108a Boundary Road
St John’s Wood NW8 4RH
Wednesday January 14th 2015
On a very cold January morning Jo and I made our way down
Boundary Road from Swiss Cottage, appreciating the wealth of seemingly well-
kept social housing provided by Camden Council which lines the street from
Finchley Road. Linda remembers all this stretch as a post-war bomb site so it
is not surprising that the bulk of housing dates from the Fifties and Sixties
as this area was gradually rebuilt. As there are blocks and estates it is
difficult to keep track of numbers but once we had crossed Abbey Road (yes that
one – see Routes 139 and 189) there
was a short stretch of mixed shops, very reflective of the area, including
108a which is the current premises of the Ben Uri Gallery.
When we spoke with Laura Jones, who welcomed us on behalf of
the gallery, such is the fame that precedes us (not), she explained that these
premises – essentially one of the shops using ground floor and basement for
exhibition space – was the second home of the Gallery which started life in
Soho. They celebrate their centenary this year with an opportunity to display
rather more of the 1000 or so pieces in their collection with an exhibition
scheduled for the Inigo Jones room at Somerset House later in 2015. Having limited space means they focus on
special exhibitions and this one – due to finish in February – is very aptly
called Re-figuring the Fifties and features five artists. And, to use
a hackneyed phrase, it very much does what it says on the tin. The five selected
artists, coming after nearly a century of successive waves of Impressionist landscapes
and scenes, cubism, fauvism, modernism, expressionism – and doubtless several
other isms I have omitted – chose to return to figurative art. This does not
mean that any of the featured ARTISTS have not been influenced by what has gone
before but rather they have incorporated trends into their very personal
styles. What is more each artist identified very closely with the areas where
they lived and worked, and this gives their art a special edge.
LS Lowry, the enigmatic rent collector, needs no
introduction and there are several of his works on display here – closely
identified with Salford and the factory gates, the works here show smaller
groups and more individual pieces though to call them portraits did not feel
quite right – there are faces but we were not sure they were real people except
perhaps for the professor bent against the weather (rather like today). Lowry’s
work is always pleasing but while his name might have tempted people over the
threshold it was not his work that
lingered in the memory.
The other male artist, Josef Herman (a Polish-born Jew, hence the Ben Uri Gallery links) worked
for many years in a Welsh mining village where he recorded the lives of the
workers. His paintings are often very dark and at a superficial level do not
photograph or reproduce that well; they do however convey absolutely what it
takes George Orwell several chapters to convey (see ‘The Road to Wigan Pier’) –
namely the weary demeanour of those who spend their working life underground,
under pressure and at the time he was recording their lives (just as the coal
industry had been nationalized) probably underpaid. I loved the chap in the
canteen with his hot (sweet?) tea.
Neither of the male artists made an especial study of women
or children so it was refreshing to find a roomful of paintings whose main
subjects were children – sometimes babes in arms in what can only be seen as
echoes of the classic Madonna and Child depictions through the centuries,
sometimes with their mothers, sometimes alone or a delightful sketch of a young
boy entrusted to hold his younger baby sibling – you can practically hear the guiding
adult ‘off-screen’ so to speak. Eva Franfurther had lived in Soho and worked as
a 'nippy' or at least for J. Lyons Tea Room so the portraits of her fellow
workers are very evocative. She also
befriended them enough to paint them ‘relaxing’ or more accurately resting
after work. These include West Indian (as
they were called at the time) families and also a wonderful family group from
the East End where she also lived and painted. The children are realistic and
natural but as an artist she captures more than just the image of a good
photographer. Joan Eardley in Glasgow
was doing similar work amongst the equally deprived of her community -
Though not a native Scot she embraced both the countryside
and people and her works on display here show a really empathy with her
subjects.
The last artist featured in this excellent exhibition is Sheila Fell whose work was bought and admired by Lowry
and whose father was a miner – she too painted them and her native Cumbria, in
bold shapes and colours. Less inclined to feature children than her fellow
artists she nevertheless has a strength and energy and in her paintings which include
more formal commissioned portraits as well as the ordinary folk whose lives she
recorded.
We both greatly enjoyed this modest but absorbing exhibition
which drew together contemporaries from the Fifties (the women all died in
their forties) who had all chosen figurative painting as their preferred interpretation, but which gave a wonderful range of subjects,
approach and execution within these boundaries.
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