Olwig, Kenneth R. “Recovering the Substantive Meaning of Landscape”. On the side of exceptions perhaps we would find the symbolical Garden of Eden doomed to be abandoned and the virginal protected. Like many of Spencer's garden landscape paintings, Hoe Garden Nursery appears to be a rather mundane composition. 1 See list of paintings at the end of the article. 23Nostalgia and jingoism explain the success of those “lovely” pictures, although people did not perceive the slightly or discreet uncanny elements one may perceive in them: for Spencer never gave up his singular vision of his ordinary world in spite of its peculiar perspective and crowded in details. A fact which also might explain why they were so popular and sold well. Spencer's landscapes are wonderful, resolutely factual yet utterly entrancing. One remembers Iouri Lotman’s definition of literature as “a finite piece of the infinite” (Lotman) which curiously resonates with that of landscape. Very surprising is the other part of his production dedicated to landscapes, flowers, and still life paintings. These exemplify two manifestations of a landscape turned microcosm. In Christ’s Entry into Jerusalem [fig. https://www.artuk.org/​discover/​artworks/​love-among-the-nations-4599. Figure 21: Lucian Freud, Factory in North London (1972), oil on canvas, 71x71 cm, private collection, https://www.wikiart.org/​en/​lucian-freud/​factory-in-north-london, last accessed 1 November 2019. 23], could compare with Mr and Mrs Baggett [fig. actually points to a sight which encloses an expanse of land visible to one’s eye. Figure 10: Stanley Spencer, Love Among the Nations (1935-1936), oil on canvas, 91.1x280 cm, Fitzwilliam Museum, Cambridge, https://www.artuk.org/​discover/​artworks/​love-among-the-nations-4599, last accessed 1 November 2019. Cookham (and later for a time Wangford following his disastrous second marriage to Patricia Preece) was a place he inhabited but which also haunted him all his life. Stanley Spencer was a very well known British controversial artist of the 20th century. These were often the result of commissions. ], all partaking of conversation pieces opening onto windows. The Tate keeps his letters (sometimes including drawings) and all kinds of material in its archives and Adrian Glew was entrusted with the publication of some of them. Houses and bungalows, hotels, restaurants, and flats, arterial roads, by-passes, petrol pumps and pylons—are these going to be England? London: Tate Publishing, 2001. Stanley Spencer was born at Fernlea on Cookham High Street on 30 June 1891 and spent his childhood exploring the surrounding woods and meadows and enjoying country life. La production de paysages de Spencer est complexe et paradoxale. Son champ de recherche est la littérature britannique contemporaine et les rapports texte/image. He even drew up a family tree of his different selves (Spencer 215) and acknowledged his “conflicting wants” (Spencer 225). Press, Paul Chapman Publishing, Pine Forge Press, SAGE Reference, SAGE Science and Scolari (US and Europe websites) imprints. Bell sums up a letter he sent to Desmond Chute in 1927: He usually found landscapes “dull and empty”, devoid of the spiritual exaltation of a “resurrection or a visitation…” which had “something marvellous” about it. It is also a shared space, that of a community, and it works as a cultural construction answering Kenneth Olwig’s attempt at a redefinition of it as “the substantive meaning of landscape as a place of human habitation and environmental interaction” (Olwig 630). This is Spencer’s first self-portrait in oil paint, made when he was around 23 years old. This is the true instance of a fight between a much-loved tradition and the need to emancipate oneself from it while following one’s own aesthetic choices and vision rendering. For example, in May 2020, Cecily Brown’s Figures in a Landscape I (2001) sold for $5.5 million via Gagosian. On peut distinguer dans son œuvre deux façons très différentes de peindre le paysage. The idealized vision of an English village promoted by Country Life was also after all re-captured in such TV popular productions as the Miss Marple series, Downton Abbey, or Inspector Morse. Elle a publié six ouvrages sur les rapports entre texte et image : L’Œil du texte (PU du Mirail, 1998), The Picture of Dorian Gray : le double miroir de l’art (Ellipses, 2000), Texte/image, images à lire et textes à voir (PU de Rennes, 2002), Le Tiers pictural, pour une critique intermédiale (PU de Rennes, 2010), Poetics of the Iconotext (trad. with its decorated frame (the bridge) its fine colours (deep blue, brown), its composition following a movement going left to right then back to front, and its bucolic, mundane, almost pastoral theme (although the swans are captured and bound) is weird and slightly frightening. Figure 25: David Hockney, The Road to Thwing (2006), see https://thedavidhockneyfoundation.org/​resources/​film/​the-road-to-thwing, last accessed 11 December 2019. The musician David Bowie narrates this BBC documentary of British painter Sir Stanley Spencer of Cookham in 2001. On the one hand, Spencer is tied to the (national and artistic) past, which he celebrates and recreates although at times unwillingly, on the other hand his figure production is singular and original. Spencer, Stanley. Although he often had to do so as a potboiler, he did enjoy sitting out painting in the open watching and relishing the view. Harmondsworth: Penguin, 1972. 25Spencer slowly became a national artist acknowledged as such. He worked in oils and watercolour. 18]… The leg of mutton refers to a typical English feature and institution characteristic of a typically English rural landscape. Figure 18: Stanley Spencer, Double Nude Portrait: The Artist and his Second Wife (The Leg of Mutton Nude) (1937), 91.5x93.5 cm, oil on canvas, Tate Modern, London, https://www.wikiart.org/​en/​stanley-spencer/​double-nude-portrait-the-artist-and-his-second-wife-the-leg-of-mutton-nude-1937, last accessed 1 November 2019. He strongly felt for it seeing it as his “heaven” and kept painting rural landscapes all his life. A landscape then is the result of a visual operation and corresponds to a scenic concept. Tinniswood, Adrian. Figure 17: Stanley Spencer, Cottages at Burghclere (1927-1930), oil on canvas, 62.2x160 cm, The Fitzwilliam Museum, Cambridge https://artuk.org/​discover/​artworks/​cottages-at-burghclere-4595, last accessed 1 November 2019. The landscape paintings he did before the war and in the 1920s with the Carlines, Nash, Lamb and Augustus John and his brother Gilbert show a difference in kind and style with those he did when he went on painting expeditions to Dorchester, Dorset with Gilbert, and Henry Lamb a bit later. Letters and Writings. He even drew up a family tree of his different selves (Spencer 215) and acknowledged his “conflicting wants” (Spencer 225). His eccentricities became … https://www.tate.org.uk/​art/​artworks/​turner-snow-storm-hannibal-and-his-army-crossing-the-alps-n00490. The Long Weekend: Life in the English Country House 1918-1939. Two portraits of Patricia Preece by Stanley Spencer featured in the very first rooms acknowledging the link between his work and these artists’. It takes on incredibly new shapes and ensures him future recognition even announcing future trends recognizable in later eccentric painters and writers. It symbolized undying Old England, an instance of which can be seen in Frank Newbould’s 1942 The South Downs/Your Britain fight for it now sponsored by the Army Bureau of Current Affairs [fig. Laurence Petit & Karen Brown, Word/Image, Taylor and Francis, 2015). 21]. Figure 20: Stanley Spencer, Merville Garden Village Near Belfast (1951), oil on canvas 59.5x91 cm, Dunedin Public Art Gallery, https://www.wikiart.org/​en/​stanley-spencer/​merville-garden-village-near-belfast-1951, last accessed 1 November 2019. He kept painting rural landscapes all his life. The village of Cookham in Berkshire is in itself a lovely part of England, South of London, in the Maidenhead area, as idyllic and idealized as some of Spencer’s own paintings. Cookham Dene.’ was created in 1939 by Stanley Spencer in Neo-Romanticism style. They preferred the Middle Dutch and Old English and Old High German “landscape”, a term referring to a scenery, which appeared in English at the end of the sixteenth century following Dutch painters’ use of landschap (see Makhzoumi and Pungetti). Serving officers, … On the other hand, he also sold a lot of landscape paintings celebrating the English garden: a type of figureless rural English landscape. (my translation)]. View more property details, sales history and Zestimate data on Zillow. 10Even the beautiful Swan Upping at Cookham [fig. The long-running, also set the tune for desirable properties and gardens with herbacious borders, a luxuriance of well watered plants and flowers, and abundance of green grass to sit on in summer to have tea. The Fitzwilliam Museum (Cambridge) bought Cottages at Burghclere [fig. They are reminiscent of some of John Constable’s landscapes, which also favoured a, . Even in Freud’s landscapes we may find similarities: for instance if we compare Spencer’s, ]. Figure 22: David Hockney, My Parents (1977), oil on canvas, 182.9x182.9 cm, Tate collection, https://www.tate.org.uk/​art/​artworks/​hockney-my-parents-t03255, last accessed 11 December 2019. Elle est actuellement présidente de IAWIS/IAERTI (International Society of Word & Image Studies). Expo 58. In his own strange way, Stanley Spencer offers an interesting instance of a kind of conflicting production concerning his work on landscape. Figure 23: David Hockney, Mr and Mrs Clark and Percy (1970-1971, acrylic on canvas, 213.4 x 304.8 cm, Tate collections, https://www.tate.org.uk/​art/​artworks/​hockney-mr-and-mrs-clark-and-percy-t01269, 1 November 2019. The idealized vision of an English village and its cottages promoted by, was after all re-captured in such popular productions as twentieth and twenty-first centuries TV series such as, The Berhends who commissioned the memorial chapel in Burghclere, and bought quite a lot of Spencer’s landscapes—which were familiar to them—belong to this rural part of moneyed society close to the eighteenth-century gentry, who enjoyed residing in their fine country houses far from “the madding crowd”. We’re trying to look back, of course, on our rich and varied history; but we’re also trying to look forward. This is the case with Swan Upping at Cookham [fig. “The rough of his native talents”, which Bell describes as the quality “of a national art (in the high Victorian sense still in existence)” (Bell 272). (Bell 256). 5], Adoration of Old Men [fig. A fact which has not escaped Jonathan Coe in. After the war, in 1945, he painted the hallucinatory. Land-scape—the English language can offer multiple declensions of the term as in sea-scape, in-scape town/city-scape, photo-scape—designates a limited view cut off from an unlimited space. Thus, the publisher Norton acknowledges the British quality of the painting and its subject, but it also cleverly promotes one of the close-to-cubism or Gauguin-inspired pictures by Stanley Spencer in keeping with modernism and its literature. An exhibition of his work was held in 1980 at the Royal Academy and then a retrospective in 1997 in Washington DC under the title Stanley Spencer: An English Vision (1997) organized by the Hirshborn Museum and Sculpture Garden. 22] or Mr and Mrs Clark and Percy [fig. This study will focus on Spencer’s two “manners” and analyse the extent to which his landscapes contributed to the fashioning of a nostalgic yearning for a quickly disappearing world also celebrated in E.M. Forster’s taste for “England green and eternal” (Abinger Harvest) for instance. Posted By: GenealogyBuff Date: Monday, 1 March 2010, at 5:50 p.m. Grady W. Morgan DELTON, Mich. — Grady W. Morgan, 79, died Oct. 5, 2000, at home. The long-running Country Houses also set the tune for desirable properties and gardens with herbacious borders, a luxuriance of well watered plants and flowers, and abundance of green grass to sit on in summer to have tea. 29And other artists will discreetly but nonetheless effectively follow this trend: Lucian Freud in particular if we compare some of his work to Spencer’s nude paintings we can find a common taste for the blue, white red nuances of flesh. The paintings of cottages, moors, Thames valley sites, villages tucked down hillsides, are rendered in a highly detailed realistic manner, a favourite of collectors’. Landscape, Cookham Dean, Berkshire c.1939 Stanley Spencer (1891–1959) Landscape, Cookham Dean, Berkshire c.1939 Nottingham Castle Museum and Art Gallery Portrait of Daphne Charlton 1941 Stanley Spencer (1891–1959) He declared himself puzzled about his being in two minds about the two types of subject-matter (Bell 272). 20Writing about Cottages at Burghclere [fig. D’autre part, des paysages, des fleurs, des natures mortes, sont peints sans figures. Forster, E.M. Abinger Harvest (1934). in May 1933, he complained to Dudley Tooth, his gallery dealer: “As I feared everyone as usual wants my landscapes […] I am very sorry that public galleries are taking [them] as being representative works of mine” (Stanley Spencer to Dudley Tooth, letter dated 12 June 1933 [Tooth Collection], quoted in Bell 278). This home was built in 1963 and last sold on 11/17/2009 for $86,000. I remember there was the fascinating Cottages at Burghclere, which hung at home for some time before being discoloured and taken away. So the issue does not concern the “reality” or the truthfulness of their models but their painterly treatment. Rob Bartram This paper explores Stanley Spencer's Hoe Garden Nursery (1955) as a constitutive part of the relationship between land, nature and cultural nationalism in the immediate postwar period. ©2000-2021 ITHAKA. They also corresponded to a renewal of interest in the English garden. This was the very type of village used during the Second World War for propaganda aiming at defending the country and rallying people’s national feeling. London: Penguin Books, 2013. Spencer Gore (1878–1914) – British painter who was first president of the Camden Town Group Augustus John (1878–1961) – Welsh painter, draughtsman , and etcher Sir Alfred James Munnings KCVO , PRA (1878–1959) – English artist, particularly renowned for equine subject matter Read Online (Free) relies on page scans, which are not currently available to screen readers. Bien qu’il dût souvent le faire pour des motifs économiques, il aimait cependant s’asseoir en plein air pour peindre sur le motif. clearly signposts Spencer’s own quest and vision. ] Landscapes of happy springs and summers in the country provided idyllic pastoral settings and villages which contrast with the often disturbing backdrops of his figure paintings. Quite a number of his paintings were bought by The Tate Gallery and can be seen there nowadays. I bought some reproductions of his landscapes printed on small wood panels. Il s’agit là souvent d’œuvres de commande. You came from them and you must go back to them. Liliane Louvel, « Changing/Unchanging Landscapes: Stanley Spencer’s “Peculiarly English” Landscapes  », Polysèmes [En ligne], 22 | 2019, mis en ligne le 20 décembre 2019, consulté le 21 janvier 2021. https://artuk.org/​discover/​artworks/​cottages-at-burghclere-4595. Matless, David. One of his most famous series, commemorating the First World War, painted on the walls of the Burghlere Memorial, was presented to the National Trust by its owners Mr and Mrs Behrend in 1947, when the artist was still alive. To follow suit landscape gardening presented the garden as a microcosm, paving the way to later landscape art and “Land Art”. when he whimsically focuses on the pub to be lodged in the British Pavilion in the Brussels World Fair. Spencer was skilled at organising multi-figure compo… The title of A Village in Heaven [fig. London: Phaidon, 2011. , undated cutting, anon.,7.33.12.1 [Tate Gallery Archives Stanley Spencer collection]). Description: Stanley Spencer (1891-1959) British "Landscape Composition" pencil on paper. 24Spencer’s paintings sold quite well and thus in their turn can be said to have contributed to the construction of the national myth of British identity. 21Spencer’s paintings also corresponded to a renewal “of interest in the English garden, best represented by Gertrude Jekyll’s designs and books” (Bell 284). Select the purchase Sir Stanley Spencer, R.A. (1891-1959) Cottage Garden, Leonard Stanley oil on canvas 20 x 30 in. His ambivalence was perceptible when he wrote: “I want to make love to everything at the same moment and yet be traditional” (Spencer 215, August 1943). Archaeologists' science & artifacts form the basis of our knowledge of prehistorical civilizations, most of which seem to be in Africa, Europe, & Asia. Lotman, Iouri. This obsession of his enabled him to combine his private (religious) vision and his taste for landscape, a grim one in this instance. The background landscape of, ] is the Cookham Moor as a previous drawing, a kind of preparatory sketch and other paintings, shows (Bell 295). Gilbert Spencer RA (4 August 1892 – 14 January 1979) was a British painter of landscapes, portraits, figure compositions and mural decorations. Or la page sur laquelle j’écris et que le lecteur lit aujourd’hui, stockage d’informations le plus anciennement connu, et l’un des premiers circuits, dérive aussi et encore, du même vocable. Stanley Spencer: Rooted in an English landscape Mark Hudson sees the ordinary garden afresh at a new exhibition of Stanley Spencer’s paintings Article by The Telegraph 4At the origin of the picturesque and of landscaping clearly stands a visual ideology. 4], St Francis and the Birds [fig. First, Cookham, the Thames, the village, its churchyard, such as in the famous Tate Resurrection, provide the backdrop for his favourite imaginative “distorted” figure paintings. English artist Sir Stanley Spencer spent the summer of 1940 hard at work, intent on painting artworks which would attract critics and collectors alike. 6In his own strange way, Stanley Spencer offers an interesting instance of a kind of conflicting production concerning his work on landscape. It is this apparent paradox I will try to explore and look into. Makhzoumi, Jala and Gloria Pungetti. The landscape paintings he did before the war and in the 1920s with the Carlines, Nash, Lamb and Augustus John and his brother Gilbert show a difference in kind and style with those he did when he went on painting expeditions to Dorchester, Dorset with Gilbert, and Henry Lamb a bit later. They are clearly visible in the background together with graves, crosses, flowers, trees, the church porch, grass and landscape at the back. La coupure et le cerne, Contemporary Victoriana - Women and Parody, Portail de ressources électroniques en sciences humaines et sociales. He described them as "dead, dead", but continued to produce them because they were lucrative. They are the result of centuries of work inscribed/written on the landscape like handwriting on a page. An unheimlich effect results from the seemingly impossible and weird “association” of people engaged in all kinds of hectic gestures or occupations. Text source: The Oxford Dictionary of Art and Artists (Oxford University Press) used to refer to the field the farmer used to plough: such an ancient venerable term that the pagans’ paganism, like the landscape of a country, patiently modelled by peasants, all borrowed their five names—be they cultural or religious—from it. This was also attuned to the English Heritage series in 1929 broadcast by the BBC and devoted to the “national character”, and the taste for “the cultural cottage” (Osbert Lancaster). For it then represents the epitome of Britishness under the name of … “Britannia”, aptly chosen by the Central Office of Information (COI), as one of its leaders explains: “The idea is to sell—or should I say to project—an image of the British character. 27So, surprisingly this paradoxical “eccentric” artist has been recognized as typically English (and eventually British), that is one belonging to the centre and the establishment as opposed to the margin as the word “eccentric” suggests. Figure 19: Stanley Spencer, Mending Cowls, Cookham (1915), oil on canvas, 109.2x109.2 cm, Tate collections, https://www.tate.org.uk/​art/​artworks/​spencer-mending-cowls-cookham-t00530, last accessed 1 November 2019. See Angela Bartie, Linda Fleming, Mark Freeman, Tom Hulme, Alex Hutton, Paul Readman, “The Pageant of Abinger”, The Redress of the Past, http://www.historicalpageants.ac.uk/pageants/948/, last accessed 14 November 2019. So the issue does not concern the “reality” or the truthfulness of their models but their painterly treatment. Access supplemental materials and multimedia. He strongly felt for it seeing it as his “heaven” and kept painting rural landscapes all his life. 18Spencer’s landscape paintings were painted in the manner resembling that of the Pre-Raphaelites (with a lot of details and brilliant colours as well as a very present foreground seen at close range), a fact widely acknowledged by critics of the time. Spencer’s landscapes responded and contributed to the fashioning of a particular nostalgia for a quickly disappearing rural world people could still connect with, reminiscent of happy memories and times gone by (see Tinniswood). On the side of exceptions perhaps we would find the symbolical Garden of Eden doomed to be abandoned and the virginal protected hortus conclusus of the Virgin Mary. London: Reaktion Books, 2016. You came from them and you must go back to them. It is true that his work, deeply rooted in the English soil, space and history, seems for a major part relatively immune to foreign influence, although he had his post-impressionist moment, something visible in Mending Cowls, Cookham [fig. Let us remember that the opening scene of Portrait of a Lady is set in such surroundings with the country house standing in the background. JSTOR is part of ITHAKA, a not-for-profit organization helping the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways. Very surprising is the other part of his production dedicated to landscapes, flowers, and still life paintings. This was also the case when Spencer’s own private demons came into view like in, ] in which a long frieze depicts men and women of all ethnic origins engaged in embracing, kissing, talking, etc. In the beautiful gardens and landscapes he painted which were so popular and admired as truly English, some uncanny element may be descried: huge squat massive jars, too brilliant colours, gardens overrun with vegetation gone wild smothering houses, iron scraps left to rust, strange twiglike distorted tree limbs, a bowl of captive fish solitary left on flags in front of boats, an unexpected leg of mutton in a nude painting of Patricia Preece [fig. Doesn’t the front cover of Norton’s Anthology of English Literature’s seventh edition, volume 2, dedicated to the romantic period, Victorian literature and the twentieth century, reproduce Swan Upping at Cookham? The seemingly apparent paradox of this divided production reflects the artist’s makeup and his own private division between his own self and his “other selves”, as he himself called them. Spencer referred to Cookham as "a village in Heaven" and in his biblical scenes, fellow-villagers are shown as their Gospel counterparts. On the one hand, he is famous for his bizarre distorted figures full of angst and fervour often set against strange backgrounds. Visiting the Ephrussi de Rothschild Villa near Nice, one can discover nine ravishing “national” gardens: beyond the English and the French gardens, the Italian, the Japanese, Provence gardens to quote but a few, display their colours, lines and recognizable patterns and schemes. This item is part of a JSTOR Collection. or is there another England green and eternal, which will outlast them? The figures are threateningly dwarfed and we may wonder where the swans are going to end. https://artuk.org/​discover/​artworks/​a-village-in-heaven-206089. Although he often had to do so as a potboiler, he did enjoy sitting out painting in the open, watching and relishing the view. This was also attuned to the English Heritage series in 1929 broadcast by the BBC and devoted to the “national character”, and the taste for “the cultural cottage” (Osbert Lancaster). Bell, Keith. Traditional historians rely on man's written & drawn records to interpret past progress & myths. If Cookham, the nearby Thames, the village, its streets, its churchyard as in the famous Tate, the moor, the common provide the recognizable backgrounds for most of his favourite imaginative figure paintings, they sometimes evoke villages in children’s illustrated tales (or nightmares) in their choice of simplification or amplification of shapes and volumes, their bold colours and a luxury of details, the highly detailed contours of bricks or plants for instance. 11] is the Cookham Moor as a previous drawing, a kind of preparatory sketch and other paintings, shows (Bell 295). 8If Cookham, the nearby Thames, the village, its streets, its churchyard as in the famous Tate Resurrection, the moor, the common provide the recognizable backgrounds for most of his favourite imaginative figure paintings, they sometimes evoke villages in children’s illustrated tales (or nightmares) in their choice of simplification or amplification of shapes and volumes, their bold colours and a luxury of details, the highly detailed contours of bricks or plants for instance. Houses and bungalows, hotels, restaurants, and flats, arterial roads, by-passes, petrol pumps and pylons—are these going to be England? clearly stands a visual ideology. Ecological Landscape Design and Planning. Tout d’abord, Cookham, la Tamise, le village, le cimetière visible dans la célèbre Résurrection conservée à la Tate, fournissent l’arrière-plan de ses figures d’imagination « distordues » et fiévreuses. 2 I shall use the word “English” to refer to Spencer’s paintings, for they are particularly indebted to the English landscape tradition and are set in a very “English” area of England. The paintings of cottages, moors, Thames valley sites, villages tucked down hillsides, are rendered in a highly detailed realistic manner, a favourite of collectors’. (1997) organized by the Hirshborn Museum and Sculpture Garden. option. Les tableaux de « cottages », de landes, de la vallée de la Tamise, de villages enfouis au creux de collines, sont travaillés dans une manière réaliste très détaillée, celle qu’affectionaient les collectionneurs. My take is that we can also see this paradox in terms of a conflict of times and a kind of anachronism. Glew ( London: Tate Publishing, 2001 ) and paula Rego ’ s eye countryside. Abandoned and the virginal protected very few landscapes ( at least in Britain ) could claim to abandoned. [ Tate Gallery and the site of the association of American Geographers 86.4 ( December )! The Museum ( Cambridge ) bought Cottages at Burghclere [ fig he sees a lineage the! Himself puzzled about his being in two minds about the two types of subject-matter ( Bell 272 ) taken. Sa vie, il peignit des paysages de campagne Fine art in,..., talking stanley spencer landscapes etc around 23 years old Baggett [ fig and visited the Spencer Gallery can! 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