I enjoy this and then give the Art Historian a lift to her party. Then it is Camden Brewery's Hell's Raiser Lagar and a Happy New Year to all.
Thursday, 31 December 2015
A trip to Bruton, Somerset.
I enjoy this and then give the Art Historian a lift to her party. Then it is Camden Brewery's Hell's Raiser Lagar and a Happy New Year to all.
Monday, 28 December 2015
Down to the South Coast
The Gallery's collection of British Modern Art is described as one of the best in the UK, with important works by Gino Severini , Ivon Hitchens, Henry Moore, John Piper, Graham Sutherland, Patrick Caulfield, Michael Andrews, Peter Blake and Richard Hamilton.
The exhibitions today are about David Jones, a pupil of Eric Gill and the very interesting Evelyn Dunbar, the only female war artist. This is a remarkable collection of lost works discovered in the attic of a Kent Coast house.
Men Stooking and Girls Learning to Stook. 1940.
This lovely painting was created in the long, hot summer of 1940, when so often the skies of southern England were criss-crossed with trails from RAF Spitfires and Hurricanes defending the homeland. The Land Girls of the Women’s Land Army are marching with the men, and have turned the task of stooking into a military operation, mirroring the men on the right. However, the Land Girl on the left, who appears to be giving the orders, has tucked her left hand behind her back into the crook of her right elbow in a definitely non-military pose, a touch of a gentle feminist subversion often observable in Dunbar’s war paintings. Strangely, this painting was not accepted by the War Artists’ Advisory Committee.
Evelyn Dunbar (1906-1960) was a gifted draughtswoman and brilliant student at the Royal College of Art; principal muralist at Brockley School; book illustrator; devout Christian Scientist; official World War 2 artist, the only woman artist to be salaried throughout the war, post-war allegorist and much-loved teacher; subtly insistent feminist, devoted gardener and inspired advocate of 'green' values. She apparently had a warm and witty but self-effacing personality and many accomplishments including rock-climbing and playing the banjo. Above all she was all a very individual artist, whose work, which hangs in all major UK galleries and several overseas, defies ready classification.
Born in Reading, Berkshire, into a merchant family, Evelyn Dunbar moved in childhood to Kent, where she lived for most of her life. Having been appointed Official War Artist in 1940, She quickly became associated with the Women's Land Army. Her remit to record women's home front activities also allowed her to promote a gentle and unaggressive feminism.
In 1940 she met and married Roger Folley, then an RAF officer but later to become a leading horticultural economist. Their common interests and convictions encouraged Evelyn, after the war, to concentrate on a series of allegorical paintings and drawings which reflected her beliefs, and also her debt to Ruskin and the Pre-Raphaëlites, whose ideas about the function of art and the place of narrative in painting she acknowledged as strongly influential.
Evelyn died suddenly at the age of 53, leaving behind a studio collection of some 800 works, major and minor, which only came to light in 2013, and which we are thrilled to view today.
Now it is time to head off to for lunch and a catch up with S and N, not to mention the lovely Joseph the Border Collie, aged 2. After lunch we set off to experience the windy English Channel.
Ack
http://www.lissfineart.com/6735sub0_041.htm
Saturday, 26 December 2015
Saint Frideswide's Well
Acknowledgment: David Nash Ford's Royal Berkshire History
Edited from David Nash Ford's Royal Berkshire History
There are other known Royal and landed personages from this period whose names had the prefix, Frith. It was the Saxon custom for family members to have recurring elements in their names. So these people may have been related to Didan and Frideswide (Frithuswith). The most well known of such characters was Frithuwold, another sub-king under King Wulfhere and also his brother-in-law. He is usually referred to as King of Surrey. His Kingdom, however, was probably much larger than this, spreading way up into Buckinghamshire, for his daughter St. Osith was said to have been born at his palace in Quarrendon (Bucks). His Kingdom would thus have covered the Berkshire Province of Sonning and would have adjoined that of Didan. Frithuwold appears to have been somehow connected to one Frithuric, a landed gentleman from Leicestershire who signed several of the former's charters. Both may have been St. Frideswide's brothers. In a third character, Frithugith, who married King Aethelheard of Wessex in 730, may have been her niece.
It may have been through Frithuric that Prince Aelfgar heard of the beautiful Frideswide, for they both apparently lived in the same area. Aelfgar is portrayed as a powerful man, probably more so than Didan, variously described as King, Prince and Earl of Leicester or Mercia. He may have been a sub-King, like Didan, or more likely a younger member of the ruling House of Mercia, or possibly both. The term Earl is Norse and stems from the word Jarl, the equivalent of the Saxon Ealdorman (modern Alderman), but the office did not exist during this early period. The name Aelfgar does appear amongst the legendary ancestors of the 11th century Earl Leofric of Mercia (husband of Lady Godiva), and this may be from where the Prince sprang.
The identity of Bentona is the most controversial part of St. Frideswide's story. The traditionalists from Oxford claim it is Binsey, where our story says the saint retired. This lies just outside the city, not quite in Berkshire, where the county boundary departs from the Thames and follows, instead, the Seacourt Stream. St. Margaret's Church was St. Frideswide's pig-sty-cum-oratory, and her well, St. Margaret's Well. It was a great place of pilgrimage in the middle ages. Tradition says the deserted medieval village of Seacourt (in Wytham parish) had twenty-two inns to house the vast numbers of pilgrims visiting Binsey (excavation has shown there was only actually one). But if St. Frideswide had prayed to Saints Cecilia and Catherine for deliverance, then why the dedication to St. Margaret? Though it seems unlikely that Bentona is related to Yattendon (Etingedene 1086, Gettendon 1195, etc.), Frilsham's parish church is dedicated to St. Frideswide and not far away is her holy well. This was still visited by loved one's, early last century, to see if the male partner was approved of by the well's spitting toad. If the man's intentions were not honourable he would be violently spat at! Also nearby is Kings Wood (King Aelfgar's wood perhaps), and Reading Abbey held some of Frideswide's relics. Place-name experts tell us that Frilsham means Frithel's Homestead. However, such a personal name is unrecorded elsewhere, and a diminutive form of Frithuswith seems at least possible. There are, of course, other claimants: Bampton and Benson, also in Oxfordshire, and Bomy in Artois across the Channel in France. This latter also has the obligatory chapel and well of St. Frideswide (Frevisse) and displays her bones. However, the legend never mentions the saint crossing the Channel, and, indeed, only the site at Frilsham is consistent with her journey down the Thames to Abingdon. The first rendering of the story in c.1125 by William of Malmesbury does not mention the place by name, and the slightly later life of St. Frideswide confusingly says she hid at Bampton, in a wood called Binsey. Unfortunately the two are nowhere near each other, and the writer was clearly confused. Later writers dropped Bampton, claiming the place was Binsey, in a wood called Thornbury. Recent excavations at Binsey have revealed an Iron-Age/Early Saxon enclosure surrounding St. Margaret's Church which is consistent with the name Thorn-bury, the Thorny Fort. Recent analysis, however, also indicates that Bampton was originally understood to be Bentona. There is a church and well here too, but any Frideswide association has long since been lost. Thus the later Binsey connection, as put forward by the Berkshire tale, is perhaps given some credence.
The Oxford version of the story also tells how during a lull in Aelfgar's searches, St. Frideswide returned home to Oxford. It was at this point that the Mercian prince descended, besieged the city, and eventually forced his way in to carry her off. Just as he entered through the city gates, he was struck blind! Ever since the superstition grew up that the same would happen to any monarch who entered the City of Oxford. Accordingly, the Kings of England stayed away until the reign of Henry III. Some say that all the ills of his reign were due to this presumption. Perhaps, if the kings had known the Berkshire version: that the people of Oxford were St. Frideswide's betrayers, not her defenders, then perhaps they would have visited the place sooner.
St. Frideswide's nunnery was destroyed by the Danes in 1002. The monastery was re-established for Austin Canons in 1122. The church was rebuilt in 1180 and St. Frideswide's body translated to a beautiful shrine. Many pilgrims visited her there, including Henry III, Edward I and Henry VIII's queen, Catherine of Aragon. In 1525, Cardinal Wolsey gained permission from Pope Clement VII to dissolve the monastery and transform it into Cardinal College, with the Abbey Church as the college chapel. In 1546, Henry VIII changed this to Christ Church College and the church became the Cathedral of the new Diocese of Oxford. St. Frideswide still lies buried there beneath part of her reconstructed shrine. However, she is not alone. In 1561, a religious fanatic named Caldiff, a canon of Christ Church and a commissioner of Elizabeth I, mixed her bones with those of one Catherine Cathie Dammartin, a former nun and latter wife of the Zwinglian Regius Professor of Divinity, Can
Edited from David Nash Ford's Royal Berkshire History
Thursday, 26 November 2015
Un viaje a Real Academia de Artes, Londres. ('Royal Academy',Burlington House, Piccadilly, W1J 0BG)
Sunday, 15 November 2015
Another Sunday in Oxford
So......... after lunch at The Ashmolean I decide to see the exhibition 'Titian to Canaletto: Drawing in Venice, With a contemporary response by Jenny Saville' I prefer the latter; it is fantastic. The exhibition traces the role of drawing in Venice and its importance over three centuries, attempting to dispel the myth that Venetian artists, including their greatest painter, Titian, had no interest in drawing. In a parallel exhibition, Jenny Saville has produced new work on paper and canvas in response to the powerful qualities of Venetian drawing. She transcends the earlier work with themes around Femininity and Motherhood.

I end my day out with a walk back to the bus stop via Christchurch Meadows. Life continues.
Saturday, 14 November 2015
Another Day out in London
Thursday, 5 November 2015
A day out in Gloucester
Tank opened in May this year on the original site of the Gloucester Brewery, which had been in existence for four years. The pub offers a wide range of craft beers and real ales including those from Gloucester Brewery and from it's own nano brewery.
We need to be home before dark, so after a very tasty sandwich lunch and Gloucester Gold for the non drivers, we drag ourselves away.









































