north of oxford art review

A Fever For Colour

By Byron  Beynon

Portrait of J D Innes by Ian Strang

Portrait of Innes by Ian Strang (1913)

The Painter J D INNES (1887-1914): A brief introduction to his life and work

James Dickson Innes was born in Wales in 1887, the third son of John Innes (1853-1923) an accountant, and his wife Alice (1857-1942) who lived in the Carmarthenshire town of Llanelli.

The year 1887 appears to have been a fertile one for the birth of painters. Marc Chagall (1887-1985), Georgia O’Keefe (1887-1986), and LS Lowry (1887-1976) were all born in the same year as Innes. However, Innes did not have the luxury of living and painting into middle life let alone mature age. His life was tragically cut short, dying of tuberculosis at the age of 27. Nevertheless during a few short years, he produced several memorable paintings, rich in imagery with an exquisite harmony of colour, or as his friend John Fothergill (1876-1957) said, “he painted nature with the brilliance of stained glass.”

His grandfather Robert and his parents valued education and had a correct ethos towards the children. The grandfather had opened a school in Llanelli and was also secretary of the art class. His mother had been born in Lyon, France in 1857. She offered stability to the family. Her connection with France may have kindled the boy’s imagination and curiosity about her life there. I also believe the landscape of Wales; Carmarthenshire, Breconshire and Pembrokeshire awakened in him a sense of place, and a need to capture those landscapes creatively by sketching and painting.

Furnace Quarry Llanelli

The Furnace Quarry, Llanelli (1906)

Llanelli’s population in 1900 was approximately 36,000, an industrial town, it produced most of Britain’s output of copper. Although an industrial town it was in close proximity to unspoilt countryside and situated by the sea.

Innes attended Christ College, Brecon, before continuing his education at the School of Art, Carmarthen. He was inspired at first to follow JMW Turner’s footsteps (Turner had made five sketching and painting tours of Wales between 1792 and 1799), and travels through south Wales, visiting and painting Kidwelly, Carew and Chepstow castles, and Tintern Abbey. Innes would later visit north Wales; places such as Bala, Aberystwyth, Llanidloes and the Arenig mountain which became an important subject matter, obsessed by it, he acquired a passion for the mountain. A favourite story of Innes about the painter Turner was when a lady complained to Turner that she did not see in nature the colours Turner saw, he replied “and don’t you wish you could, Madam ?”

 

Innes seems to have been a delicate son, not as robust as his elder brothers, suffering bouts of ill-health. Undeterred, and with the support of his family, by the autumn of 1905, he was in London, studying at the Slade School of Art. He first lived at Wimbledon, but later moved to Cheyne Walk, and to Fitzroy street. It was an important period in his life, meeting fellow artists and contacts in the art world. He would meet early influences such as Walter Sickert (1860-1942), Augustus John (1878-1961), John Fothergill (1876-1957) and the Australian painter Derwent Lees (1884-1931). He also went on to exhibit his work at the Chenil Gallery, Chelsea.

In 1908 he travelled to France with John Fothergill. He headed south to Bozouls, and then to Collioure, following the paths taken by Matisse and Derain who had been there a few years earlier in 1905. Innes’ work became influenced by the strong sunlight and his colours became bolder after he moved to the south of France. He would visit France several times, spending time at Collioure, the Pyrenees, Perpignan and Paris. Hilary Spurling in her biography of Matisse quoted a contemporary traveller taking the train from Perpignan at the beginning of the twentieth century “All of a sudden as you emerge on the crest of a hill from the rocky corridor, Collioure! Radiant with light on the curve of a small bay, hemmed in by the last burnt foothills of the mountains, a blaze of reds and ochres…..Is this still France, or already Africa, with its clumps of agave, and its palm trees dotted here and there among the garden?”

In 1912 Innes also travelled into Spain, south to Ronda, and the mountains of Andalusia, capturing in his work the light and colour of the landscapes he saw and experienced.

In the same year he briefly visited Coole Park, in Galway, Ireland. It was the home of Lady Gregory, born in 1852, who was a great friend and influence on the poet WB Yeats (1865-1939). During his stay there Innes painted The Lake at Coole Park, Co. Galway. There is a tree standing in the garden, known as the Autograph Tree, inscribed by Innes; it also has the initials of Yeats, Bernard Shaw and others.

Arenig North Wales

Arenig, North Wales (1913

Back in north Wales he developed an extraordinary passion for painting the Arenig Mountain. He was fascinated by it and painted it over and over again, just like Paul Cezanne (1839-1906) did with his Monte Sainte-Victoire. Innes developed a wonderful sense of colour, and painted Arenig from different viewpoints, in diverse lights and weather conditions. The mountain situated in the middle of the moorland between Bala and Blaenau Ffestiniog is a natural landscape which Innes painted with great intensity. Augustus John who had spent time with Innes in north Wales, was amazed by the restless and creative energy that Innes had acquired for the mountain.

In February 1913 five of his paintings were selected for the prestigious International Armory Exhibition of Modern Art which toured New York, Chicago and Boston.

Sadly, during the last years of his short life, he was diagnosed with tuberculosis. By the end of 1913 and early 1914 Innes was seriously ill, and after spending a brief time in Morocco and Tenerife, he was taken back to England. First to Brighton, where his mother took care of him, and then finally he was moved to a nursing home in Swanley in Kent. It was there that this skilled artist died on the 22nd of August 1914.

Town of Collioure

The Town of Collioure (1908)

Some of today’s critics believe that Innes’ work is the link between Turner’s experiments with light and colour and David Hockney’s work (b1937). The intense light of the south of France encouraged bolder and brighter colours, which his friend Fothergill thought was inspired by their stay in the town of Collioure with its “gemlike bay” and “fishing boats of antique build and scarlet sails;……and where his all-excelling sense of colour was awakened.”

Augustus John in a tribute later said, “His work will live when that of many happier and healthy men will have grown with the passing years cold, dull and lifeless.”

In 2014 the National Museum of Wales held an exhibition of his work, marking not only the centenery of his death but also to celebrate this gifted and prodigious artist, whose early death robbed Wales and the world of a great talent.

FOR FURTHER READING

James Dickson Innes 1887-1914 by John Hoole and Margaret Simons Lund Humphries (2013)

James Dickson Innes by John Fothergill Ariel Books on the Arts Faber &Faber (1946)

Matisse the Life by Hilary Spurling, Penguin Books (2009)

In Montmartre  Picasso, Matisse & Modernism in Paris 1900-1910 by Sue Roe Fig Tree imprint of Penguin Books  (2014)

Post-Impressionism Royal Academy of Arts London 1979-80 catalogue published by

Weidenfeld & Nicolson London

The Great Bohemian The letters of Ida John Bloomsbury Publishing (2017)

Carmarthenshire The Concise History by Dylan Rees University of Wales Press (2006)

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Byron Beynon lives in Swansea, Wales.  His work has appeared in several publications including North of Oxford, Poetry Wales, Cyphers, San Pedro River Review, The London Magazine, The Worcester Review and the human right anthology In Protest (University of London and Keats House Poets).  He coordinated the Wales’ section of the anthology Fifty Strong (Heinemann). Collections include Cuffs (Rack Press) and The Echoing Coastline (Agenda Editions).  He is currently working on a project with Dr Barry Plummer about the artist J D Innes

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Review of the Richard Scaife Exhibit at The Brandywine River Museum of Art

                                BRANDYWINE

https://www.brandywine.org/museum/exhibitions/past

Exhibit ran from March 9th to May 27th

By Ray Greenblatt

Practically all artists at least sometime in their career paint landscapes. It is as natural to do as poets writing Nature poetry. Many artists are highly skilled in this genre. However, not as a painter nor even as an Art Major, I most appreciate some element that leaps out at me from that landscape.

Two painters from the Hudson River School work magic with the element of clouds. In John Kensett’s “Hudson River View” he puts in a very low row of distinctively puffy clouds, which dominate the sky and highlight the country village below. Martin Heade in “New Jersey Salt Marsh” also uses low clouds but they are a burning red reflected by the twilight sun.

George Innes’ “Moonrise, Alexandria Bay” creates a foggy landscape and features a dominant orange moon. And there is no other way—even though it seems simplistic—to define Henry Smith’s “Landscape on Pond” than as a cozy feeling  where you just want to nestle in the cottage partially hidden by lush groves beside a languorous pond.

Two landscapes are rendered in an Impressionistic style. In Granville Redmond’s “Wildflowers, Poppies and Lupines” we observe a hazy background of sky and hills, but the foreground is accentuated by brilliant yellow flowers. Chauncey Ryder in his “Hillside Farm” employs daubs of paint, but you recognize what they represent: house or tree or even shadow. The tones of pastel green and off-whites of snow identify the cold season.

Seascapes are also a popular venue for artists. For me the reality of the sea is foremost. An anonymous painter’s canvas titled “Niagara Falls” offers the look of real water and spume, although it is not ocean but a powerful river. However, Alfred Bricher’s “View Near Point Judith” creates real waves, curls and crests. Again, Bricher in “Maine Coast” capitalizes on a sharpened waterline because of the shadow of a looming promontory cast on the sea to contrast against the brighter sky.

In addition to Nature, houses are also important to human beings. I was struck by the delicacy of Samuel Griggs’ “Stevens House” in which you seem to view its fine bones.  Abbott Graves in “New England Doorway” focuses light on the front door of the house. The light is intense, similar to late afternoon light on boats in a harbor whitening their sails and hulls. William Merritt Chase takes us inside a home in “Interior, Oak Manor” : the room is mostly dark, some shadows highlight the large open space, but at the far end appear two lighted windows in contrast.

Some paintings offer a personal if not sensual beauty. In William Chaddick’s “The Cherry Tree” the rosy blossoms are at their fullest, their ripest, filling the 2’ by 3’ frame with an explosion of color. In “The Goldfish” Charles Curran offers a sensual woman. She is feeding the fish but her diaphanous gown with light filtering through it and her gracefulness as she leans toward the bowl is the highlight of the work.

I could fault some of the paintings in this exhibit. I could say that in Julian Weir’s “Misty Landscape” too many vertical lines of trees obscure his scene. Or I could complain that in “Garden of the Girls” Edward Redfield applies paint too heavily to his objects like flowers, buildings, or trees, giving them the appearance of kohl around a houri’s eyes. However, there is so much to enjoy about this exhibit that I will stop and state that Richard Scaife has collected a remarkable array of fine art!

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