As we move into early summer, I thought I’d pause for a second to take you on a short tour of my local park to see the fresh, light greens of spring.
The horse chestnuts have reached full leaf and underneath their canopy the reduced light supplies dramatic contrasts between bold, sturdy tree trunks and verdant, recently cut grass.
Together with the horse chestnuts, lime trees line the paths of the park accentuating the curves and sweeps.
There’s not just fresh green but delicate coppery apricot colours too.
The new leaves in the park are most welcome, but there’s something even more uplifting when you observe the re-emergence of sea kale (crambe maritime) on beaches at this time of year. The plant’s sheer tenacity as it pushes up through the salty shingle for another season of sun, wind and rain is very pleasing.
In last week’s post I looked at two artists’ retrospectives which featured as part of the Ipswich Art Society’s 143rd Open Exhibition. This week I thought I’d post a few photographs of other works on display that caught my attention.
As this exhibition was an open show there were pictures and sculptures by both members of the Ipswich Art Society and also works from members of the general public. In my opinion the outstanding work of the whole event was this garden sculpture, ‘Curled Figure’ by Kate Reynolds.
Across the exhibition there were a variety of media and techniques on display from the two dimensional, wall art category including paintings, drawings, prints and enamels to textured relief work to full sculpture. As far as media was concerned along with traditional oil, watercolour and acrylic paintings there were works created and expressed in pastel, gouache, pencil, ink, graphite, charcoal, conté, wood, cloth, stoneware ceramic, bronze, copper, steel, wire and even ink with gold leaf.
There were pictures for every taste with strongly coloured abstract paintings,
a handful of textile pieces
and even a social commentary textile installation.
However, my favourite of the ‘paintings’ in the show was an atypical expression of the English countryside, ‘This Green and Pleasant Land’ by Dave King working in a traditional, Japanese style with more than a hint of ukiyo-e about it.
For the last four weeks Ipswich Art Society’s 143rd OPEN Exhibition has been on at Ipswich Art Gallery. The exhibition showcases the visual artworks of a variety of creative folk who live in and around Ipswich.
The Ipswich Art Society has been in existence since 1874 with a membership that has included Alfred Munnings, F.G.Cotman, Harry Becker, E.R.Smythe, Tom Smythe, Edward Packard, John Duvall, Colin Moss, Anna Airy and Leonard Squirrell.
The 143rd Open exhibition showed a selection of works created by members of the public as well as Members and Friends of the Society. The Society has a tradition of encouraging artists from all walks of life to join and be involved in the making and appreciation of art.
The Society also has a convention of including a Special Feature Exhibition to run alongside the Open submissions and this year it was a retrospective for two well-known Suffolk artists, Claire Lambert and Judith Foster.
Suffolk-born Claire Lambert works in ceramics, lino cut, etching, mono prints, painting and drawing. She worked between 1957 and 1975 as a member of Atelier de Ceramique de Dour in Belgium. She was taught by Roger Somerville at the Academy des Beaux Arts de Waterfall-boitsfort, Brussels, and subsequently studied printmaking with Ken Roberts and Judith Lock at Suffolk College.
She has taken part in joint exhibitions in Belgium, France, Italy, Poland and Canada and many UK exhibitions including the Broughton Gallery in Kirkcudbright, Peckover House Wisbech, Norwich Castle and Gallery 44 in Aldeburgh.
Claire’s work is represented in a number of collections including the Musee de Verviers and the Michael and Valerie Chase Collection and further collections in Australia, New Zealand and Belgium.
Sadly, I only managed to get one decent photograph of her work as the combination of a small gallery room and large, darkly coloured monoprints or linocuts behind reflective glass did not make for good photos.
However, I did have more luck photographing the work of the second artist of this retrospective, Judith Foster.
Judith Foster was born in London and went to school in Bath. In 1955 she came to study at Ipswich Art School and in 1959 entered the painting school of the Royal College of Art. She then travelled through Europe on an Abbey Minor Scholarship before returning to Suffolk.
She taught foundation studies and adult education drawing and painting at the High Street Art School from 1963 until its closure, and subsequently at Suffolk College until 2000.
Judith’s professional life has included many solo and group exhibitions, starting with the Ipswich Art Club in 1958 and including the Young Contemporaries , the Royal Academy, the Edinburgh Festival Fringe, Northampton Museum and Art Gallery, Cleveland Bridge Gallery in Bath, Lady Lodge Art Centre in Peterborough and many galleries across East Anglia.
Her work is in private and public collections in the UK, USA and Europe.
I have to comment that I really appreciated her work and, in particular, her still life paintings ‘Cherries’ and ‘Pear Diptych’. I find her loose, free brushwork with smaller, discrete areas of focus very appealing.
It’s always good to see a few still life paintings in an open show and I noticed this delightful little gem, ‘Pears in Conference’ by Hilary Bartholomew, a current member of the Ipswich Art Society. I think you can probably see that the artist is a fan of the French Master, Chardin.
Earlier this week it was MOT day. Not a day overflowing with excitement, but instead a day suffused with trepidation. Last year was a spectacular fail (fault with the anti-lock braking system!?) leaving me without a car for two weeks and an eye-watering bill in excess of £600. This year it was a bright and clear morning when I left the car at the garage with my fingers crossed. I took the opportunity to spend the ‘waiting’ hour with my camera in the nearby local park to photograph any attractive flowers or birds, and record this flamboyant graffiti.
Holywells Park is my favourite park in Ipswich and I was hoping to capture some spring flowers, but despite the recent, unseasonable warm weather there was only a few clumps of cheerful daffodils and the big old magnolia in bloom.
However, there were plenty of ducks. There was a rather handsome mandarin duck diving for breakfast.
And, quite a number of mallard ducks. The males being easy to spot with their glistening green heads. (Do you not think this sumptuous shade of green with its satin-like quality is surely so luxurious it might even feature in any future Lulu Lytle revamp of Downing Street? )
Leaving the political sideswipes behind and moving on, I spotted and even managed a couple of shots of the little egret that is now visiting the park’s ponds.
I was just about to leave, when I noticed the perennial wallflower, erysimum ‘Bowles Mauve’, was coming into flower providing timely pollen and nectar for those early-emerging bees. It’s such a cheerful, strong pink for this time of year. And, as it turned out when I left the garage I, too, was cheerful as the old car had passed its MOT.
Ipswich, like many towns, is an eclectic, sprawling muddle of buildings. Down on the Waterfront there has been a 21st-century attempt to achieve a coherent redevelopment of the old commercial warehouses and grain silos. Nowadays most of the warehouses have been replaced with a variety of residential blocks of flats and single storey boat-building workshops. The area is functional and pleasant enough, but there’s no outstanding contemporary architecture and it all looks markedly more interesting on a misty morning at dawn . . .
Or, when there’s a dramatic, fiery sunset.
However, also like many towns, there are little gems hidden away. Last November, I was walking through a quieter residential area and turned up St John’s Road
and came upon this Tudor-bethan style beauty.
‘Gothic House’, 5, St John’s Road was built by Henry Ringham possibly to the design of architect J Phipson between 1851 and 1857. It is a timber-framed house and was constructed reusing old materials with details copied from original Tudor buildings in Ipswich such as the Ancient House in the Buttermarket.
I think the flint cobble ground floor works particularly well with the timber and stucco panels above. It is just such a pity that at some point in the intervening 170 years or so somebody sold off part of the grounds and allowed a disagreeable house to be built so close next door it blights the scene. Of course, if the Gothic House was swathed in mist it would lessen the presence of the ugliness next door. And, as we all know early morning mist does so much to enhance the most mundane of views.
Last month I went to see the ‘Creating Constable’ exhibition at Christchurch Mansion, Ipswich.
Born in East Bergholt, Suffolk, John Constable (1776-1837) is known as one of the most important of all British artists with many of his famous works featuring the gentle countryside of his bucolic home county, Suffolk. Constable’s landscape paintings not only showed a new way to paint, but through sharing his visual interpretation he also encouraged his audiences to view the landscape in a different way.
I think this idea of a historical and different way of perceiving reality, as well as a historical way of viewing any re-presentation of that reality by an artist of the corresponding period, is more difficult for us to imagine than we realise. We are, after all, living in a time after the Impressionists, after the Post-Impressionists and after the Modernists, indeed, we now appear to exist in a time considered so postmodern much of our realities are viewed with deep skepticism. Please just hold this in mind as you look at the next two paintings and as you read the context for their creation.
On show in this exhibition is a very special pair of paintings. In the summer of 1815 with the health of Constables’ elderly father, Golding, failing and his wife, Ann, John’s mother, having died earlier that spring, John came to visit with his father in East Bergholt. During the course of his stay he spent many hours in the fields sketching and painting. Two paintings produced at this time were ‘Golding Constable’s Kitchen Garden’ (above) and ‘Golding Constable’s Flower Garden’ (below).
Constable never exhibited or attempted to sell these two paintings during his lifetime. Although highly finished, these were private works, records of the landscape that was precious to him at a difficult time. I think this is a fine example of the difference between the sensibilities of the early 19th century and our ‘show all, tell all’, skeptical 21st-century existence.
Returning now to the exhibition more generally it is possible to detect that Constable believed in the necessity of being skilful at drawing. A capability in the world of art that has not always been fashionable. At the beginning of his career Constable often copied from Old master prints, to develop his technique. He continued this practice into later life, collecting prints by Dutch and Flemish artists such as this copy of Jacob Ruysdael’s ‘The Wheatfield’ (below).
Of course, the exhibition also displays some of Constable’s original drawn creations such as this pen, ink and watercolour study of East Bergholt church.
On the picture it is just possible to make out a faint set of pencil grid lines drawn in preparation for the transfer and enlarging of the church into the finished oil painting.
Naturally, there can’t be a Constable exhibition without at least one painting that includes some aspect of Willy Lott’s Cottage.
I had just taken the above photo and was about to leave the gallery when the Gallery Steward approached me and asked if I’d spotted the kingfisher flying over the water in the Mill Stream painting. I hadn’t.
I paused and looked. And looked closer, and closer and squinted and eventually he pointed it out to me. There it was a brush stroke of red and two of blue, the kingfisher.
The other week, before Omicron arrived, I popped into Christchurch Mansion to catch up on the latest ‘Creating Constable’ exhibition. The gallery is only a 15 minute walk from where I live and I always enjoy walking through the Mansion’s park on my visits, particularly at dusk.
As I said I went to see the art, but I was distracted by the fine sunset and then the Christmas Trees on display. And, as this is my last post before Christmas this year, I thought we might make a toast or two in the Servants’ Hall.
The servants’ hall was first recorded as such in the 1840s, although it was probably used in this way much earlier. The space was conveniently situated near to the kitchen, to the servants’ staircase to the attic bedrooms and to the service wing of the mansion where the work of running the house was carried out.
All the servants ate together in the hall, but it was expected that the butler and the housekeeper would retire to take wine and a dessert. These formal meals provided an opportunity for junior servants to learn how to serve by waiting on the older servants.
The furniture now on display is not typical of a usual servants’ hall, but represents the sort of pieces that might be found in a large farmhouse kitchen or country inn. I think the idea is to give the visitor an essence of Victorian life rather than historical accuracy. Also, I am not sure how many servants would have been offered a serving of the rather fancy apples à la Parisienne!
Long term readers of my blog will know I am a keen gardener, but also a big moaner about the trials and tribulations of gardening in a backyard shaded by a large, mature eucalyptus tree.
Well, on Monday of this week Christmas came early for gardening me as the supremely professional ‘Acorn Trees’ arrived in the backyards of my neighbours and began the process of chopping down the eucalyptus.
It took the guys all day to carefully chop the tree down, pretty much branch by branch.
As the tree began to disappear the daylight to the rooms at the back of my house increased and, of course, my backyard that hasn’t seen full winter sun in decades, fairly glistened.
It wasn’t all good news though as I know that such a large tree was perch and roost to many birds and environmental me doesn’t like to see the loss of a single tree.
However, there’s no doubt it was very much the wrong tree in the wrong place. It was far, far too close to four or five nearby homes and with the increasing number of bad storms perhaps it was considered too risky to leave standing.
Finally, it has been a case of careful what you wish for. The view from my office window used to be all green and leafy, but now it is the ugly backs of some dreary interwar housing.
But, but, but am I looking forward to spring gardening in my sunny backyard, you bet I am!
As I write this the jury is still out on whether the Omicron variant is making people more or less sick. However, there’s already been confirmation that this new variant is more transmissible than our old enemy Delta, sigh. With all the gloom I thought it was time for a glass-half-full blog post.
Okay, it’s winter, there’s already been a couple of nasty storms and the days are short, but, oh my, when the sky is not overcast the winter light is gorgeous as the sun rises and sets.
Add a few clouds, and there’s mystery and drama. Who can resist a slightly eerie stroll through the Old Cemetery as the sun sets whilst absolutely making sure you reach the grand, iron gates to exit before lock up.
And, when was the last time you walked down a bog-standard, terraced street transformed by a pink, mackerel sky into the dramatic backdrop for a post-apocalyptic sci-fi film.
Of course, not all winter weather is stormy. There are those surprisingly still days and, with the sunsetting as early as 3.45 in the afternoon, there’s plenty of opportunities to capture some inspirational sunset photos.
It may only have lasted for a mere five minutes or so, but the rich, fiery orange of the setting sun reflected off the low clouds was most dramatic and in a way uplifting too.
The full palette of golden yellows and hot oranges that makes for an autumnal scene has arrived late this year as we can see in this series of photographs from Sunday, 14th November.
As my sister and I walked around Christchurch Park in Ipswich we noticed the varied selection of deciduous trees were at different stages of their end of season show.
Some trees had already lost all their leaves,
some were at the height of their high autumn colour
and some trees still had leaves of green.
All things considered it has been a reasonable, if not a vintage year for colour here in East Anglia.
We are now in mid-November and in this sheltered park not that far from the town centre there’s only been two or three frosts. And, as the experts suggest, it is frosts and cool nights that are two contributing ingredients for good leaf colour.
Needless to say, in an urban park like Christchurch Park, there’s a diverse range of specimen and non-native trees, but as we wandered away from the more formal area of Ipswich’s War Memorial, the planting became more natural, with a wilder feel. You could even believe you were in the heart of the Suffolk countryside and not sandwiched between the town centre and the busy ring road.
In these times when curators of large, famous Western museums are grappling with the contentious issue of repatriation of cultural artefacts, it is interesting that even smaller, regional museums also have collections of objects from ancient times and very, far-flung places. This situation has partly arisen from the Victorian obsession for collecting combined with their civic movement that saw the building of museums in many county towns across the country.
Ipswich Museum is like many regional museums in this respect and has a section devoted to the Ancient Egyptians. The outstanding core of this collection is a small, dark room with at its centre a decorated Egyptian mummy that contains the remains of Lady Tahathor. She was a wealthy woman who lived and died in Luxor 2,500 years ago. She was brought to England in 1856 by George H Errington, then in 1871 she was donated to Colchester Museum and since 2010 has been the centre piece in Ipswich Museum’s Ancient Egyptian gallery.
At the head of this display and spotlit to catch the drama is a gold death mask. This is not from Ancient Egypt per se, but was in fact made between AD80-120 for a Roman citizen who lived in Egypt and wished to be buried in the style of an Ancient Egyptian god as opposed to the usual Roman manner.
The Roman citizen’s name was Titus Flavius Demetrius and his golden mummy mask was excavated by pioneering Victorian archaeologist Flinders Petrie at Hawara in Egypt in 1880. Only a death mask for Titus is on display and there doesn’t seem to be any record of what happened to the mummy. However, the early 20th-century curator, Gay Maynard, is credited with the masks acquisition for Ipswich Museum.
Titus’s death mask is not the only golden death mask on display at Ipswich Museum. There is another also from the time of the Roman occupation of Egypt made for a man known as Syros. It is nearly 2000 years old and is made of layers of linen or papyrus paper with plaster. It bears a gilded face of inlaid limestone with glass eyes and painted brows and has a border with painted vignettes and Greek text on top of the head.
This golden mask is a longterm loan to Ipswich Museum from the British Museum who bought it in 1889 from the Rev. Walter L Lawson. Apparently, the Rev. Lawson collected Ancient Egyptian objects from excavations at Hawara in Egypt in 1889-90, but it is unclear whether he actively took part in the digs. However, there are records of him purchasing pieces from the antiquarian market in Luxor in 1889.
It is intriguing how the Ancient Egyptians still hold such fascination for many of us and it is encouraging that a local museum can share an interesting display of fine, original objects. The provenance and ownership of some pieces may be tricky, not least the mummy of Lady Tahathor, but maybe sharing human histories and practices can partially eclipse any ‘generating society’s’ privileges.
The two Romans, Titus and Syros, rejected their society’s death practices and in a way appropriated those of the Ancient Egyptians, maybe they were simply converts. However, for whatever reasons they had, the result for us 21st-century visitors to Ipswich Museum is to witness their choices made 2000 years ago in the form of these two gilded masks. Both are indeed finished with real gold even if technically they were not made for ‘real’ Ancient Egyptians. Oh, the delicious complexity of being human.