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FINAL SELF-PORTAIT DRAWING of STANLEY SPENCER ACQUIRED *** for Immediate Release ***

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FINAL SELF-PORTAIT DRAWING of STANLEY SPENCER ACQUIRED *** for Immediate Release *** FINAL SELF-PORTAIT DRAWING OF STANLEY SPENCER ACQUIRED *** For immediate release *** The last known self-portrait drawing of Stanley Spencer — executed a few months before his death in 1959 — has been acquired by the gallery dedicated to his work in his hometown, Cookham, Berkshire. The work, which has been purchased with the support of Art Fund on behalf of the Stanley Spencer Gallery, as well as The Band Trust, The V&A Purchase Grant Fund and The Friends of Stanley Spencer Gallery, was conceived as a work in its own right before he painted a version in oil, now owned by Tate Britain (pictured below). The drawing will be showcased as part of the Stanley Spencer Gallery’s current exhibition, LOVE, ART, LOSS: The Wives of Stanley Spencer at the Stanley Spencer Gallery (until Autumn 2021), which explores the relationship between arguably two Sir Stanley Spencer, Self-Portrait, 1959, Red conté on paper of the most important figures in the artist’s life —his two wives, Hilda Carline and Patricia Preece (for more information, see Notes to Editors). Says a spokesperson for the Stanley Spencer Gallery: ‘This is a very important addition to the Stanley Spencer Gallery, and we are grateful to the generous financial support of the Art Fund on behalf of the Stanley Spencer Gallery, as well as The Band Trust, The V&A Purchase Grant Fund and The Friends of Stanley Spencer Gallery.’ Jenny Waldman, Director, Art Fund, said: ‘Spencer’s striking self-portrait offers a unique perspective into the final months of this important British painter. We are delighted to support the Stanley Spencer Gallery in this acquisition, ensuring the work goes on public display in Cookham where the artist was born and found such inspiration.’ Sir Stanley Spencer, Self-Portrait, 1959, Oil on canvas (finished work) The oil painting was commissioned by friends of the artist, Joy Smith and her husband, and is the ultimate expression of the Spencer’s’s talent in that it not only a true likeness, but also hints at the uneasy dialectics which must have been at the forefront of a dying man’s mind. Stanley Spencer Gallery I High St, Cookham SL6 9SJ I t: +44 (0) 16 28 53 10 92 I www.stanleyspencer.org.uk Spencer drew the self-portrait in red conté while observing himself in a dressing table mirror. Conté is a harder, waxier medium than pastel, which creates a finer impression more suitable for portraits. The artist’s gaunt, weathered face is overwhelmed by the frame of his glasses. Yet the deep wrinkles of the forehead, the sagging flesh of his neck, and the grim, sloping downturn of the mouth are offset by a determination and strength found in the unflinching gaze of his right eye (his left eye squints as he searches for a clear image of himself in the mirror), and the resolute set of his eyebrows. It is an intense, unnerving image, its immediacy of line expressing the frailty of the sitter. It is unmistakably Spencer, with the sharp fringe running across his forehead, a style he wore all his life. The artist has used loose, parallel hatching in the background in order to project the image towards the viewer, but on the face itself, he has created depth and contrast with tight cross-hatching, as he was taught to do at the Slade School of Fine Art in the manner of Michelangelo. Spencer had a close relationship with the Smith family, who owned the self-portrait. He frequently visited their home in Yorkshire, and later executed an oil painting of Joy along with additional portrait sketches of Joy’s two sons and her husband. Their relationship, and the eventual realisation of the portrait, is charted in a comprehensive document written by the Smiths’ daughter, Catherine, based on correspondence with Spencer, notes left by Joy, contributions from Spencer’s daughters and the writer’s own recollections. In a letter dated 16th February 1959, we hear the first mention of the possibility of Spencer executing a self-portrait: ‘I know I have promised it but it may never be done all the same. When I went into hospital, I realised that I must do only the work that I wished to do’. When Spencer’s cancer went into remission, he embarked on what would be his last visit to Yorkshire. On 8th July, he met Joy at the Great Northern Hotel and had lunch before taking the train north. He wrote that month: ‘I think late lunch at the Great Northern sounds romantic. I’m all for that, only no hurrying for the train mind.’ Shortly after arrival, he drew the present sketch at Joy’s request. In the event, Joy Smith was not happy with the resulting image. She apparently — and surprisingly — did not find it a true likeness, but it is more likely that she found it too uncomfortable. Days later, she and Spencer went to Leeds where he bought canvas and oils to paint another version, underdrawn in red conté, which is now at Tate, London, but originally hung in the dining room until 1982 when the house was sold. It is certainly a tamer, diluted and easier image with which to live. The oil medium has subdued the immediacy, vigour and raw emotion of the present sketch in which the weight of mortality bears down upon the sitter. Only two months after that work was completed, Spencer was in the Canadian Hospital in Taplow, Buckinghamshire, not far from Cookham, where he was born and lived for most of his life. After a short remission he returned to hospital in December, where Joy visited him. According to her notes, they discussed ‘the nature of inspiration and the importance of physical form as a source of inspiration and love’ — a conversation whose essence must surely be found in this self-portrait, at once a triumph and a resignation. He died shortly afterwards of cancer aged 68. The Stanley Spencer exhibtion, which features the drawing, has proved a huge succees. ‘Since re-opening on the 15th August, we are very pleased to report that we have had a nearly normal number of visitors for the time of year,’ says a spokesman. ‘Many of our visitors have said how pleased they are that we have re-opened when so many galleries and museums remain closed or have limited opening times.’ Stanley Spencer Gallery I High St, Cookham SL6 9SJ I t: +44 (0) 16 28 53 10 92 I www.stanleyspencer.org.uk For all media enquiries and press images, please contact: Mark Inglefield Michelle Allen [email protected] [email protected] t: +44 (0) 20 78 79 88 95; m: + 44 (0) 75 84 19 95 00 t: +44 (0) 20 78 79 88 95; m: + 44 (0) 79 22 80 72 39 Notes to Editors: About Stanley Spencer Sir Stanley Spencer, CBE RA (30 June 1891 – 14 December 1959) attended the Slade School of Art, and is well known for his paintings depicting Biblical scenes occurring in Cookham, the small village beside the River Thames, as well as his large paintings for the Sandham Memorial Chapel and the Shipbuilding on the Clyde series. Spencer’s works often express his fervent if unconventional Christian faith. This is especially evident in the scenes that he based in Cookham. Spencer’s works originally provoked great shock and controversy. Nowadays, they still seem stylistic and experimental, while the nude works foreshadow some of the much later works of Lucian Freud. About the Stanley Spencer Gallery The Stanley Spencer Gallery is located in Cookham, Berkshire, and is dedicated to the life and work of Sir Stanley Spencer. Opened in 1962, it is housed within a former Wesleyan Chapel in the High Street, a few minutes’ walk from the house where Spencer was born and where he used to worship. The gallery’s collection comprises over 100 paintings and drawings, and these are exhibited on a regular basis at the gallery, alongside loans from other public and private collections. On the mezzanine floor level of the gallery is a small study area which houses library and archive material and a computer presentation about the artist and his work. A comprehensive selection of books and articles on Stanley Spencer and related topics is available to be consulted on the premises during opening hours. The Gallery has won a series of accolades, including its naming as one of the five most ‘unmissable’ small Art Galleries in the UK and the award of a Michelin star in the Great Britain Michelin Green Guide 2014. The Gallery received the Queen’s Award for Voluntary Service in 2016. Exhibitions have included The Art of Shipbuilding on the Clyde (2011), Stanley Spencer in Cookham (2013 - 2014), Spencer in the Aftermath of the First World War (2014), Paradise Regained (2014), The Creative Genius of Stanley Spencer (2015), Patron Saints: Collecting Stanley Spencer (2018), Friends and Family: Portraits by Stanley (2018- 2019) and Counterpoint: Stanley Spencer and his Contemporaries (2019). About Art Fund Art Fund is the national fundraising charity for art. It provides millions of pounds every year to help museums to acquire and share works of art across the UK, further the professional development of their curators, and inspire more people to visit and enjoy their public programmes. In response to Covid-19 Art Fund has made £2 million in adapted funding available to support museums through reopening and beyond, including Respond and Reimagine grants to help meet immediate need and reimagine future ways of working. Art Fund is independently funded, supported by the 159,000 members who buy the National Art Pass, who enjoy free entry to over 240 museums, Stanley Spencer Gallery I High St, Cookham SL6 9SJ I t: +44 (0) 16 28 53 10 92 I www.stanleyspencer.org.uk galleries and historic places, 50% off major exhibitions, and receive Art Quarterly magazine.
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