

Gleanings and Reflections Newsletter 13 — Spring 2015 Gleanings and Reflections Newsletter 13 — Spring 2015 12 Friends of the Methodist Modern Art Collection 13

COLLECTION ARTIST NICK MYNHEER REFLECTS FRANK ROPER CENTENARY Angels supporting a Mitre (over the Assistant ON A FAVOURITE THEME – ‘THE FLIGHT TO EGYPT’ To mark the Centenary of sculptor Bishop’s stall at Llandaff) Frank Roper’s birth, on 12 December 2014, a special Evensong was held in Llandaff Cathedral, just outside Cardiff. A Yorkshireman who studied art at the RCA, Roper became a student of Henry Moore. He was Appointed Head of Cardiff School human figures but Roper maintained through to the Lady Chapel, gazing of Art, as it then was, in 1947 and it that it was his way of expressing the upon the magnificent gilded Flowers of was during these years that he began physical and emotional torture of the Mary while the choir sang a specially to forge a pivotal relationship with Passion of Christ in a way that ordinary composed anthem’. George Pace, architect at Llandaff folk could understand. Examples of his non-ecclesiastical Cathedral. This ultimately resulted in Collection trustee, Sarah Middleton, work can be found in the collections Roper contributing more individual who was present at the Llandaff Cathedral of the National Gallery/ Amgueddfa works to the post-war restoration of celebration, comments: Cymru, Cardiff and the National the Cathedral than any other artist/ ‘Prayers of thanksgiving were made Library of Wales, Aberystwyth. Roper sculptor. He invented the process of for the remarkable legacy of Roper’s was awarded the MBE in 1991, for his Nicholas Mynheer Flight to Egypt in snow. 2008. Oil on canvas. lost-polystyrene casting, allowing work, not just in Llandaff but in many services to art. Copyright the artist complex structures to be created by UK churches and cathedrals. Before To see a delightful short film using molten metal and a light, strong the service, a slideshow was given in ‘Look, Stranger: Sculpture and polystyrene model. His work at the the Cathedral’s St. David Chapel Singing Fountains’ on the creative ‘I find myself drawn time and again to In some ways it is remarkable that when it was finished that I noticed the Cathedral includes elaborate church by Nicholas Lambert of Birkbeck partnership of Frank and Nora Roper, the themes of ‘The Flight to Egypt’ and after the visitation of the shepherds and juxtaposition of the two main trees; the furnishings including three Passion University. He illustrated the versatility particularly informative on the lost- ‘Rest on the Flight to Egypt’. It never Magi, the Holy family find themselves tree full of life (surrounded by Angels) Lecterns and a music stand bearing and ingenuity of Roper. Particularly polystyrene casting technique and ceases to amaze me how many times one once again alone, exposed and in and the (apparently) barren tree in the the cockerel who shrieks Peter’s denial. striking were the stained glass windows, Roper’s mechanical ‘toys’, go to www. can paint or sculpt a theme and find extraordinary danger. They flee like any wintry landscape. The Holy family Probably his finest work here is the where the sculptor’s fine tracery was youtube.com/watch?v=B05uWY_ something different each time to say, or family of refugees desperate for a new travel through this snowy landscape intricately formed depictions of wild combined with gorgeous colour, a choice uSFY&feature=youtu.be indeed be told. life of safety and security. How often do unaware that they are guarded by the flowers and plants that fill the twelve often influenced by his wife Nora who Perhaps it is the interdependence we see images of contemporary families Heavenly Host above. niches in the medieval reredos. In each was an artist in her own right. of the three characters; the Christ- in the same predicament trying to In another re-working of the same case, their Welsh names were cleverly Towards the end of the service, child dependent on Joseph and escape war or famine? theme Flight to Egypt in snow 2008 woven into the design. the congregation were led past Roper’s Mary for his protection and nurture In my Rest on the Flight to Egypt one senses a resolute determination Frank Roper is of course bronze sculpture, Praised be My Lord STOP PRESS: or Mary’s trust in Joseph that is so 2003, oil on canvas, in the Methodist to reach a safe haven, where the child represented within the Collection in the for all Beings (depicting St. Francis in We are greatly saddened to report fascinating. We see Mary’s deep faith Modern Art Collection, the family take will finally be beyond the reach of the form of four aluminium relief panels companionship with attentive creatures the recent death of the Revd Tom in her acceptance of God’s will that rest in the shade of a solitary tree. The supreme evil that threatens. from a set of The Stations of the Cross. from the wild), and past St. Teilo Devonshire Jones, Patron and she should bear the Christ-child. wild flowers of the desert have come into In the carved limestone version of Some critics dislike the lean metal (one of the Cathedral’s patron saints) vigorous champion of the Methodist When Joseph is spoken to by an angel blossom in the presence of the Christ- The Flight to Egypt (see Back Cover) Modern Art Collection. Tom in a dream Mary follows Joseph’s child. Similarly the tree under which the interdependence of the Christ- was, for many years, vicar of St. instruction to get up and leave with they shelter has come into fruit. child, Joseph and the Virgin Mary are Mark’s, Regent’s Park, founder and great haste without question. Joseph’s The Flight to Egypt – with Angels (for me) accentuated by the carving Director Emeritus of ACE (Art and acceptance of his two dreams; firstly 2009, (see Front Cover), is one of those them out of one block of stone.’ Prayers of thanksgiving were made Christian Enquiry) and a highly the angel telling him to accept Mary’s strange paintings where I started out for the remarkable legacy of Roper’s regarded consultant for commissions immaculate conception and secondly not knowing what I was going to paint. and exhibitions – including ‘Seeing to take Mary and the Christ-child The image appeared in my head and work, not just in Llandaff but in Salvation’, at the National Gallery, and escape to Egypt shows his deep all I had to do was to paint it. As I in 2000. Author of a number of faith. He listens to and accepts the worked on it I realised that it was The many UK churches and cathedrals. fine books, he was most recently in Will of God. Flight to Egypt. However, it was only print as editor of the revised and — Sarah Middleton updated 2013 version of the Oxford Dictionary of Christian Art and Gleanings and Reflections Newsletter 13 — Spring 2015 Gleanings and Reflections Newsletter 13 — Spring 2014 Architecture. – Ed 14 Friends of the Methodist Modern Art Collection 15

ELSEWHERE IN THE ART WORLD…

‘REMBRANDT – THE LATE WORKS’ FROM THE AHMANSON COLLECTION, Over and above his responsibilities ‘A LIGHT SHINES IN THE DARKNESS’ Sainsbury Wing, the National Gallery. LOS ANGELES – ‘STILL SMALL VOICE’: BRITISH A travelling exhibition that has, since October 2014, (15 October 2014 – 18 January 2015) BIBLICAL ART IN A SECULAR AGE (1850-2014) as a Collection trustee Paul is, already been seen in Winchester Cathedral, St. Leonard’s, One of the major exhibitions of recent months, this was a The Wilson: Cheltenham Art Gallery and Museum as his ‘Profile’ suggests, busily Bridgnorth, St. Edmund’s, Rochdale and Holy Trinity, joint promotion between the National Gallery, London & (17 January – 3 May 2015) Blackburn. It can still be viewed in St. Werburgh’s, the Rijksmuseum, Amsterdam. Could I recommend this small but excellent exhibition – engaged as a freelance curator Derby (13 March – 12 April), Holy Trinity, Sunderland Rembrandt was known, later in his career, for his single- running until the beginning of May? Covering the period (19 – 21 March) and at Norwich Cathedral in June. figure oil paintings of key New Testament figures where he was, from 1850–2014 and featuring work by Spencer, Gill, with an established track record of This is a small touring exhibition, curated by Collection essentially, seeking to convey an outward expression of religious Epstein, Burra and Sutherland, this is a show described showing contemporary artists in trustee, Paul Bayley. It features the work of six acclaimed contemplation. He certainly succeeded with the three featured as – ‘exploring ideas around creativity, crisis and human film and video artists and takes concepts of light and in this exhibition – The Apostle Simon (1651), The Apostle experience; a major exhibition for 2015’. This is a first visit sacred spaces. His work enables an darkness as its starting point. Bartholomew (1657) and another version painted in 1661. to these shores by this private American Collection that encounter to take place between Churches for a long time occupied a central place in Stories from the Old Testament of course feature large will immediately resonate with supporters of the Methodist most people’s lives. In recent years, however we have to in Rembrandt’s subject matter and on show here were oils Modern Art Collection – and has the advantage of being artists, church and the public. We accept that they have shifted to a more peripheral position and etchings of: Bathsheba with King David’s Letter (1654), very accessible to our Bristol Membership! report here on one of his current with many people never having had a firsthand experience Joseph and Potiphar‘s Wife (1655) and, my favourite, the of entering a church building. Overlooked and often profoundly moving image of Jacob blessing the Sons of Joseph projects, which has taken him undervalued, many have fallen out of religious use and ‘gone (1656). It is an oft–quoted truth that a postcard can do no dark’. Their powerful architectural presence nevertheless justice to the original painting. Never truer than in this nation-wide… remains and often in the central parts of an urban instance; a wonderful piece of work and a joy to have the settlement. Film and Video Umbrella have partnered with opportunity to see this large picture here in the UK, having the Churches Conservation Trust in a joint venture to shine been lent from its home in Kassel, Germany. a new light on these fascinating spaces, literally in some Included in this fine exhibition was a wide assortment of cases where the films are presented as large scale projections. etchings and drypoint works, the majority on loan from the In an echo of the churches’ longstanding role as sites of British Museum and the Fitzwilliam, Cambridge. Particularly pilgrimage, congregation and contemplation, the artists’ striking were the three states of The Three Crosses (1653), works speculate also as to whether their importance as described as one of the highlights of Rembrandt’s oeuvre; at points of collective assembly, to share a common experience, the time the largest prints ever attempted in drypoint alone. has perhaps been eclipsed by other arenas – an art museum, One could stand in front of them for many minutes, such is a floodlit sports field, a natural amphitheatre..? Each of the the impact of these images. short films featured encourages reflection in the viewer, drawing our attention to moments of natural beauty, human endurance and historical relevance.

Elsewhere in the art world… Newsletter 13 — Spring 2015 Elsewhere in the art world… Newsletter 13 — Spring 2015 FORTHCOMING TOUR PROGRAMME FOR THE COLLECTION

2015 10 May – 18 June 24 June – 31 August Ballymena, N. Ireland Llandudno The Braid Arts Centre St. John’s Methodist Church Contact: Rosalind Lowry 53-55, Mostyn St 02825 635900 Llandudno Email: [email protected] Conwy, LL30 2NN www.thebraid.com Oriel Mostyn 12, Vaughan St The possibility of a further exhibition in Llandudno Ulster, over the summer period, is still Conwy, LL30 1AB being explored. Please check with the website for up-to-date information. Contact: Revd Beverley Ramsden 01492 877799 Email: [email protected] November – December Oxford Brookes University (selected images) Autumn (tbc) Bury St. Edmunds Contact: Revd Mark Haworth 01284 755374 Nicholas Mynheer (b.1958) Flight to 2016 Email: [email protected] Egypt. Limestone. Private Collection. 8 February – 2 April Copyright the artist Lincoln Cathedral 2017 Contact: Revd Terry Nowell 01522 754254 (tbc) January – March Email: [email protected] Canterbury Contact: Revd Paul Glass (tbc) 9 April – 22 May 01227 785204 Email: [email protected] Ealing Contact: Revd Jennifer Smith 020 8579 8114 Email: [email protected]

A THOUGHT TO LEAVE WITH YOU…. By way of a tribute to Tom Devonshire Jones, and fondly recalling his memorable one-liners, we offer you the following as one of his best:

‘The long tradition of Christian Art is always in need of refreshing’ — Tom Devonshire Jones (1934 – 2015)