ptr brown peter peter brown Messum’s 2019 MESSUMS www.messums.com www.messumswiltshire.com

peter brown

at home and abroad

2019

MESSUMS

MESSUMS LONDON 28 Cork Street, London W1S 3NG +44 (0)207 437 5545 www.messums.com 1 Playing FIFA: Ollie, Toby, Ned and Ellie oil on board MESSUMS WILTSHIRE 30 x 25 cms 12 x 10 ins Place Farm, Court Street, Tisbury, Salisbury, Wiltshire SP3 6LW +44 (0)1747 445042 www.messumswiltshire.com foreword

Back in 2012 Peter Brown made a large oil painting of the Victorian cast iron fireplace in his studio. The mantelpiece is loaded with paints and brushes and jars, whilst the floor is littered with books, boxes and audio equipment. It is a deceptively simple yet quietly beautiful painting, a study (almost) in black and white. It is an eye-catching moment of calm contemplation that contrasts with the paintings of bustling streets in Bath, London and Paris that have, over the past twenty-five years, made his name.

Brown recognizes and enjoys this contrast, and since moving into his new home in the Bath suburb of Weston in 2006 he has painted more and more intimate interiors like this one. The youngest of his five children was born there, its walls are filled with his paintings and those by artists he admires, and Brown acknowledges that this comfortable, extensive family house has become ‘a great source of inspiration.’ His first-floor studio is only a few yards from his children’s bedrooms, and the daily life of home surrounds him as he works. There are various other paintings he has made of the studio – empty at different times of day and in different states of light – as well as views up and down staircases or through doorways into rooms where his children gather.

2 Gap Year oil on canvas 51 x 76 cms 20 x 30 ins These works are, he suggests, ‘an antidote … to plein-air street scenes and landscapes. I can paint the spaces that I find interesting and record the family growing up. An utter indulgence, but then being allowed to spend my life painting this beautiful city and wherever else my travels take me is indulgence too.’

Together with a series of landscape paintings from the long hot summer of 2018 which he spent working out of doors around Suffolk, Norfolk and London, these interiors form the gently beating heart of his new exhibition – the latest in what has been a series of very successful shows at Messum’s. It is also Brown’s first solo exhibition since he was elected President of the New Club last year. The NEAC (or ‘New English’ as it is affectionately known) has had an important place in British painting since its foundation in 1885, when it quickly emerged as a significant and radical alternative to the classical, more conventional art to be seen at the Royal Academy. Its early members included some of the key British painters in the appearance of both Impressionism and Post-Impressionism in this country – important names such as , , , Gwen and and Robert Fry.

3 The Studio, Late Morning, Winter oil on canvas 102 x 91 cms 40 x 36 ins 4 Studio Mantlepiece, 2012 oil on canvas 1 127 x 102 cms 50 x 40 ⁄8 ins 5 Christmas Jumper and DMs: Ella on the Stairs oil on canvas 76 x 76 cms 30 x 30 ins Indeed, it was Sickert’s participation in the Club that first brought it to Brown’s attention when he was an art foundation student in Bath in the late 1980s. Sickert had had a long connection with the city: ‘There never was such a place for rest and comfort and leisurely work,’ he wrote following his first visit in 1917. ‘Such country and such town,’ he exclaimed. Sickert settled there briefly in 1918, rapturously describing its ‘incredible’ beauty to friends. And he returned twenty years later, making his last home in neighbouring Bathampton, and it was in Bath that he died in 1942. Brown has called Sickert ‘the grandfather of us all,’ and Sickert, like Brown, painted numerous oil paintings of the town’s vibrant, everyday street life – works that were very well received in the press. ‘He gives us colour,’ declared The Times in 1919, ‘that might be pretty if it were not beautiful.’ This observation distills, perhaps, the very essence of all successful Impressionist painting.

6 Summer Morning: the Broken Trumpet oil on canvas 89 x 76 cms 35 x 30 ins When Peter Brown returned to Bath in the mid 1990s after a number of years studying and then working in Manchester, the NEAC was already in his sights through Sickert’s link, and he was keen to become a member. In Manchester, however, he had been painting in a postmodern, almost abstract expressionist manner – large squares and rectangles of pure colour. It was a very intellectual, structured way of working that was slowly leading him into a dead end. Back in Bath he suddenly found himself simply drawing once more, without questioning what he was doing. He just wanted to get on and do it again, to ‘see and put’, as one of his art teachers once memorably phrased it – something he does very well indeed: seeing and then putting it down in paint, be it out on the street in a downpour of rain or in his warm home beside a crackling fire. But as he observes,

There is one clear difference between the two situations – one of control. Out in the elements it is a battle against time – before the canvas surface gets so wet you can’t make the paint stick, so I always say you have to slap it on. Inside you have more time to mix colour and to apply it. The challenge then is to keep the guttural, not to overwork it. You can fiddle for a year with a tiny brush trying to answer every mark in front of you, but it is far better for me to answer as broadly as possible. Wouldn’t it be amazing if you could do a painting in one brush stroke? It’s like painting a crowd of people – forget the individual bodies, the faces, arms, legs … what does the crowd, the mass of shape, actually look like? What is its colour? It’s form? When I paint I make sure I am always dealing with ‘what does it look like’.

This is what he calls his ‘visceral’ instinct as an artist – painting from the heart, not the head, the urge to put down what he sees on paper or canvas as quickly and as urgently and as well as he can, an approach that sometimes leads him to suddenly realize he’s painting the same scene over again. Extraordinarily prolific and experimental, his studio is stacked with canvases and boards – for he is always exploring, looking, rediscovering as he reacts and responds to the sights around him. Gregarious, easy going, charming and chatty, he is a familiar character on the streets of Bath, always painting, always willing to talk with passers-by. It is no surprise that when he first started selling his work off Bath’s street corners as he worked, he soon enjoyed considerable success.

7 The Blue Room: Lisa, Hattie, Ned and Ella oil on canvas 89 x 76 cms 35 x 30 ins It was only five years after his return to Bath that, in 1998, Brown was elected a member of the NEAC. ‘I really felt like I’d arrived then,’ he recalls. Under the direction of Ken Howard, the NEAC was enjoying an exciting period of renewal as it re-established its reputation, and Brown soon found himself on the Club’s organizing committee. Their meetings were often held in the studios of other committee members, and Brown reflects how incredible it felt to suddenly find himself propelled into this world of established, recognized, successful artists.

It is appropriate that now, as the new President of the NEAC himself, Brown should have taken his palette and easel to Suffolk. It was this coastline, around Southwold and Walberswick, that Philip Wilson Steer, one of the NEAC’s founding figures and a brilliant early British Impressionist, helped make popular as an artistic destination in the last decades of the nineteenth century. Whilst Brown’s recent interior paintings are worked on over many days and sometimes weeks, out of doors he aims, like his Impressionist predecessors, to paint a picture in – as he puts it – ‘one hit’, if he possibly can. These new works have a freshness and spontaneity that captures the breezy sunlight of the east coast of England – but they are paintings that are based on years of hard work, careful observation and constant practice.

8 Combe Park, Christmas oil on canvas 122 x 61 cms 48 x 24 ins It is this hard graft aspect of the artist’s life that Brown wants to highlight first and foremost in the period of his presidency at the NEAC. ‘Above all,’ he explains, ‘I want the members of the NEAC to do what they do best – to paint as best they can because that is what it is all about.’ This, he believes, will be achieved by drawing upon and vocalizing the expertise and experience of the membership – through artist-led tours of their annual exhibition, panel discussions and lectures, as well the display of members’ sketchbooks, which, like Sickert, he sees as the foundation of painting. He also has ideas for the inclusion of featured works by prominent past members, the publication of attractive new coffee-table books highlighting their members’ work, and new prizes to encourage emerging talent in painting and drawing.

His aim, above all, ‘is to show the important position the Club has had in the development of British painting since those early days when its membership including many of the leading artists of the day’ – people like John Singer Sargent, Walter Sickert and Augustus John, as well as modernists such as Mark Gertler, Paul Nash, Edward Wadsworth and . It is an ambitious plan, and one that deserves every success.

David Boyd Haycock author and curator

9 Ella, Night, The Studio oil on canvas 102 x 91 cms 40 x 36 ins 10 Ned and the New Puppy on Ella's Bed, January 2019 11 Broken Morning Light, the Studio, Summer 2018 oil on canvas oil on canvas 51 x 64 cms 20 x 25 ins 89 x 51 cms 30 x 24 ins 12 Ella and Ned 14 The Inheritance oil on board oil on board 30 x 25 cms 12 x 10 ins 30 x 25 cms 12 x 10 ins

13 The Studio, Lamp Light 15 The Studio, Morning oil on canvas Light, Summer 2018 51 x 41 cms 20 x 16 ins oil on canvas 51 x 41 cms 20 x 16 ins summer in southwold

16 The Bank, Southwold oil on canvas 64 x 76 cms 25 x 30 ins 17 Southwold Beach, Summer Cloud Shadows 18 Down on the Beach, Southwold oil on canvas oil on canvas 51 x 64 cms 20 x 25 ins 61 x 61 cms 24 x 24 ins 19 Moto, Alice Maud, Snow Goose and Boy Dutta, Black Shore, Southwold 20 Black Shore, Heavy Skies oil on canvas oil on canvas 89 x 76 cms 35 x 30 ins 76 x 64 cms 30 x 25 ins 21 Black Shore, Setting Sun 22 Black Shore, Southwold, Clear Summer's Morning oil on board oil on board 41 x 30 cms 16 x 12 ins 41 x 30 cms 16 x 12 ins 23 Southwold Beach, July Morning 24 Southwold, Summer 2018 oil on canvas oil on canvas 51 x 64 cms 20 x 25 ins 76 x 89 cms 30 x 35 ins 25 North Parade and Pier, Summer Evening 26 Black Shore, Southwold, A Windy August Morning oil on board oil on canvas 20 x 61 cms 8 x 24 ins 51 x 41 cms 20 x 16 ins 27 Pin Mill, 2017 oil on canvas 64 x 51 cms 25 x 20 ins on the broads

28 Seagulls and Chips, Aldeburgh 29 Thurne Regatta oil on board oil on canvas 30 x 41 cms 12 x 16 ins 51 x 64 cms 20 x 25 ins 30 Two Mallards Going for a Stroll, Thurne Dyke 31 Through the Reeds, Thurne, Norfolk oil on canvas oil on canvas 41 x 51 cms 16 x 20 ins 64 x 64 cms 25 x 25 ins 32 Horsey Wind Pump 33 Horsey Dyke, May oil on board oil on canvas 25 x 30 cms 10 x 12 ins 64 x 64 cms 25 x 25 ins 34 Thurne, Norfolk Broads, The Blue Tarpaulin oil on board 41 x 30 cms 16 x 12 ins

35 Burnham Overy Staithe, Norfolk, Hot Summer's Day oil on board 30 x 41 cms 12 x 16 ins

36 Summer Afternoon, Horsey Dyke oil on board 41 x 30 cms 16 x 12 ins 37 Willows at Horsey, 2017 oil on canvas 89 x 76 cms 35 x 30 ins in town

38 Grayson’s Piccadilly oil on canvas 51 x 64 cms 20 x 25 ins 39 Piccadilly Circus, Summer Afternoon, 2015 oil on canvas 3 152 x 190 cms 60 x 74 ⁄4 ins 40 Sun Through the Planes, The Aldwych 41 Summer Lunchtime, Sicilian Avenue oil on canvas oil on canvas 51 x 41 cms 20 x 16 ins 91 x 122 cms 36 x 48 ins above: opposite: 42 Waterloo Bridge, Winter Afternoon 43 Construction of Heron Tower and the Pinnacle, 2010 oil on canvas oil on canvas 7 30 x 91 cms 12 x 36 ins 122 x 91 cms 48 x 35 ⁄8 ins 44 Cheapside, Grey Morning, 2014 45 Westminster Abbey, The East Gate (Rain), 2014 oil on canvas oil on canvas 76 x 38 cms 30 x 15 ins 89 x 76 cms 35 x 30 ins 46 Portobello Road, Autumn Afternoon Light 47 Portobello Road, September Afternoon oil on board oil on board 30 x 41 cms 16 x 20 ins 30 x 41 cms 12 x 16 ins 48 Vauxhall Bridge, Bright November Morning 49 The Bello, Autumn Light oil on board oil on board 20 x 61 cms 8 x 24 ins 20 x 61 cms 8 x 24 ins peter brown PNEACRPROIPSRBA(HON)

Born 1967

Art Education Collections Group Exhibitions include 1992/93 PGCE (FE), University of Greenwich The National Library of Wales; The Victoria 2016 New Perspectives, Messums, Wiltshire 1987/90 BA Fine Art, Manchester Polytechnic Art Gallery, Bath; The Holburne Museum, 2015 Varanasi, 4-man show at Indar Pasricha Bath; The Building of Bath Museum, Bath; The Fine Arts, London 1986/7 Diploma Foundation Studies, Bath Bowerman Collection; House of Fraser; The College of Higher Education RAC Club; Howard de Walden Estate; The 2013 Five Painters in India, The Tryon Gallery, Target Corporation; The Drapers’ Company; London Awards include Sir John Sunderland; Battersea Power Station 1999–2010 Albany Gallery, Cardiff; Alresford Gallery, Alresford; The Arts Club, 2019 Elected President of the NEAC (New Development Company London; Champs Hill, Pulborough English Art Club) Memberships (courtesy of the Bowermans); 2018 The Critics’ Choice (New English Art Club) Fountain Fine Art, Llandeilo; 2017 The Critics’ Choice (New English Art Club) New English Art Club Island Fine Arts, Isle of Wight; Red Public Choice (New English Art Club) Royal Society of British Artists (Honorary) Rag Gallery, Stow-on-the-Wold; W.H.Patterson Fine Arts, London 2013 The Le Clerc Fowle Medal Royal Society of Portrait Painters The Critics’ Choice (New English Art Club) Royal Institute of Oil Painters Publications 2012 The Critics’ Choice (New English Art Club) Pastel Society Bath Paintings by Peter Brown, published: Runner up, Lynn Painter-Stainers Prize Bath Society of Artists Sansom & Company 2015, ISBN 978 1 911408 28 4 2011 The Critics’ Choice (New English Art London: Paintings by Peter Brown, hardback, Club) One Man Exhibitions published: Sansom and Company 2015, Painter-Stainers’ Award (New English Art 2019 Messum’s (At Home and Abroad) ISBN 978 1 908326 80 5 Club) 2017 Messum’s (East Coast and London) My Indian Travels, by Peter Brown, hardback, 2nd Prize, The RAC Centenary Exhibition 2016 The Victoria Art Gallery, Bath published 2013, ISBN 978 1 908486 41 7 2009 The Critics’ Choice (New English Art Club) Messum’s (Paintings of London) Brown’s Bath: The Work of Peter Brown, hardback, published 2008, ISBN 978 0 9559727 0 6 2008 Prince of Wales Award for Portrait 2014 Messum’s (en route London to Paris) Drawing Exhibition catalogues (x19) 2002–2019 Victoria Art Gallery, Bath 2006 First Artist-in-Residence at the Savoy 2013 Messum’s (Home and Abroad) Hotel, London DVDs Messum’s (Paintings of India) 2005 Hunting Art Prizes: the Drawing Prize Painting Arles APV Films 2016 2012 Messum’s Cork Street, London Crossgate Gallery Purchase Prize Painting Varanasi Neale Worley 2016 2011 Victoria Art Gallery, Bath 50 Fortnum & Mason and the Christmas Lights 2002 The Arts Club Award (New English Art Peter Brown: Oil Sketches APV Films 2013 2010 Messum’s, Cork Street, London oil on board Club) 2009 Messum’s, Cork Street, London 30 x 15 cms 12 x 6 ins 2001 The Arts Club Award (Pastel Society) Broadcasts Selected to be hung at the National Alexander Meddowes, Edinburgh A Picture of Bath, BBC1 for Inside Out series, Gallery from the 2001 RP Show 2008 Messum’s, Cork Street, London September 2004 2000 W.H.Patterson Memorial Award (New Victoria Art Gallery, Bath A Picture of Bath, BBC Radio Bristol for ‘A Sense English Art Club) 2007 Messum’s, Cork Street, London of Place’ series, May 2002 1999 The Llewellyn Alexander Award (New 2006 Victoria Art Gallery, Bath English Art Club) Albany Gallery, Cardiff 1998 The Bristol Fine Art Oil Painting Prize (Royal West of England Academy) 2005 Messum’s, Cork Street, London The Tom Rice Gallery Award (Pastel Victoria Art Gallery, Bath Society) 2004 Messum’s, Cork Street, London

CDLIII ISBN 978-1-910993-45-3 Publication No: CDLIII 1997 The Saint Cuthbert’s Mill Award (Royal 2003 W.H.Patterson Fine Arts, London Published by David Messum Fine Art Society of British Artists) 2003 West Sussex, Champs Hill, Pulborough © David Messum Fine Art 1996 The Pastel Society Non-Members Award 2002 W.H.Patterson Fine Arts, London All rights reserved. No part of this publication may be transmitted in any form Victoria Art Gallery, Bath or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in 2000 Victoria Art Gallery, Bath writing from the publisher. The Studio, Lords Wood, Marlow, Buckinghamshire. Tel: 01628 486565 www.messums.com Photography: Steve Russell Printed by DLM-Creative

ptr brown peter peter brown Messum’s 2019 MESSUMS www.messums.com www.messumswiltshire.com