3 Big Sky, Shapley Common (Dartmoor), 2018 mixed media/paper 3 7 62 x 81 cms 24 ⁄8 x 31 ⁄8 ins New landscape works

David Tress tears apart the landscape and almost forces his way into it. His paintings and drawings are like pages ripped from the places he has visited: like turfs dug from a field or a hillside, at times they are almost three dimensional in their form. He is no passive bystander; he is both artist and archaeologist. He inhabits – physically and intellectually – the places he paints. The works that result from this existence, this experience in the landscape, are about history, memories, relationships – but they are not topography; they do not attempt to accurately describe the physical details of a particular place, though they are clearly born of those places. What Tress explores is the physical experience of being in a landscape, of responding emotionally to it.

4 The Big Oak, 2018 graphite/paper 5 104 x 126 cms 41 x 49 ⁄8 ins Hence this is not simply Tress’s own personal experience of the place, but his reaction to the history of these places, the centuries – and sometimes even millennia – of human activity they have recorded upon them. They are about the past in the present, and the present in the past. ‘Paintings are complex things,’ he observes, ‘they gather lots of ideas … They are never just landscapes – they always carry some freight … a personal resonance’.

That personal resonance is vital. Tress now lives in Haverfordwest, the small riverside town in Pembrokeshire that was once the home of Gwen and Augustus John. But though his mother was Welsh, and south Wales has been his home and the subject for a great deal of his art since he first moved there in 1976, he was actually born in Wembley, west London, in 1955. His family was not especially artistic, and from a young age moths and butterflies were (and still are) a fascination for him. Biology he

5 Ullswater, 2018 graphite/paper 3 1 30 x 41 cms 11 ⁄4 x 16 ⁄8 ins

6 Cross and Land. St Clether, Cornwall, 2017 watercolour and mixed media/paper 3 3 39 x 30 cms 15 ⁄8 x 11 ⁄4 ins

7 New Year (The Sky Washed Eggshell Blue) I, 2018 Mixed media/paper 1 7 52 x 58 cms 20 ⁄2 x 22 ⁄8 ins describes as having been ‘this marvellous romantic thing’, and his early academic direction was towards science. But he could always draw well, and when he discovered that biology was not quite all that he had expected, he turned towards art instead.

An early inspiration, when he was still studying for O Level art at school, was a visit to an exhibition of watercolours by the early nineteenth-century English landscape artist John Sell Cotman. ‘It was completely new to me but I was immediately taken by it – I found there was something visually exciting about it. His wonderful sense of simplified composition, placement, structure – I was intrigued.’ Not long after he also discovered Abstract Expressionism – the American artists Robert Motherwell and the ‘action painters’ Willem de Kooning and Jackson Pollock. In many ways his work today is almost a collision between those two early artistic encounters.

8 Kirkstone Pass, 2018 graphite/paper 3 1 29 x 42 cms 11 ⁄8 x 16 ⁄2 ins

9 Cross and Land. Sancreed, Cornwall, 2017 watercolour and mixed media/paper 3 3 39 x 30 cms 15 ⁄8 x 11 ⁄4 ins

10 The Year Ending II, 2018 mixed media/paper 5 3 50 x 62 cms 19 ⁄8 x 24 ⁄8 ins He aims at the latters’ rawness and honesty, whilst continuing to follow the fundamental traditions and concerns of British Romanticism. (It is perhaps no surprise that Graham Sutherland also found inspiration in the landscape of Pembrokeshire.) He describes his own work as ‘reckless, but deeply disciplined,’ founded upon forty years of studying the tonal relationships that are key to the success of his paintings. These deep artistic foundations are clearly in evidence in the extraordinary measured drawings he made whilst still a student in the early 1970s, as well as in the meticulously painted paintings he produced in the early 1980s: landscapes and interiors in watercolor and oil of incredible vision and intensity.

His striking recent drawing exhibited in this current exhibition, ‘Big Oak,’ is something of a return to those roots (if you will pardon the pun), and he thinks it will prove ‘a bit of a surprise, too, for many

11 Old Sarum, 2018 graphite/paper 3 1 35 x 47 cms 13 ⁄4 x 18 ⁄2 ins

12 Cross and Land. Howmore, South Uist, 2017 watercolour and mixed media/paper 3 3 30 x 39 cms 11 ⁄4 x 15 ⁄8 ins

13 The Year Ending III, 2018 mixed media/paper 3 7 45 x 58 cms 17 ⁄4 x 22 ⁄8 ins people who are not aware of my detailed early work and have only seen the much broader recent pieces. I didn’t particularly plan to work in this sort of detail again,’ he admits, ‘but it was an image that I had in my mind and which I very much wanted to make, and when I began work on it, it seemed to demand the sort of concentrated analysis and exploratory drawing that is evident in the finished piece.’ It is a work of daring confidence and assurance, and he calls working in black and white like this ‘viscerally exciting.’ And it is interesting to see the way in which it evokes the work of the black and white photographers he loves, in particular Bill Brandt and Edwin Smith.

By the mid 1980s Tress was moving away from the hyper-realist technique that had already won him a dedicated following as well as considerable critical attention, moving steadily in the direction that we find him today: an action painter at work in the

14 Ullswater from Glen Ridding, 2018 graphite/paper 3 3 30 x 40 cms 11 ⁄4 x 15 ⁄4 ins

15 Cross and Land. Horn’s Cross, Dartmoor, 2017 watercolour and mixed media/paper 3 3 39 x 30 cms 15 ⁄8 x 11 ⁄4 ins

16 Landfall, St Columba (Isle of Mull), 2017 mixed media/paper 1 3 59 x 78 cms 23 ⁄4 x 30 ⁄4 ins British landscape. The impact of seeing paintings by David Bomberg and Frank Auerbach in the 1980s was significant. ‘Hair-raisingly good’ is the phrase he uses for that encounter.

‘Definite’ and ‘vigorous’ are thus words that crop up frequently in a discussion with him about art – both in his own work and that done by those artists he admires. These are the elements he seeks to achieve, whilst at the same time enjoying what he calls the ‘struggle’ to achieve it. It is hard work, to make art like this. But ‘through your hard work,’ he explains, ‘you put spirit into something.’ He uses the analogy of an Anglo-Saxon blacksmith, working at his anvil upon a pattern-welded sword, endlessly beating the rods of iron into shape to create a blade of extraordinary resilience and beauty, filled with the spirit of the maker. He aims for a similar spirit is hammered home in his own work – it is something he strives for, but knows, hopes, he will never quite

17 Summer, A Quiet Day, 2018 graphite/paper 1 7 36 x 43 cms 14 ⁄8 x 16 ⁄8 ins

18 Cross and Land. St Buryan Churchyard, 2018 watercolour and mixed media/paper 3 29 x 38 cms 11 ⁄8 x 15 ins

19 Land and Sea (Winter Spring), 2018 mixed media/paper 1 1 52 x 64 cms 20 ⁄2 x 25 ⁄4 ins 20 Clegyr Boia and Thorn, 2018 graphite/paper 1 3 42 x 62 cms 16 ⁄2 x 24 ⁄8 ins reach in its most perfect form. Because it is in the process of reaching that he is always discovering. That telling phrase ‘the hard-won image’ was almost made for him.

‘Palimpsest’ is another word Tress likes to use to describe his paintings and drawings. ‘A palimpsest,’ as he explains, ‘is – strictly speaking – an early manuscript that has been almost, but not entirely, erased for purposes of economy and re-use. The previous script or decoration remains as a just discernible and fragmentary record of the earlier incarnation. What a word for landscape – what a word for describing the ancient landscape of Pembrokeshire with its layer upon layer of human intervention over thousands of years, and its fragmentary legacy of scars on the landscape – a sort of cuneiform script, half-erased.’

21 Cross and Land. Bennet’s Cross, Dartmoor, 2017 watercolour and mixed media/paper 3 3 30 x 39 cms 11 ⁄4 x 15 ⁄8 ins

22 Cross and Land. Long Tom, Bodmin, 2017 watercolour and mixed media/paper 3 3 29 x 39 cms 11 ⁄8 x 15 ⁄8 ins

23 From Meldon Down (Devon), 2018 mixed media/paper 3 7 40 x 48 cms 15 ⁄4 x 18 ⁄8 ins 24 The Land (Leaving Winter), 2018 mixed media/paper 5 50 x 61 cms 19 ⁄8 x 24 ins A new subject in these latest works, exhibited for the first time here at Messum’s, are paintings inspired by an early summer visit to Wiltshire in 2018. It was not the sort of rural, agricultural landscape Tress had ever painted before, and he considered it a new challenge. The broad fields of oil seed rape had not been in his mind before he went, and as he explains he ‘never had a reason before to paint these great slabs of yellow.’ But they proved a perfect subject for his pictures adding a new dimension of vivid colour, leading to paintings that almost hum with heat. He also found inspiration in the road traffic signs that spring up around these less rural landscapes: ‘nice graphic things,’ as he calls them, that provide ‘a sense of the present in the past,’ like the power lines that he has included in previous paintings. These markers of modernity are not intrusive – they simply add to what he calls ‘a vigorously alive landscape.’ The interwar watercolourist Eric Ravilious achieved a similar thing, happily incorporating the signs of

25 A Bright Cloud, 2018 graphite/paper 1 1 41 x 59 cms 16 ⁄8 x 23 ⁄4 ins

26 Rape Field, Alton Barnes, 2018 mixed media/paper 5 1 32 x 42 cms 12 ⁄8 x 16 ⁄2 ins

27 Green Land (Rain Near Moretonhampstead), 2017 mixed media/paper 7 38 x 53 cms 15 x 20 ⁄8 ins 28 Horn’s Cross, Dartmoor, 2018 graphite/paper 103 x 152 cms 1 7 40 ⁄2 x 59 ⁄8 ins modernity and industralisation into his paintings of the North and South Downs. And in Wiltshire Tress has revisited a subject that was also dear to Ravilious’s heart – the chalk figures that dot these landscapes, in particular the Roundway Hill figure.

And like Ravilious’s work, Tress’s paintings achieve what he calls ‘a total experience between earth and sky’. However well they are photographed, the catalogue images can never begin to convey the full quality and (literal) depth of the work. For forty years Tress has ploughed his own furrow. He confesses that he has been ‘bloody minded’ in following his own course, of having this ‘gut feeling’ of what he wanted to do, without knowing where exactly he was going. He has revelled in an unwillingness to accept prevailing views of what an artist ought to do, and he possesses a quiet insistence on making his own decisions. In doing this, he has achieved something both remarkable and highly original.

David Boyd Haycock Author and Curator November 2018

29 White Horse and Rape Field, Alton Barnes, 2018 mixed media/paper 1 33 x 42 cms 13 x 16 ⁄2 ins 30 Fovant (Rape Field and Hill), 2018 31 Alton Barnes (Right Turn), 2018 mixed media/paper mixed media/paper 1 1 1 3 31 x 41 cms 12 ⁄4 x 16 ⁄8 ins 31 x 40 cms 12 ⁄4 x 15 ⁄4 ins 32 Roundway Hill, Rape Fields and Pylons II, 2018 33 Roundway Hill, Rape Field and Pylons I, 2018 Mixed media/paper mixed media/paper 1 1 1 3 31 x 41 cms 12 ⁄4 x 16 ⁄8 ins 31 x 44 cms 12 ⁄4 x 17 ⁄8 ins 34 Last Snow (Solva), 2018 mixed media/paper 1 66 x 85 cms 26 x 33 ⁄2 ins 35 Blue, Blue, Arriving at Huisinis (Isle of Harris), 2017 36 Uisgneabhal Mor (Clisham in Cloud), Isle of Harris, 2017 mixed media/paper mixed media/paper 5 1 3 3 32 x 42 cms 12 ⁄8 x 16 ⁄2 ins 30 x 44 cms 11 ⁄4 x 17 ⁄8 ins 37 Summer Stream, 2018 mixed media/paper 1 56 x 64 cms 22 x 25 ⁄4 ins 38 Big Green and Gorse (From Shilstone Tor, Dartmoor), 2018 39 Big Green (From Shilstone Tor, Dartmoor), 2018 mixed media/paper mixed media/paper 3 7 7 7 39 x 48 cms 15 ⁄8 x 18 ⁄8 ins 43 x 48 cms 16 ⁄8 x 18 ⁄8 ins 40 Blackfriar’s Bridge and Cranes, 2018 mixed media/paper 7 3 48 x 63 cms 18 ⁄8 x 24 ⁄4 ins 41 At Shilstone Tor (Dartmoor), 2018 42 A Rainy Day (Near Moretonhampstead), 2018 mixed media/paper mixed media/paper 5 1 1 37 x 46 cms 14 ⁄8 x 18 ⁄8 ins 38 x 47 cms 15 x 18 ⁄2 ins 43 Green, Green (Devon From Meldon Common), 2017 44 Big River (Silver Grey, Lead Grey), 2018 mixed media/paper mixed media/paper 7 3 3 43 x 61 cms 16 ⁄8 x 24 ins 44 x 63 cms 17 ⁄8 x 24 ⁄4 ins 45 Last Snow (Preseli), 2018 46 Last Snow (The Black Mountains), 2018 mixed media/paper mixed media/paper 5 1 1 7 37 x 49 cms 14 ⁄8 x 19 ⁄4 ins 36 x 48 cms 14 ⁄8 x 18 ⁄8 ins 47 March Beginning, Rhosson, 2018 mixed media/paper 3 5 62 x 83 cms 24 ⁄8 x 32 ⁄8 ins 48 Clouds Rising Above Hecla, Beinn Mhor (South Uist), 2017 49 New Year (The Sky Washed Eggshell Blue) II, 2018 mixed media/paper mixed media/paper 5 7 5 1 32 x 48 cms 12 ⁄8 x 18 ⁄8 ins 55 x 57 cms 21 ⁄8 x 22 ⁄2 ins 50 Sudden Light (Winter, Carn Llidi), 2018 51 In August, 2016 mixed media/paper mixed media/paper 1 3 1 3 47 x 67 cms 18 ⁄2 x 26 ⁄8 ins 49 x 68 cms 19 ⁄4 x 26 ⁄4 ins 52 Moor Edge (Allendale Common), 2015 53 Buttercup Fields (Teesdale), 2015 mixed media/paper mixed media/paper 7 1 1 43 x 61 cms 16 ⁄8 x 24 ins 47 x 70 cms 18 ⁄2 x 27 ⁄2 ins 54 Winter Sun, Winter Sun, 2018 55 Snow at Caerfai, 2018 mixed media/paper mixed media/paper 1 1 3 5 46 x 57 cms 18 ⁄8 x 22 ⁄2 ins 44 x 60 cms 17 ⁄8 x 23 ⁄8 ins 56 Small Church (Celebration, Llanhywel), 2017 57 The Year Ending I, 2018 mixed media/paper mixed media/paper 7 1 1 1 48 x 59 cms 18 ⁄8 x 23 ⁄4 ins 51 x 59 cms 20 ⁄8 x 23 ⁄4 ins 58 Snow at Solva, 2018 mixed media/paper 3 5 44 x 60 cms 17 ⁄8 x 23 ⁄8 ins Gomer Press, 2001 Darryl Corner ‘Chasing Sublime Light’. • ‘Voyaging Out’ poems by Peter Abbs, Salt • The Big Issue • 30 November 2009 Introduction by Ian Jeffrey, 2008 DAVID TRESS Publishing, 2009. • The Spectator • 11 December 2010 • Review • Artists and Illustrators magazine. • ‘Moor Music’ by Mike Jenkins Seren, 2010 Andrew Lambirth Articles by Jenny White, April & Dec. 2008 • The Times • 9 June 2012 • Review John Russell • Country Life SELECTED REVIEWS Taylor ‘New Romantic’ about the ‘Chasing Sublime BIOGRAPHY 2009, 11, 14, 18 John Davies Gallery, Moreton- Maggi Hambling, Julian Perry, Cherry • Daily Telegraph • 18 November 1972 • Western Mail • 8 February 2013 • Review Jenny Light’ exhibition. in-Marsh Pickles, George Rowlett, Ian Welsh, Jo 1955 Born London, • Art Review • 11 and 25 August 1989, July 1991 White Mary Miers, May 21 2008 Welsh. The Art Shop, Abergavenny Harrow College of Art 2010 ‘Landmarks’. Victoria Art • La Depeche du Midi, France • 15 October 1992 • Wall Street International • 5 September 2013 • • Tivyside Advertiser Trent Polytechnic Gallery, Bath. 2008 ‘A Passion for Art’, The Friends of • Uned Gelf / The Art Unit • October 1992 Web article Article by Sarah-Jane Jones, June 3 2008 1976 Moved to Wales, 2011, 14, 16, 18 Beaux Arts, Bath the Glynn Vivian Art Gallery 50th • Western Mail • 23 Sept 1995, 19 July 1997 • • The Spectator • 21 September 2013 • Article • www.resurgence.org web article Taught History of Art at the University 2012, 13, 15, Anniversary Exhibition Review: Rian Evans by Andrew Lambirth ‘Truth to Experience’ College of Wales, Aberystwyth 16, 17, 19 Messum’s, London 2008 Beaux Arts, Bath • Planet, The Welsh Internationalist • No 123 • Prospect • 24 September 2013 • Article by by Jeremy Hooker, Jan/Feb 2009 2008 John Davies Gallery, Moreton-in-Marsh June/July1997 • Review: Jill Piercy David Killen • Golwg SOLO EXHIBITIONS GROUP EXHIBITIONS 2008 Pallant House Gallery, Chichester • Galleries • July 1997 • Review: Clare Rendell • Platform 505.com • September 2013 • Web ‘Stiwdio’r Artist’, Rhagfyr 10 2009 1982 Torch Theatre Gallery, Milford • Modern Painters Vol 10, No 2 • Summer 1997 • 1980, 81 Oriel (Welsh Arts Council), Cardiff 2009 ‘Art Cymru: Modern Art in Wales’, article by Susan Heywood • Exhibition catalogue Haven Review: Robert Macdonald 1981, 82 Royal Society of British Artists Pallant House Gallery, Chichester. • Cassone • July 2015 • Web – review by Julian ‘The Rude and Beautiful Landscape’. John 1987, 1990 Pau line Harries Gallery, • Irish Times • 11 June 1998 • Review: Aidan Freeman of monograph ‘David Tress’ by Davies Gallery, Moreton-in-Marsh. 1983–2011 Albany Gallery, Cardiff 2009 The Art Shop, Abergavenny Newport, Pembrokeshire Dunne Andrew Lambirth. Introduction John Russell Taylor. 2009 1984 ‘Pembrokeshire Artists’, travelling 2010 Beaux Arts, Bath 1988, 92, 99, 2001 Ori el Plas Glyn-y-Weddw, • Western Mail • 2 Sept 1999 • Review: Karen • Catholic Herald • August 28 2015 • Review by • Exhibition catalogue exhibition organised by Pembrokeshire Llanbedrog, Gwynedd 2010 John Davies Gallery, Moreton-in-Marsh Price Patrick Reyntiens of monograph ‘David Tress’ ‘Landmarks’. Victoria Art Gallery, Bath. Museums 1991, 94, 2000, 02, 2010 ‘Retrospective’. Eigse Carlow Arts • Golwg • 16 Medi 1999 • Review: Karen Owen by Andrew Lambirth. Introduction Jon Bennington. 2010 1984–2012 West Wales Arts Centre, Fishguard Festival, Ireland. • Cambria • Midsummer 2000 • New Welsh Review • October 2015 • On-line • Exhibition catalogue 2004, 06, 08, 10 West Wales Arts Centre, 1985–99 Pauline Harries Gallery, Newport, • The Independent • 27 July 2000 review by Celia Lyttelton of monograph ‘David ‘Earth, sun, wind & rain’. John Davies Gallery, Fishguard, Pembrokeshire 2011 Martin Tinney Gallery, Anglesey Pembrokeshire • The Week • 7 April 2001 • Review: Andrew Tress’ by Andrew Lambirth. Moreton-in-Marsh. 1992 Salon d’Automne, Albi, France 2012 Messums, London Lambirth • Planet • No. 220 winter 2015 • Review by Introduction – interview with David Tress by 1986 Fulham Gallery, London 2012 Brian Sinfield Gallery, Burford. Fortieth 1993, 95, 99, 2001, • Western Mail • 13 July 2002 • Review: Karen Ceri Thomas of monograph ‘David Tress’ by John Davies. 2011 1986–88 Pelter Sands Gallery, Bristol Anniversary Exhibition 2003, 05, 07, 09 Albany Gallery, Cardiff Price Andrew Lambirth. • Exhibition catalogue 1987–99, 2003 Attic Gallery, Swansea 2016 ‘Romanticism in the Welsh Landscape’ 1994 Taliesin Arts Centre, University • Golwg • 8 Awst 2002 • Review: Rhian Price • Resurgence • Jan/Feb 2016 • On-line review ‘David Tress. In Search of the Sublime’. 1988–95 Oriel Plas Glyn-y-Weddw, Llanbedrog, MOMA Machynlleth of Swansea • Planet, The Welsh Internationalist • No 154 by Professor Peter Abbs of monograph ‘David Messum’s Fine Art, London. Gwynedd 2016 ‘Face to Face: Portraits from the 1995, 98, 2001, Aug/Sept 2002 • Review: Alistair Crawford Tress’ by Andrew Lambirth. Introduction by Andrew Lambirth, 2012 1990 Cadogan Contemporary, London/ Andrew Lambirth Collection’ • The New Welsh Review • No 59 Spring 2003 • • Exhibition catalogue 2003, 05, 07, 09, 11 Boundary Gallery, London Trumpington Gallery, Cambridge Gainsborough House Gallery, Sudbury, Review: Shelagh Hourahane PUBLICATIONS AND ARTICLES ‘David Tress. A group of eleven new works’. 1997 Travelling exhibition 1990, 91 Nature Conservancy Council, travelling Suffolk. • The Times • 3 December 2003 • Review: John • Exhibition catalogue John Davies Gallery, Moreton-in-Marsh. commencing West Wales exhibition 2018 ‘The Aborealists’ John Davies Gallery, Russell Taylor Boundary Gallery, London Introduction – interview with David Tress by Arts Centre, Fishguard then 1991 Vanessa Devereux Gallery, London Moreton-in-Marsh. • Western Mail • 6 Feb 2006 Introduction: Andrew Lambirth 1995 John Davies. 2012 to Royal Cambrian Academy, 2018 ‘Of Yorkshire From Yorkshire’ Ryedale • Galleries • February 2004 • Review: Sarah • Exhibition catalogue • Exhibition catalogue. Conwy and Albany Gallery, 1993 Gallerie Lughien, Amsterdam Folk Museum, Yorkshire. Drury ‘Ysbrydoliaeth. R S Thomas. Inspiration’ ‘David Tress’. Messum’s Fine Art, London. Cardiff 1993 Five Artists From Wales, Eleonore • David Jones Journal • Winter 2004/Spring Oriel Plas Glyn-y-Weddw, Llanbedrog, Austerer Gallery, San Francisco Introduction by John Russell Taylor. 2013 2001 Glynn Vivian Art Gallery, PRINCIPAL WORKS IN PUBLIC COLLECTIONS 2005 • Review: Robert A Newell Gwynedd 1995 • Exhibition catalogue. 1995–2011 Boundary Gallery, London Swansea (Alphabetical listing) • The Spectator • 22 January 2005 • Review: • Exhibition catalogue ‘David Tress. The Freshness of the Day’. 2003 Museum of Modern Art, Wales 1998 Inv ited artist, Eigse Carlow Arts • Brecknock Museum and Art Gallery Andrew Lambirth of ‘Critic’s Choice’ exhibition West Wales Arts Centre, Fishguard John Davies Gallery, Moreton-in-Marsh. 2003–05 ‘David Tress. Drawings’. Festival, Republic of Ireland, • Ceredigion Museum • The Times • 2 February 2005 • Review: John Introductions: Frances Spalding and Jill Piercy Introduction – interview with David Tress by Travelling exhibition 1998 ‘Landmarks’, National Museum Wales, • Clare Hall, Cambridge Russell Taylor 1997 John Davies. 2014 commencing Brecknock Cardiff • The Contemporary Art Society for Wales • The London Magazine • February/March 2005 • Arts Review • Exhibition catalogue. Museum and Art Gallery, 1999 ‘Mountain’, Wolverhampton Art Gallery • Dyfed County Council, County Hall Collection • David Jones Journa • Winter 2004/Spring 2005 ‘Artist’s Eye’ April 1999 ‘David Tress’. Messum’s Fine Art, London. Brecon; then to Newport 2000 Garter Lane Arts Centre, Waterford, (now Carmarthenshire County Council) • Review: Robert A Newell • Royal Mail 1999 Year Book Introduction by Andrew Lambirth. 2015 Museum and Art Gallery, Republic of Ireland • The Glynn Vivian Art Gallery • Western Mail • 30 Sept 2005 • Review: Kate ‘Royal Mail Millennium Stamps’ 1999 • Monograph Newport, South Wales; 2001 Museum of Modern Art, Wales • The Guildhall Art Gallery, City of London Lloyd • Exhibition catalogue ‘David Tress’ by Andrew Lambirth Midlands Arts Centre, • The Museum of Modern Art, Wales • The Spectator • 18 November 2006 • Review: West Wales Arts Centre, Fishguard Published: Studio publications 2015 2002 Beaux Arts, Bath Birmingham; National Library • The National Library of Wales Andrew Lambirth Introduction: Nicholas Usherwood 2000 • Exhibition catalogue. 2003 Hereford City Art Gallery of Wales, Aberystwyth; • National Museums and Galleries of Wales • Western Mail • 19 October 2007 • Review: • David Jones Journal ‘David Tress’. Messum’s Fine Art, London. Guildhall Art Gallery, London; 2003, 05 ‘The Discerning Eye’, London • Pallant House Gallery Jenny White • May 2008 • Review: Blake Hall ‘A Diary Remembered, June 1998’ Summer Introduction by Julian Freeman. 2017 West Wales Arts Centre, 2004 ‘Farming and the Welsh Landscape’, • Pembrokeshire Museums • The Artist • June 2008 • Review: Oliver Lange 2000 • Artists and Illustrators Magazine ‘David Tress’ Fishguard travelling exhibition organised for • Financial Times • May 17/18 2008 • Article: • Monograph Interview with Andrew Lambirth. July 2018 COMMISSIONS 2005 Denbighshire Arts. Travelling the centenary of the Royal Welsh Simon de Burton ‘David Tress’ by Clare Rendell SELECTED TELEVISION AND RADIO Exhibition Agricultural Society • In 2014 David Tress was commissioned by • Antiques Magazine • May 23 2008 • Review: Introduction: John Russell Taylor Phil Ellis • HTV Film 2005/07 Brian Sinfield Gallery, Burford 2005 ‘Tir Lun. Drawing’, Oriel Myrddin HRH The Prince of Wales to paint a picture of Published: Gomer Press, Llandysul, and West Gallery, Carmarthen Llwynywermod, his house in Wales • Planet, The Welsh Internationalist • June/July Wales Arts Centre, Fishguard 2002 ‘Three Landscape Painters’ 7 November 1994 2006 Clwyd Theatr Cymru, Mold, • Nature Conservancy Council 2008 • Review: David Moore • Exhibition catalogue • BBC Choice Flintshire 2005 ‘Approaches to Landscape’, King’s School, Worcester • Development Board for Rural Wales, selector • The Week • 28 June 2008 Museum of Modern Art Wales Introduction: Dr ‘Wrap’ 7 September 1999 2008–11 ‘Chasing Sublime Light’. Peter Fuller • The Spectator • 26 July 2008 • Review: Andrew Peter Wakelin 2003 • HTV Film 2005 ‘A Winter Journey’, Art Space Gallery, Travelling exhibition • One of 48 British artists and designers Lambirth • Exhibition catalogue ‘River Patrol’, featuring artists in Wales London commencing MOMA Wales, commissioned by Royal Mail to design a stamp • The Art Book • August 2008 • Review: Julian ‘David Tress. Drawings’. Travelling exhibition 21 August 2000 2006 Yvonne Arnaud Exhibition, Guildford then to Petworth House, West for the 1999 Millennium Stamp issue Freeman Published: West Wales Arts Centre, Fishguard • BBC Radio Wales Sussex; Clwyd Theatr Cymru, 2006 ‘Different Worlds’, Brian Sinfield Gallery, • Contemporary Art Society of Wales • Country Life • January 7 2009 • Review: Text Andrew Lambirth 2003 ‘First Hand’ 9 July 2002 Mold; Gallery Oldham; Keswick Burford Anniversary Print Portfolio, 2008 Catherine Milner of ‘Modern Art in Wales’ • The Jackdaw Museum and Art Gallery; 2006 Twentieth Anniversary Exhibition, • Paintings reproduced on book covers : exhibition. Pallant House ‘Easel Words’ September 2006 Worcester City Art Gallery Boundary Gallery, London • ‘Frontiers in Anglo-Welsh Poetry’ by Tony • The Spectator • 31 January 2009 • Review: • Galleries Magazine and Museum; The National 2006 ‘Landscapes of Wales’, National Botanic Conran, Cardiff, University of Wales Press, 1997 Andrew Lambirth ‘Nuts and Bolts’ about the ‘Chasing Sublime Library of Wales; Oriel Ynys Garden of Wales • ‘Sacred Place, Chosen People’ by Dorian • Financial Times • January 31/February 1 2009 • Light’ exhibition. Sarah Drury October 2007 Mon, Anglesey; West Wales 2006 ‘Critic’s Choice’ an exhibition selected Llewelyn, Cardiff, University of Wales Press, Review Jackie Wullschlager • Exhibition catalogue Arts Centre, Fishguard; The by Andrew Lambirth including work by 1999 • Galleries • February 2009 • (Front cover) ‘A Passion for Art’. The Friends of the Glynn Maclaurin Galleries, Ayr; Stowe Craigie Aitchison, Gillian Ayres, Jeffery • ‘Hen Dy Ffarm: The Old Farmhouse’ by D J • Western Mail • 17 October 2009 • Review Vivian Art Gallery, 50th Anniversary Exhibition, School, Buckingham; Royal Camp, John Craxton, Robert Dukes, Williams, Trans. Waldo Williams, Llandysul, Jenny White 2008 Cambrian Academy, Conwy. • Western Mail • 26 October 2009 • Review • Exhibition catalogue