Alfred Wallis: Artist and Mariner, Robert Jones, Halsgrove Press, 2001, 1841140724, 9781841140728, . .

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The life and work of the influential Cornish artist Alfred Wallis (1855 – 1942). Seaman, fisherman and later, dealer in 2nd hand marine goods, it was not until Wallis was in his seventies and eighties that he took up painting. The author and respected contemporary painter Robert Jones, was once a fisherman himself. His shared experience with his fellow artist and mariner Alfred Wallis has allowed him to bring new insight and factual information to the extraordinary world of this fascinating artist.

Here is a refreshing view of a simple man and his painting set against the background of and the sea, worlds familiar to both men. While the author's own career as a professional painter puts him among the forerunners of contemporary artists in Cornwall, his book also reveals how much the Cornish landscape and heritage have influenced those who have followed in the footsteps of Wallis. For anyone with a general interest in painting in Cornwall, or those who have followed the work of Alfred Wallis or Robert Jones - artists and mariners both - this book will prove to be of exceptional interest and great enjoyment. Throughout the book Robert Jones uses his knowledge of the Cornish coast and the fishing trade to re-examine many of Wallis' pictures, discovering how keen an eye the painter had for the details of the world around him. Here is clear evidence that the painting of ships and fishing vessels in distant locations are effectively a visual record of the artist's own time spent at sea. From the Labrador Coast to Gibraltar, Wallis' early years as a seaman can be traced in his painting and are here confirmed through official records, including contemporary crew lists.

Alfred Wallis (1855-1942), mariner and fisherman, who lived for most of his life in Cornwall and is most closely identified with St Ives, at the end of his life was a self-taught painter whose paintings of ships, harbours and the sea provided significant inspiration to the generation of artists who came to Cornwall in the 1920s and 30s. His influence on painters Ben Nicholson and Christopher Wood is most often cited, but he was accorded a sort of bemused respect and affection by many more, and his work can be seen at the root of so many of other painters’ works that have been created in that jewel-clear air of West Cornwall. This wonderful book seeks to rescue the man from the legend and stereotype and the somewhat patronising label of ‘primitive’.

What most people know about Alfred Wallis comes from the time that he became known to the wider world. He was a seaman and fisherman for half his life, born just over the border in Devon of Cornish parents (seemingly, it is possible his mother might have been Scillonian, which appeals to me). He grew up in , went to sea at a very young age, married very young, and in later life moved to St Ives to run the Marine Stores with his wife. His wife Susan, whom he married at 20, was a widow who was much older than him, with children near his own age. Her death in 1922 marked the end of the business, and, all alone and in his seventies, he took up painting to pass the time and ease his loneliness. He painted on cardboard from grocers’ boxes, with boat paint, and he said repeatedly that he was painting what he knew from his past, before it was all forgotten. Part of the legend is the story of Ben Nicholson and Kit Wood walking past his open door and seeing paintings stacked up all around the walls. They saw merit in what he did (unlike his neighbours in St Ives) and supported his work by buying paintings for the rest of his working life. They spread the word, and another buyer and supporter was H S (‘Jim) Ede, a curator at the Tate, who used the collection of Wallis paintings at the heart of his living gallery at Kettles Yard in Cambridge – the best place that I know to see Alfred Wallis’s work and a fascinating and beautiful place in itself.

His paintings, on the face of it, are ‘wrong’ – to get the wealth of detail into his harbourscapes, he didn’t use perspective, but would turn things on end. If one ship is going from West to East it is painted in its right orientation; if another is going from South to North, it is standing on its stern and sailing ‘up’ the painting. In some ways, his pictures combine the elements of a seascape with those of a map or chart – it is almost, but not quite, a birds-eye view. I have loved his paintings from the first time I saw them, in . I find it impossible to look at them and not smile. They mean Cornwall to me, and the sea around its coast. Their liveliness and vigour and love for the sea-going life are wholly infectious.

Wallis must have produced thousands of pieces of work, of which a few hundred survive. There are tales of him recompensing people for errands with paintings which when brought home were disregarded or thrown away. Wallis was rescued by the St Ives artists and given the respect he deserved, if not entirely understood. He lived to a very great age, his final years clouded by a mental condition tinged with religious mania. Having outlived anyone who had a claim to care for him, he ended his days, as he would have feared, in workhouse, although it is on record that he was beyond caring for himself at home and while in Madron his mental and physical state improved enough for him to start to draw again. The debt that the artistic community owed to him was remembered, Nicholson and his wife Barbara Hepworth were among those who visited him there, and the artists who knew him paid for his burial in Barnoon Cemetery, St Ives. The memorial to him is by the noted potter, .

I thoroughly recommend this book, beautifully illustrated with Wallis’s work, and a careful, necessary tribute to a serious and influential artist and a man whose way of life had disappeared in his lifetime. It is interesting to speculate how far he was aware of the impact of his work. I would like to think that he had some idea.

If you want to see a selection of Wallis’s work online, there is a gallery here at www.alfredwallis.org. If you want to see a collection of his work in beautiful and appropriate surroundings, I suggest Kettles Yard in Cambridge – and not just for its collection of Wallis paintings – it is a unique experience to visit it. I first saw his work in Tate St Ives, and the Tate Collection does include some of his work, although, rather depressingly, mostly flagged currently as ‘Not on display’

I love his work and I suppose his style is perhaps not as strange or childishly naive to us now we have all the deliberately naive movements of the twentieth century behind us, as it might have appeared at the time. I think what I look for is authenticity and genuineness from artists and I think you get that from Wallis. But whilst his drawings are rather naive – whether deliberately or otherwise, I don’t find his use of materials so child-like. I find the limited palette and the use of the textured paint for the squally seas very striking. He achieves a sort of mythic thing with his images – they seem to conjure a motif, a moment, a time of life, a relation of man to the elements – and all a quite universal symbolic way. For me this is where the power lies. I loved Kettle’s Yard when I visited many years ago. I remember a number of artists with a similar feel – very crafty-looking, with mythic qualities but also a fairly low-key or humble use of materials. Like David Jones.

Thank you both for your lovely comments. I’m so glad Alfred Wallis strikes such a chord. There really is am immense power in his work, I do so agree. That legendary encounter between Nicholson and Wallis goes to show it in a way. Through an open door, and across a dimly lit room, his paintings spoke to Nicholson and Wood.

Coincidentally, I went to Compton Verney yesterday, the country house gallery in Warwickshire. There is a wonderful collection of English folk art there, which is brilliant, just the greatest of fun – inn signs, a ship’s figurehead. And those wonderful naive paintings of unfeasibly well-fed (and, ahem, well-hung) rams and bulls, prize-fighters, home-sweet-home etc. The collection has a single Wallis (painted on a tea-tray), and next to these paintings it’s instantly apparent that there was something very different about his painting – a particular sort of artistic sensibility, and (I do so agree Rosy) texture and vigour. The ram, bull and prizefighter painters were being very careful to copy and stay faithful to reality – Alfred Wallis filtered everything through an extraordinary imagination. Yes – by chance, I’ve been looking a Wallis and Nicholson all in the same week. I went to the Nicholson/Mondrian exhibition at the Courtauld, and found that the more Nicholsons I looked at, the less they did for me. There is a sterility about them, and a carefulness on the other hand, I got something of the same buzz off Mondrian as I do from Alfred Wallis – it’s almost as if he can make the viewer excited that he’s repositioned his block of colour, rather as all Wallis’s boats and ships all tell me something new and different about the world. One day I’ll get to grips with understanding why I experience these varied responses when I look at a painting.

Talking of modernist/cubist type stuff -the best thing ever for me was going to the Museum of Modern Art in . It is a treasure chest and there are rooms of cubist paintings – small still lives – by Picasso and Braque. Never been that fussed about them in reproduction but the real things are just mesmerising and very beautiful. The museum is interesting as it shows how the Eastern Europeans kept on with cubism long past anyone else with the tradition just continuing on into the 60s. It seems to represent the whole man/machine in a positive way thing that perhaps was lost very much quicker as an idea in France say. I find it interesting in the same way I find the difference between Eastern European andFrench surrealist theatre interesting. I prefer the Eastern European sort – I think because they use the obliqueness, the paradoxicalness and ridiculousness to say very pertinent things about their society. Seems more concrete to me.

This week is a week of remembrance, for the Armistices after two hideous world wars, and for the 75th anniversary of Kristallnacht. I went to the Menin Gate evening ceremony last week at Ypres, in Belgium, under the vast arch that has the names of the Allied soldiers who died in the First World War but whose bodies weren't found. It was very moving, and very sad, because nothing much seems to have changed. The militarisation of the ceremony, while respectful to the soldiers who died, is not conducive to de-militarising responses to conflict. So this week's collection of reviews are about the effects of war and the acts of war on civilians and soldiers alike.

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Description: As New in Very Good jacket. Book. 8vo-over 7¾-9¾" tall. N.B.... As New in Very Good jacket. Book. 8vo-over 7¾-9¾" tall. N.B. This is a 2001 edition, possibly different cover to depiction, 128 pp compared with 96 in the 2006 edn. Almost AS NEW, just slight shelf wear to dj. No markings in or on book. Tight binding. Gift Quality. 1st class posting within 1 business day of order receipt.

Description: Very Good/Very Good. 4to-over 9¾"-12" tall 9781841140728 Bound... Very Good/Very Good. 4to-over 9¾"-12" tall 9781841140728 Bound in smart black cloth, with bright, gilt title lettering to spine, this hardcover Revised Edition is VG in VG wrapper. Size 10" x 10". 128pp with numerous plates in colour and B/W. Includes reproductions of documents and old photographs. Front free endpaper has vertical crease close to fore-edge, rear endpaper also has minor creases in one corner; otherwise all VG.

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The Cornish artist and author Robert Jones was born in Newquay, Cornwall. The beaches and cliffs were his childhood playground. He studied at Falmouth College of Art where he was taught by Robert Organ and Francis Hewlett. He continued to paint whilst teaching in various schools including A.S. Neill’s Summerhill School for three years, and for seven further years fishing around the Cornish coast. A period as part time tutor at Penzance and Falmouth Colleges of art, followed by a successful exhibition at Newlyn Orion Art Gallery encouraged him to concentrate on his painting. He was able to reduce his teaching commitments and then to paint full time. He is a prolific artist who has exhibited widely.

In 1995 he began researching the life and work of the artist Alfred Wallis, and in 2000 his book, ‘Alfred Wallis Artist and Mariner’ was published to critical acclaim. Continuing with his fascination with maritime subjects he has completed his next book which is about the pierhead painter Reuben Chappell. The book ‘Reuben Chappell Pierhead Painter’ came out in the spring of 2006.

You actually make it seem really easy together with your presentation however I in finding this matter to be actually one thing which I think I’d never understand. It sort of feels too complicated and extremely huge for me. I am having a look forward on your subsequent post, I will attempt to get the dangle of it!

From December 2011 to May 2012 I was Music Assistant at Kettle’s Yard, working on the Thursday Chamber Subscription Series and the New Music Series. My job has been to make everything run smoothly on concert day, from setting up the room to making the programmes to getting in tea for the musicians, so I’ve definitely been kept busy! I’ve had the opportunity to meet some incredible performers and hear some amazing performances. I’m writing this on my last day, and the last day of the subscription series for the year, so now is a good chance for me to look back on the concerts and on my time here and pick out a few highlights.

I knew the New Music concerts were going to be a lot of fun when they started with an irrepressible quartet of tuba players in costume and character – Youtuba put on a brilliantly entertaining show which was also musically dazzling. Two weeks later and I was holding on for dear life page-turning a monster of a piece by Michel Finnissy for Mary Dullea, performing with top contemporary violinist Darragh Morgan, and soon after I was laughing along with the vocal acrobatics of Rebecca Askew and Melanie Pappenheim’s performance of Orlando Gough’s Flam.

On the chamber music side, personal highlights were hearing Ronald Brautigam perform a treat of a programme (all Beethoven – yes please), and the wonderful humour of singers Karen Cargill and Marcus Farnsworth. Marcus, who subbed in at eight hours’ notice (!), ended with one of the funniest encores I’ve ever heard! http://edufb.net/2732.pdf http://edufb.net/706.pdf http://edufb.net/357.pdf http://edufb.net/2067.pdf http://edufb.net/2738.pdf http://edufb.net/478.pdf http://edufb.net/1279.pdf http://edufb.net/2601.pdf http://edufb.net/2498.pdf http://edufb.net/2662.pdf http://edufb.net/1358.pdf http://edufb.net/518.pdf http://edufb.net/2287.pdf http://edufb.net/989.pdf http://edufb.net/206.pdf http://edufb.net/2517.pdf http://edufb.net/148.pdf http://edufb.net/446.pdf