Art

The Wiltshire Impressionist

on Saturday, 29 April 2017. Posted in Archives, Art

Wilfrid Gabriel de Glehn has often been described as “one of England’s leading Impressionists” due to his ability to capture variations in sunlight and shadow as well as a painterly style and a feel for colour that perfectly captured his subject. He has been highlighted while researching for Creative Wiltshire, a Heritage Lottery Funded project and we discovered that we hold one of his pieces within the county; a portrait of Dr. Edwin Sloper Beaven dated 1939 and held at Dewey Museum in Warminster. (Ref. WAMDM:D4414)

 

However, while he was known for his portraits and received regular commissions, it is perhaps his landscapes that inform us of the man; often capturing a sense of place with huge accomplishment and care. He worked in oils or watercolours and travelled widely, so his subject matter is hugely varied and genuinely reflects his love of people and places.

In 1891 he was invited to assist in the murals for Boston library by Edwin Austin Abbey and so began his long association with America, leading to his marriage in 1904 to Jane Erin Emmet, cousin of the novelist Henry James. He also began a lifelong friendship with John Singer Sargent and the three often travelled together, painting side by side as they visited wonderful locations such as Venice, Rome, Corfu, Granada, St. Tropez and areas in the south of France along with locations closer to home, such as Hampshire, Wiltshire and Cornwall. Wilfrid and Jane settled in London, in Cheyne Walk, close to Sargent’s studio, and Wilfrid began to establish himself as a portrait painter, exhibiting at the Royal Academy and other private galleries in the early part of the 20th century.


 
His painting was interrupted by the First World War when he and his wife worked as orderlies in a French field hospital and this contrast with his earlier pre-war life had an impact on them both. He took time to return to painting after the war but had produced watercolour sketches during his experiences depicting patients resting in the landscape, playing cards and recuperating, and these demonstrate his eye for figures and a wonderful ability to capture a sense of place and nature.

Visits to France became part of the couple’s lifestyle; both had studied in Paris and they regularly returned to the city as well as favouring the area around Chartes, the Seine valley and Provence. Wilfrid’s portraiture work funded these summer trips to Europe and in turn fuelled his interest and love of landscape painting. Both he and Jane travelled with their artist’s tools and regularly set up their easels together to enjoy their painting. A love of the English countryside grew and Cornwall became a firm favourite, as well as Hampshire and the River Avon. A theme of castles brought de Glehn to Wardour Castle in the south of the county, and a visit to Downton led to them renting the rectory at Wilton during the 1920s and 1930s, introducing them both to the Wiltshire countryside. The rectory backed onto Wilton Park which provided de Glehn with more subject matter, and he became fascinated with the Palladian bridge spanning the River Nadder. He also painted Heale, a seventeenth century house owned by a friend and many of these paintings were shown at Wilfrid de Glehn’s exhibition at Knoedlers in 1935.

By 1941 the couple were searching for a new home, having lost Cheyne Walk, London in the Blitz and it was at this point that they bought the Manor House in Stratford Tony where they settled for the remainder of his life while still returning regularly to Provence.

Collecting Cultures – Creative Wiltshire and Swindon

on Friday, 21 November 2014. Posted in Archives, Art, Museums

https://creativewiltshire.wordpress.com/

We are used to looking at a wonderfully rich source of materials in our Local Studies Libraries, Archives and Museums, but how many of you have ever wondered  how those books, photographs, newspapers, archive collections and museum objects got there? Some material of course has been collected over many years, some of it gifted and others purchased; while for Archive services material is often deposited but still owned by the depositor. When material comes up for sale, usually at auction, a decision whether to attempt to buy an object or an archive collection is made on case by case basis (with the help of grants from various bodies raised at short notice). Now this can work well, but as you might imagine this is a reactive process rather than proactive; consequently gaps in our collections can emerge. This means that the heritage for future generations is incomplete and does not tell the full story of our communities past and present.


In Wiltshire and Swindon we have been thinking about this problem and looking at how libraries, archives , museums and art galleries can work together to identify and fill significant gaps in our collections; thinking about what we should collect, what do local  communities think is important to their heritage, what would we leave for future generations? In particular we have been looking at the heritage of our local creative industries, something that is part of our everyday lives now and has been for past generations, but not always given the full attention it deserves. Now, with the aid of a grant from the Heritage Lottery Fund, we are able to take a strategic approach to collecting materials for our creative industry and, importantly, we have a significant fund to purchase items.

‘Now in Then’ – getting creative with archives!

on Thursday, 20 March 2014. Posted in Archives, Art

In 2014 a new project called ‘Now in Then’, funded by the Arts Council England, has been launched, which includes a series of Saturday workshops involving creative writers using archives here at WSHC. I have been involved from the outset in helping to choose the themes for the workshops, alongside the tutor Angela Street, and I have had free rein to choose the archives to help demonstrate those themes. Not being a creative person myself, I am greatly enjoying working with others who are, who can help me see the archives in a new light.


The theme for this term is ‘Lives in the Landscape’ and the first session (on 1 March) looked at the ownership of land. Most of the records I chose for this came from manor courts. The history of manors is worthy of a detailed blog in its own right but in the meantime if anyone is particularly interested they can read up on it on the University of Nottingham website (link at end of this article).

Put simply, a manor is a landed estate with the right to hold its own manor court, which, prior to the Tudor introduction of Quarter and Petty Sessions, was the main local court of law for minor offences. The concept of manors dates back to Anglo-Saxon times, and central to the operation of the manor court is its monitoring of communal behaviour, known as the ‘View of Frankpledge.’ This basically was a system of mutual responsibility meaning that a tithing (a group of about 10 households) agreed to work together to keep law and order within their grouping.

An image of a world long gone...

on Wednesday, 04 September 2013. Posted in Art

Here at the History Centre we have a collection of over 1,000 prints dating from the 17th century to the late 19th century; artistic snapshots of our county in time. A selection will be on show in our reception area in the form of a mini exhibition, running from the 28th of September 2013 to the 3rd January 2014. Entry to the exhibition is free, open during our normal working hours. Please feel free to pop in and take a look; they are beautiful works of art in themselves!

The earliest examples of printed illustration are the woodcuts used by William Caxton to illustrate his books in the late 15th century. Saxton’s atlas of England and Wales was published in 1579 and has been called the greatest publishing achievement of the 16th century, being the first national atlas of its kind to be produced in any country, utilising the latest technology of line engraving.

By the 17th century it had become established practice to issue books with engraved title pages and portraits. The process required a different printing process to text and led to an increase in the use of the copper plate press. Demand for this new type of publication increased, resulting in the establishment of two new trades; the publisher and print seller.


The popularity of etching in Britain was predominantly due to one man, Wenceslaus Hollar (1607-77) from Prague. He arrived in Britain as a member of the household of the Earl of Arundel, one of Charles I’s Ministers of State who was a great patron of the arts. Less than 10 years later both the Earl and Hollar had to flee due to the Royalist defeat in the Civil War.

Arts and Archives

on Tuesday, 30 July 2013. Posted in Art

The National Archives has recognised the unique nature of the work that has been happening at the Wiltshire and Swindon History Centre to engage artists and develop new creative ways of working. On the 30th of September the History Centre will host Artists in the Archives, a regional conference to draw together best practice from across the south west and provide an opportunity for artists to learn more about what opportunities there are to explore the creative potential of archives.

New Film given World Premiere in Trowbridge

on Monday, 03 June 2013. Posted in Art, Wiltshire People

This week I attended my first film premiere. I was delighted to join the actors, cameramen, graphic designers, photographers and voice actors of this new film, but this was no Hollywood affair with ‘A’ list celebrities, designer frocks, and red carpet. All the roles in this film were taken by local school pupils and members of the local community. Under the direction of award-winning film maker Jamie McDine, pupils from three Wiltshire schools worked with community members to produce short films animating their life stories.

This striking image was created by film-maker Jamie McDine as the cover image for the DVDs. He was inspired by the title of the project SEEME which refers to black history as hidden history, because the stories of black people are very hard to find amongst the millions of documents held in archives.

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