Saintly Pigs and Curious Carvings

This is the last in the series of West meets West posts, which have been running alongside the exhibition of Cornish artists at the West Cork Arts Centre’s gallery in Skibbereen – Uillinn.

The painting (above left) by Cornish artist Alex Smirnoff (courtesy of Bryony Harris) wonderfully illustrates the story of Saint Credan who, like Saint Piran before him, travelled from Ireland to convert the heathens in Cornwall to Christianity in the 7th century. Our Saint Credan is looking a little melancholy. That’s because he accidentally killed his own father and therefore spent the rest of his life as a swineherd in penance. As a compensation it has to be said that he raises very fine pigs! Behind him is the ancient parish Church of Sancreed, very accurately portrayed with its huge colony of rooks in the trees behind. In the same picture is one of the five ancient crosses in the churchyard. The church itself dates from the 14th century: the crosses may be much older than that.

Above right is from a fine study of the entrance to Sancreed churchyard – by the Irish-born ‘Father’ of the Newlyn School, Stanhope Alexander Forbes. It is titled ‘October’ and was painted in 1898. Sancreed was the church attended by many of the Newlyn School artists, and the churchyard contains the graves of some of them, including Forbes and his wife Elizabeth Armstrong. In the church is a memorial designed by Forbes to commemorate their only son, Alec, who was killed in the Battle of the Somme in 1916. Close by is a holy well, described by Amanda.

The crowning glories of this church, however, are the unusual carvings on the rood screen inside, which date from the 16th century. Last week I showed you the carving of the Chough – a bird closely linked with Cornwall and Ireland. Today I am illustrating some more of these carvings, and these show very strange beasts indeed! Some of them can be recognised as heraldic; no doubt they all would have carried symbolism when they were placed here five hundred years ago.

A basilisk is hatched by a cockerel from the egg of a toad. Be careful, because it has a lethal glare and poisonous breath. The basilisk carved in Sancreed church (above left) looks fairly personable, while Alex Smirnoff’s version of it (above right – inspired by the Sancreed carving) should be given a wide berth. Look at the shadowy figures – and the ancient cross – hiding in the background of Alex’s painting: typical of his work.

It’s not just strange creatures that are depicted at Sancreed (and there are many more of them) – there are figures as well:

Above are two panels with ‘Janus’ figures, male and female and – on the right – is a most curious character who seems to be a musician playing, perhaps, a serpent or a cornett. But he seems to be part bird, or wearing a feathered cloak. Below is a three-headed figure and a representation of an angel, perhaps: could this actually be Saint Credan hiding in his own church?

All this might seem a far cry from the exhibition in Skibbereen, which features three contemporary artists from Cornwall… But it certainly is art from Cornwall – and in a church which was founded by an Irish Saint; and a church, moreover, which had a special meaning for many of the Newlyn School artists, including Irish-born Stanhope Forbes, founding ‘Father’ of that school.

This series consist of eleven posts (including this one). You can link to them individually through this list:

A Saint’s Day – Ciarán and Piran
West meets West
Connecting with St Ives
A Watery Tale
Ways West
Sheep’s Head: Searching for Cornish Miners
Artists of the Western Coasts
Up and Running!
Forbes – An Irish Artists in Cornwall
Choughs – and their travels
Saintly Pigs and Curious Carvings

There’s still time to visit Skibbereen to see the exhibition of the Cornish artists’ work: West meets West is on until July 8 at Uillinn. Enjoy it!

Forbes – An Irish Artist in Cornwall

In yesterday’s gallery talk as part of the West meets West exhibition at Uillinn, Skibbereen, I concentrated on one of the many artists who made their way to Cornwall in the late nineteenth century: Stanhope Alexander Forbes. He deserves a Roaringwater Journal post of his own, as he rather neatly embodies the concept of linking the two westernmost seaboards of Ireland and England, which is an essential element of the West meets West project. Colloquially known as the ‘Father of the Newlyn School’ of painters who were established in the West of Cornwall, and who have left an impressive legacy of their work in the most remote part of the peninsula, it was probably his longevity that earned him that title (he lived in Newlyn for most of his working life and died there in 1947) rather than a particular comparison of his work with others. There was a large group of talented artists, men and women, who contributed to the reputation of the Newlyn colony.

Header Picture – Perranwell Viaduct, Cornwall, painted by Stanhope Forbes in 1933, when he was 76 (The Medici Society Ltd). Above – a photograph of the Newlyn Group, taken in the early 1880s: shown are Frank Bodilly, Fred Millard, Frank Bramley, William Blandford Fletcher, William Breakspeare, Ralph Todd, William Wainwright, Edwin Harris and (seated lower right) Stanhope Forbes

Stanhope Forbes was born in Dublin in 1857. His father, William Forbes, was manager of the Midland Great Western Railway of Ireland. William was also a folklorist and probably passed his interest in traditions and traditional lifestyles on to his son. Stanhope’s uncle, James Staats Forbes (also a railway manager) had a large collection of paintings from the French Barbizon School whose members (including Corot and Rousseau) abandoned formalism to draw directly from nature. Stanhope was familiar with these works and the aspirations of these painters, and it is likely that when he embarked on a career in art he was heavily influenced by their heritage.

Forbes early works: left – A Street in Brittany 1881 (Walker Art Gallery), and right – Beach Scene St Ives (City of Bristol Art Gallery) 1886

Norman Garstin, another Irish artist who joined the Newlyn group and documented some of its history, described the Forbes family as “…essentially of the nineteenth century, full of its movement and restless activity…” Stanhope attended the Royal Academy School in London where he would have had a traditional training in still life and figure painting in the studio. London itself in those post-Industrial Revolution Victorian days was no doubt dirty and noisy, and the air would have been polluted. Forbes and many of his student companions would have longed for clean air and light and yearned to join the then fashionable (but daring and rebellious) en plein air movement where the object was to paint ‘natural’ colours and tones direct from life, albeit with the inherent problems of changing light through the days and seasons, and the practicalities of carrying easels, canvases and equipment to wherever they wanted to paint. As Norman Garstin said: “…your work could not be any good unless you caught a cold doing it…” The young artists were attracted to Brittany, where they discovered an ‘idyllic’ unchanging lifestyle and, latterly, to Cornwall, where they also perceived the ‘rural idyll’ existing closer to home, among the villages, farms and fishing communities.

A Fish Sale on a Cornish Beach by Stanhope Alexander Forbes, completed in 1885 (now in the City of Plymouth Museum and Art Gallery). This spectacular painting – five feet long – is a masterpiece of composition and contains portraits drawn from real life: Newlyn locals were delighted to receive ‘sitting fees’ from the influx of artists

It’s probably true to say that the Newlyn artists romanticised the way of life in rural Cornwall by concentrating on the fishing communities and the beautiful seaboard. There was another reality: the interior of Cornwall’s peninsula was heavily industrialised in the 19th century by the metal mining industry. The artists must have been aware of this reality but ignored any recording of it. There was, at least, some acknowledgement of the hardship and distress of those connected to the sea itself. Frank Bramley’s Hopeless Dawn (beautifully painted although also romanticising in a very Victorian way the aftermath of lost lives at sea), painted in 1888, depicts the widow of a drowned fisherman being comforted by her mother; the lighting and composition of the interior view is remarkable.

Upper picture – the industrial landscape of inland Cornwall: Dolcoath Mine 1883. Lower picture – Frank Bramley’s A Hopeless Dawn, painted in 1888 (Tate Gallery, London)

Stanhope Forbes lived into his ninetieth year. By all accounts he achieved success in his chosen profession, but his personal life saw some tragedies: Elizabeth Armstrong – an equally talented artist who travelled from her native Canada to work in Newlyn – married Stanhope in 1889. She pursued her own career as a painter and etcher until her early death – aged 52 – in 1912. Their son Alec died on the battlefields of France in 1916. All are buried in the beautiful churchyard of Sancreed, in Cornwall.

Blackberry Gatherers, painted by Elizabeth Armstrong Forbes in 1912 (Walker Art Gallery)

West meets West – a celebration of three contemporary artists from Cornwall – runs through to 8 July at Uillinn, Skibbereen

I am indebted to Stanhope Forbes and the Newlyn School by Caroline Fox, published by David & Charles 1993, for much of the biographical information on the artist in this post.

 

Up and Running!

I was allowed behind the scenes to experience the exhibition of Cornish artists – West meets West – being unpacked and arranged. It’s quite a process. All the works are large scale and were packaged for protection during the journey across sea and land from Cornwall. For a while Uillinn’s spacious ground floor gallery seemed overwhelmed, and it was hard to envisage how the various elements (two dozen substantial pieces) would come together in harmony with each other.

Header: first day. Upper picture – the layout is under discussion with Gallery Director Ann Davoren, technical maestro Stephen Canty and Robert Harris; lower picture – the work is gradually unpacked and mounted

The work comprises paintings, a tapestry and a laminated glass piece by Matthew Lanyon; relief sculptures by Philip Booth, and ceramic sculptures by Tony Lattimer. Many are heavy, and they all have to be handled safely and carefully (white gloves only!).

The exhibition runs over Uillinn’s two galleries, and there was a bit of ‘trial and error’ involved in deciding how the dynamics of the pieces would interact. In fact, I believe all the exhibits are strong enough to stand alone but also relate to others when, inevitably, the viewer moves around and experiences the various juxtapositions.

Juxtapositions: upper picture – Lattimers and a Lanyon create excitement when seen together. Lower picture – Booth, Lattimer and Lanyon sing to each other, and perhaps we can see something of the shared elemental nature of all the works, which have a Cornish conception in common

There are a few ‘firsts’ in West meets West – it’s the first time that Cornish artists have visited Uillinn in a group show; this is, hopefully, a first step in a collaborative venture which will see the works of contemporary artists crossing between Cork’s west coast and Cornwall’s westernmost peninsula. Both communities have strong historic links and both have supported creative centres for arts and crafts going back a century and more – and still do. It’s also the first time that some of these works have been publicly shown.

Upper – Philip Booth’s dramatic enormous triptych, inspired by the landscape around Gwennap Head, Cornwall, displayed for the first time ever at Uillinn. It is constructed from an array of materials and uses a complex pallette. Also exhibited for the first time here is the newly completed ‘Altar Piece’ (Lower picture), a laminated glass triptych by Matthew Lanyon, here in use during the young childrens’ art exploration programme

Every exhibition has a formal opening. West meets West was opened by the Mayor of Cork County, Seamus McGrath, who spoke of the importance of maintaining links across the sea, particularly in these divisive times of ‘Brexit’. On the following day, there was a very well attended panel discussion where the artists were given free rein to relate their experiences in conceiving and creating their work: Matthew’s widow, Judith, represented him and gave us some wonderful insights into why the Lanyon works were made and how they might be interpreted. Philip Booth talked us through the processes involved in designing and building his complex constructions, while Tony Lattimer effusively expressed his working methodology.

The panel discussion (top), with Judith Lanyon, Phil Booth and Tony Lattimer

It has been a great achievement to get this dynamic, vibrant and colourful exhibition into the galleries at Uillinn. Please don’t miss it – it runs until 8 July – and look out for some extra events: I will be giving a talk following a guided gallery tour on Saturday next, 10 June, commencing at noon. Tony will be giving a ‘walk and talk’ on his work at 3pm this Thursday, 8 June – keep an eye on the Arts Centre website or Facebook. We are also planning a coach tour of sites in West Cork which have Cornish connections (there are many!). Please ask at the gallery if interested.

Artists of the Western Coasts

We look forward to welcoming our guest Cornish artists to Uillinn for the West meets West exhibition which opens this Friday – 2 June at 6pm – and runs through to 8 July. The three artists are excellent representatives of the vibrant arts scene in Cornwall, which was established from the late 19th century in Newlyn and St Ives and has been burgeoning through the late 20th century and into the 21st, especially with the opening of the spectacularly successful Tate St Ives gallery in 1993.

Header: Looking towards The Land’s End – Cornwall’s beautiful scenery has attracted artists and tourists for over a hundred years (photo by Phoebe Harris). Above: Tate St Ives – opened in 1993 – a spectacularly successful venue for cultural art tourism (photo by http://www.artfund.org)

Our artists are all from the West Penwith peninsula – the furthest landfall in the UK’s westernmost county of Cornwall. Phil Booth, Lamorna, will be showing some of his large sculptural relief constructions. Phil is known for these works but is also a talented landscape designer. His has spent many years teaching design and sculpture in Japan: he has intensively researched the form and meaning of traditional Japanese Gardens in Kyoto and is able to provide a high quality design service for anyone who is planning to construct a Japanese garden, or who might want to introduce Japanese elements into their own gardens.

Above left: Philip Booth. Above right: one of his relief constructions which will be shown at Uillinn – Beach Boulder

Matthew Lanyon sadly passed away while preparing work for our Uillinn exhibition. We will be showing many of his larger paintings (some are seven metres long!), but also some tapestry and a laminated glass piece which will be seen for the first time here in Skibbereen. Matthew’s father – Peter Lanyon – was one of the notable members of the St Ives School of Artists in the mid twentieth century. Peter was a painter and a teacher, and had a strong influence on many artists – not only in Cornwall and the UK but in Ireland as well. Matthew’s Cornish heritage, therefore, is very special in the context of West meets West.

The Late Matthew Lanyon with one of his huge paintings – The Listening Sea

Tony Lattimer lives in Penzance and has his studios and kilns on a beautiful wild acreage close to The Land’s End. His ceramic sculpture is large and visually stunning. Like the other exhibiting artists, he is recognised internationally. Tony has won the prestigious Emilia-Romagna Prize at Premio Faenza International Ceramic Art Competition, Italy twice – in 2005 and 2013. The MIC – International Museum of Ceramics in Faenza – is reputed to be the world’s largest ceramics museum and one of the liveliest art institutions in Italy. Tony has also exhibited at the Tate St Ives and many other UK galleries, and we are pleased that he is able to bring a selection of his new works over to Skibbereen.

Above left: Tony Lattimer preparing work for the kiln in his Land’s End studio. Above right: some of Tony Lattimer’s recent smaller works

Phil Booth and Tony Lattimer will be at the opening, and in the gallery at noon on Saturday 3 June to take part in a panel discussion on the artists’ work. Matthew will also be represented at this event. Please come! The following week – on Saturday 10 June, also at noon, I (Robert Harris) will be giving an illustrated talk titled Chasing the Light – Why the Artists Moved West. I will outline the historic connections and remarkable similarities between the two most westerly peninsulas of Britain and Ireland over a three and a half thousand year timespan, and explore the lives and work of artists who settled in both communities.

While this exhibition focusses on contemporary art from Cornwall it is part of a larger project envisaged by Uillinn (the West Cork Arts Centre). It is hoped that artists from West Cork will visit Cornwall to exhibit their work next year, and that this will become part of a regular cultural exchange between Cork and Cornwall in the future. There is a fascinating story to be told about the artists and craftspeople who arrived in West Cork from the late 1950s onwards and helped found a cosmopolitan, creative and free-thinking community here. Ceramicists, textile designers, printmakers, painters and writers all contributed to the mix. Because of that heritage there are many artists and creative people who continue to be attracted to the area today. Believe me, it’s the most stimulating place to live!

Don’t miss – West meets West – the work of contemporary Cornish artists, at Uillinn, Skibbereen, from 3 June to 8 July. Opening at 6pm on Friday 2 June.

Below: stirrings in Ballydehob: in the 1960s potter Christa Reichel and batik artist Nora Golden set up The Flower House as a shop, studio, cafe and haven for artists. “…Word spread that West Cork was a beautiful, creative place waiting to be discovered…” (Alison Ospina – West Cork Inspires) Photo courtesy Andrew Street

Connecting with St Ives

Have you ever met a Zorse? That’s a cross between a zebra and a horse. Probably not… But I have met the lady who invented them (above)! And, by quirky chance, she’s one link between Ireland and the group of artists who formed the ‘St Ives School of Painting’, Cornwall, in the twentieth century. You already know from last week’s post that the forthcoming exhibition in Uillinn, Skibbereen – West meets West, opening on 3 June, celebrates the historic connections and similarities between these two western outposts of Britain and Ireland, explored through the medium of art.

I was pleased to find this poster (produced for the London, Scottish and Midland Railway Company) by Stanhope Alexander Forbes, an artist who was born in Ireland but spent most of his long working life in Newlyn, Cornwall

It was the coming of railways from the capital to Cornwall (arriving to Penzance in 1860, and to St Ives in 1877) that opened up the far south-west of Britain to tourists – and to the artists who were drawn to this hitherto remote and unspoiled ‘rural idyll’. They were particularly attracted to the picturesque fishing villages, and rather overlooked the equally interesting and visually dramatic mining communities which were the centre of the county’s economy in the latter years of the nineteenth century.

The picturesque St Ives fishing community as seen in these postcards which served the burgeoning tourist industry in the early 1900s

The first art gallery in St Ives opened in 1887, and an art school was opened the following year. By the time the photographs on the postcards above were taken, there were ten private schools of painting in the town. The development of St Ives as a national (perhaps even international) centre for ‘modern art’ began after the Great War when Ben Nicholson and Christopher (Kit) Wood visited and ‘discovered’ the seafarer and naïve artist Alfred Wallis, who spent his retirement years painting nautical scenes on old fish boxes, driftwood and even scraps of cardboard.  They found his small cottage (now marked by a plaque) filled with these images, many of them (to the artists’ horror) attached to the walls by nails driven through their centres.

Art in St Ives, Cornwall: upper left – Christopher Wood self portrait; upper right – Alfred Wallis The Blue Ship; lower – Ben Nicholson Mural for the Festival of Britain

As the century progressed and another European war loomed, remote St Ives became home to many artists – some conscientious objectors, others just escapists. It made for a cosmopolitan mix. Ceramicists Bernard Leach and Hamada Shoji arrived from Japan in the 1920s. Many potters from all over the world were apprenticed at the Leach Pottery (which exists today in St Ives and is also now a museum), and spread Leach’s style and beliefs. At the outbreak of war in 1939 Nicholson (then the centre of the London based British avant-garde movement) returned with his wife, sculptor Barbara Hepworth, followed by their friend Russian Constructivist pioneer Naum Gabo and his wife Miriam. To quote the history pages of the St Ives Society of Artists:

…Soon Cubism, Futurism, Constructivism, eastern philosophy, true naïveté and the English marine tradition were being discussed behind the blackout curtains of the town. The place was a hotbed of creativity and its importance grew…

Post-war, the artists’ community expanded, and changed. The names we now remember from the mid-century years include Sven Berlin, Peter Lanyon, Roger Hilton, John Wells, Patrick Heron, Terry Frost and many others. A good insight of what life was like there is given in the entertaining autobiographical notes of Irish artist Breon O’Casey, son of playwright Sean O’Casey:

…One day, watching television, sometime in the late fifties, I saw a film about Alfred Wallis, a primitive painter who had lived at St Ives in Cornwall. The film showed St Ives and the studios of some of the artists living there. I realised it was the place for me… Ah St Ives! In those days still a working fishing port, with tourism and art only tolerated, but kindly tolerated. The relief of mingling with other crazy artists was enormous. It was literally as if a great weight was lifted from my shoulders. This is exactly how it felt. One must remember the strong antagonism to modern art then, and the nervous energy used up resisting it… One was with a group of people who were hoping to make a living from their art and indeed some were professional artists. That times were hard mattered little. If no one has much money it doesn’t matter. And I certainly never experienced the depths of poverty and the necessary determination to survive it, that my father had experienced. Nor indeed did I face the privations that, as one reads, Matisse faced, never mind those suffered by the true early warriors, Van Gogh and Gauguin… My studio was in a ramshackle, wooden structure tucked in behind other similar studios facing out over Porthmeor beach to the wide Atlantic. I slept in a curtained off alcove at one end – illegally – and in the winter the thud of the great waves would shake the whole crazy structure like a dog shaking a rat. It was kept standing by the law of inertia which says: if an object has been in one place for a number of years, it will resist, of itself, natural physical forces trying to move it…

Breon O’Casey in 2009: he died in Cornwall in 2011. Right – O’Casey’s Trio

Peter Lanyon was one of the most influential artists in the St Ives School during his working life. He was a native of the town – born in The Red House, Bellyars, St Ives in 1918. Both his parents came from families who were connected with mining. Lanyon was a teacher and an artist. Irish artist Tony O’Malley (1913 – 2003) received his only formal art education from Peter Lanyon and, after Lanyon’s death in 1964, O’Malley dedicated all his work to his friend and mentor. Irish sculptor Conor Fallon (1939 – 2007), a friend of O’Malley and O’Casey, was also inspired by Peter Lanyon’s work and spent some years in St Ives before moving back to Kinsale. Lanyon claimed that he sought in his work to ‘get under the skin’ of his native county and explored it by going underground in the mines and flying over it in a glider. Lanyon died as a result of a gliding accident; the work of one of his sons – the late Matthew Lanyon – will feature in the West meets West exhibition in June this year.

Top: Bojewyan Farms by Peter Lanyon (courtesy Sheila Lanyon). Lower: Lanyon, left, in 1961 – photo by Ida Kar; Irish artists Tony O’Malley (centre) and Conor Fallon (right)

This post is a necessarily brief historical summary of the St Ives artists and their influences on the annals of art in the islands of Britain and Ireland. Many important names have been omitted. But we cannot leave the subject without mentioning Sven Berlin – and coming back to the Zorse!

‘The Dark Monarch’ – a fictionalised novel by Sven Berlin that characterised and defamed many of his fellow artists in the St Ives colony – they drummed him out of town! Right – Juanita Casey, Berlin’s second wife (photo Dolmen Press)

Sven Berlin (1911 – 1999) was a colourful and controversial addition to the St Ives group. Born in London, he came to Cornwall in 1938, meeting with Nicholson and Hepworth and writing the first book on the life of naïve artist Alfred Wallis. While there he met Juanita (1925 – 2012), who was named by her uncle after his favourite circus lion. Her mother, an Irish Traveller, had died in childbirth and her father, an English Romany, had given her up for adoption. She joined a circus at the age of 13, beginning a lifelong obsession with horses. She was a writer, artist and poet and – later – a horse breeder and circus trainer. She spent some years working on boats in Penzance and exhibiting paintings in the Newlyn Gallery, and there she became involved with Sven Berlin; they married in 1953. Soon after, Sven was ostracised from St Ives and they travelled in their Romany caravan to the New Forest and lived for a while in the Shave Green Gypsy community.

Sven Berlin in St Ives, left, and with Juanita and their family in their Gypsy wagon

The marriage broke up when Juanita met and eloped with a groom, Fergus Casey. While with him she trained and rode zebras and embarked on her project to produce the Zorse – apparently unsuccessful.  Her lifestyle was forever Bohemian. Her obituary in the Independent newspaper observes:

…Casey wrote that her children looked upon her “the way steam enthusiasts admire a hissing antique boiler.” Often, she would be the first to admit, her creativity and spontaneity took over from her domestic duties and responsibilities…

Fergus, a journalist, was drowned in Galway and Juanita, with her daughter, Sheba, continued to travel – firstly to Sneem in Co Kerry, and then to Okehampton in Devon, England where she once again joined the circus, as a horsemaster. I met her in Okehampton when she was in her eighties, and was fascinated to listen to many of her incredible stories – although while telling them she was always keeping half an eye on her television set in the corner, which was always on and always tuned in to the horse racing channels!

Below, Juanita Casey, living in Okehampton, Devon, in her eighties and an illustration from her novel  The Selene Horse

Don’t forget! West meets West – the work of contemporary Cornish artists, at Uillinn, Skibbereen, from 3 June to 8 July

West meets West

Picturesque Newlyn, Cornwall – the fishing village was the centre of a major art movement in the late 19th and early 20th centuries

I have been working hard with Uillinn – West Cork Arts Centre‘s fantastic new gallery in Skibbereen – to bring over an exhibition of the work of contemporary Cornish artists, which opens in June. West meets West will be the launch of a continuing programme which sees the art and culture of Cork and Cornwall being shared, to the mutual benefit of all working artists and art lovers – and to residents and visitors.

Greenstone – a canvas by the late Matthew Lanyon, one of Cornwall’s important contemporary artists whose work will be shown at Uillinn in June this year

Why Cornwall and Cork? And, particularly, why these westernmost peninsulas of Ireland and England? Well, as you may have noticed from past posts on this Journal, historic links between the two geographical areas go back a very long way. Starting between three and four thousand years ago copper was mined on Mount Gabriel and was mixed with tin from Cornwall to produce a revolutionary new metal – Bronze. This material was hard enough to make tools and weapons – therefore a practical commodity: also it does not rust. It has, too, been used to make bells for centuries, so its properties include sonority. In fact the word bronze probably originates from the Medieval Latin bronzium, in modern Italian bronzo, meaning ‘bell metal’. Regardless of all this, the important thing we know is that relations between the west of England and the west of Ireland were well enough advanced to set up regular trading between the two outposts in those far-off days.

Tony Lattimer, international award winning ceramic artist based near The Land’s End in Cornwall, whose large ceramic sculptures will be shown in West meets West, Skibbereen, June of this year

In a recent post I alluded to the incredible debt that Cornwall owes to us in West Cork because we gave them their patron saint – Saint Piran. The fact that the gift wasn’t intentional shouldn’t delay us too long: we tied Cape Clear’s Saint (whose Irish name was Ciarán) to a millstone and threw him over a cliff. Instead of meeting his doom he miraculously surfed the millstone across to the Cornish coast, where his landing place – Perranzabuloe – is named after him, and where he is royally celebrated on March 5th every year, with all the zeal that we show to our own St Patrick!

Apart from metal mining and saints, another important connection is shared fishing grounds. From medieval times onwards (and perhaps before) the Cornish fishing fleets put out from Mousehole and Newlyn to follow the pilchard and herring shoals across to Roaringwater Bay. This is really where art comes into our story, as it was the way of life of some of the Cornish fishing communities that attracted artists to that western County of England in the late nineteenth century, once the arrival of the Great Western Railway in Penzance had established the direct connection with London. Newlyn was an early focus, and a young man from Dublin, Stanhope Alexander Forbes, an up and coming young painter in the plein air tradition, made his home there in 1884 and stayed for life. Forbes found in Cornwall a true ‘rural idyll’: an unspoiled countryside where life was simply lived, and a rugged coastline with a magical quality of light. Known as the ‘Father of the Newlyn School’, he gathered around him like-minded artists who recorded (and perhaps romantically idealised) the way of life of the communities there, and that special quality of the light, in canvasses which are highly admired and respected today.

A preliminary sketch by Stanhope Alexander Forbes for a painting known as On Paul Hill (Paul is the name of a village between Newlyn and Mousehole in Cornwall). Forbes painted in the Plein Air style, out of doors and from real life

I made my home in Cornwall for a number of years, before I decided that I hadn’t come far enough to the west, and followed the pilchards and herring myself to Roaringwater Bay, where I now look down on them from my eyrie in Nead an Iolair (although the shoals are today much diminished). During my years in Cornwall I came to know and respect the stories of the artists from Victorian years up to the present day. The ‘Newlyn School’ which Forbes represented was only one piece of the jigsaw there: we will explore others later. Art is probably Cornwall’s biggest asset. Ever since the opening of the Tate Gallery in St Ives – established there because of that town’s historic links with artists and craftspeople of international repute – ‘art tourism’ has grown to become a major year-round driver of the local economy.

Newlyn old and new: left – Stanhope Alexander Forbes in 1900 painting outside Trelyn, Boase Street, Newlyn – my home for 25 years! Right – Newlyn today is Britain’s largest fishing port

Cornwall is home to a number of artists renowned today in the British Isles. I got to know many of them when I lived in Newlyn. Three of them will be exhibiting in Uillinn from 3 June to 8 July this year: Philip Booth, Matthew Lanyon and Tony Lattimer. Their work is large scale, stimulating and mutually complementary: constructions, canvasses and ceramic sculptures. Please make a note of the dates now: this exhibition is important for West Cork and for Cornwall. Please don’t miss it!

Below: Philip Booth, from Lamorna, Cornwall, will be showing a number of his spectacular relief constructions at West meets West, Uillinn, Skibbereen, in June. This one is titled ‘Formed in Running Water’

Formed in Running Water