An inspiring visit
Art Gallery & Museum
It is a rare treat to visit the work that has inspired a painter, and in the company of that painter.
Alan Langford, equestrian artist and highly skilled graphic artist, invited a group of friends and fellow artists to visit the Russell-Cotes Art Gallery with him to see the large oil, ‘The Gypsy Horse Drovers’ by Lucy Kemp-Welch, painted in 1894 when Lucy was a student under Herbert Von Herkomer RA.
In his book WELGORA Alan wrote about the day when Lucy was inspired to do this painting:
‘The idea for this painting occurred to her when she saw the approach of a number of heavy-hoofed cobs, driven by tough-looking Romany riders along a muddy country lane, under a grey wintry sky. Rushing from her lodgings with palette and brushes in hand, and the lid of her paint box to serve as a paint board, she executed a swift and skillful composition as this irregular, rampant procession proceeded before her.’
The curator of the Russell-Cotes Art Gallery showed us the actual sketch on the paint box lid.
This stunning little oil sketch is a very special art work in itself, portraying movement and detail in a few quick strokes of the brush, with the texture of the rough wood adding a further dimension.
The paint box lid with Lucy’s quick painted sketch of the Gypsy Horse Drovers mentioned is displayed on the reverse of the picture of a horse’s head shown in this photo, also by Lucy Kemp-Welch.
I wasn’t quick enough to get a photo of the box lid, but … what better excuse to go to the art gallery and see it for yourself?
Lucy went on to paint ‘The Gypsy Horse Drovers’ on an 8 foot long canvas – an enormous project for a diminutive young woman (she was in her early twenties) and in that Victorian time.
Alan explains in his book WELGORA how with trepidation Lucy presented the unfinished painting to be viewed by Herkomer, a man not averse to putting a huge black cross of paint across a student’s work if it was not to his approval!
But as Alan writes: ‘Herkomer was so impressed by ‘The Gypsy Horse Drovers’ that he recommended that Lucy submit it for the next Royal Academy Exhibition.
This she did, and it was hung in a good position just above the line and was quickly purchased by Sir Frederic Harris for £60.00.
At that time £60.00 represented a significant sum; Lucy would have been overjoyed.’
This was just the beginning of Lucy’s career, which included illustrating the children’s book, Black Beauty.
Her large oil ‘Gypsy Horses’, also in the Russell-Cotes Gallery, is shown in this photo being admired by Barry Miles, author and watercolour artist, and Peter Frost, painter, professional printer and retired New Forest Verderer.
There is something different to see at every turn in the Russell-Cotes Gallery – paintings, marble busts, Japanese incense burners, memorabilia, painted ceilings, stained glass, mosaic work and bronzes, all collected by the Russell-Cotes over the years from 1880 to 1901. Once after a trip to Japan, they travelled back with over 100 packing cases full of art and collectables!
The museum and gallery building, East Cliff Hall, was gloriously designed to the directions of Merton Russell-Cotes, as a gift to his wife. Its late Victorian style mixes Moorish, Japanese and French influences, making for exotic and indulgent surroundings.
It’s easy to find a piece to sit in front of and savour, and it’s also easy to miss a dozen others, but this makes it worth visiting again and again.
Apart from the paintings, which have been added to since 1902, the artwork that particularly took my eye on this visit was a glazed Parian ware figure of a boy, dressed in lederhosen and Tyrolean hat.
I used to make ceramic models of people and the largest I made was quite a challenge at about 12 inches tall.
This nearly life size figure was used for advertising in a dairy shop in Austria.
How did the artist make such a perfectly detailed piece of such size and how was it transported from pottery to shop, and then from country to country to arrive at the Russell-Cotes Art Gallery?
I was also intrigued by the story of Laura Knight, who in the early 1930s used to drive out to gypsy encampments and set up her ‘studio’ in the back of her Rolls-Royce.
Here you can see only a part of her large canvas ‘The Little Beggar’.
Laura Knight’s most notable work is ‘The Nuremberg Trial‘. This thought-provoking painting is at The Imperial War Museum, London.
This only touches on the artwork at the gallery and museum.
Next time you’re in Bournemouth, why not get away from the beach and walk up East Cliff to the art gallery and museum. It will be well worth it!
In the town of Narni, Italy, lives the author, Maria Giulia Cotini, who this summer was directing I Ragazzi Pon Pon (The Cheerleaders) in their performance of her play Giullarino Mingherlino (The Skinny Jester).
This was part of the children’s holiday activities, where they got together to learn more about their town’s history and link it with places around the world.
Maria Giulia is also the author of the book, Shotaro – the child who wanted to become a Samurai.
Just like Little Knoll Press author, Anthony Ridgway, Maria Giulia has been disabled from birth, but for both of them this has been no bar to imagination and achievement.
Shotaro is written in Italian and is available as a hardback book (ISBN: 9788804674610) and e-book.
Here is a translation of the blurb:
‘Shotaro is intelligent and stubborn, and he refuses to accept that his greatest dream (to become a Samurai like his father) is unattainable. Shotaro is disabled from birth and his father decided he would become a monk.
The rōnin, Kenya, arrives at the monastery and declares he is willing to train even him.
But when the terrible Daimyō destroy Shotaro’s home village and his father disappears, Shotaro’s life is turned upside down and everything seems lost.
In ancient Japan, a country marred by war and corruption, Shotaro is able to demonstrate, with courage and determination, that you don’t need a perfect body to make a man into a warrior.’
And here is some more about Maria Giulia:
Maria Giulia Cotini was born in 1980; disabled from birth, she does not walk and has problems with her hands, sight and hearing.
Maria Giulia has been in love with the martial arts since a child, and at the age of ten she was the first child with a disability to practice karate in the gym with the able-bodied.
Working on her knees, she adapted the techniques up to competition standards, which was previously considered impossible.
Always passionate about myths and legends, Maria Giulia graduated with honours in History of Religions.
Sweetwings saves the Fleet
This little gunboat spotted on a recent visit to Portsmouth Historic Dockyard reminded me of a story in Maldwin Drummond’s children’s book
The Strange History of Seagulls
Now Maldwin knew his boats (he was a sailor all his life and was involved in the raising of the Mary Rose, as well as a supporter of the Museum of the Royal Navy), and I thought the boat in my photo looked like the MTB (Motor Torpedo Boat) in his illustration where ‘Sweetwings’, the seagull, gives the electrician early warning of a floating minefield.
However, on comparing my photo with Maldwin’s boat, the tell-tale funnel on the boat in Portsmouth led me to believe it is not an MTB, but an SGB (Steam Gun Boat) also used in WW2.
On page 25 of The Strange History of Seagulls we find out how Sweetwings saved the fleet.
It was lucky that he was so observant!