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Paintings selected from the annual exhibitions of The Royal Cambrian Academy of Art held in Wales 1882-1982 Peintiadau wedi eu dethol o arddangosfeydd blynyddol Academi Frenhinol Gymreig y Celfyddydau a gynhaliwyd yng Nghymru 1882-1982 Paintings selected from the annual exhibitions of The Royal Cambrian Academy of Art held in Wales 1882-1982 Peintiadau wedi eu dethol o arddangosfeydd blynyddol Academi Frenhinol Gymreig y Celfyddydau a gynhaliwyd yng Nghymru 1882-1982 An exhibition organised by The Royal Arddangosfa a drefnwyd gan Academi Cambrian Academy of Art, in association Frenhinol Gymreig y Celfyddydau mewn with the Williamson Art Gallery and cydweithrediad ag Oriel Gelf ac Amgueddfa Museum, Birkenhead and with the financial Williamson, Penbedw a chyda chymorth support of the Welsh Arts Council ariannol Cyngor Celfyddydau Cymru fashionable notice and it becomes irrelevant to Print Design Penknife Ltd Acknowledgements Foreword all but the historian as to whether it was Typesetting Characters painted ahead of or behind its time. What Printers Mid Wales Litho Ltd Using the more obscure dictionary definitions matters is intrinsic quality. But can something Welsh Translation Sian Edwards We wish to thank of the words comprising its title The Royal be good if it is not original in the sense of being Research David Hillhouse The Welsh Arts Council Wirral Borough Council, Department of Cambrian Academy of Art could be described first and can there be intrinsic value in the Leisure Services as a 'fee paying school of above-normal academic? The habitual response of 'No' is one standing formed in the first million years of the conditioned by the glossy media but any © Royal Cambrian Academy of Art and The Mostyn Art Gallery, Llandudno and The Williamson Art Gallery and Museum, Palaeozoic era, concerning itself with reaction that is not based on direct experience contributors 1982 Birkenhead for their sponsorship and imaginative skills as applied to representations ofthe work isn't genuine. 'Academic' painters cooperation, without which this exhibition of the natural world', which is not so far from can surprise by subtle handling of familiar ISBN 0 9507998 0 7 could not have been presented. the truth as it may seem. The Academy is self­ themes or by showing unusual initiative in supporting, has a Royal Charter~ has been in choice of subject; their tonal sense can be sure, Published by the Royal Cambrian Academy of Our particular thanks go to Clive Adams, David existence for a considerable time, is involved in their paint sense fluent. Academy members are Art, with the financial support of the Welsh Hillhouse, Andrew Knight and Leonard art education and many of its members paint individuals; there are traditionalists and there Arts Council Mercer for their professional work on our · representations of what they see. are mavericks, and all are free to exhibit as they behalf and their unfailing patience. So positive a statement is contrary to the wish. Our sincere gratitude goes to H M the Queen, notion that academies are moribund When artists are occupied with the individuals and bodies who have so kindly institutions with negative ideas. That they representation they are saying 'We are loaned works from their collections for so don't seem to innovate is because, being delighted in seeing this - share our pleasure'. protracted a period. concerned with the durable, they don't parade Originality, in this approach isn't obvious; it the mannerisms of the moment and are, suffuses the work with qualities that are extra instead, motivated by broad-ranging toleration, to the artist's deliberate intentions, resulting in whereas avant-garde artists trust that extreme a contemplative reticence which can be found novelty will bring recognition. throughout the history of British Art. It doesn't much matter if a work never had This introduction was written when the artistiaid avant-garde ar y llaw arall yn ffyddiog Dylunio'r Argraffwaith Penknife Cyf Cydnabyddiaeth Rhagair mai newydd-deb eithafol a ddaw a Cysodi Characters chydnabyddiaeth iddynt. ) Argraffwyr Mid Wales Litho Cyf Gan ddefnyddio diffiniadau geiriadurol mwyaf Nid yw hi fawr o bwys na chafodd gwaith Cyfieithiad Cymraeg Sian Edwards Carem ddiolch i tywyll y geiriau sydd yn ffurfio ei henw, gellid neilltuol sylw ffasiynol erioed, ac amherthnasol Ymchwil David Hillhouse Gyngor Celfyddydau Cymru, Cyngor Bwrdeistref Wirral, Adran disgrifio Academi Frenhinol Gymreig y i bawb ond yr hanesydd celf yw'r cwestiwn a Gwasanaethau Hamdden Celfyddydau fel'ysgol y mae'n rhaid talu i fynd beintiwyd darlun cyn ei amser neu ar 61 hynny. Oriel Mostyn, Llandudno ac iddi, a statws uwch na'r cyffredin, a ffurfiwyd Yr hyn sydd yn bwysig yw ansawdd gynhenid © Academi Frenhinol Gymreig y Celfyddydau Oriel Gelf ac Amgueddfa Williamson, Penbedw yn ystod miliwn blynedd cyntaf yr Oes y gwaith. Ond a fedr rhywbeth fod yn dda os a'r cyfranwyr 1982 and eu nawdd a'u cydweithrediad; hebddynt Balaeosi:iig sydd yn ymwneud a medrau'r nad ydyw'n wreiddiol, yn yr ystyr mai efyw'r hwy ni ellid fod wedi cyflwyno'r arddangosfa dychymyg yn y modd y'u defny<ldir i cyntaf o'i fath, ac a all fod yna werth cynhenid ISBN 0 9507998 0 7 hon. ddarlunio'r byd naturiol', disgrifiad nad yw yn yr academaidd? Fe'n cyflyrwyd gan y mor bell o'r gwirionedd ag yr ymddengys. Y cylchgronau sgleiniog i ateb 'Na' fel arfer, ond Cyhoeddwyd gan Academi Frenhinol Gymreig Carem ddiolch yn arbennig i Clive Adams, mae'r Academi yn hunan-gynhaliol, y mae nid yw ymateb na seiliwyd ar brofiad y Celfyddydau gyda chymorth ariannol Cyngor David Hillhouse, Andrew Knight a Leonard ganddi Siarter Frenhinol, y mae wedi bodoli uniongyrchol o'r gwaith ei hun yn un geirwir. Celfyddydau Cymi'U Mercer am eu gwaith proffesiynol ar ein rhan, ers cryn amser, y mae a wnelo hi ag addysg Gall peintwyr 'academaidd' ein synnu gyda'u a'u hamynedd diflino. Mawr yw ein dyled i E gelf, ac y mae llawer o'i haelodau'n peintio hymdriniaeth gynnil o themau cyfarwydd, neu M y Frenhines, unigolion a sefydliadau a fu darluniau o'r hyn a welant. drwy arddangos gwreiddioldeb anghyffredin mor garedig a benthyca gweithiau o'u Y mae datganiad mor gadarnhaol a hynny yn eu dewis o destun; gallant fod yn arlunwyr casgliadau am gyfnod mor faith. yn gwrthddweud y syniad fod academiau yn diogel eu synnwyr tonyddol ac yn rhugl eu sefydliadau marwaidd, negyddol eu syniadau. synnwyr paent. Unigolion yw aelodau'r Nid ydynt fel pe baent yn esgor ar syniadau Academi: ceir peintwyr traddodiadol ochr yn newydd oblegid y parhaus yw eu prif ochr a rhai anuniongred, ac y maent i gyd yn ddiddordeb; ni fyddant yn arddangos rhydd i arddangos fel y mynnant. dullweddau ffasiynol y foment, yn hytrach, fe'u Pan fydd arlunwyr wrthi'n darlunio hysgogir gan oddefgarwch ehangfryd, lie bydd rhywbeth, y maent yn dweud 'Yr ydym wrth organisers had no sure idea of what the exhibition would present, when many of the V works were known only as catalogue entries. It H is The Royal Cambrian Academy of Art's autobiographical self-discovery of its first hundred years. JACK SHORE, President, Royal Cambrian Academy of Art PlasMawr, Conwy, Gwynedd. Clarence Whaite Photograph RCA ... Richard Gay Somerset one of the Academy's first members 1848-1928 Photograph RCA ,.- Plas Mawr c.1897 Opening Day Plas Mawr c.1897 ... Photograph RCA Photograph RCA. Plas Mawr c.1897 Diwrnod Agor Plas Mawr c.1897 ein bodd i weld hyn - rhannwch ein pleser'. Ffotograff AFG .& Ffotograff AFG Nid yw gwreiddioldeb yr agwedd hon yn amlwg; y mae'n trwytho'r gwaith ag ansoddau •1 sydd yn ychwanegol at amcanion bwriadol yr "' arlunydd, gan greu'r tawedogrwydd myfyriol hwnnw sydd mar amlwg drwy gydol hanes celfyddyd yng ngwledydd Prydain. Ysgrifennwyd y rhagarweiniad hwn cyn bod y trefnwyr yn gwybod yn bendant beth y bydd yr arddangosfa yn ei gyflwyno, pan nad oedd y gweithiau eu hunain yn ddim mwy na theitlau mewn rhestr gatalog. Hunan­ ddarganfyddiad hunangofiannol Academi Frenhinol Gymreig y Celfyddydau o'i chan mlynedd cyntaf yw'r arddangosfa hon. JACK SHORE, Llywydd, Academi Frenhinol Gymreig y Celfyddydau, Plas Mawr, Gwynedd. Clarence Whaite Ffotograff AFG Richard Gay Somerset un o aelodau cynta'r Academi 1848-1928 i Ffotograff AFG ... .\ \a.'. ' .. itineraries had to be planned beforehand with structures of greatness and antiquity should be connections and from the resulting The Foundation and Early an eye to economy and pre-arranged meetings marked by a character of awful sublimity' .4 The applications a list of thirty-one members and Years of the Royal with patrons in the hope of sales or drawing patron loomed large and awesome in the eight associates was completed early in January Cambrian Academy of Art lessons. prospect. 1882. * A woman applicant was discouragingly Although 'by 1819 many of the most Those who came into North Wales from the told that 'the committee haven't yet come to In the later eighteenth and early nineteenth dangerous portions of the road through Wales northern towns often belonged to the any determination as to the admission of 5 centuries political turmoil in Europe were safe'2 it was the coming of rail travel Manchester and Liverpool 'schools' and ladies' • diminished the popularity of the Grand Tour which enabled artists to modify the seasonal together with native Welsh painters they Official recognition came quickly in a letter among the leisured gentry and indirectly working pattern. They could stay longer, Carry formed a unique group of Victorian artists in from the Secretary of State which Norbury stimulated the British landscape artists into materials and paintings more easily and even and around the Conwy Valley.

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