Graham Sutherland OM 1903-1980 Presented by the War Artists Advisory Committee 1946Įdward Lucie-Smith said that it was ‘Sutherland’s arresting image of the writer Somerset Maugham, painted in 1949, followed by the equally arresting full length of Lord Beaverbrook, started in May, 1951, that made him the most sought after portrait painter of his time.’Įdward Sackville-West wrote the introduction of the Penguin Modern Painters’ volume on Graham Sutherland in 1944. He produced a haunting series of images of the impact of the blitz on domestic life that he titled ‘Devastation.’ĭevastation, 1940: The City a fallen lift shaft (Art.IWM ART LD 893)ĭevastation, 1940: A House on the Welsh Border 1940 Graham Sutherland OM 1903-1980 Presented by the War Artists Advisory Committee 1946 ĭevastation, 1941: East End, Burnt Paper Warehouse 1941 Graham Sutherland OM 1903-1980 Presented by the War Artists Advisory Committee 1946 įurnaces-Slag Ladies 1942: (Art.IWM ART LD 1773)ĭevastation, 1940: House in Wales. Sutherland further developed his reputation as a home front War artist between 19. It is suggested ‘Pastoral’ shares an undercurrent of personal despair with Churchill’s repeated attempts to paint the pond at his home in Chartwell. The scriptwriter dramatised a sense of sympathy between Sutherland’s grieving over the death of his 2 month old son, John, in 1928, and Churchill’s profound sadness over the death of his 2 year old daughter Marigold in 1921. His etching ‘Pastoral’ from 1930 was significantly referred to in the dialogue of the episode ‘The Assassins’ from the Netflix series ‘The Crown’. It was in the 1930s that he developed as a painter mixing a continental modernist influence with the English romantic tradition. I do not remember hearing a word about the Impressionists and on the subject of the Modern Movement there was profound silence.” Still less were we really taught to apply their example to our own work. If Old Masters’ names were heard I do not remember much serious attempt being made to implant any real understanding of the significance of their work. “While the teaching at the school was sound and was certainly practical, it was totally out of touch with the great European movements, then in full flower and moving to a climax. Surrealism was not on the curriculum of Goldsmiths’ Art school between 1921-26.ĭuring their time in New Cross, Graham recalled that if they sought inspiration from modernism or any pioneering ideas in contemporary art movements, they had to find that in the galleries and exhibitions of Central London and Paris: ‘Pedestal Table in the Studio’ 1922 by André Masson 1896-1987 Bequeathed by Elly Kahnweiler 1991 to form part of the gift of Gustav and Elly Kahnweiler, accessioned 1994. These are qualities which no active member of either House can do without or should fear to meet.” “…the portrait is a remarkable example of modern art. The irascible statesman, having been persuaded to avoid publicly rejecting the gift, used sarcasm to twist the knife into the portraitist he believed had made him look like a decrepit old man: Its unveiling a few days later in Westminster Hall would be another catastrophic humiliation for the Sutherlands this time played out live on BBC television and reported in newsreel cinemas. This was Parliament’s gift to celebrate the eightieth birthday of Britain’s war-time leader between 19. “…there will be an acute difference of opinion about this portrait…it will bring an element of controversy into a function that was intended to be a matter of agreement between the Members of the House of Commons where I have lived my life … the painting, however masterly in execution, is not suitable…” The Prime Minister Winston Churchill had sent round his official limousine with a letter furiously rejecting the portrait of him that Graham had been commissioned by Parliament to paint. That was the sense of emotional and professional disaster for Goldsmiths Art School alumni Graham and Kathleen Sutherland in 1954. Photo by Eluveitie – Own work, CC BY-SA 3.0 Parliament Square statue of Sir Winston Churchill by Goldsmiths College’s Head of Sculpture Ivor Roberts-Jones.
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