Phil Beard: Paintings from Penlee House Museum, Penzance

Friday, 27 October 2023

Paintings from Penlee House Museum, Penzance

We begin with a flatly painted image of a pint of beer in a straight glass resting on an otherwise empty table in the grip of a sturdy hand - it’s a factual exercise and nothing more. Attached to the hand is Robert Morson Hughes, a fellow artist and associate of the painter Harold Knight - the year is 1915, the First World War is in progress and Knight, a conscientious objector, is about to be put to work as a farm labourer. The subject, Hughes, was a Lamorna based painter of mainly topographical subjects. Here he has the air of a country landowner in a slightly oversized suit, from beneath the downturned brim of his hat he stares with suspicion out of the painting. Knight has conveyed strength of character and a sense of presence in a stolid, unemphatic manner.

Harold Knight (1873-1953), Portrait of Robert Morson Hughes (c 1915)

Robert Morson Hughes (1873-1953), Carn Boscawen (1928?)

Visits to local museums are always a pleasure and Penlee House Museum is a fine example that has the dual function of providing a lively overview of local history with a comprehensive collection of interesting paintings by locally based artists with historically national reputations. The core of the collection is made up of painters active in the 19th. and early 20th. century, working in the Penzance - Newlyn region of Cornwall. Aesthetically conservative, averse to experimentation and inheritors of a tradition of realism that goes back to Courbet (as diluted by Bastien-Lepage), these painters built up an impressive visual archive of the minutiae of Victorian and Edwardian daily life in West Cornwall alongside a comprehensive record of the abundant varied landscape and coastal scenery in the county. Many had worked in the art colonies of Brittany and become committed to painting en plein-air but Impressionism remained a step too far.

Laura Knight (1877-1970), My Lady of the Rocks ND

Although this body of work has come to be regarded as an essential component of the Cornish cultural identity it’s notable that many aspects of that identity were, for the most part, studiously ignored. While the fishing industry was much celebrated for its pictorial values, the world of mining, heavy engineering and new technologies got little or no attention - the only exceptions being quarrying, a reliably popular landscape subject and the railways that became a regular source of income for Stanhope Forbes. All this despite Cornwall having a strong claim to being the global birthplace of steam power. The Celtic heritage that separated Cornwall from the Anglo-Saxon territory east of the Tamar likewise went unremarked along with the great Neolithic assemblages of menhirs and stone circles, at least until the 1940s when Ithell Colquhoun turned up in Lamorna. Most of these painters were drawn to Cornwall from elsewhere in the country and many formed strong personal links with the indigenous community, their interests didn’t encompass the profound sense of Cornish exceptionalism held by the local intelligentsia.

Stanhope Forbes (1857-1947), Abbey Slip (1921)

Laura Knight (1877-1970), Spring (1916)

This is not to undervalue the contribution that these artists have made to the popular image of Cornwall as a special place. Their brushes may have been preoccupied with surface values but by virtue of sheer representational brilliance their work acquired lasting value. Laura Knight and Stanhope Forbes stand apart in the quality and consistency of their work though Knight’s paintings have a bravura and vitality that often make Forbes look pedestrian by comparison. By the time Laura and Harold Knight moved to Newlyn in 1907, Forbes was well established as the leader of the Newlyn painters where he’d been active since 1884. The Knights settled in Lamorna but were soon accepted into Forbes’s circle. While Harold’s taciturn nature caused him to hold back, Laura played a full and active part in the social life of the artistic community. For his part, Forbes was especially impressed by Laura’s paintings. Most Newlyn painters stayed loyal to their locality a few shuttled back and forth to St. Ives where new ideas were more readily accepted. Forbes reacted with disproportionate hostility when Whistler and Sickert spent time in St. Ives. This went both ways - Sickert especially loathed the paintings of Newlyn’s Frank Bramley whose A Hopeless Dawn was rapturously received by an audience hungry for pathos at the Royal Academy (RA) in 1888.

Norman Garstin (1847-1926), The Rain it Raineth Every Day (1889)

Most of the Newlyners were reluctant to stray far from their patch - an exception was Irish born Norman Garstin whose global wanderings set him apart. His travels took him to Africa, North America and all over Europe and inspired him to lead groups of students on sketching trips to continental art centres. In 1889 his major painting of a rainswept Penzance seafront (The Rain It Raineth Every Day), was rejected by the RA for being ‘too French’ with its subtle tonal observations. Further humiliation lay in wait - when Garstin later presented the painting to Penzance Town Council it was hidden away for fear it would deter visitors. Garstin’s vindication may have been a long time coming but today’s visitors have voted it their favourite painting in the museum. A future post will look at how local history is served in the museum