Mary Dawson Elwell

Bedroom, Bar House, Beverley, East Riding of Yorkshire by Mary Dawson Elwell (1935)

In a recent blog (My Daily Art Display, October 15th, 2017 – The Alma-Tadema Ladies. Part 2 – The Two Daughters, Anna and Laurense), I highlighted the artwork of Anna Alma-Tadema, the daughter of the great painter, Lawrence Alma-Tadema and marvelled at some of her interior paintings. In today’s blog I am going to look at another female painter who had mastered the art of depicting the interior of houses. She is the nineteenth century artist, Mary Dawson Holmes Ewell. I had featured her in a series of blogs about her husband, Frederick Elwell but for this blog I want to concentrate on her outstanding ability as an artist.

The Landing in Summer by Mary Elwell (1930)

Mary Dawson Bishop was born in Liverpool on August 13th, 1874. Her father, John Bishop, was a ship broker. Her mother, Mary Ellen Dawson, was the daughter of a Liverpool boot maker, Thomas Candlin and his wife Sarah who was a milliner and dress maker. Mary and her younger sister, Elsie, lived in the Fairfield district of Liverpool. Tragedy struck the family in 1879 when Mary’s thirty-six-year-old father died. Shortly after the death of her husband, Mary and her two daughters moved to Heaton Chapel, Manchester to live with her bachelor brother Henry who was fifteen years her senior. It was here that Mary and Elise went to kindergarten and primary school.

The Front Door by Mary Elwell (c.1940)

Having completed her primary schooling in 1885, eleven-year old Mary enrolled at Manchester’s prestigious Ellerslie College and it was here that she received her early artistic tuition, to ensure she had this “must-have” social skill for young Victorian ladies. The pupils attending this school were mainly from merchant families and it was probably due to Mary’s Uncle Henry and his business connections that allowed her to gain entrance to the college. Mary Bishop completed studies at Ellerslie around the early 1890’s. Not much is written about her life after leaving college but it is believed she carried on her art studies influenced by two of her uncles, Henry and Walter were not only successful business men but avid art collectors.

The next we hear of Mary Dawson Bishop was that she married George Alfred Holmes at the Church of All Saints, Heaton Norris, Stockport in June 1896. Mary was twenty-one years old and her husband George Alfred was forty-one. So why did Mary marry a man twice her age? This has been the topic of much speculation. George Alfred Holmes lived and had his office in Hull and was a prosperous oil broker and so there was the element that on her marriage to him, Mary would be financially secure. Hull, like her birthplace, was a seaport and maybe Mary looked on the prospect of living in Hull with her husband. Maybe she looked upon her husband as a father figure, having lost her own father at the age of five. But, of course, it could simply be that Mary fell in love with George Alfred Holmes.

Mary and Alfred Holmes set up their home in the small inland market town of Beverley which was just ten miles north of from Hull, a town where she would stay for the rest of her life.

It was in 1904 that Frederick Elwell was to enter the life of Mary Bishop Holmes. Following a somewhat unsuccessful period in London as far as his art sales were concerned, Fred Elwell had left London, a somewhat defeated man, and returned to Yorkshire. In the capital there were just too many artists chasing a small amount of commissions and this sudden realisation that the London streets were not paved with gold affected Elwell and there was a suggestion that he had suffered a nervous breakdown brought on by his financial situation. On hearing of his son’s state of health and financial predicament, his father travelled from Yorkshire and brought his son back to Beverley where his family and friends were and where he could expect a more profitable future.

Portrait of Frederick William Elwell by Mary Elwell (1913)

His year in London and his struggle to survive had taken a toll on him so the first thing the family had wanted him to do was to relax and enjoy the tranquillity of the Yorkshire countryside. Elwell also enjoyed the freedom offered by sailing and he would often take a small boat and cruise along Beverley Beck which joined the River Hull. Many like-minded painters would do the same as the clarity of light and the beautiful countryside including the East Riding flatlands surrounding the river was an idyllic setting for landscape artists. On occasion he would tie up the boat alongside a jetty and would welcome visitors to look at his artwork and, by so doing, would often receive commissions. Elwell’s love of landscape painting coincided with the English public’s change of attitude of what they wanted to see in a work of art. Depictions of city life were becoming less popular, displaced by depictions of the tranquillity of the countryside. This was a period when people wanted to “go back to nature”. They worked in cities but hankered for the fresh air of the countryside. They wanted to soak up country life by sailing along inland waterways or get themselves horse-drawn caravans and lose themselves in the peacefulness and serenity of the rural areas.

Self Portrait by Fred Elwell (1911)

For complete tranquillity Elwell made his home on a houseboat which he had borrowed from a friend. Not only did he travel up and down the river he would tie up alongside a local hostelry, the Brigham Arms, and his boat acted as his own selling gallery. He also had a “gypsy-type” horse-drawn caravan in which he would wend his way around the country lanes, sketching the beauty of the area. His artwork which depicted the tranquillity and the beauty of the Yorkshire countryside sold well and soon both his health and his finances had improved significantly.

Fred Elwell would also take on portrait commissions and often would visit the client rather than have them come to his studio. It was in 1904, that he received a visit from Alfred Holmes, a luminary of the Beverley community. Holmes asked Elwell to paint a portrait of his wife, Mary. Elwell agreed and went to the Holmes’ family home where he met Mary Holmes for the first time.

Mary Dawson Holmes by Frederick William Elwell (1904)

Elwell completed the Portrait of Mary Dawson Holmes that year and had it exhibited at the Royal Academy. It is a beautiful work of portraiture with Mary shown as a lady of gracious elegance. Her clothes remind one of the French fashion of the time. We see her adorned in a tight-fitting dress finished off with a fine white lace collar. She tilts her head to one side but holds an upright stance. Her eyes are dark and almond-shaped. Her expression teases us into imagining her thoughts. Does she look a willing participant as a model for this portrait? There is a hint of reticence in her facial expression. Was she unwilling to sit for Elwell or was it simply that she was shy and slightly embarrassed with all the attention.

Les Parapluies by Renoir (c.1886)

The depiction of Mary has often been compared to Renoir’s 1886 work Les Parapluies, which Elwell would have seen, because of the similarity between the way Mary stands, tilts her head, and similarly carries a basket.

In the Trossachs by Mary Elwell (c.1900)

Alfred and Mary Holmes became good friends of Fred Elwell and they even had joint ownership of a sailing boat and the three of them took many trips on the Beverley Beck to the upper reaches of the River Hull, a tributary of the Humber. The three of them would often travel to Europe, visiting Venice and Switzerland where Fred Elwell and Mary Holmes would take the opportunity to sketch and paint the local landscapes.

The Wreath by Mary Elwell (1909)

Mary had her work exhibited at the Royal Academy from 1904 onwards and in 1908 she completed one of her most famous works, The Wreath, which was on display at the 1909 Royal Academy annual exhibition. It depicts a recently widowed woman grieving for the loss of a loved one. Queen Victoria had died in 1901 and this solemn period and the Victorian period prior to her death saw many artists concentrate on human loss and the grief felt when a loved one died. Queen Victoria suffered the loss of her beloved husband, Albert in 1861, and continually wore mourning clothes for ten years after he died. Many paintings compared the happiness of life before the death of a loved one with the inconsolable grief of those left behind. Violet Prest, a local girl, a costumier of Minster Moorgate West, in Beverley, modelled the woman in the painting. Ironically, six years after the painting was completed, her husband was killed in the Great War.

Chamonix, France by Mary Elwell (1938)

She was a much-admired artist and her popularity as an artist and that of Fred Elwell rose amongst the public and the art critics. Mary, and her future husband, Elwell, as far as their artistic ability was concerned, should never be looked upon as pupil and master as was the dictate of social expectation in the early twentieth century. They were truly equals.

A Quiet Hour by Mary Elwell (1942)

The health of Alfred Holmes began to deteriorate in 1910 and he sold his business and gave up his part ownership with Fred Elwell of their beloved sailing boat. That year May and Alfred moved from their large Westwood Road house in Beverley and bought Bar House which was also in Beverley, situated on North Bar Within. Alfred Holmes’ health had got so bad that by 1913 he realised he was dying and it is thought that due to his very close friendship with Fred Elwell he intimated that Elwell and Mary should get together when he died. George Alfred Holmes died on August 5th, 1913 aged just fifty-eight, leaving his widow comfortably provided for and allowing her to employ staff to help run the house.

North Bar Within, Beverley, East Riding of Yorkshire by Mary Elwell. (1916)

Holmes’ dying wish with regards his wife and Fred Elwell came to fruition on September 28th, 1914 when they married, and Elwell came to live with his new wife at her beloved Bar House. In 1916 Mary Elwell painted a scene entitled North Bar Within, Beverley which depicted a view from the front steps of Bar House. It is interesting work set during an overcast day and one of predominantly brown tones.

At the Mirror or Bedroom, Bar House by Mary Elwell

Mary painted many depictions of Bar House including a bedroom scene, which was entitled At the Mirror. There are two large double beds each covered with a purple quilt. In the central background there is a large window which frames the view of Wylies House. The using of a window as a framing device for a townscape was very popular at the time and was typical of the practice of the Camden Town Group of artists. It allowed viewers to catch a glimpse of the outside world, seen through the framing device of a window. The large full-length mirror, next to the window, reveals a reflection of the room. The light which shines through the windows of the room lights it up and the polished brass fender casts its reflection on the dark polished wooden floor. To the right of the window, we see a young woman standing before a mirror attending to her hair. She is oblivious of the outside world that we see through the window. The model used by Mary for this work was Annie Towse, the daughter of one of their employees.

Bar House Garden by Fred Elwell (1914)

Mary’s mother, Mary Ellen Bishop had died in 1901 and Mary Elwell’s uncles Henry and Walter died in 1917 and 1924. Neither had married and their wealth and properties were divided between Mary Elwell and her sister Elsie. Mary also received her late uncle’s art collection.

Interior Study by Mary Elwell (1937)

One of my favourite interior works by Mary Elwell is one she completed in the 1932 entitled At No.14 Newbegin, Beverley with an alternative title Interior Study. It is a depiction of a sitting room at No.14 Newbegin a house belonging to Reverend Wigfall the curate at Beverley Minster, who we see sitting at his writing desk. The room itself was light due to it having three large windows. The window we see in the painting allows a shaft of light into the room illuminating the large ornately carved bookcase on top of which are three glass cases, each of which contain stuffed birds. A cushion with its bold design and rich colours is placed for decorative effect on the arm of the sofa. The richness of colour of this painting is brought about by the liberal use of reds. The painting was exhibited at the Royal Academy in 1932.

Beverley Minster from the Friary, by Mary Elwell (1934)

Beverley Minster from the Friary is a painting Mary Elwell completed in 1934. It is a comparative composition. The imposing edifice of Beverley Minster looms over the modest dwellings we see in the middle ground, which lie close to the railway track. The gable ends of the houses in the middle ground seem to reiterate the shape of the Minster’s transept. Elwell captures the spirit of the time with her depiction of the washing lines laden with clothes in the back yards of the houses. One of the houses on the right was occupied by Miss Woodmansey who ran a wash-house and who would, after washing the clothes, hang them out in her back yard, every day except Sunday. The painting was exhibited at the Royal Academy in 1934.

Matterhorn from Zermatt, Switzerland by Mary Elwell (1939)

In 1947 Mary suffered the first of a series of debilitating strokes which meant that she had to have round the clock nursing.  Her sister Elsie came to stay for longer periods.   Having made her final appearance at the Royal Academy in 1949, she withdrew from the world outside.  Mary Dawson Elwell died on the 28th August 1952, aged a fortnight before her seventy-eighth birthday.  She was buried in Saint Mary’s Cemetery in Beverley and according to her husband’s wish her gravestone was carved with an artist’s palette.. Her second husband, Fred Elwell died in January 1958 and was laid to rest in the same grave.

Fred Elwell gave a number of her paintings away to people who had cared for her, inscribing them:

“…in grateful remembrance of Mary D. Elwell…”

Advertisements

The Alma-Tadema Ladies. Part 2 – The Two Daughters, Anna and Laurense.

(Detail from full-length portrait) Miss Anna Alma-Tadema by Lawrence Alma-Tadema (1883)

In my last blog I looked at the lives of Lawrence Alma-Tadema’s two wives, Marie-Pauline Gressin-Dumoulin de Boisgirard and Laura Theresa Epps and how, in a way their two lives were intertwined.  In this second part of the blog I am looking at Alma-Tadema’s Ladies but in this blog I am looking at the lives of his two daughters, Laurense and Anna Alma-Tadema.

In the painting above, entitled Miss Anna Alma-Tadema, which her father completed in 1883 we see fifteen year old Anna, standing at the door of the library at Townshend House.  In her hand is a vase of carnations and she wears an Aesthetic dress probably made of Indian cotton, with a shell necklace.  Look how the artist has mastered the depiction of the different textures of the various surfaces whether it be clothes or inanimate objects.

Hall in Townshend House by Ellen Epps (1873)
Painting of Laurense and Anna painted by the sister of their step-mother

On September 24th, 1863, twenty-seven-year-old Laurens Alma-Tadema married a French lady, Marie-Pauline Gressin-Dumoulin de Boisgirard in Antwerp City Hall and the couple went on to have three children.  Their first-born, a son, died aged six months of smallpox.  The couple then went on to have two daughters, Laurense in August 1865 and Anna in 1867.  Both children were born in Brussels.

Laurense, Anna, their father, and his sister Atje moved to London in 1870, a year after Marie-Pauline’s death.  Lawrence Alma-Tadema re-married in 1871.  His second wife, who was sixteen years younger than him, was Laura Epps the English daughter of a homeopathic doctor.   Laurense and Anna were home-schooled by their father and step-mother.

Sir Lawrence Alma-Tadema – The Sculpture Gallery (1874)

In 1874 Lawrence Alma-Tadema painted one of his largest works, The Sculpture Gallery which measured 223 x 174cms.  In this work, which depicts an Ancient Roman temple setting, he has included depictions of his two wives and two children as well as himself.  We see his second wife Laura Theresa wearing a gold armlet in the centre of the work, and to the right of her are her two children Laurense and Anna.  Lawrence Alma-Tadema is seated on the left and to his right, sitting upright hold a purple feather fan is thought to be a portrayal of his late wife, Marie-Pauline Gressin-Dumoulin de Boisgirard who died five years earlier.

Sir Lawrence Alma-Tadema’s Study, Townshend House, London, (1884)

Anna developed her father’s and step-mother’s love of art and by the age of seventeen had become a talented artist.  She focused on painting the elaborate interiors of the family home, as well as portraits and flower paintings. Her gift as an artist can be seen in a set of watercolour and pen and ink depictions she completed in 1884 and 1885 of the family’s first London home, Townshend House close to Regents Park.  The detail is truly amazing and these works were almost certainly due to the influence of her father.   Her painting entitled Sir Lawrence Alma-Tadema’s Study in Townshend House, London was completed by Anna in 1884.  The interior of Townshend House was designed and furnished by her father.  He managed to create a set of ornate and diverse interiors in a variety of styles ranging from traditional Dutch to Egyptian, Ancient Greek, Pompeiian, Byzantine, and Japanese based on his journeys.  The setting in this work is the interior of a comfortable library.  The intricate detail amazes me.  At the back of the room we see a very comfortable couch made even more so with the addition of a fur covering. It is almost a day-bed to be used by a weary reader who has come to the library for some peace and quiet.  The room is bright due to its dual aspect stained-glass windows and in the evening the candle-lights of the bronze chandelier, which Alma-Tadema designed, will illuminate the room.  The room has many pieces of heavy Dutch oak furniture which probably reminded Anna’s father of his birthplace.   On the ceiling to the left there seems to be a Japanese lantern or it could be an upturned parasol.  The floor is covered by a tatami matting, which was used as a flooring material in traditional Japanese-style rooms.  Hanging from the fireplace is a large palm leaf fan and on top of the fireplace mantle is a vase full of peacock feathers.  Just take your time and look at everything that Anna has painstakingly depicted in this very busy room.

The Drawing Room, Townshend House by Anna Alma-Tadema (1885),

In a small (27 x 19cms) watercolour and ink painting The Drawing Room which Anna completed in 1885 we see another room in Townshend House.   We are standing in the Gold Room and looking through the archway into the Columned Drawing Room albeit the columns themselves are hidden.   In the work we see one of a suite of ornate drawing rooms in the family’s home.  In this work take a close look and see how she has mastered light and the texture of the objects.  Look at how she has depicted the full-length brocade curtain which seems to act as a room-divider.  Look at the way she has illustrated the shiny surface of the floor lit by a light source emanating from an unseen window to the right.  Anna exhibited at the Grosvenor Gallery in 1886 and exhibited at the World’s Columbian Exposition in Chicago, in 1893.

The Gold Room by Anna Alma-Tadema (1884)

Finally, we have her work entitled The Gold Room which she completed in 1884.   This watercolour depicts a view into the Gold Room which was named thus because its walls were overlaid with gold leaf.  The centre of the painting is dominated by the large ornate piano which has inlays of ivory and tortoiseshell.  On the right we see a sumptuous full-length curtain made of Chinese silk.  If you look carefully at the window in the background you will see that the leading of it forms the family name, “Alma-Tadema”.  We cannot but be amazed by the talent of this seventeen-year-old girl at how she has managed to create the rich and bright surfaces we see as well as the various textures of the objects.  The inclusion of an antique bust on a pedestal was probably testament to her father’s interest in Roman and Greek history.  The painting was shown at the 1885 Royal Academy exhibition and is housed at the Nelson-Atkins Museum of Art in Kansas City Missouri.

Eton College Chapel by Anna Alma-Tadema

Another 1885 painting highlighted Anna’s ability to replicate detail onto canvas.  It was her watercolour work entitled Eton College Chapel which she completed when she was just twenty years of age and was exhibited at the Royal Academy.  Of Anna and her great artistic skill her father’s biographer, Helen Zimmerman, wrote in her 1902 biography, Sir Lawrence Alma-Tadema R.A., that she was:

“…a delicate, dainty artist who has inherited much of her father’s power for reproducing detail…”

The Closing Door by Anna Alma-Tadema

In 1886, the family moved to a larger house, No. 17 Grove End Road, St. John’s Wood, London, which had previously been owned by the painter James Tissot.  Anna’s father carried out major refurbishments to the house and had extra studios added so that all four in the family could paint!   A room, thought to be on the upper floor in this house was the setting for Anna’s 1899 painting, The Closing Door.  It is a beautiful painting, full of mystery and atmosphere.  Once one has enjoyed the detail of the inanimate objects in the room our gaze goes to the central character of this work, the lady and soon our head is filled with questions.  So what story is unfolding before us?  Look at the woman – how is she feeling and why?  I suppose we recognise that something has badly upset her.  Look how she has roughly grasped the bead necklace and broken it.  If you look carefully you can see beads on the carpet.  Look at her facial expression –wretchedness, bewilderment, and fear are all recognisable.  So, what has brought her to this state of bleak despondency.  A lover’s tiff, a break-up of a relationship?  All possible.  Maybe if we look at some of the objects on the table we may get a clue.  A small vase of anemones symbolising the death of a loved one for in Greek mythology, the anemone sprang from Aphrodite’s tears as she mourned the death of Adonis.  In Victorian times, the anemone was looked upon as a symbol of dying love or departure of a loved one to the “point of no return”.  So, has her “loved one” died or abandoned her?  Next to the vase is a bottle of violet ink, the colour of which has associations with modesty and humility which probably tells us more about the lady herself.  The final mystery associated with this painting is the door.  Look closely at it and you will see fingers grasping it as if to close it.  Is this another sign of somebody “leaving”?  Or is this somebody about to enter which is causing the lady to be afraid?  So many questions and only the artist knows the answers.

Girl in a Bonnet with her Head on a Blue Pillow by Anna Alma-Tadema (1902),

In 1902 Anna Alma-Tadema painted Girl in a Bonnet with Her Head on Blue Pillow   It is a haunting painting with the girl seeming to stare at us as we observe the work but, on closer scrutiny, it is a blank stare.  She shows little interest at what is going on her around her.  Something is troubling her.  She feels helpless and alone.  Her hands are clasped tightly together in a pleading manner.  What solace does she crave? We, the observers, want to help her but how?  Is this simply about an unknown stranger or is this about the artist herself and her mood?

Following the death of her father in 1912, the value of his paintings fell drastically, and this loss of family revenue adversely affected the finances of his two daughters who lived their latter years in poverty.  Anna Alma-Tadema, who never married, died in 1943, aged seventy-six.

Photograph of Laurence Alma-Tadema from the US Library of Congress

Anna’s elder sister was born Laurense Alma-Tadema in August 1865 but she is always referred to as Laurence Alma-Tadema.  For this portion of the blog there will be few paintings as Laurence, unlike her sister, father and step-mother was not an artist.

Love’s Dream by Laurence Alma-Tadema

She was a novelist, playwright, short story writer, and poet. Her first novel, Love’s Martyr was published in 1886.  She wrote in various genres during the late nineteenth and the early twentieth centuries.

The Yellow Book periodical

She also submitted work to various periodicals such as The Yellow Book, a British quarterly literary periodical that was published in London from 1894 to 1897.  She also edited a periodical.  Many of her works were privately printed.

She left the family home and went to live in the Kent village of Wittersham in a cottage named The Fair Haven.  She became an active member of the local community, and involved herself with music and plays.  She even had a place built which could accommodate a hundred people and was to be used by the villagers to stage music concerts and plays and where the children of the village could be taught many local handicrafts.  She named it the Hall of Happy Hours.  In 1907 and 1908 she gave a series of readings in America on her literary work The Meaning of Happiness, which proved to be very well-liked by her American audiences.

World War I Propaganda Poster

She was an ardent activist and often spoke on the plight of the Polish people who were being displaced from their homes by the Austro-German troops in World War I.  She was a close friend and ardent admirer of Jan Paderewski, the Polish concert pianist and composer, politician, and spokesman for Polish independence.  Laurense was secretary of the Poland and the Polish Victims Relief Fund from 1915 to 1939 and her name appeared on many of their propaganda posters.  On her book tour in America, she spoke on the plight of the divided Poland and asked her audience to support the Polish people’s cause.

Laurense died in a nursing home in London on March 12th 1940, aged seventy-five.  Laurense like her sister Anna never married and one wonders whether either ever loved somebody and whether they missed “married bliss”.   Laurense’s poem If One Ever Marries Me would make one believe at least she was resigned to a solitary life.

 If no one ever marries me,—

And I don’t see why they should,

For nurse says I’m not pretty,

And I’m seldom very good—

 If no one ever marries me

I shan’t mind very much;

I shall buy a squirrel in a cage,

And a little rabbit-hutch:

 I shall have a cottage near a wood,

And a pony all my own,

And a little lamb quite clean and tame,

That I can take to town:

 And when I’m getting really old,—

At twenty-eight or nine—

I shall buy a little orphan-girl

And bring her up as mine.

————————–

I visited the exhibition At Home in Antiquity which features many paintings by Lawrence Alma-Tadema.   It is being held in London at the Leighton House Museum until October 29th.  It is a “must-see” exhibition of Lawrence Alma-Tadema’s works as well as works by his daughter and second wife.

 

 

Briton Rivière

Portrait of Briton Rivière by Philip Hermogenes Calderon

Sentimentality in art was very popular during Victorian times.  I have looked at many artists whose motifs often depicted “cute” little boys and cute little girls in pretty dresses.

Bubbles by John Everett Millais (1886)

Even the great artists, such as John Everett Millais, with his famous 1886 painting Bubbles, realised such paintings of young children were money-spinners.  This painting shows a boy blowing bubbles with a pipe and a bowl of soap suds. The boy was Millais’ four-year-old grandson, Willie James.   A. & F. Pears bought the painting from Millais in 1886.

Fidelity by Briton Rivière (1869)

Another motif which was popular at the time in Victorian England was small animals, especially dogs.  Add to that motif a touch of pathos and the painting is sold!   My artist today was a master of such depictions.  Let me introduce you to Briton Rivière.

His Only Friend by Briton Rivière (1871)

Briton Rivière was born in St Pancras, London on August 14th 1840. He was the youngest child and only son of William Rivière, who was the third of twelve children, and Anne Rivière (née Jarvis) whom he had married in 1830. Briton had three elder sisters, Marion born in 1833, Henrietta Fanny born in 1835 and Annette Louise born in 1837.  Briton’s love of art probably came from his parents. His mother was a still-life painter and his father trained to be an artist at the Royal Academy when he was eighteen years old and two years later began to exhibit his work at the Academy.

Jilted by Briton Rivière (1872)

William Rivière was appointed Master of the drawing academy at Cheltenham College in 1849, a town at which the family then lived. There he succeeded in establishing a drawing-school which was unique of its kind, and was hailed as the best school of art outside of London. Briton Rivière’s paternal uncle Henry Parsons Rivière was also a noted watercolourist, who had exhibited his paintings at the Royal Watercolour Society, London, and the Royal Birmingham Society of Artists.

Much happened in his family life when Briton was thirteen years of age.  In 1853 his eldest sister Marion married and a year later his sister Henrietta, then aged nineteen died in Brighton

The Long Sleep by Briton Rivière (1868)

Briton’s father resigned from Cheltenham College in 1859, and he, his wife and two children, Annette and Briton left Cheltenham and moved to Park Town, Oxford, where he convinced the University to initiate the study of art for undergraduates and he set up his own drawing school.  His son Briton studied painting and drawing at the university.  Briton Rivière had some of his works hung at the Royal Academy exhibitions from 1858 onwards but he had yet to make a breakthrough with his paintings.  That all changed in 1869 when he exhibited his work, The Long Sleep.  The painting pulled at the heartstrings of the viewers and was an immediate hit with Victorian art lovers.  It was to be first of many which featured domestic animals and their owners intertwined with a sense of pathos.  In this work we see and old man sitting in his chair besides the fire.  His head lolls forward on to his chest.  His clay pipe, which has slipped from his life-less fingers, lies broken on the stone floor.  He is not asleep.  He has died and his two faithful friends, his dogs, become agitated at his lack of movement.  One jumps up to lick his face in the hope that this may awaken their master but, of course, to no avail.

Sympathy by Briton Riviere (c.1878)

In 1878 Rivière completed a work entitled Sympathy. In this work we see a young girl sitting on stairs, all alone except for her beloved pet.  The story behind the painting is that she has been naughty and, as punishment, has been sent to sit on the “naughty step”.    The only comfort she receives is from her beloved four-legged friend.

Companions in Misfortune by Briton Rivière

His work, Companions in Misfortune, similarly depicts a solitary human having only his animal friend as company and for many observers of the work, they can empathise with the man as in their lives they often only have the love of an animal to look forward to.

Giants at Play by Briton Rivière (1882)

Rivière’s painting were not always sad depictions as he had the ability to inject humour into his depictions as we see in his 1882 painting Giants at Play.  Rivière depicts three men at rest, enjoying themselves by playing with a tiny young bull-pup. They tantalise the dog by dragging a feather attached to a piece of string always just out of reach of the puppy.  Just a harmless game or as some will have you believe it may have been the initial stage in the training that will prepare the dog for fighting and baiting

A Blockade Runner by Briton Rivière (1888)

Another humorous painting was Rivière’s 1888 work entitled A Blockade Runner in which we see a cat escape across the top of a wall to escape the clutches of its four canine assailants.

Beyond Man’s Footsteps by Briton Rivière

In 1894, in total contrast to these works Rivière exhibited at the Royal Academy a completely different type of work with his painting Beyond Man’s Footsteps.  The setting for the painting is the Arctic, a region where no human had ventured but through Rivière’s depiction the viewer was able to imagine what it was like to be in this bleak and remote region.  The foreground is dark and shadowy which contrasts with the colourful beauty of the sky brought about by the setting sun in the background.   Atop the overhanging rock we see a solitary polar bear looking out over its terrain.  It is thought that Rivière based the depiction of the animal on sketches he made of a polar bear he saw in London’s Regent Park zoo.  The depiction of Rivière’s Arctic, free of mankind, is awesome.  The Norwegian explorer, scientist, diplomat, humanitarian, and Nobel Peace Prize laureate Fridtjof Nansen’s narrative of The First Crossing of Greenland was written and published in 1890 and it is believed that Rivière had read the translated version and based his painting on what he had read.  One passage from the book described what Nansen had witnessed during his journey:

“…when the sun sank lowest, and set the heavens in a blaze … the wild beauty of the scene was raised to its highest’. At the foot of the ‘spires’ of huge, glittering icebergs, ‘there were marvellous effects and tints of blue, ranging to the deepest ultramarine … a floating fairy palace, built of sapphires, about the sides of which brooks ran and cascades fell … in fantastic forms…”

Saint George and the Dragon by Briton Riviere

During the 1870’s Rivière began to exhibit Classical and Religious paintings.  His depiction of this classic story of George and the Dragon is somewhat unusual.  Normally Saint George would be portrayed astride his horse, lance in hand but in Rivière’s work we see the dragon’s conqueror lying on the ground, exhausted, close to his fallen adversary.

Daniel in the Lion’s Den by Briton Rivière (1872)

His painting Daniel in the Lion’s Den was based on the biblical story about Daniel which tells how Daniel is raised to high office by his royal master Darius the Mede, but jealous rivals trick Darius into issuing a decree which condemns Daniel to death. Hoping for Daniel’s deliverance, but unable to save him, the king has him cast into the pit of lions. At daybreak he hurries back, asking if God had saved his friend.  In the Old Testament (Daniel 6:20-22) the story unfolds:

“…When he had come near the den to Daniel, he cried out with a troubled voice. The king spoke and said to Daniel, “Daniel, servant of the living God, has your God, whom you constantly serve, been able to deliver you from the lions?”   

Then Daniel spoke to the king, “O king, live forever!

“My God sent His angel and shut the lions’ mouths and they have not harmed me, in as much as I was found innocent before Him; and also toward you, O king, I have committed no crime…”

(c) Russell-Cotes Art Gallery & Museum; Supplied by The Public Catalogue Foundation

However, for most people the name Briton Rivière was synonymous with painting of animals and in an interview, he did for the Chums Boys Annual in August 1897 he explained how he mastered the drawing of both wild and domesticated animals:

“…I have always been a great lover of dogs but I have worked at them so much that I’ve grown tired of having them about me. However, you can never paint a dog unless you are fond of it. I never work from a dog without the assistance of a man who is well acquainted with animals….. Collies, I think, are the most restless dogs….greyhounds are also very restless, and so are fox terriers….. The only way to paint wild animals is to gradually accumulate a large number of studies and a great knowledge of the animal itself, before you can paint its picture…… I paint from dead animals as well as from live ones. I have had the body of a fine lioness in my studio….. I have done a great deal of work in the dissecting rooms at the Zoological Gardens from time to time…”

A Study in Black and White, Mrs Henrietta Riviere. (Briton Rivière’s daughter-in-law) (c.1910)

Early in his career, Rivière became an illustrator for the Punch magazine. Briton Rivière married Mary Alice Dobell in 1867.  She too was a talented painter.  The couple went on to have seven children, four sons, Hugh Goldwyn, Clive, Philip Lyle, and Bernard and three daughters, Millicent Alice, Evelyn, and Theodora.   In 1878, when he was thirty-eight, Rivière was elected an Associate of the Royal Academy of Arts and three years later, a Royal Academician.  He stood for election to become President of the Royal Academy but failed in his bid – the position being awarded to Edward John Poynter.

Briton Rivière died in London on April 20th 1920, aged seventy-nine.

John William Godward. Part 3 – Italy and the sad end to life.

Dolce Far Niente by John William Godward (1906)

…………………John William Godward made his first visit to Italy in 1905, a year after his father died.  He travelled around visiting the islands of Ischia and Capri.  He also journeyed around the Gulf of Naples and visited Sorrento and the historical site of Pompeii, the latter being one of his favourite places, during which time he painted many oil studies.   Probably one of his best-known works of the time is a painting he completed in 1906 entitled Dolce far Niente (Beauty doing nothing).  Like most of his paintings there is no symbolic meaning or a connected narrative to it.  We are just left to study this ageless place, with its sumptuous luminous surfaces of veined marble.  We absorb the dark red coloured, classically-inspired fabrics which adorn the body of the beautiful woman, who reclines against the lush textures of a leopard skin. Her long dark hair cascades over the marble stonework.  She seems lost in thought and her eyes are languorously unfocused as if she is daydreaming.  She is the epitome of relaxation.  Look how the undulation of her breasts, waist, hips, and legs seems to be a mirror-image of the Phlegraean Islands in the Gulf of Naples which we see in the background.

Lycinna by John William Godward (1918)

After his short stay in Italy he returned home but returned for a much longer stay setting off for Rome around May or June of 1912 and he remained in the country for eleven years.  So why did he leave his native England?  Various theories abound.  It could be that he lost his desire to paint in England as his output around this time had fallen dramatically, and yet, London was where his art was selling.  Maybe he sought Roman inspiration.  It should also be remembered that the great Classicist painters like, Tadema-Alma, Edward Poynton, Bougureau and Jean-Léon Gerôme had all studied or worked in the Italian capital.  However, a more probable reason was his love for one of his models, an Italian girl, who had grown tired of living in England and decided to return home.  Once again, we need to understand Godward’s relationship with this girl.  It was not a case of mutual love.  Godward’s love for and devotion to the woman was, sadly for him, not reciprocated.  She put up with him and was happy to accept the fees for modelling but as far as she was concerned that was all it was.

Song Without Words by John William Godward (1919)

Godward had already disappointed his family by not following the footsteps of his father and brothers into the financial world.  He had chosen, in the minds of his parents, the dubious path and lowly status of a professional artist which was looked upon as a slight on the family values.  Now the family were informed by him that he was leaving the country and going to live in Italy with his Italian model.   Can you imagine how that was greeted by his mother and siblings, especially his brothers?  A family relation, Dr, Gilbert Milo-Turner recounts:

“…He left in a rush, running off with his Italian model to Italy.  His mother never forgave him for this breech of conduct. He shocked the family by living with his model…”

Milo-Turner continued that the family already felt betrayed by him for becoming an artist, “and now this!”

An Offering to Venus by John William Godward (1912)

On arriving in Rome, Godward moved into a studio at the Villa Strohl-Fern hoping to find inspiration in the Italian capital. The Strohl-Fern had been converted into a group of artist’s studios and was close to the beautiful gardens of the Villa Borghese and the recently completed Museo Nazionale Arte Moderna.  One of the first works Godward completed whilst living in Rome was his 1912 oil painting, An Offering to Venus depicting a thoughtful priestess.   It is his homage to the Roman goddess of love.   Her voluptuous figure is barely hidden by the purple diaphanous coa vestis tunic and deep crimson stola.  Coa vestis is an ancient type of fabric named after its point of origin, the Greek island Kos and was made using the wild silk of Pachypasa otus, a Mediterranean moth.  The priestess is seen offering a vase of pink and red roses to a bronze statue of the Venus of Arles.  It is more than likely that the model Godward used for this work was the lady who travelled to Italy with him.

Girl In A Peach Dress by John William Godward

So, who was this woman who so beguiled the quietly-spoken introverted painter and turned him into a besotted suitor?  What was her name?  A clue to her identity comes from the Scottish painter and illustrator, Sir William Russell Flint who recalls meeting Godward in Rome:

“…I had an introduction from Lee Hankey to J. W. Godward in Rome … Godward was exceedingly kind and helpful. He knew all the ropes and didn’t mind showing us how to use them. He worked steadily at his Greek maidens in Liberty silks from a Roman model whose name in English meant “Sweetest Castaway.” This heavy-jowled beauty was a star among the models (I found them a sorry lot after Londoners), but she aimed at being taken for something better. One day at Godward’s for tea, Dolcissima, after taking a maddening time to complete her re-attirement, as last proceeded to make her dignified departure. My wife, with kind intention, called her notice to a long white thread sticking to her coat. It proved a mistake to do so because we were afterwards told that the thread had been placed there deliberately as the emblem of what Dolch thought a superior class — the dress-makers…”

Another entry in Flint’s diary hints at the tragedy which later befell Godward.  He wrote:

“…Good, kind Godward, what a difference he made to our Roman sojourn! Let these grateful words mask a tragedy…”

Absence Makes the Heart Grow Fonder by John William Godward (1912)

Godward’s completed his large canvas, measuring 131 x 80cms (51 x 32 inches), Absence Makes the Heart Grow Fonder in 1912 and this was looked upon as the start of his Roman Period. It is a beautiful painting which oozes with charm, beauty and innocent opulence which were familiar characteristics in Godward’s works.  The lady looks thoughtful and sad and by the title we are to presume that her lover has left her and maybe the ship in the background alludes to the couple’s parting.  She is dressed in a plum-coloured tunic.   Lying next to her on the marble seat is her fan.  In the foreground, Godward has included a floral still-life of irises. The flower symbolises faith, wisdom, and cherished friendship.

The Tryst by John William Godward (1912)

Another painting which incorporates a “Roman beauty” and a floral depiction was also painted in 1912 with the title The Tryst.  It is thought that, as it is the same size as Absence Makes the Heart Grow Fonder it could have been meant as a pendant piece with that work.  This painting depicts a young Roman woman dressed in a pale-yellow diaphanous tunic who is seated on a marble terrace waiting for her lover. She looks directly towards us, searching for a sign of her beloved.  The Mediterranean sun blazes down on her and she has raised her hand to shade her eyes from the dazzling brightness.   In the foreground, we see the still-life element of the painting in the form of poppies of various colours and varieties and a colourful oleander bush which acts as a great contrast to the clear blue sky.  There is probably little symbolism in their inclusion as Godward’s classical paintings centred on decorative beauty rather than tales of mythology and any narrative, which one gained from viewing the work, was probably in the observer’s mind rather than that of the artist.  Godward’s works were all about pleasure.  Beautifully adorned women in charming sunny settings overlooking the blue Mediterranean Sea, pristine marble surrounded by colourful flowers.  They all made for the perfect idyll

Still Life of Peach with Twig by John William Godward (c.1912)

Once in Italy Godward became more interested in still-life. Fresh fruit was easily accessible in market places and they appeared more and more in his paintings.  Around 1912 he completed the still life work entitled Still Life of Peach with Twig.

Seascape with Rock, Capri by John William Godward (c.1913)

Although most of Godward’s works featured single figure depictions of women in classical settings, he did complete some pure landscapes and seascapes.  An example of this from around about 1913 was his seascape, Seascape with Rock, Capri.

Nude on the Beach by John William Godward (1922)

Godward painted many nudes during his lifetime and one of his last paintings was one entitled Nude on the Beach which he completed in 1922, the year of his death.

Godward returned to England around  the early part of 1921.  He was suffering physically with insomnia and chronic dyspepsia and mentally with bouts of severe depression.  His classicism genre of painting had fallen out of favour with the public, and it said that he believed there wasn’t enough room for him and Picasso, whose art genre had become so popular.  He was all alone having been introverted all his life.  Whatever was depressing him and how he was feeling was never talked about as he had no close friends to unburden himself.  He saw no reason with continuing with life and on Wednesday December 13th, 1922 he ended his own life by gassing himself.

The Fulham Gazette coldly reported the death:

FULHAM ARTIST DEAD BEFORE BLANK CANVAS: AMAZING GAS TRAGEDY: CHEQUE FOR WORK ON DOOR!

With his head lying in a packing case and his mouth touching the turned-on jets of a gas-ring, Mr. John William Godward, an artist in oils, aged 62, was found dead on Wednesday night in his studio at Fulham. The studio is at the rear of a house 410 Fulham Road, Fulham, where his brother and sister-in-law live.  The brother of deceased, Charles Arthur Godward, a fire insurance official, living at the same address, said that his brother had been a very reserved man and lived entirely alone. On the Wednesday morning Witness [C.A. Godward] had seen him in the Garden when he seemed all right. As far as he knew deceased had not financial worries or troubles of any kind. On the previous Sunday deceased had asked him to send a telegram to his mother stating that he would not be able to go and see her as he was not feeling well.

The death of Godward was greeted by his mother and siblings not so much with outright heartbreak but with a sense of indignation which was directed at the disgrace the eldest son’s suicide had brought upon the family, so much so that his elderly mother eradicated him from all the family records, destroying any photographs she had of him. even to the point where she cropped him out of photographs in order to remove the offending sections depicting her son, John William Godward.

Sadly, by the medium of his paintings, Godward created an imaginary world to take the place of the real world he lived in and which he disliked so much.  In a way, his art was a form of escapism.  His lonely and tedious world, full of anxiety, had been, through his art, replaced with an excessively joyous one, which came in the form of his idealised paintings of a tranquil bygone era endowed with perfect peaceful beauty.  Maybe on December 22nd, 1922 Godward finally entered his own idyll, finally free from depression, loneliness, and unhappiness.

John William Godward’s grave at Old Brompton Cemetery

Godward was buried in London’s Old Brompton Cemetery which was just a hundred yards from his studio.  He had bought himself a burial plot there when his father died in 1904.  At the time of his death he was interred at this family plot along with his father and one of his sister’s, Nin’s, sons.  Godward’s mother, Sarah Eborall, lived until 1935.


Most of the information for this and my two previous blogs about John William Godward came from a 1998 book by Vern Grosvenor Swanson entitled J.W.Godward: the Eclipse of Classicism.

John William Godward. Part 2 – Life’s decisions and independence

John William Godward
Is this the artist ?

………………The year is 1887 and John William Godward had to make a decision about his life.  For twenty-six years he had lived with his parents and siblings and had to abide by his mother and father’s authoritarian rules.  They had mapped out his future which they expected him to follow.  The question was whether he had the nerve and the will to break the parental shackles and become an independent person.  Godward needed a push to set the ball of freedom rolling.  The initial push came with the Royal Academy’s acceptance of his painting for that year’s Summer Exhibition, and buoyed by that success in late 1887, he decided to get himself a small atelier in the Bolton Studios in Gilston Road, Kensington.  The studio space was tiny but often, rather than return home, he would sleep on the floor, occasionally returning to his parent’s Wimbledon home only to get a fresh set of clothing or an occasional meal, but this studio afforded him his own space, a place to think, a place to plan, a place to take back the control of his life.

There were about twenty separate ateliers in the Bolton Studios complex when Godward moved into his space.  Artists mainly occupied them, both male and female, most of whom were older than Godward. Such artist as Théodore Roussel, George Morton, Henry Ryland, Charles Irvine Bacon, Thomas B. Kennington, St. George Hare, George Lawrence Bulleid, Ernest W. Appleby and John Cooke all had their own space in the Bolton Studios.  It was an ideal meeting place for the artists and gave them an opportunity to exchange ideas and discuss techniques and it is probable that young Godward was in awe of his fellow painters.

Ianthe by John William Godward (1889)

It was in the late 1880’s that Godward’s art turned towards neo-classicism and an example of this is his 1889 oil painting entitled Ianthe.     Ianthe was a Cretan girl who is mentioned in Ovid’s narrative poem, Metamorphoses.  The garland of violet flowers upon her head probably relate to the fact that the name Ianthe is of Greek origin, and means “violet flower”.  One of the hallmarks of Godward’s classical depictions is the way he captures the veins and stains on blocks of marble.  It is thought that he perfected this when he worked for the architect and designer, William Hoff Wontner.

Violets, Sweet Violets by John William Godward (1906)

Violets were also the subject of another painting by Godward.  The 1906 tondo, or circular work, was entitled Violets, Sweet Violets and is viewed as one of Godward’s finest works. Violet flowers symbolize delicate love, affection, modesty, faithfulness, nobility, intuition, and dignity and are often depicted in Victorian Valentine cards.   The violet flower has a special place in Roman mythology.  The Romans placed emphasis on the plant and for them it represented the arrival of spring during which time they would scatter petals from the flower in their banquet halls and by drinking Violetum, a sweet wine formulated by Marcus Gavius Apicius, a Roman gourmet and lover of refined luxury.  The ancient Greeks, who attributed the violet as the symbol of love and fertility, used them in love potions. The violet was considered the flower of Zeus.

It is a beautiful emotive depiction, awash with compassion and made up of the most charming and enthralling colours.  It is a painting which portrays beauty.  The beauty of the variegated marble backdrop, the beautiful tunic and sash the lady wears, the beauty of the woman herself and of course not forgetting the subject of the painting, the beauty of the violets she daintily holds in her hand.  Her head is bowed down and she seems lost in sad contemplation.

Exhibiting one’s work at the Royal Academy was a high point in an artist’s life and the inclusion of Godward’s painting brought his work to the attention of not just the public but also to art dealers and it was after seeing Godward’s work that he was contacted by Arthur Tooth a leading London art dealer and gallery owner.

The Engagement Ring by John William Godward (1891)

One of the first paintings by Godward that Arthur Tooth took was his 1888 work entitled The Engagement Ring.  This work, with its mosaic floor leading to a marble balcony overlooking the Mediterranean, was a composition similar to that used in the art work of Lawrence Tadema-Alma, who had a great influence on the young painter.

Expectation by John William Godward (1900)

Around the turn of the century we see more and more of Godward’s neo-classical works, an artistic style which would always be synonymous with him.  In 1900, he completed a work entitled Expectation which had a classical balcony setting. A young woman lies stretched out on a marble balcony seat, and faces towards the left of the picture. She lies on her front, on a tiger skin rug, and she supports her head with her right arm, whilst her left arm dangles downwards.  Her left-hand clutches the elaborate handle of a black feather fan which has an intricate and ornamental handle.  She is draped in a loose-fitting salmon pink dress with yellow patterned sash.   Her dark, voluminous silky hair is pinned at the back of her head. The ends of the balcony walls are strangely decorated with orange-coloured stone heads of gods. To the extreme left of the painting we see a single mature tree and in the right background, above the wall, we see the tops of more trees. The sea is visible in the background, with the coastline in the distance, below a bright blue sky.

After a short spell of working with the art dealer Arthur Tooth, Godward decided to switch his allegiance to another London fine art dealer and print seller, Thomas Miller McLean who had his premises next to the Haymarket Theatre.  McLean handled the majority of works by Godward and managed to sell a large number.  In late 1889 Godward finally broke the parental shackles and rented a room, for twenty-four pounds per annum, in a house in St Leonard’s Terrace, Chelsea, close to his St Leonard studio.  Chelsea, at the end of the nineteenth century, was considered to be the centre of the London art scene.

Summer by William Renolds-Stephens(1888-1890)

His next-door neighbour at St Leonard’s Terrace was the American- born British artist and sculptor, William Reynolds-Stephens, who unlike Godward had received artistic training at the Blackheath School of Art and the Royal Academy School where he won the Landseer Scholarship and also a prize for painting. His most famous work was his large classical canvas, Summer which he began in 1888 and completed in 1890.  Godward was truly inspired by the painting.

Godward was a year older than Reynolds-Stephens but it is clear by the similarity in some of their artwork, such as the marble exedras and colonnades as well as all the Greek and Roman artefacts which formed part of their paintings.  Undoubtedly, the two artists must have fed off each other’s ideas and of course Reynolds-Stephens also had dealings with Lawrence Tadema-Alma.

Waiting for an Answer by John William Godward (1889)

Godward’s artistic output in 1889 was remarkable.  He completed twenty-five oil paintings, many of which went to McLean his favoured art dealer.  One painting completed in that year was entitled Waiting for an Answer.  The strange story behind this work which features a man and a woman is that many believe that the man is a self-portrait by Godward based on the belief that the male figure looks very much like photographs of Godward’s brothers.  You may wonder why the likeness of the man in the painting could not be compared with a photograph of Godward himself but the sad fact is that no photograph of John William Godward exists and the reason for this will be explained in the next blog.  Another interesting aspect to this depiction is the belief that the man waiting for an answer from the woman is based on Godward’s own relationship with one of his models and his unrequited love of the lady.

Godward’s problem with his overbearing parents was not just affecting him but also his twenty-three-year-old sister Mary Frederica (Nin) who also suffered a similar downtrodden life at the hands of her mother and father.  In 1889, it is believed that they cobbled together an arranged marriage for her with a man fourteen years her senior and so, in order to escape the parental home, she accepted the arrangement.  It was a disastrous decision and despite giving birth to two children, the marriage ended in divorce and the social improprieties this caused resulted in her estrangement from her father and being shunned by her brothers Edmund and Alfred.

A Priestess of Bacchus by John William Godward (1890)

In 1890, one of the many paintings Godward completed was one entitled A Priestess of Bacchus.  In the painting we see a Bacchante, a priestess or female follower of Bacchus, resting on a marble exedra seat, situated on a balcony, high up overlooking the blue Mediterranean Sea.  Her head lolls onto her right shoulder as she looks out at us.  In her left hand, she holds up a thyrsus, which is a staff or spear tipped with an ornament like a pine cone, which is carried by Bacchus and his followers.  It is a symbol of prosperity, fertility, hedonism, and pleasure/enjoyment in general.

The Sweet Siesta of a Summer’s Day by John William Godward (1891)

In 1891, he had his painting The Sweet Siesta of a Summer Day accepted into the Royal Academy Summer Exhibition.

Innocent Amusements by John William Godward (1891)

Another work completed that year was Innocent Amusements with its depiction of an ancient Roman atrium with fountain and marble statue. We observe a lady who has broken off from her sewing to amuse herself by trying to balance a peacock plume on her finger.  Two younger girls watch her.  Through the doorway we see two men talking.

Playtime by John William Godward (1891)

Godward’s output of work in 1891 was reduced and this has been put down to various possible reasons.  He could have been unwell.  He could have spent time travelling and a factor may have been that whereas many of his earlier paintings featured a single figure he was more inclined to paint scenes featuring multiple figures which would have taken longer to complete.  An example of this is Godward’s 1891 painting entitled Playtime in which we see three figures on a balcony. Once again, historians believe there is a great resemblance between the man in the painting and an existing photograph of Godward’s brother and so surmise, rightly or wrongly, that it could be a self-portrait of the artist

The Betrothed by John William Godward (1892)

In 1892 Godward completed a work entitled The Betrothed and for the first time we are introduced to his polka-dot sash which would appear in many of his later works.  This painting by Godward was also the oil by the artist to be placed in the permanent collection of a major art museum when it was given to the Guildhall Art Gallery in London where it is still on show.

The Playground by John William Godward (1892)

One of his most complex and impressive multi-figure painting was completed in 1892, entitled The Playground.  The setting is a marble terrace which overlooks the Mediterranean.  In the painting, we see seven classically adorned maidens relaxing.  Three are sitting on the floor chatting and playing the ancient game of knucklebones whilst to the right we see two older ladies holding a skipping rope for a young child.  On the far left we see another lady lying on the marble exedra playing a musical instrument.

Endmyion by John William Godward (1893)

The year 1893 has been described as Godward’s “break-through” year, a year when he completed his most remarkable and inspiring works of art.  Endymion has been judged as one of his most impressive and is based on Keats’ poem.

“…A thing of beauty is a joy for ever:

Its loveliness increases; it will never

Pass into nothingness; but still will keep

A bower quiet for us, and a sleep

Full of sweet dreams, and health, and quiet breathing.

Therefore, on every morrow, are we wreathing.

Yes or No? by John Wiliam Godward (1893)

And the other, Yes or No? in which the male figure again is believed to be a self-portrait.  Once more, the theme of the work is thought to be Godward’s relationship with one of his models.  His love for the woman was not reciprocated but he continued to pursue her love and whether she would return it was the basis of the painting’s title.

In my final blog I will look at Godward’s time in Italy and his sad and lonely demise.


Most of the information for this and my final blog about John William Godward came from a 1998 book by Vern Grosvenor Swanson entitled J.W.Godward: the Eclipse of Classicism.

John William Godward. Part 1 – Early life and works and the notorious Pettigrew sisters.

Beauty is in the eye of the beholder

Observing things of beauty is one of the pleasures of life and in my blog today I am looking at the life of an artist who constantly depicted feminine beauty in his paintings.  My featured artist is the Victorian Neo-classicism painter John William Godward.    Victorian Neoclassicism was a British style of historical painting inspired by the art and architecture of Classical Greece and Rome.  During the 19th century, ever more Europeans made the “Grand Tour” to the Mediterranean lands. For them, the highlight of the journey was visiting the ancient ruins of Italy and Greece and learning about the exotic cultures of the past, and it was this fascination which led to the rise of Classicism in Britain.  Godward’s portrayals of female beauty was not merely “things of beauty” but of classical beauty which during his early days was very popular with the public.

William Godward (1801-1893),
John William Godward’s paternal grandfather

John William Godward was born on August 9th, 1861.  He was the eldest of five children of John Godward and Sarah Eborall.  John’s father and the artist’s grandfather, William Godward, had been involved in the life assurance business and his grandfather had become quite wealthy through some wise investments in the Great Northern Railways which had been formed in 1846.  John Godward Snr., the artist’s father, followed in his father’s footsteps and worked   as an investment clerk for The Law Life Assurance Society at Fleet Street in London’s financial district.  On the death of his father, John Godward Snr. inherited a sizeable amount of money and he and his wife Sarah, whom he married in June 1859, lived a comfortable life in their home in Bridge Road West which was then in the ashionable London district of Battersea.  They lived an “upright” and were devout followers of the High Church of England.

John Godward (1836-1904)
John William Godward’s father

Sarah Eborall, John Godward Snr’s twenty-six-year-old wife, gave birth to their first child on August 9th 1861 at their Battersea home. The baby was christened that October and given the names John and William after his father and paternal grandfather. Two years later in December 1863 their second child, Alfred was born.   In 1864 the family moved from Battersea to Peterborough Terrace, Fulham, later renamed Harwood Terrace.  Fulham at the time, and unlike today,  was a rural area with its farms and market gardens.  In February 1866 Sarah gave birth to her third child, a daughter, Mary Frederica, who was known affectionately as “Nin”.  With a growing family John Snr, Sarah and their three children moved to larger rented premises in Peterborough Villas, close to their previous home.

Two further children were born, Edmund Theodore, known as Ted, in November 1869 and their youngest, Charles Arthur, in June 1872.  The Godward family was now complete with five children and the size of the family probably dictated that they needed larger accommodation and somewhere around 1872 they all moved to Dorset Road Wimbledon

Little is known about John William Godward’s schooling but as his family were well-off middle-class parents he may have been enrolled at one of the many private schools in the Wimbledon area. It is thought that he developed a love of drawing during his schooldays.  He was brought up in a very strict household in which maternal and paternal love was in short supply.  Both his parents were very controlling and John William had few friends.  His father, a devout Christian and church-goer, was both strict and puritanical and expected his word to be law and as far as he was concerned all his sons would, on leaving school, follow in his footsteps into the business world and, in particular, into the world of insurance and banking.  Whereas John William’s three brothers, Alfred, Edmund, and Charles happily entered the world of insurance much to their father’s delight, John William Godward, his eldest son proved, in his mother and father’s eyes, to be a disappointing failure who although forced, at the age of eighteen, into working as an insurance clerk with his father, hated every minute of this alien world of finance.

Dora by John William Godward (1887)
Study of a model, possibly Hetty Pettigrew

John Godward probably realised that his son was not going to remain in the insurance profession and because of his son’s propensity for art, decided that rather than let him idle his time as a fine artist he would arrange for him to study architecture and design.  In the eyes of his parents, an architect had a more acceptable and honourable ring to it than that of an artist.  Between 1879 and 1881, his father arranged for his son to study under William Hoff Wontner, a distinguished architect and designer and friend of the family, in the evenings whilst retaining his day job as an insurance clerk. John William Godward worked alongside Wontner’s son William Clarke Wontner, who was also interested in fine art and exhibited some of his portraiture at the Royal Academy exhibitions.  William Clarke Wontner soon became a popular portrait painter who received many commissions from patrons for landscapes and murals to decorate interiors of their homes. One can imagine that the youthful John William Godward was inspired by his friend’s blossoming career in fine art and was more than ever determined to follow a similar path.  The two men would remain good friends for the years that followed.  The other bonus in working in Wontner’s architecture office was that Godward was able to develop his skills in prospective and drawing of architectural marble elements which would feature in his later paintings.  In 1881 William Hoff Wontner died but his son carried on training the twenty-year-old, Godward and it is almost certain that Wontner’s success as an artist further intensified Godward’s desire to paint for a living, a decision which would cause havoc with his relationship with his mother and father.

Portrait of Mary Perkinton Godward by John William Godward (1881)

One of the earliest works completed by John William Godward was a small watercolour portrait (4.5 x 3.25 inches) of his paternal grandmother, Mary Perkinton Godward.  She had died in 1866 when the artist was just five years old and so it is thought that he used a family photograph to complete the work.

The Fair Persian by William Clarke Wonter (1916)

There is some doubt as to if, when and where John William Godward received formal artistic training.   Knowing his family’s vehement opposition to their son becoming a professional fine artist he is unlikely to have had his family’s backing to enrol at the likes of the Royal Academy of Art School and in fact there is no record of him attending any of their full-time courses.  However, we do know that in 1885, his friend and erstwhile mentor William Clarke Wontner taught at the prestigious St John’s Wood Art School, a feeder school to the RA School, and it may be that Godward also attended this establishment.  We also know that some of the visiting artists to this art school were Lawrence Alma-Tadema, Frederick Leighton, and Sir Edward John Poynter whose art certainly influenced Godward.

Giotto Drawing from Nature by John William Godward (c.1885)

Another reason to believe that Godward was receiving some formal training was a painting he completed around this time entitled Giotto Drawing on a Tablet which depicts the Italian artist, Giotto di Bondone, as a young shepherd drawing sheep.  The depiction is based on a passage from Giorgo Vasari’s1550 book, Le Vite de’ più eccellenti pittori, scultori, ed architettori (Lives of the Most Eminent Painters, Sculptors, and Architects), which recounts that Giotto was a shepherd boy, a merry and intelligent child who was loved by all who knew him. The great Florentine painter Cimabue, one of the two most highly renowned painters of Tuscany, discovered Giotto drawing pictures of his sheep on a rock. The depiction was so lifelike that Cimabue approached Giotto and asked if he could take him on as an apprentice.

Godward’s painting bore all the hallmarks of a “diploma piece” – a work of art which had to be submitted for critical assessment by tutors and it had to have the major genre elements taught in the art schools of the day.  It had a figure, a group of animals and a landscape, all of which were mandatory elements in order to demonstrate an artist’s technical expertise.  Having said all that, there are no definitive records of John William Godward attending any local art colleges.

Portrait of Mary Frederica ‘Nin’ Godward by John William Godward (1883)

Another early work by Godward was an 1883 portrait of his sister, entitled, Portrait of Mary Frederica “Nin” Godward.  The artist has depicted his sister shoulder-length in profile to the left. This was Godward’s first known oil painting.

Country House in the 18th Century by John William Godward (1883)

Godward’s 1883 painting Country House in the 18th Century shows his early style, so dissimilar to the Neo-classical paintings we now associate with him.  It is so different in style that it may just have been a copy Godward made of another artist’s work

What every artist needs at one time or another is a good model.  Artists’ models often worked for more than one artist and the best were in high demand.  Enter the Sisters Pettigrew.  On the death of her husband William Pettigrew, a cork cutter, and because of the dire need to feed her thirteen children, his widow Harriet Davies took the advice of her artist son that three of his sisters, Lilly, Harriet and Rose, all with their masses of hair and exotic looks  would make ideal Pre-Raphaelite artist’s models, and so in 1884, she took them to London where they became an instant hit with many artists such as John Everett Millais, Fredrick Lord Leighton, William Holman Hunt, Edward Burne-Jones, James McNeill Whistler and John William Godward.  Rose Pettigrew wrote about the experience six decades later:

“…every great artist of the land” was clamouring for one of the “Beautiful Miss Pettigrew’s” to pose…”

An Idyll of 1745 by John Evetett Millais (1884)

Their first time the girls appeared as artist’s models was when John Everett Millais used all three sisters in his 1884 painting, An Idyll of 1745, which depicts three young girls listening to the music played by a young British fifer.  Behind the fifer is a Loyal volunteer, seemingly enjoying the moment.  In the background is a British Army camp, likely where the fifer and volunteer came from.  From what the artist’s son said the three young girls were almost more trouble than they were worth, saying:

“…more trouble than any [models] he ever had to deal with. They were three little gypsies … and with the characteristic carelessness of their race, they just came when they liked, and only smiled benignly when lectured on their lack of punctuality…”

Portrait of Lily Pettigrew by John Wilson Godward (1887)

John William Godward completed a portrait of the beautiful seventeen-year old Lily Pettigrew in 1887.  She was the most beautiful of the three as her sister later wrote:

“…My sister Lily was lovely. She had [the] most beautiful curly red gold hair, violet eyes, a beautiful mouth, classic nose and beautifully shaped face, long neck, well set, and a most exquisite figure; in fact, she was perfection…”

The Reading Girl by Théodore Rousseau (1887)

Nineteen year old Harriet (Hetty) Pettigrew featured in Théodore Roussel’s famous 1887 painting The Reading Girl.  Look what a fine model she is in the natural way she relaxes and seems so comfortable, naked in front of the artist.  Hetty had met Roussel in 1884 and from becoming his model, then, despite Roussel being married, became his mistress and gave birth to their daughter, Iris around 1900.   When Roussel’s wife died, instead of legalising his relationship with Hetty and their child, he married Ethel Melville, the widow of the Scottish watercolour painter, Arthur Melville. Once Roussel re-married in 1914, Hetty never sat for him again. Their close bond was over.

Lily and Hetty Pettigrew (Photographer: Edward Linley Sambourne)

The Pettigrew sisters are also thought to have introduced Godward to other artists who were members of the Royal Society of British Artists.  The Society had been founded in 1823 but had grown very little in its first fifty years of existence due to financial problems but then it came into its own around 1886 when its president was James McNeil Whistler.  Whistler wanted to inject some life into the Society by encouraging it to accept new young artists such as Godward, who for the next three years showed works at their exhibition.  Whistler’s tenure at the Royal Society of British Artists lasted only two years when he was asked to stand down.  Godward, however, was eventually elected as a member of the Society in 1890.

In 1887 Godward had his painting entitled The Yellow Turban accepted at the Royal Academy Summer Exhibition.  This of course was a great moment for the twenty-six-year-old artist and it was probably, begrudgingly, the first thing about their son’s desire to be a painter that pleased his parents’ middle-class values.  Whether their son was happy, mattered little to them.  His achievement or lack of it was everything in their eyes. Initially they hoped he would follow the family tradition and work in the insurance business.  They even “allowed” him to study art with Wontner in the evenings providing he stayed with the insurance company and there was even a hope he would, through his association with Wontner, enter the prestigious world of architecture.  Their dreams for their son were later lowered to believe he may become, as a last resort, a teacher of art – anything than have to suffer the ignominy of having their son become a penniless artist.

For Godward he was reaching a crossroad in his life.  He was twenty six years of age, still living at home with his parents who could not and would not share and support his ambition to become an artist.  He must have felt the overpowering parental pressure and for this reason suffered mentally.  He needed to break free but what price would he have to pay for this freedom?

……………..to be continued


Most of the information for this and my next blog about John William Godward came from a 1998 book by Vern Grosvenor Swanson entitled J.W.Godward: the Eclipse of Classicism.

 

 

Neil Simone. The Visual Surrealist

Neil Simone

My blog today is quite different to most of my others for two reasons.  My love of art is quite traditional, some would say boringly middle-ground. If you imagine visual art as a spectrum, at one end of which we have Abstract Expressionism and at the other end there is Hyperrealism, then my predilection would be much closer to the hyperrealism end of the spectrum.  I like to look at the beauty of a painting.  I like to be amazed by the skill of the artist and marvel at the time they must have spent in completing a work.  Mere splashes of colour do not impress me, whether it be stripes or dots.  However, as I have said before I was told that to appreciate visual art one needs to embrace all types !  So, the first reason for this blog being different is that it focuses on the art genre of Surrealism and the works of a Surrealist painter.

Surrealism is a 20th-century form of art in which an artist brings together unrelated images or events in a very strange and often dreamlike way.  It stresses the subconscious significance of imagery.  Through their works of art, the Surrealist artists wanted to revolutionise our experience.  They want us to cast-off our coherent and balanced visualisation of life and, in its place, value the power of the unconscious and dreams. The artists want us to look at their works and share their feeling of mysterious enchantment and discover the perplexing beauty in the bewildering depictions which totally disregarded convention.

Alternative Path by Neil Simone

The second difference with my blog today, and this is more of a concern to me, is that my subject today is a living artist !  Why should that matter?  I suppose the answer is that I am delving into the life of somebody who has not given me permission to do so and secondly when one looks back and writes about somebody it is extremely important to have the correct facts.  You would be surprised at the number of times when I am researching a painter that I am finding differing facts, differing dates, differing names of family members and I never want to just guess at the correct information and so these inaccuracies drive me mad !!!  However, the deceased painter cannot complain at a mistaken fact quoted about them (albeit on some occasions I do get quizzed/censured regarding the authenticity/accuracy of what I have written by knowledgeable relatives or art historians).  With a living artist, they may take umbrage with my factual accuracy.

Having said all that let me introduce you to the English Surrealist painter Neil Simone.  The reason for this entry was that last week I was in the picturesque Yorkshire town of Harrogate and I visited Suttcliffes Contemporary Gallery, in the Montpellier Quarter of Harrogate and came across his works  and actually bought one of his prints, The Retreat,  as I was so fascinated by it. The one thing I like about some works of Surrealism, and I am a great fan of René Magritte, is that they are thought-provoking and quirky and I wonder how the artist ever came up with the ideas they put on canvas.

Nightfall by Neil Simone

Neil Simone was born in London in 1947. His parents rented rooms in a property in Burrows Road close to Kensall Green Underground station.  He was an only child and lived here for the first eleven years of his life.  In 1958, his parents bought their first property in Harrow, Middlesex.  This move to their own house finally gave their son his own room which as a teenager, was a godsend.

His progress in school was limited to success in graphic art and design in which he gained his “A” level and buoyed by that success he applied to enrol at the Harrow School of Art but was turned down due to not having achieved any academic qualifications in other subjects, in particular, the lack of “O” level English.  Like many setbacks in life one often find they were for the best and Neil Simone considered it was a narrow escape for him not to have gained admission to the art school as he believed that his erstwhile colleagues and friends who did attend the school were stymied as far as to their choice of a future artistic road map as their artistic path was dictated to them by the tutors, whereas Neil made all his own artistic life choices.

The Ocean Floor by Neil Simone

With no art college to attend, Simone had to both occupy his time, as well as finding a way of earning money.  Over the next few years he became a trainee lady’s hairdresser, helped a van driver deliver laundry, a petrol pump attendant and the nearest he got to the art world was a short spell as a layout artist for Moss Enterprises and a messenger for a commercial art studio, during which time he was attacked and robbed whilst carrying staff wages.  However the job which was to change his life the most was as a display artist at Sopers department store in Harrow for his immediate boss and team leader was Linda  who would in April 1968, become his wife.  The couple moved into a flat into a house owned by Peter Hale, the head of department at the Road Transport industry Training Board which made training films and artwork for use in lectures and promotions.  Peter had seen some of Simone’s work and offered him a job as creator of an exhibition to commemorate the opening of M.O.T.E.C. (multi-occupational training centre) which was held in Shrewsbury.  M.O.T.E.C. was the training centre for apprentices in the Road Transport Industry. The training unit was designed to provide realistic working conditions in which apprentices could have experience of all aspects of the trade.  The commission Peter gave Simone was so big that he needed help and so he took on his wife on a freelance basis to help him with the task.

Island in the Sky by Neil Simone

The August Bank Holiday of 1969 proved a turning point in Neil and Linda Simone’s lives.  Their landlord and Neil’s employer invited the couple to visit his other home, The Priory, in the picturesque town of Harrogate in the heart of the Yorkshire countryside.  For Neil this was the first time out of London but he was immediately taken by the beauty of the area.  Peter and his wife Elizabeth persuaded Neil that Harrogate and the surrounding countryside would be a perfect base for him to carry on with his painting and they offered to rent Neil and Linda the basement of their house.  It must have been a big decision for Neil and Linda to have to make, whether they should give up their jobs and move two hundred miles away from their home and families in London and for Neil to take up painting professionally.  It was probably Linda’s belief in her husband that he could succeed and the fact that it was just the two of them that Neil decided to take the plunge and start a new life in Yorkshire with his wife.

As Autumn Leaves by Neil Simone

Once the decision was made and the couple had moved to Harrogate Neil reckoned that to survive financially he needed to sell a minimum of two paintings per week.  He started to build up a collection of his work so that he could show his work at the 1970 Valley Gardens exhibition in Harrogate.  The exhibition went well and he sold twenty of his paintings.  However with every success comes failure and after the exhibition the sale of his paintings dried up and during the winter months of 1970 he was forced to go door to door with them to try to get a sale.

In the Spring of 1971 he exhibited at the Lounge Hall, Royal Baths, Harrogate and it was during this show that he met a fellow artist Judy Pyrah.  The two of them talked about the dream she had of opening her own gallery and suggested a joint venture when they had sufficient money.  Neil’s financial situation was improved by another person, Mr Rivlin, whom he also met at the exhibition.  Mr Rivlin liked Simone’s artwork and offered him employment at his company as the resident artist in charge of packaging designs and corporate identity material for his company, Endura Lamps of Horsforth.  In October 1971 Neil Simone started working for Mr Rivlin and in November Neil and Judy Pyrah opened their gallery, the Eye-Glass Gallery, in John Street, Harrogate.  The gallery remained open for just twelve months and this coincided with his work for Mr Rivlin being terminating in January 1973.

Exploring the Alternatives by Neil Simone

Neil and Linda’s stay in the basement of The Priory came to a sudden end in the autumn of 1974 when Harrogate was subjected to a series of storms and their basement flat was flooded and so the couple moved to another flat in Harrogate which also had room for a studio and a workshop for framing and was both light and airy.  During the next two years the sale of Simone’s paintings did well and he exhibited at galleries as far north as Edinburgh.  When Neil and Linda had taken the decision to permanently leave London and take a chance with life in Harrogate there was just the two of them and so if the venture failed then it would just hurt them as they had no children to support.  However seven years on, with their finances at a reasonable position, they believed they should start a family and in July 1976 their son, Lee, was born.

Within six months things turned for the worse for the family with galleries not wanting his paintings and with sales tumbling, they were in trouble. For Neil, it was a time of introspection, a time to figure out why things had gone wrong and more importantly work out what people wanted from art.  He needed time to reassess his art and, to give himself a chance to do this, Linda took their son and went back to live with her mother.  He realised the most important question he had to answer was what did he want from his art for he realised his mistake of suffocating his own imagination which once set ablaze his passion for art.  Neil thought long and hard and eventually hit on the idea that people may like to view works which would transport them into an alternative vision of reality.  He wanted observers of his work to question what were they actually looking at.  This was of course a form of surrealism, which he had dabbled with eight years earlier but had abandoned believing that he must paint what the public wanted and not what he wanted.

The Dropleaf Table by Neil Simone (2006)

His new style of artwork soon became an art with a sense of humour, as Neil put it “they would be paintings with an element of realism that invite conjecture”  It was quirky but would it sell?  He decided that he had nothing to lose and so in 1977, Neil Simone’s art became different.  It was a new direction.  In August 1979, the Harrogate Advertiser described it as

“…a fusion of fact and fantasy…”

It was the start of an exciting journey.  With the mental turmoil dissipated on having finally decided on the future of his art, he asked Linda to return to Harrogate.

The public and art critics both liked and were excited by this new style and his works of art were in great demand at exhibitions and sales rocketed.  His gamble on changing his artistic style had paid off and his paintings were in great demand.  Neil struggled to keep up a collection of his work due to all the sales.  His brain was awash with new ideas and his artwork was in great demand.  With all this came a healthy bank balance and in July 1978 Neil bought and moved into a house with Linda and two-year-old Lee in Grasmere Crescent, Harrogate.  This was the first home they had purchased and was an ideal place for an artist with a bright studio in the loft conversion.

Realms of the Imagination by Neil Simone (1992)

Neil decided to launch his first set of limited editions prints but to do this he needed some financial backing which he got from family and friends and this proved a financial success and soon he could pay back his friends and from then on, he was able to fund any subsequent print editions, the second of which was launched in February 1980.  With all these print runs space at home became critical and it was soon obvious to Neil that the family needed a larger house.  In June 1980, they moved into a large house on Harlow Hill, one of the highest points around Harrogate, which he had bought when it was only partially constructed which allowed him to agree to some design alterations with the builder.

Another break came in March 1981 when a Dutch art dealer called at Simone’s studio. The dealer, Kees De Jong, had been told about the success Simone was having with his new style work and came to offer him a chance to exhibit some of it at the prestigious London Department store, Harrods.  Simone accepted the invite and in May his works were being showed in the windows of the prestigious department store.  More invites rolled in for Simone to exhibit works at various exhibitions and he now had to continually produce works.  Although this was time consuming and tiring Simone was very aware that the popularity of one’s artwork is ephemeral and that he had to make the most of his popularity.  The downside to this success was Neil had less time to spend with his wife and son.

The Sea Bed by Neil Simone (2000)

In 1983 Neil Simone met Barbara Dutton who had come to look at his paintings.  She was just about to open her own gallery at Pately Bridge, a village some four miles from Harrogate, and wanted some of Neil’s prints and originals but had a limited budget.  Neil and Barbara came to an agreement that she could take all his works on a sale or return basis.  The gallery opened in May and later that year there was an exhibition of Neil’s latest works.

In June 1984, Neil and Linda had an addition to the family with the birth of a daughter, Gemma.  Over the next ten years Neil was inundated with work to satisfy exhibitions he had committed to.  Life was hectic but profitable.  He had taken his son to Paris for his eighteenth birthday in 1994 and in 1996 his son had gone to university and his daughter was about to start secondary school.  Everything was going so well and yet around this time, Neil sensed all was not well.  He had a foreboding that things were going to change.  This sense he had of imminent change in his life was converted into two paintings he completed entitled The Ephemeral Nature of Beauty and the Persistence of Art and Our Thoughts Stray Constantly Without Boundary, both hinted at Neil’s concern that things in his life and marriage were about to change and not necessarily for the better.

The House of Glass by Neil Simone (1991)

In 1997 Neil struggled with the effort to have to paint more pictures and became physically and mentally run down. He had to continually paint to satisfy clients and fulfil exhibition commitments but found it difficult to achieve sufficient work during a day at the studio so would leave home in the evening, returning to the studio to continue working through part of the night.  He began to worry about all the pressure to keep people happy but would not talk about it to his wife. He admitted that he became morose and withdrawn but he just hoped the problem would be short term. The strain on his marriage got so bad that in January 1998, in a hope that things may improve, he and Linda decided to separate and he left the family home and went to live in his rented studio.

The Retreat by Neil Simone (1999)

Some years earlier, Neil became very friendly with a lady called Heather who worked at an art materials shop where he bought most of his supplies.  Although she worked in Centagraph, an art supply shop, she had never painted and she was pleased to accept Neil’s offer of artistic tuition.  They became great friends and Heather proved to be the support Neil Simone needed to get him through life.  Living in his studio where he stored his artwork was proving to be untenable and so he decided he needed to buy somewhere larger.  The time also coincided with Heather and her young son Ben wanting to move out of rented premises and contemplate owning somewhere and so Neil and Heather, for financial reasons, decided to jointly buy somewhere and to fund his part of the purchase, Neil reluctantly sold some of his original paintings he had been keeping for himself.  In May 1999, the couple moved into a first-floor apartment in Langcliffe Avenue, Harrogate.  It was ideal for these two artists as it had a hexagonal sun room and a private roof terrace.

Rock Formation by Neil Simone (1999)

In late 2000, fifty-three-year-old, Neil Simone suffered a heart attack and was forced to rest and in January 2001 he underwent a triple bypass operation.  After a long period of rehabilitation under the watchful eye of Heather, Neil resumed painting.  Although they loved their apartment there was just not enough wall space to hang their work and so decided to search the property market for something larger and room for a gallery and workshop. Their search proved fruitful in September 2003 when they found the ideal home in the village of Whixley.  A month later Neil and Heather moved in to their new home and were able to hold exhibitions in their own gallery.  Heather and Neil are now married and still live in their Whixley home.

 Of his painting style which he termed visual surrealism, Neil wrote:

“…I paint the way that I do because I see the world as a dimension of shadows, shapes, contradictions and ever changing fragile boundaries…”

———————————————————————-

The majority of the information for this blog came from Neil’s own autobiography, Neil Simone.  The Memoirs of an Artist.  How long does it take? which is an excellent book with many reproductions of his work.

Neal and Heather’s gallery is at 2a High Street Pateley Bridge, North Yorkshire which I look forward to visiting in the summer.  The website is   http://www.simonegalleries.com/.