2021 Exhibitions
From the Collection
Migrations:
Time - Place - Culture
This eclectic display of British, French and South African art works spans more than three centuries. Each art work has its own story to tell.
This exhibition of art works selected form the Gallery’s permanent collection is hung together in thematic groupings. Despite differences in origin and influence, unexpected conversations between art works create interesting visual connections and collectively, the art works tell a story through this display.
Still Life with Omega Flowers (1919), by the English artist Roger Fry, was purchased in London for the Gallery’s collection in 1985. This painting extends the Gallery’s collection of British Post-Impressionist art works.
Between 1908 and 1912 the British artist, William Orpen, and his family spent their summers at Howth, a village just north of Dublin in Ireland. Howth Head offers spectacular views over the Irish Sea. A bell tent would be erected for shelter and it was here that Orpen started painting in the open air. He developed a distinctive plein-air style that featured figures composed of touches of colour with no drawn outline, influenced by the French Impressionists. In the Tent, Howth of 1912 is one of a series of paintings from this period.
View fullsize
William Orpen, In the Tent, Howth (1912)
The oldest and largest painting in this exhibition was painted by the Dutch artist, Jan Wijnants, in about 1670 ((below) Jan Wijnants, Wooded Landscape (c.1670), oil on canvas). The painting migrated back and forth across the Atlantic Ocean a number of times.
In the early twentieth century a Mr Berlein from Johannesburg bought the painting at an auction in Paris for his wife. In about 1970 the painting was sold to Mrs Joice Nicholson. She sent the painting overseas for the December 1978 auction at Christies in London. It did not realize the expected price, and was sent back to the Nicholsons at St Michaels-on-Sea, Natal. In 1983 Mr Nicholson donated the painting to the Tatham Art Gallery in memory of his deceased wife.
View fullsize
Jan Wijnants, Wooded Landscape (c.1670), oil on canvas
Judith Mason Attwood’s powerful mixed media triptych, From the Tombs of the Pharaohs of Jo’burg (1986), is a recent addition to this exhibition. According to the artist, the subject matter is meant to be neither an anti- capitalist nor pro-industrial monument. The assemblage symbolises a variety of men from Zulu to San who sought work on the Reef, with the gilded Tiger-fish of progress devouring the pastoral buck.
View fullsize
Judith Mason Attwood, From the Tombs of the Pharaohs of Jo’burg (1986), mixed media triptych.
The example below is by a famous Impressionist artist, and the painting has travelled as far as Japan for major exhibitions.
Born in Paris of British parents, Alfred Sisley probably decided to become an artist while living in London from 1857 to 1859. He trained as an artist and worked in France. Here he developed his mature style of varied surface texture by using looser, freer and more rhythmical bush strokes, as seen in this work.
View fullsize
Alfred Sisley (1839 – 1899), The Orchard, oil on canvas
Edward Wolfe, although regarded as a British artist, was born in Johannesburg. He moved to London in 1916 where he studied at the Slade School of Art. In 1917 he was invited by Roger Fry to join the Omega Workshop, an arts and craft design studio. It was here that he came under the influence of the controversial Bloomsbury group. Gabrielle Soene, a French dressmaker, was an assistant at Fry’s Omega Workshop and exhibited her costumes there. Both Fry and Wolfe painted her portrait during the same sitting in 1919, a hundred years ago. Fry’s portrait is in the Metropolitan Museum of Art in New York. Wolfe altered his painting, replacing the Bloomsbury interior with a landscape background.
View fullsize
Edward Wolfe (1897-1982), Portrait of Gabrielle Soene, oil on canvas
This painting by John Northcote Nash, the brother of artist Paul Nash, is an example of early English Modernism. The dry application of paint is due to John Nash’s association with Harold Gilman at 19 Fitzroy Street, London, the rendezvous of a number of artists. Gilman warned Nash against mixing paint with oil. “There’s enough oil in the paint anyhow,” he said, “without adding more to the treacherous stuff.”
View fullsize
John Nash (1893-1977), Still Life, oil on canvas
Each of the varied European and South African art works on this display has its own story to tell. Preller’s painting, Still Life with Pomegranates (1951), is a typical assembly of objets trouvé used by the artist in his still life paintings. The patterned vase, fruit and wooden fruiterer’s box are all talismans to which he frequently turned for artistic inspiration. The patterned Persian vase becomes a central object. This vase, given to him as a boy by his mother, was cherished and was often referred to by Preller as one of his 'household gods', a collection of modest but important objects that were to inspire works throughout his lifetime.
View fullsize
Alexis Preller, Still Life with Pomegranates, oil on canvas
A brass plaque on the base of the frame is engraved; “Jan Hofmeyer Memorial trophy for public speaking, presented by Alan Paton”. This painting was used as floating trophy and presented to the winner of the Jan Hofmeyer Speech Contest which was held annually, until it was purchased by the Tatham Art Gallery.
Brendan Bell’s art work, Meditation: Avalon Springs (below) is a gouache work on paper, with elements of collage. It was created after a family holiday at a holiday resort. Viewers are invited to make their own interpretations of this complex work, which is structured like a medieval altar piece, by considering texture, water, landscape, religious icons, multicultural figures and even furniture.
View fullsize
Brendan Bell, Meditation: Avalon Springs, gouache & collage