Research: Visit to York ArtGallery, Exhibition " Ruskin, Turner and the Storm Cloud"

Research: Visit to York Art Gallery

Exhibition: "Ruskin, Turner and the Storm Cloud: Watercolours and Drawings"

Background

Following my visit to Brantwood, home of John Ruskin, I was pleased to see upon my return that York Art Gallery had an Exhibition on the works of Ruskin and JMW Turner. I felt that a visit to the gallery would provide me with a good opportunity to explore in more depth the works and ideas of both men.

The Exhibition

The exhibition was held to celebrate Ruskin's 200th birthday and to consider the relationship Ruskin had with the landscapes of JMW Turner. New research reveals the extent of Ruskin's response to Turner's vision, and how both artists expressed their own experiences of close looking at weather patterns, mountains and the built environment.



The exhibition also looked at a different angle. Ruskin suffered throughout his life from long periods of deep depression which worsened as he got older. As a result, our relationship with the environment and questions about mental health were explored through the watercolours and drawings of two of these most admired and celebrated artists of the 19th century. The Art Gallery created an activity leaflet to accompany the exhibition which I thought was innovative. The leaflet considers the nature of looking and how it relates to mental health. There are relevant quotes from Ruskin, information about both artists, and real life activities to do in the outdoors upon leaving the gallery.

I attach a copy of the leaflet below.

The exhibition also included art by Ruskin and Turner's contemporaries such as Constable, John Inchbold and Hubert Herkomer.

However, I was particularly interested in another angle to the exhibition. Contemporary artist Emma Stibbon RA had been commissioned to create a response to the environmental concerns raised by Ruskin. In the summer of 2018 she retraced his steps, travelling to Chamonix to draw and photograph the glaciers around Mont Blanc. She reflects on the effects of climate change on the Alpine landscape so treasured by Ruskin and Turner through a set of works exhibited in a separate gallery. This part of the exhibition was a good example of how we can learn from previous artists, build on their themes and make them relevant in today's society.

The exhibition brought together works from York Art Gallery and partner Abbot Hall Art Gallery, Kendal, with loans from national and regional collections, including the Alan Cristea Gallery. The exhibition book, Ruskin, Turner and the Storm Cloud, which I bought, explores themes from the exhibition in a collection of new essays by artists, climate change scientists, art historians and
curators.

For these reasons the exhibition was very relevant to my area of practice, current ideas and research area. I also bought a book, To See Clearly: Why Ruskin Matters, by the curator of the exhibition, Suzanne Fagence Cooper, which I shall reflect on later, along with many of the other issues raised.

Works

The exhibition was curated to follow particular themes, which I summarise below;

- Ruskin and Turner (overview of their lives)
- Mountain Beauty
- Italy and Architecture
- Sounds
- War and Waste
- "The Sun is God" (Romanticism and Turner)
- Cloud Beauty
- Go to Nature (Nature Studies and Ruskin)
- The Lakes
- Ruskin's Bedroom (paintings by Turner)
- Nature and the power of Observation (Industrial Encroachment)
- "Heartily and Headily Mad" (Ruskin'd relationship with Rose la Touche)
- Climate Change and Erosion (Works by Emma Stibbon RA)

Examples

John Ruskin, View from my Window, Mornex, 1862, watercolour and bodycolour

John Ruskin, study of Rocks and Ferns, Crossmount Perthshire, 1847, pen, ink and watercolour

John Ruskin, Chamouni, Rocks and Vegetation, 1854, watercolour and bodycolour

JMW Turner, The Dormitory and Transept of Fountain's Abbey, Evening, 1798

JMW Turner, Constance, 1842, watercolour

JMW Turner, The Source of the Arveyron, 1802, watercolour

Works by Emma Stibbon

https://www.yorkartgallery.org.uk/exhibition/ruskin-turner-and-the-storm-cloud-watercolours-and-drawings/

https://www.youtube.com/watch?v=JLWeJAmBZIs

https://www.alancristea.com/artists/33-emma-stibbon/

Research: Visit to Brantwood, Coniston, Cumbria - Home of John Ruskin

John Ruskin (1819 - 1900)

John Ruskin's home in the Lake District sits high above Coniston Water, and early in June I made a visit there to see his home. I was not only able to examine and admire Ruskin's own works, but also a new exhibition, "Incandescence: Turner in Venice" from the Clore Gallery, Tate Britain.

 

Brantwood, overlooking Coniston Water, Cumbria

Brantwood sits in a wonderful spot and it is easy to see why Ruskin chose this place to be his last home from which to draw, paint and write. He adapted and extended his home to accommodate his own paintings, drawings and books, and to display his large collection of paintings by Turner. In the age of "Romanticism", Ruskin designed the rooms to maximise the views over Coniston and the surrounding mountains.

Ruskin was an important artist, art critic and writer. He was the leading English art critic of the Victorian era, an art patron and a prominent, influential social thinker and philanthropist. His ideas were at the forefront of ideas about environmental issues, sustainability and arts and crafts. The first volume of his book Modern Painters (1843) brought him to prominence and he was a lifetime admirer and supporter of J.M.W. Turner.

Brantwood, and the works of John Ruskin

In his lifetime Ruskin argued that the principle role of the artist is "truth to nature" and this theme is evident in the works on display. His work is varied and includes detailed studies of rocks, plants, birds, landscapes, and architecture. The exhibits include some of the original drawings and paintings which he used in his lectures to art students. In 1869 Ruskin became the first Slade Professor of fine Art at the University of Oxford where he established the Ruskin School of Drawing.

Ruskin J.

Lecture diagram: orange and Purple Leafspray (Buttercup (Ranunculus)
Pencil, chalk, watercolour, bodycolour on paper, laid on canvas

Ruskin's studies are inspirational for their detail and accuracy. His aim was to show the "relationship between form and underlying anatomy, physiology, growth and nature" (from Modern Painters by Ruskin). He believed that  one learns through drawing, and said, “nor can the character of any tree be known until…not only its branches but its minutest extremities have been drawn.” I think that I can learn much from his philosophy.

Fringed gentian Gentianella ciliate

 

Ruskin's Bedroom, Brantwood

 

Ruskin surrounded himself with works by Turner, and Ruskin's bedroom walls were covered with a selection of Turner's landscapes.

 

It is fitting therefore that Brantwood should host a public exhibition devoted to Turner.

Exhibition -  Incandescence: Turner in Venice

The exhibition concentrated on a suite of watercolours from Turner's visit to Venice in 1840, the year in which Ruskin and Turner first met. Turner investigated many elements of his artistic expression through the exploration of light. The paintings on display portray the passage of light  from dawn to dusk through a variety of views across Venice - an artist's paradise.

Writing about Turner, Ruskin said,

" At Venice he found freedom of space, brilliancy of light, variety of colour, massive simplicity of general form; and to Venice we owe many of the motives in which his highest powers of colour have been displayed."

 

 

JMW Turner, Venice at sunrise from the Hotel Europa, Venice

 

 

JMW Turner, Shipping off the Riva degli Schiavoni

 

JMW Turner, Venice: the Piazetta with the Ceremony of the Doge Marrying the Sea

 

 

Looking at the works I was impressed by Turner's fluid brushwork, his economy of form, and the use of light, both brilliant and subtle.

 

Summary and Learning Points

 

I found Ruskin's studies, landscapes, attention to detail and pursuance of the "truth of nature" inspiring. The visit was useful from a practical point of view, as it emphasised for me the importance of getting to know one's subject thoroughly by keen observation, drawing and studies.

 

The Turner Exhibition was significant in that I was able to consider and see first hand how to achieve different effects of changing light and moods through Turner's exceptional use of colour, space and form.

 

The visit was also significant in that it flagged up the way that Ruskin and Turner inspired each other, and how it is possible to learn from and be inspired by other artists.

 

As a result I was encouraged to find out more about both men.

 

 http://www.brantwood.org.uk/ruskin/

Exhibition of Work, June, 2019

Exhibition of Work, June, 2019

Aim

My overall purpose was to exhibit my best work in a professional manner which demonstrated the way that I had explored and experimented with different materials and techniques over my topic area. I also sought to display how both my skills and ideas had moved forward as my practice had progressed over the previous few months.



My intention was not only to create a good display, but also to learn and build up on my own curation skills. This process would involve developing:

- the use of objective criteria in the selection process - quality of line, tone, colour, mood etc.
- the identification of skills to be displayed (techniques of printmaking and painting)
- examples of a variety of materials
- a themed approach to the exhibits
- professional labelling
- the telling of a story
- ways to make the exhibition interesting
- the involvement of the viewer and consideration of their role

Preparation and Display

Following the review of my practice, which I described in my previous post, I took down all my work from the walls in readiness for my exhibition.

Part of the room, including the rear wall was then boarded out to create a smooth surface for the display of work. I then painted the walls white, a clean, neutral colour, to show off the work to its best ability. I also painted the remaining walls white as well to create a harmony across the whole of my display area.

In consultation with my supervisor, I chose my latest paintings to be the main feature as regards my painting practice. I placed them in key positions along the rear wall and added brief descriptions underneath, together with my updated Practice Statement. I chose some earlier tonal studies to display on a nearby table to reflect how my painting practice had distinctly moved forward from my early studies.

I then chose a selection of prints for the rest of the walls, which I considered reflected my best work so far. The prints were intended to demonstrate how hard I had worked to explore and experiment with new skills and ways of working. I made comprehensive summaries of all the different materials and techniques I had tried and printed them out on laminated sheets  which I placed alongside.

I used a bookcase to display some early painted studies, printing plates (zinc, aluminium, steel, and Perspex) and some examples of "Chine Colle" (a method of adding colour using tissue paper). This section included a cross section of working methods over a wide range of techniques.

On my desk I placed other miscellaneous work, including black and white and coloured screen prints (photographic, mixed media and "True Grain") to act as a "browser". Also on the desk I placed two files which comprised hard copies of my collection of research into artists etc. and the site itself (including research on climate change and its recent effects on the landscape).

In March the Hull Print Collective had an exhibition of its work in the foyer of the HSAD building and I had exhibited two framed prints. I put these two works (dry point etchings of an old anchor and rose hips which relate to the site) out on show.

Finally to add authenticity and atmosphere for the viewer, I gathered some items which relate to the site to finish the display off. In January, I had gathered dried grasses, rushes, thistles and seed heads to assist me with my observational painting and drawing. I arranged these in a bowl and placed them in a corner next to the paintings. I also found some old mooring ropes ( at home because my husband used to sail) which I hung up next to my prints of old ropes and driftwood. I had also, over a period of time, collected some driftwood, old tiles, stones, feathers, tree bark, bits of chain, piece of metal fence and a catch which I organised into an interesting display.

Outcome

Please see below photographs of the finished exhibition of works.

 

 

 

 

 

 

Curation

 

I have learned a lot from putting together the exhibition and the curation of my own work, which I summarise as follows:

 

- the need to think beforehand as to what I am trying to achieve

 

- a logical approach to tell a story

 

- the identification of best works using objective criteria

 

- the selection to include a variety of working methods

- different ways I could demonstrate the above

- the consideration of ways to show less successful works and experiments to show development

- how I could demonstrate my research (practical and academic) in a succinct, visual format

- the preparation of the display space, smooth walls, clean, neutral background colour

- the drafting of wording for key elements - Practice Statement, Concepts and Research

-  production of labels, and professional finish (laminated)

- how additional elements (grasses and artefacts from site) can add authenticity and atmosphere

Conclusions

When the assessors and visitors came to see my exhibition the feedback was encouraging. I felt that they appreciated how my work had moved on in a number of ways through continued experimentation, research and development. They also seemed to appreciate how I had curated the display.

There was a clear indication, through consideration of the exhibits and a discussion, as to how I can move my painting and printmaking practice forward.

My paintings can go bigger and I can try different canvases. My print making can progress with further selective use of processes and colour. I feel that I have successful created a synergy between my research into artists and my practical work (including practitioners such as Michael Raedecker).

My work is now coming together and I feel that I have made a break through where each part of my practice influences the other. It is a good base from which I can move forward over the next few months.