Download Alfred Wallis: Artist and Mariner, Robert Jones, Halsgrove
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Alfred Wallis: Artist and Mariner, Robert Jones, Halsgrove Press, 2001, 1841140724, 9781841140728, . DOWNLOAD HERE Alfred Wallis Primitive, Sven Berlin, Aug 1, 2007, , 144 pages. On a visit to St. Ives in the 1920s, the artists Ben Nicholson and Christopher Wood chanced upon a reclusive, semi-literate fisherman living in poverty and spending his time .... Colour and Light in Oils , Nicholas Verrall, Jun 15, 2008, Art, 128 pages. Through an array of demonstrations and inspirational images, a respected and successful painter reveals all his secrets for depicting light and mood, and bringing out the rich .... Shipshape , James Dodds, Nov 1, 2001, Art, 130 pages. Alan Cotton On a Knife Edge, Jenny Pery, Sep 1, 2003, , 144 pages. Alfred Wallis , Matthew Gale, 1998, Biography & Autobiography, 80 pages. Alfred Wallis (1855-1942) spent most of his life as a dealer in marine supplies and it was only at the age of 70 that he took up painting "for company" after the death of his .... Postmodernism , Eleanor Heartney, 2001, Philosophy, 80 pages. This work examines the ways in which the term "Postmodernism" has been used and abused within the contemporary art world. It explores the paradox at the heart of Postmodernism .... Barbara Hepworth works in the Tate Gallery Collection and the Barbara Hepworth Museum, St Ives, Matthew Gale, Chris Stephens, 1999, Art, 296 pages. Barbara Hepworth (1903-1975) is internationally acclaimed as one of the major sculptors of the mid-20th century. Initially a carver of hard woods and stones, she diversified .... Two painters works by Alfred Wallis and James Dixon, Matthew Gale, Richard Ingleby, 1999, Art, 128 pages. Examines celebrated "primitive" seascapes, boat scenes, and depictions of fishing-community life by the artists.. Paint and purpose a study of technique in British art, Stephen Hackney, Rica Jones, Joyce Townsend, 1999, Art, 216 pages. Daphne Todd, Paint and Principle The Life and Work of Dephne Todd, Jenny Pery, Sep 20, 2008, , 176 pages. Daphne Todd is one of Britain's foremost figurative painters. Best known for her portraits, her work also covers a wide range of genre, still-life and landscape painting .... St Ives Artists A Companion, Virginia Button, Jul 1, 2009, , 80 pages. The achievement of Christopher Wood (19011930) has often been overshadowed by the legend that grew up around his bohemian lifestyle and his dramatic suicide at the age of 29 .... Scottie Wilson Peddler Turned Painter, Anthony J. Petullo, Scottie Wilson, Katherine M. Murrell, Apr 15, 2004, , 78 pages. Scottie Wilson (1891-1972) was a self-taught artist who achieved recognition from both the art world and the popular media. Nevertheless, he remained an outsider who lived .... 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 Cornwall 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 Penzance, 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 Tate St Ives. 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 Madron 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, Bernard Leach. 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.