Using his own letters, illustrations and paintings, the book locates Spencer's work alongside other soldier-artists of the time and shows how his war experiences of 'innocence, fall and redemption' derived from his personal story as orderly ...
Author: Paul Gough
Publisher: Sansom & Company
In Stanley Spencer: Journey to Burghclere, Paul Gough details and interprets Stanley Spencer's journey from cosseted family life in Cookham, through the menial drudgery of a war hospital and the malarial battlefields of a forgotten front, to his unique visions of peace and resurrection in a memorial chapel in Hampshire. This journey started quietly in 1915 when Stanley Spencer left home to serve as a medical orderly in the Medical Corps. Aged 24, he had rarely stayed away overnight from home. For ten months he scrubbed floors, bandaged convalescent soldiers and carried supplied around the vast lunatic asylum-cum-hospital known as 'The Beaufort' in Bristol. In 1916 he signed up for overseas duty in Macedonia, where he saw violent action up to the eve of the Armistice. Five years after the war, Spencer started making large drawings of a possible memorial scheme based on his wartime experiences. Impressed by his extraordinary vision and his commitment to realise it in paint, the Behrend family became his patrons, funding a purpose-built memorial chapel at Burghclere, a few miles south of Newbury. For five years he toiled, often on top of a giant scaffold, to produce the painted chapel that is now regarded as his masterpiece. Unflinching in its detail, celebratory in its love for the common man, and joyous in the celebration of earthly redemption, the chapel is one of the unsung artistic glories of Europe. Using his own letters, illustrations and paintings, the book locates Spencer's work alongside other soldier-artists of the time and shows how his war experiences of 'innocence, fall and redemption' derived from his personal story as orderly, soldier and patient.
The Sandham Memorial Chapel is Stanley Spencer's monument to the 'forgotten dead' of the First World War.
Author: National Trust
The Sandham Memorial Chapel is Stanley Spencer's monument to the 'forgotten dead' of the First World War. Drawing on his experiences as a medical orderly in a Bristol hospital and in Macedonia, he commemorates the everyday routine of the soldier's life with an intensely personal religious faith that reaches its triumphant climax in the huge Resurrection of the Soldiers above the altar. In this guidebook, Amanda Bradley discusses the genesis of the commission and the role of its patrons.
Robert Upstone, 'Study for the Resurrection of the Soldiers, Burghclere', in
Hyman and Wright (eds), Stanley Spencer, p. 129; Hyman, 'Stanley Spencer:
Angels and Dirt', pp. 24, 26–9; Richard A. Lofthouse, Vitalism in Modern Art, c.
Author: Ann-Marie Einhaus
Publisher: Edinburgh University Press
A new exploration of literary and artistic responses to WW1 from 1914 to the presentThis authoritative reference work examines literary and artistic responses to the wars upheavals across a wide range of media and genres, from poetry to pamphlets, sculpture to television documentary, and requiems to war reporting. Rather than looking at particular forms of artistic expression in isolation and focusing only on the war and inter-war period, the 26 essays collected in this volume approach artistic responses to the war from a wide variety of angles and, where appropriate, pursue their inquiry into the present day. In 6 sections, covering Literature, the Visual Arts, Music, Periodicals and Journalism, Film and Broadcasting, and Publishing and Material Culture, a wide range of original chapters from experts across literature and the arts examine what means and approaches were employed to respond to the shock of war as well as asking such key questions as how and why literary and artistic responses to the war have changed over time, and how far later works of art are responses not only to the war itself, but to earlier cultural production.Key FeaturesOffers new insights into the breadth and depth of artistic responses to WWIEstablishes links and parallels across a wide range of different media and genresEmphasises the development of responses in different fields from 1914 to the present
Stanley Spencer at liuricliclere. Macdonald. 1 .oiidon. 1965. p. 6 Quoted Stanley
Spent er at Burghclere, National Trust ( i uide. London , 1 99 1 . p. ! 5 Quoted
Keith Bel). Stanley Spenicr.p. 114 Quoted Richard Carline, catalogue of
Author: Sir Stanley Spencer
Publisher: Yale University Press
Finding inspiration in his quiet village on the river Thames, early 20th-century painter Stanley Spencer drew on his familiar world to arrive at an art of epic grandeur--though often homely and weird. Biographer Fiona MacCarthy investigates Spencer's life, sets his work in its cultural context, and emphasizes the links between his life and his paintings--and sheds new light on this sensitive and enigmatic artist. 85 color and 30 b&w illustrations. .
Spencer's 11 , 12 , 59 Arts Council , Stanley Spencer , 1891-1959 , London 1976
Bell , Keith , Stanley Spencer : A ... 1997 Malvern , Sue , ' Memorizing the Great
War : Stanley Spencer at Burghclere ' , Art History 23 : 2 , June 2000 , pp .
Author: Kitty Hauser
Stanley Spencer is best-known for two things: his immortalization of Cookham, the Berkshire village where he was born and lived for most of his life; and his celebration of sex both in his painted works and in his unconventional attitude to relationships. This book shows how Spencer's work grew out of places, experiences and social relations aiming to enrich his visionary imagination by illuminating the groundedness in landscapes, homes and human relationships that he felt so strongly.
Stanley Spencer Gallery Archive 'Unity Spencer's 2005 Talk at the 50th AGM of
the Friends of the Stanley Spencer ... work at Burghclere [1920s]'. tate gallery
archive 825.23, 'richard Carline, Fragments and drawings by stanley Spencer ...
Author: Nigel Rapport
In this ground-breaking book, a theory of ’distortion’ - of the way in which the processes of human life are subject to interference, diversion and transformation - is developed by way of the art of one of Britain’s greatest twentieth-century painters and that art’s public reception. Devoted to his native village of Cookham-on-Thames, Stanley Spencer painted not only landscapes and portraits with loving detail but also the ’memory-feelings’ which he felt were a ’sacred’ part of his consciousness. Yet Spencer was also a controversial public figure, with some taking the view that his visionary paintings were ugly distortions of human life, even marks of an immoral nature. Examining how Spencer lived his vision, how he painted it and wrote it, and also how his attempts to communicate that vision were received by his contemporaries and have continued to be interpreted since his death, the author posits distortion as key: an intrinsic aspect both of human creation and of human interaction. What we intend to make, to say, to do and have done, often mutates in the process of being expressed or put into effect: we live amid distortion. Love - the affective appreciation of one another - is then a means by which we accommodate distortion and its consequences in our lives. An illustration, through Stanley Spencer’s story, of significant aspects of a human condition, this book will appeal across disciplines, including to art historians and students of Spencer’s work, as well as to scholars of anthropology with interests in creativity, perception and interpretation.
Met the artist Stanley Spencer , 1919. Engaged intermittently to Spencer , 1922–
25 . Married Spencer in Wangford , Suffolk , February 1925 ; two daughters ,
Shirin , born 1925 , and Unity , born 1930. Lived with Spencer in Burghclere ...
Author: Jiminez Berk
Publisher: Taylor & Francis
First Published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.
Letters and Writings Andrew Glew, Sir Stanley Spencer Adrian Glew. At
Burghclere . I used to like to produce some writing in some part of a field & then
write some more in another part so that the writing was , as it were , the result of
Author: Andrew Glew
Offers an overview of the key theories in criminology with a focus on the contributions of the critical perspective.
On the 22nd Stanley went the rounds of London galleries with ' Dick and Jas '
and in the evening accompanied the Carlines to the ... On the following day ,
Stanley ' brought Preece and Hepworth to Burghclere and returned to Cookham '
Author: Kenneth Pople
A biography of Stanley Spencer, the artist. The author analyzes his art and life and argues that without understanding Spencer's background it is impossible to understand his paintings. The author reveals the complexity of thinking behind Spencer's divorce of his first wife
1891 1908 - 12 1910 1915 - 18 Stanley Spencer Hilda , Unity and Dolls 1937
Stanley Spencer ... Port Glasgow Returned to Cookham and continued to work
on the Shipbuilders and made visits to Port Glasgow Burghclere Chapel
presented to ...
Author: Andrew Causey
Publisher: Lund Humphries Pub Limited
It attempts to show some of the connections between our most important figurative painters, working today with all the confidence and power of maturity, and those artists who advanced realist painting before the Second World War: Sickert, Bomberg, Spencer and Coldstream. Also includes works by Michael Andrews, Frank Auerbach, Francis Bacon, Lucian Freud, Leon Kossoff, John Lessore , Euan Uglow, and John Wonnacott.--Cf. Editor's preface.
Although the artist's intention was to convey a reassuring feeling of comfort derived from association with the familiar routine of village life, critics at the time and since have interpreted this work as very much informed by the trauma ...
Author: Sir Stanley Spencer
Prior to the First World War Spencer had painted some of his most spiritual and lauded works of art set within Cookham, the village of his birth, and it was with great reluctance that he left for war in 1915 initially joining the Royal Army Medical Corps and eventually serving in the front line in Macedonia. On his return he soon forsook an official war work commission amidst fears that he had lost his artistic vision. Cookham was very important to the artist at this critical point of his career. 'Paradise Regained. Stanley Spencer in the Aftermath of the First World War' demonstrates how Spencer redeemed the devastating effects of the war upon his personal and professional life, renewing the connection with his birthplace. Returning to safer ground he once again sought inspiration from his surroundings, exclaiming: 'After the war I felt, on returning home, as if I were performing a miracle every time I beheld the familiar spots'. Featured within this show are a number of paintings depicting scenes located within the very fabric of the village, and their exhibition at the Stanley Spencer Gallery in this Great War centenary year is most appropriate. Making a poignant return is 'Unveiling Cookham War Memorial' 1922 (lent by a private owner) an intriguingly peaceful painting of a ceremony which would have had great importance for the Spencer family as Stanley's elder brother Sydney, whose name is carved on the memorial cross, had been killed in the last few months of the war. Spencer chose to portray the event in a light hearted fashion describing the painting as 'my Ascot fashions, my sweet pea colours'. In 'Christ carrying the Cross' 1920 (lent by Tate) Christ processes down Cookham High Street on his way to Calvary, followed by the local builder's men carrying ladders. Although the artist's intention was to convey a reassuring feeling of comfort derived from association with the familiar routine of village life, critics at the time and since have interpreted this work as very much informed by the trauma of war. By 1923 Spencer felt ready to return to his wartime memories, drawing up detailed plans for a scheme of paintings designed to decorate a memorial chapel depicting his experiences, which was eventually built at Burghclere near Newbury (now The Sandham Memorial Chapel). Having lost his kit bag containing sketches whilst abroad he referred back to pencil and wash studies made on his immediate return in 1918/19. Newly acquired and on show at the Gallery for the first time are 'Pack Mules' and 'Wounded being carried by Mules in Macedonia' which demonstrate the essential part played by mules, which held great sway over Spencer's imagination, in the Salonika campaign.