Concert, Tours and Talk: Event for ‘Beautifully Obscene’

Couple - detail

After a phenomenal opening night, we are now please to present our programme of events for Beautifully Obscene: The History of the Erotic Print.

All events are free and will be held in Studio 3 Gallery. As space is limited, we would ask that you book tickets to ensure your place.

Please note, this exhibition contains very graphic of a sexual nature and may not be suitable for all audiences. 

#EarBox: Operatic Arias

#EarBox, Studio 3’s collaboration with the Music Department, returns for a third time. In this instalment the University Music Scholars will take the audience on a journey through the tempestuous world of love and lust at the opera including arias by Mozart, Gluck, Dvorack and Saint-Saens.

May 27th, 13:10 PM

Student-led Exhibition Tours

Beautifully Obscene has been curated by students from our History of Art department. Join us for a tour and hear them discuss both key works in the exhibition, and their experiences of curating this show.

May 27th, 14:00-15:00

June 3rd, 15:00 – 16:00

Beautifully Obscene: Lectures

“Beautifully Obscene: Shunga in Focus”

Louise Boyd, PhD Candidate, University of Glasgow

Do you want to know more about the artists who created shunga and how it relates to the rest of their work? Or do you wonder who bought shunga and why? Come along to learn more about the beauty and humour of the prints on display, and hear about how shunga was created, cherished, and occasionally censored in Edo Japan. There will also be the opportunity for questions.

June 5th, 13:00 – 14:00 

“Beautifully Obscene: Uses of the Erotic and Pornographic in Feminist Film”

Sara Janssen, PhD Candidate, University of Kent

Taking the paradoxical conjunction of “beautifully obscene” as a starting point, this talk will discuss the troubled relationship between feminism, erotic art, and pornography. I will discuss some of the issues feminists have raised against the representation of the female body and female sexuality in erotic art and pornography, as well as arguments that have been brought to the fore in favour of an appropriation of erotic art and pornography in order affirm female sexual agency. Discussing different examples of feminist art film as well as recent examples of alternative pornography, this talk highlights the central role of female sexuality in feminist theory and art from the 1960s to the present day.

June 8th, 15:00 – 16:00



Drury 8

This interview was conducted with Ben Thomas, the curator of Alfred Drury and the New Sculpture, by Joanna Barnes and Leonie Summers of Circumspice – the newsletter of the Public Monuments and Sculpture Association.


1. The curatorial team  – who was involved? How did the collaboration work – design, logistics, display, project management?


Jolyon Drury, Alfred Drury’s grandson, has been continually supportive throughout the process of putting on the exhibition in so many ways. He has provided contacts, advice, and logistical skills together with creative insights. There has also been a constant dialogue with him about the design and display and his contribution has been invaluable.


Studio 3 Gallery is an exhibition space supported by the University of Kent’s School of Arts, and therefore I aim to involve students as much as possible in the running of the gallery, including in curating exhibitions. Three undergraduate students assisted me in the initial process of research for Alfred Drury and the New Sculpture – Chloe Cheadle, Beth Nixon and Rhiannon Jones. Thanks to a curatorial research grant from The Paul Mellon Centre for Studies in British Art they were able to accompany me on research trips to Leeds and London. It was exciting to discover Alfred Drury letters together in archives! Other students have been involved in the logistics of the exhibition: for example, Vanessa Baradossa managed the rota of invigilators, and Frances Chiverton came up with the educational programme linked to the exhibition. The aim here is to provide students with ‘real life’ experience of how exhibitions are put on and managed.


Realizing this exhibition involved a huge number of people and I have tried to acknowledge them all in the catalogue – and of course the scholars who wrote the catalogue are among the key players shaping the concept of Drury that emerged (Jolyon again, Jane Winfrey, Brian Landy and Benedict Read). I should also mention the incredible support the project received from the Henry Moore Institute, where Betsy McCormick and Jonathan Wood were working on their own Alfred Drury exhibition; and also from Alexandra Gerstein of the Courtauld Institute Galleries. I had not curated a sculpture show before – one extra dimension, a thousand extra problems – and Alexandra kindly tutored me in the mysteries of plinths, lighting and sight lines, while the example of the HMI’s elegant show around Drury’s The Age of Innocence was my model for how to let this type of sculpture breathe.

drury 13


2. What were the criteria for the selection of the exhibits?


The idea was to provide as representative a sample of Drury’s works on a smaller scale as possible – the large-scale public works being obviously out of the question. This proved possible due to loans from two private collections. An important gap was filled by the loan of a marble version of Lilith, Drury’s Royal Academy diploma piece, from Godinton House in Kent. Including works by Dalou, Rodin, Leighton and Stevens also helped to place Drury in context. There will be further loans from another private collection when the exhibition moves to The Stanley & Audrey Burton Gallery in Leeds.


However, working within a tight budget and timescale means that the selection of exhibits cannot be a paper exercise but is all about what is possible. I have learnt a great deal in putting on this exhibition, not only about the generosity of private collectors, but also of the importance of their long-term vision in trusting to the quality of an artist’s work. Ultimately that is what made this exhibition possible.


3. How did you arrive at the design for the exhibition in – layout, display, lighting?


One of my goals was that the exhibition should feel like an ‘Art’ exhibition, and not like a didactic display where the art works serve as illustrations to a historical essay. Works like Griselda and The Age of Innocence have a quiet but powerful attraction that communicates itself slowly – Drury’s friend the critic Alfred Baldry was alert to this poetic and musical quality of his work – and I wanted the works to harmonize across the space of the gallery. Formal rhythms shaped the display more than chronology or some other organizing concept.


I was also taking my cue from Drury himself: a photograph of his studio c.1900 records a display put together for the benefit of visiting patrons and customers. Here was Drury essentially curating an exhibition of his own smaller works. I decided fairly early on to base my hang around the tableau recorded in the photograph, creating a mantelpiece in the gallery and as far as possible recreating the sequence and rhythms of Drury’s display. I have to say I wrestled with this idea, going back and forth with it for a long time – was it respectfully working with the grain of the artist’s vision, or simply a kitsch exercise in reconstruction? In the end I think it worked.


The idea of the two large and tall display cases was one I took from the Dalou exhibition at the Petit Palais in Paris. In the context of Studio 3 Gallery, which has a very high ceiling, they served as internal walls breaking up the space and as a means of grouping together some of the works in terms of the ‘youthful’ and the ‘mature’ artist. They also allowed some interesting documents to be displayed –  letters from Dalou and Alfred Gilbert etc. In a sense the cases divide the gallery diagonally into two sections – one more ‘domestic’ (sculpture in the home) and the other more like a gallery space for exhibition pieces. The walls are deliberately hung very sparely in order to preserve sight lines for the sculpture. There is a double-stopped rhythm of repeated facial profiles on three of the walls that is intended to give the room a quiet beat. Lighting is used to accent certain works, and to integrate the spatial arrangement.


I planned the display so that the visitor would take in the key works of Drury at a glance on entering the gallery – The Age of Innocence, The First Lesson, Griselda, Lilith, Knowledge & Inspiration – and then be drawn in to the more intimate arrangements of works in the cases and on the mantelpiece. On leaving the gallery the visitor sees a timeline in the corridor providing the historical facts: in other words I wanted to prioritize the aesthetic experience over ‘interpretation’.


4. What were your aims for the outcome? – what did you want a visitor to experience and gain from the exhibition?


The main aim was to reappraise Drury’s art and to argue that he played a key role in the New Sculpture Movement – drawing together the influences of Stevens and Dalou in a way that only he was equipped to do. That case is made through the research presented in the catalogue. I hoped the visitor to the exhibition would be convinced of the quality of Drury’s art, and be left with a lasting impression of beauty created by the mutual communication of sculptural works across space.


5. What did you regard as key challenges and problems? How were they resolved?  please also consider a) the design, b) the physical installation c) split site -Stevens drawings) d) were there any “health and safety” issues?


In terms of the installation the main challenge was how to place works whose ‘natural habitat’ is the sideboard in the sitting room or a shelf in the study in a high-ceilinged, concrete-floored, austere ‘white cube’ space without overwhelming them. Experiments in the empty gallery showed that smaller pieces like Spring would just be lost if placed separately on their own on plinths. There needed to be a strong and simple design, therefore, to bridge that discrepancy of scale. Of course, Drury was himself a specialist in reconciling sculpture to architecture and so he was again a good guide to follow in spirit.


In doing this exhibition I learnt a lot about the various ways of fixing sculpture to plinths so that it is secure, and thanks to Julian Doyle, an excellent art technician, unobtrusive solutions were found. Putting together the cases was a dramatic logistical problem involving scaffolding towers and a team of six workers from Kent’s Estates Department (who are brilliant at installing exhibitions). Working with scaffolding towers, ladders, power tools etc. always has ‘health and safety’ implications and everyone has had the relevant training. Planning the installation was an exercise in project management and I left plenty of time so that it was not rushed, so that different jobs were not occurring simultaneously in the space, and so we could rehearse certain problems in advance.


The possibility of an exhibition of Alfred Drury’s collection of Alfred Stevens drawings was something that arose during the course of research – as someone who principally works on graphic arts I was profoundly impressed by these great drawings. Stevens was a Victorian who drew like Raphael! Canterbury has now got a dedicated gallery space for works on paper in The Beaney House of Art & Knowledge, and so this seemed like a more appropriate setting to show these fragile works for both aesthetic and conservation reasons. I was also determined that Drury remain the ‘star of the show’ in Studio 3 Gallery. Krystyna Matyjaszkiewicz did a great job of curating the Stevens drawings, with expert advice provided by Teresa Sladen. The two exhibitions are conceived of as discrete but connected shows – it is not necessary to visit both but it enhances the experience of both if you do. I also have a very practical problem of luring visitors away from Canterbury city centre and up the hill to the University of Kent campus and I hoped the Stevens exhibition in The Beaney (with its much higher footfall) would act as a signpost.


The exhibition was also a research project and that aspect of it raised a different sort of challenge. The catalogue has advanced our knowledge of Drury’s art, but even in the final stages of editing new discoveries, theories and clues kept emerging. There is so much more still to do. I did engage in quite an extensive campaign of research in regional archives and libraries over a couple of years and it is clear that there is much unexamined material out there. Unfortunately this sort of research is becoming more difficult as funding cuts bite and access to documents becomes more restricted. I also traveled quite widely around the country to see as much of Drury’s work as possible and it is striking how much standards of site maintenance and states of conservation vary. I suppose preserving our cultural heritage and maintaining access to the historical materials that allow their meaning to be continually investigated and renewed are key challenges for all of us.


 drury 11


6. Are there any areas you think could be improved?


Two legitimate criticisms have been raised of the exhibition so far. One is that everything is hung too high. The other is that a stronger interpretative steer would have been helpful to some visitors.


The first problem is caused by the half wall on the right hand side of the gallery, where air vents along the floor line effectively raise the base of the wall. This architectural quirk – which I would like eventually to fix – has a determining effect on how you work in this particular space. It is odd how the peculiarities of what seem like regular spaces can drive exhibition design almost as much as the works themselves! In order to preserve clear and unbroken sight lines against the wall, the sculptural works had to be on plinths high enough to raise them above the line of the vents. The plinths also had to be quite high in order to locate works like Griselda spatially within a room that spans two storeys, and this then had a knock-on effect on where paintings and reliefs were hung on the walls. The plinths were actually exactly the same height as the ones in both the HMI and Petit Palais exhibitions – but visitors who had been to all three shows perceived them as higher in Canterbury.


The second issue is one of curatorial style. I tend to be a minimalist in terms of interpretative panels and explanations anyway – and with an artist like Drury, whose work while profound is not ‘difficult’, I think the art can be left to speak for itself to a large extent. I also think it is one of the roles of a university gallery to foster a slightly more challenging exhibition experience. For example, although I included an enlarged photograph of Drury and his praticiens with a statue of Queen Victoria, I deliberately did not provide a label explaining which member of the group was the artist – that was left as a problem for the visitor to resolve, and hopefully in the process think about collaborative working practices in the sculptor’s studio. The catalogue is always there for those who want to know more.


Perhaps these are issues that can be revisited when the exhibition moves to Leeds…


So what is an original print?

Here is a brief text that I have written for the Canterbury Times’ “So what is…?” column:


So what is an Original Print?


Residents of Canterbury are well placed at present to grapple with this slightly obscure aesthetic question, which turns out to be surprisingly relevant to a contemporary understanding of what art is.


Perhaps the first object in Canterbury that comes to mind is the wonderful Canaletto etching currently on display in the Beaney House of Art & Knowledge’s new Drawing Room. Here the line bitten into copper by acid conveys both a sense of the artist’s fluid yet controlled drawing, and also the sparkling light of a Venetian scene. Examples like this of a great artist engaging with the print medium – which because it produces multiple impressions of the same image always carried with it the taint of the copy – suggest ways in which it could lay claim to ‘originality’. 


In 1961 the Print Council of America, building on decades of work by artist printmakers who tried to distance their ‘art’ from the products of popular and commercial reproductive printmaking, decided to codify the rules that defined an original print. These were so stringent that, surprisingly, the Canaletto and many other masterpieces of etching from the past did not qualify: the artist alone must create the master image, and not copy anyone else’s work. He or she should themselves hand print or at least supervise the hand printing of the edition. They should sign and number each impression, destroying the plate or stone (the print matrix) after the edition has been completed. All of these precautions should ensure that ‘the original print is a work of art in its own right’ and ‘as valid an expression as is any other form of visual art’.


These regulations were formulated just at a time when many young artists interested in printmaking were deliberately distancing themselves from this ‘hand made’ aesthetic and embracing more mechanical techniques. Patrick Caulfield, for example, whose use of commercial screenprinting meant that he was not personally involved in executing his design, found that officials at the Paris Biennale des Jeunes in 1965 wanting to disqualify his work. Joe Tilson at around the same time made a list of all of the things you were not supposed to do in printmaking and then deliberately set about doing them – for example, suspending objects from the sheet of paper, as in the plastic bag of coloured letters in his screenprint New Coloured Fire from the Vast Strange Country of 1968. This assemblage made in honour of the French poet Apollinaire will be displayed in the forthcoming exhibition Two-faced Fame at Studio 3 Gallery in Canterbury.


Canterbury was also recently the location of two major exhibitions by contemporary artists working with prints, who have introduced the computer into their practice in order to develop the ‘pop’ aesthetic of Caulfield and Tilson. Michael Craig-Martin’s Alphabet at the Sidney Cooper Gallery is typical of his coolly conceptual approach to printmaking where the rigorous designs renounce any trace of the artist’s hand. At Studio 3 Gallery a major retrospective of the work of Paul Coldwell charts the artist’s use of the computer programme Photoshop to build layered images that resonate with associations of memory, exile, travel and loss. Both artists have demonstrated that a print’s originality derives from the cogency of the concept it communicates rather than through the artist’s handiwork – and yet Coldwell has started superimposing simple handmade linocuts over inkjet prints in his latest work. He was, after all, the printer of the accomplished etchings by Paula Rego displayed in the Sidney Cooper Gallery’s recent exhibition From Grimm to Reality

Barry review in Print Quarterly












There is a review of Studio 3 Gallery’s 2010 exhibition In Elysium: Prints by James Barry, co-curated by Jon Kear and myself, in the latest Print Quarterly (XXX, 1, March 2013, pp. 65-67). Michael Phillips, who has done so much to advance our understanding of Barry as a printmaker, very kindly concludes: ‘in helping to bring recognition to Barry’s extraordinary originality and achievement as an artist printmaker, the curators of the exhibition at the University of Kent are to be saluted’. The same volume of this journal also has my review of Marco Livingstone’s excellent monograph on Peter Blake (pp. 103-5).

Paul Coldwell catalogue published

I have just received the advance copies of the catalogue for next term’s exhibition: Paul Coldwell – A Layered Practice. It is a beautiful publication, for which many thanks to the designer Jonathan Kearney. It contains essays by Christian Rümelin and myself, a commentary by Paul on his work, and is extensively illustrated throughout in colour. Put this new catalogue alongside the John Blackburn catalogue, designed by Stuart Hillcock, and 2012-13 is proving an excellent year for Studio 3 publications!


UPDATE: the catalogue is now available online for £10 at





Clifton College, Bristol – The Close

One of Alfred Drury’s most effective public works can be found at Clifton College in Bristol. Most effective because it is so beautifully sited, and so completely carries out the brief the artist was given.


The idea for a memorial at Clifton College in Bristol to the former members of the school who had fallen in the South African War, also known as the Second Anglo-Boer War (1899-1902), was initiated at a meeting of Old Cliftonians in London in May 1901, presided over by a former Headmaster John Percival, the Bishop of Hereford. The acting secretary of the memorial committee, Rowland Whitehead, then circulated a fundraising letter to alumni with a ballot paper giving three options for the form of the memorial. A gatehouse and a loggia having been rejected in the ballot, the committee then initiated a competition among Old Cliftonian architects for the commission for ‘a separate architectural monument on the Terrace overlooking the Close’. This competition was judged by the architect Ralph Selden Wornum F.R.I.B.A., son of the art historian Ralph Nicholson Wornum, and the firm of W. S. Paul and R. C. James of Bristol was awarded first prize. Wornum’s recommendation was adopted at a further meeting of Old Cliftonians in London but ‘the question of the figure surmounting the pedestal’ was at this point ‘left for further consideration’. It was only at a later stage that Alfred Drury entered the scene: ‘on the suggestion of the architects, the Committee then approached the well-known sculptor, Mr. Alfred Drury, A.R.A., and at their request he submitted two sketch models, one being of St. George, the other of a modern soldier in Khaki’ (The Cliftonian, XVIII, June 1904, pp. 190-91).



In a letter from the architect Walter S. Paul the following statement about the intended bronze figure on the monument can be found: ‘On the pedestal would be placed a figure in bronze emblematical of “Patriotism”. The memorial would stand above the quadrangle level about 25 feet, and it would form a conspicuous and handsome addition to the School buildings’ (The Cliftonian, XVII, March 1903, p. 349). Drury’s production of two very different sketch figures to embody ‘Patriotism’ reflects debates within the memorial committee and the wider body of Old Cliftonians about the most appropriate form of commemoration. The ‘realist’ point of view was put forward in a letter published in the school magazine under the pseudonym ‘O’erpeering Truth’. Although jocular in tone – armour might be necessary for a figure that ran ‘the risk of being peppered by stray cricket balls’ – it did make serious points about the anachronistic effect of patriotic virtue being represented by a medieval knight ‘clad in the obsolete panoply of a bygone generation’. ‘Was there any occasion during the late war’, asked the writer while pleading for a more truthful and contemporary treatment of the theme, ‘on which a kopje was scaled, a river forded, or a withering fire endured by warriors who were encumbered by heavy defensive armour? The “patriotism” of which the figure is to be symbolic is that of 1900 A.D., not that of 1300’ (The Cliftonian, XVII, April 1903, pp. 377-79). In the end the alternative point of view supporting a medieval figure of St. George prevailed, perhaps because of the advocacy of the poet Henry Newbolt who was on the committee (see Derek Winterbottom, Henry Newbolt and The Spirit of Clifton, Bristol: Redcliffe, 1986, pp. 54-56).


Alfred Drury, St. George, 1904, South African War Memorial.


It was certainly Newbolt who provided the inscription on one of four bronze plaques on the gothic pedestal in Portland stone (which is riddled with fossils) – the other three plaques record the names of the forty-three Old Cliftonians who died during the South African War. The commemorative verse provided by Newbolt reads: ‘Clifton remember these thy sons who fell fighting far over sea / For they in a dark hour remembered well their warfare learned of thee’. This distils the essence of Newbolt’s best known and most quoted poem, Vitaï Lampada of 1902 (the torch of life), which also equates sporting behaviour in ‘the Close’ of Clifton College with heroic valour on the battlefield:


There’s a breathless hush in the Close tonight –

Ten to make and the match to win –

A bumping pitch and a blinding light,

An hour to play and the last man in.

And it’s not for the sake of a ribboned coat,

Or the selfish hope of a season’s fame,

But his captain’s hand on his shoulder smote

“Play up! play up! and play the game!”


The sand of the desert is sodden red, –

Red with the wreck of a square that broke; –

The Gatling’s jammed and the Colonel dead,

And the regiment blind with dust and smoke.

The river of death has brimmed his banks,

And England’s far, and Honour a name,

But the voice of a schoolboy rallies the ranks:

“Play up! play up! and play the game!”


Today, such verses bring immediately to mind the corrective counter-argument of Wilfred Owen’s ‘gas poem’ of 1917, Dulce et decorum est:


If you could hear, at ever jolt, the blood

Come gargling from the froth-corrupted lungs,

Obscene as cancer, bitter as the cud

Of vile, incurable sores on innocent tongues,

My friend, you would not tell with such high zest

To children ardent for some desperate glory,

The old Lie: Dulce et Decorum est

Pro patria mori.


The distance travelled in war poetry between 1902 and 1917 is analogous to the difference between Drury’s South African War memorial of 1904 and the London Troops Memorial in front of the Royal Exchange of 1920. However, if the medieval and chivalric trappings are lost in the contemporary representation of the First World War soldiers, the character of their facial expressions is remarkably similar to that of St. George. Here we have Drury’s own statement of his intentions (presumably taken from a letter to Clifton’s Headmaster Canon Michael George Glazebrook, a letter from whom is in the Drury family archive): ‘Mr Drury writes: “The armour is of the period of the late fourteenth century; the shield is Gothic, with the cross of St. George on it; the handle of the sword is surmounted with a figure emblematical of Love; the figure of Christ is surmounted by a symbol of the Holy Ghost, intended to represent the descent of the Spirit of God or the Word of God; the hilt takes the form of an anchor representing the anchor of Hope. In the head of St. George I have endeavoured to express his character of Fortitude and Virtue without effeminacy”.’ (The Cliftonian, XVIII, June 1904, p. 194). A study for the head of St. George was published by A. L. Baldry in 1906 in The Studio:


Alfred Drury, St. George, 1904, detail.


The Christian symbolism of St. George’s sword, the romantic spirit of the description and also the elaboration of detail suggest the influence of Alfred Gilbert who produced a figure of St. George for the tomb of the Duke of Clarence at Windsor in 1895 (and variants and casts after it). Drury would also have been aware of the Renaissance precedents that had inspired Gilbert, such as the figure of San Liberale in Giorgione’s Castelfranco altarpiece or Donatello’s figure of St. George at Orsanmichele in Florence. However, in spite of the gothic detail, Drury’s figure does not have much in common with the ethereal, dreamy imagery of Gilbert or Burne-Jones. He seems a modern figure, closer in character to heroic standing males in the oeuvres of Hamo Thornycroft or Aimé-Jules Dalou (even Dalou’s Grand Paysan for the monument to Labour exhibited at the Salon in 1902). It is also interesting in this context to compare Drury’s St. George with Thornycroft’s Comrades, his own slightly later memorial for the Boer War in Manchester (1908) which shows two soldiers in modern uniforms, one fallen and wounded, the other standing resolutely over him.


Other documents in the Clifton College archive relating to the statue are largely concerned with the problem of the green staining of the pedestal caused by the large deposits of copper in the gunmetal bronze that was used by Singer & Sons of Frome in casting it. In 1929 the Bristol firm Humphrys & Oakes were employing the same workman who had cast the statue for Singer and he was able to advise on its conservation.


The unveiling of the statue took place at the Guthrie Commemoration on 25 June 1904 (see the account in The Bristol Times and Mirror, Monday June 27 1904, p. 7). This ceremony was performed by Paul Methuen, the 3rd Baron Methuen of Corsham Court, who had been a somewhat controversial General commanding British forces during the South African War, having been heavily defeated by the Boers at Magersfontein and also captured by the enemy at the Tweebosch. General Lord Methuen (an Old Etonian) spoke on this occasion of the role that schools like Clifton College played in fostering an ethos of patriotic service: ‘It seemed to him, both as a soldier and an Englishman, that there was no duty they could ask their countrymen to do more urgent or more important than the duty they called upon schoolmasters to perform, of inculcating into their pupils – the youth of England – those feelings of patriotism which were absolutely essential to this country if the voluntary system was to continue. Boys at a public school must realise that, and if he could not from his heart find a way into their ears it was not the least use his speaking one word more’. This sentiment was echoed by the Headmaster Canon Glazebrook when he thanked Drury ‘for producing that grand embodiment of patriotism, the figure of St. George, which they trusted would be an inspiration for many years to come. He did not think it was possible to imagine a figure more suitable for their purpose, which was that the School should have before it a continual reminder that chivalry was one of the first duties of life’ (The Memorial to Old Cliftonians who fell in the South African War, Bristol: Arrowsmith, July 1904, p. 11, pp. 12-13). Chivalry was a quality notably lacking in the prosecution of a war that saw the British employ scorched earth tactics and the concentration camp against the Boer civilian population.


In a poem published in the booklet that commemorated the unveiling ceremony Drury’s St. George is imagined soliloquizing nobly as he stands sentinel through the passing hours of the school day until ‘the shadows of the limes grow longer on the yellowy grass’ and the ‘gloom gathers round’, stating finally that ‘I stand looking Southward through the night’ – looking southward across the Close where ‘school patriotism’ was inculcated with cricket bat and rugby ball, and further southward still to the African battlefields where Old Cliftonians fell for their country in the ultimate expression of selfless patriotic duty.


[I am very grateful to all at Clifton College for their warm welcome and help, and in particular to Dr Charles Knighton for his expert assistance with the college records, and to Simon Reece and Lucy Nash of the Old Cliftonians Office.]

Blackburns before and after…

Here are some photographs that I took back in January 2012 when I first visited John Blackburn in his studio. It is interesting to compare the ‘black’ paintings then with how they look now in the Studio 3 show. In some cases, like Don’t Speak To Me and Look Away Now, the fragments of hurt or angry text have been obscured so that they are hardly legible, in others they remain  clear. The Seabirds Smell Blood is a work that was abandoned, although this phrase – taken from a TV nature documentary – played an important part in the initial creative process in developing the black series.


John Blackburn, Don’t Speak To Me, mixed media on board, 2012 [unfinished]

John Blackburn, Look Away Now, mixed media on board, 2012 [unfinished]
John Blackburn, Look Away Now, mixed media on board, 2012
John Blackburn, He Turned His Back On Me, mixed media on board, 2012 [unfinished]
John Blackburn, He Turned His Back On Me, mixed media on board, 2012

John Blackburn, The Seabirds Smell Blood, mixed media on board, 2012 [unfinished]


F. E. McWilliam – Father Courage

F. E. McWilliam, Father Courage, 1960

At the busy start of the academic year it is easy to overlook the familiar features of campus. Perhaps it is worth pausing now to have a closer look at one of the most significant sculptural works in Canterbury – Father Courage by Frederick Edward McWilliam (1909-92) – particularly as there is currently a major exhibition of his contemporary Henry Moore in town.


McWilliam was born in Banbridge in County Down in Northern Ireland, where there is now a gallery dedicated to him. He trained at the Slade School, worked for a time in Paris, and was associated with the Surrealists in the 1930s. According to the critic Bryan Robertson, writing in 1965, McWilliam’s style is characterized by eclecticism ‘in the sense that he has explored style with insight and extreme intelligence’ and also by ‘a consistent lightness of touch’. Admiration for Brancusi and Arp prompted him to explore abstraction, but a concern with archetypal themes of human struggle kept him returning to the figural (Bryan Robertson, John Russell and Lord Snowdon, Private View: The Lively World of British Art, 1965, pp. 96-97). Father Courage dates from 1960 and, as Stephen Bann has pointed out, is a work that ‘still draws upon McWilliam’s sense that the sculptor was bound to create symbols which affirmed human values in a divided Europe’ as part of the post-war cultural task of moral reconstruction. Its title refers to Bertold Brecht’s play Mother Courage, itself ‘a passionate denunciation of the horrors of war’ (Stephen Bann et al, Sculpture on the Campus, Canterbury: Modern Cultural Studies, 1992, pp. 3-4). The sculpture’s purchase was funded by the Gulbenkian Foundation, and it was installed near the Gulbenkian Theatre in 1969, and re-erected in its current position following the partial collapse of the nearby Cornwallis Building in 1974 (due to the nineteenth-century railway tunnel running beneath it).


The attenuated body of Father Courage with its lacerated surface recalls Giacometti, and the hunkered-in sitting pose suggests a determined endurance. Meanwhile the magnificent head seems to embody resolute will as it watches over its surroundings. A still and fixed point as crowds of new faces to the campus flow around it…



Henry Moore at the Beaney:


For more on F. E. McWilliam see:


Blackburn installation complete!

After four days of hard work on the part of Kent’s Estates department eighty-eight paintings by John Blackburn have been hung throughout the Jarman Building as part of the Studio 3 Gallery exhibition that opens on 24th September 2012. John’s work has transformed the building! There seems to be a very happy marriage between his paintings and the architectural aesthetic as these photographs show:

Looking down on the mezzanine area…


Corridor leading to Studio 3 Gallery


Staircase leading to the top floor



Reception area in Jarman

Barry and the Olympics

Detail from James Barry's 1795 etching The Diagorides Victors


To mark the London Olympics I am posting here a catalogue entry from Studio 3 Gallery’s 2010 exhibition In Elysium: Prints by James Barry. Barry’s mural Crowning the Victors (1777-84) in the Society of Arts must be the greatest representation of the Olympic Games in British art! The print we exhibited shows a detail of the central section of the mural – the sons of Diagoras carrying their father on their shoulders.


James Barry, Detail of the Diagorides Victors, 1795, etching and engraving.


This print reworks a detail of the central section of the procession of victors in the mural of the Crowning of the Victors at Olympia. A preparatory sketch for this print is in the Victoria & Albert Museum. Barry’s print illustrates a passage from Gilbert West’s Dissertation on the Olympick Games, 1749, p. cxxvii:Pausanias relates of Diagoras the Rhodian, to whom Pindar inscribes his seventh Olympick Ode; in which he enumerates his several Victories in almost all the Games of Greece. This venerable Conqueror is said to have accompanied his two Sons, Acusilaus and Damagetus, to the Olympick Games, in which the young Men coming off victorious, Acusilaus in the Caestus, and Damagetus in the Pancratium, took their Father on their Shoulders, and carried him as it were in Triumph along the Stadium, amid the Shouts and Acclamations of the Spectators; who poured Flowers on him as he passed, and hailed him happy in being the Father of such Sons’. A section of the inscription in Italian makes explicit Barry’s pro-catholic views and develops the parallels between the Olympic priests and the Roman Catholic church that were already present in West’s essay.