Blog - Exhibitions
As part of the Kyffin Williams centenary celebrations, the Library’s Education Service has been delivering many activities for schools, colleges and families, based on one of Wales’s most recognised and popular artists.
During the year free workshops will be delivered to primary and secondary school pupils to coincide with the Library’s main exhibition Kyffin Williams: Behind the Frame, and a bilingual booklet focusing on Kyffin’s life and work is being distributed free of charge to all who take part in the workshops.
So far this year schools from all over Wales have been visiting the National Library to learn more about the artist from Anglesey, like the pupils of Ysgol Trimsaran and Ysgol Mynydd y Garreg, Carmarthenshire. After taking part in the Kids in Museums Takeover Day in January, they returned in May to enjoy the Kyffin exhibition and workshop.
In April a selection of original paintings and drawings by Kyffin Williams were transported from the Library’s storage facilities to Penygroes, Gwynedd, as part of the Class Art project. Workshops on Kyffin’s style and painting technique were led by two leading Welsh artists in two schools; Catrin Williams studied some of Kyffin’s landscapes with the Year 4 pupils of Ysgol Bro Lleu, and Eleri Jones delivered a session on Kyffin’s portraits for Year 12 students at Ysgol Dyffryn Nantlle, to support them with their A Level course work.
Kyffin Williams was also the theme of The National Library of Wales’ stand at this year’s Urdd Eisteddfod in Llanelwedd. Throughout the week a small exhibition about Kyffin’s life and career provided a backdrop to art activities where young visitors were given an opportunity to emulate the artist by reproducing sections of one of his landscapes in acrylic paint on canvas. During a workshop on the Tuesday, under the guidance of artist Catrin Williams, children were shown how to produce pastel drawings in the style of Kyffin Williams. Some of the work produced during these sessions will be exhibited in the Library’s Education Room until September.
Kyffin Williams: Behind the Frame runs until the 1st of September in the Library’s Gregynog Gallery, and the exhibition includes tasks for visiting families – why not have a go at our ‘Kyffin Quiz’ and create your own masterpiece.
For further information on the Library’s free workshops, you are welcome to contact the Education Service on:
This year is the ‘Year of the Sea’ in Wales, where various individuals and institutions will be celebrating Wales’ epic coastline. Although our coastline is beautiful, it isn’t without its troubles; for nearly 200 years the RNLI lifeboat crews have been busy saving lives at sea, and one man has undertaken an ambitious project that, in his own words, is “about the lifeboat volunteers, for the lifeboat volunteers.”
The Lifeboat Station Project is photographer Jack Lowe’s mission to record all 238 RNLI stations in the UK and Ireland. But he’s not doing it with a compact camera swung over his shoulder, but with a large format Victorian one, with which he creates stunning images on glass in his mobile ambulance – a decommissioned Ambulance named Neena!
A photographic project of this scale hasn’t been attempted before, although the idea itself stems from an earlier tradition of photographing lifeboat crews. It is Jack’s endeavour to tap into the sense of pride of the unique RNLI volunteers – individuals from all walks of life who give up their time to protect the waters of the British Isles. By visiting every RNLI Lifeboat Station in the UK and Ireland, this will result in an unprecedented archive, preserving a vital aspect of the culture of the British Isles for future generations.
Saturday, the very first exhibition of The Lifeboat Station Project prints opened here at the Library, and will be on display throughout the year. Along with twenty unique ambrotype prints of some Welsh RNLI stations and their crews, Jack has also shared a few of the stories behind the pictures, which can be read and heard using the Smartify App
At the height of his popularity Kyffin was commissioned to paint a succession of portraits, but by his own admission he preferred to turn to portraiture for pleasure.
In our current exhibition Kyffin Williams: Behind the Frame, a variety of portraits are shown from the Kyffin collection, ranging from his early life studies created while a student, to the later commissions of an established artist, but more interesting are the portraits which he painted purely for delight.
Amongst the items on show is a good selection of female portraits. Kyffin admitted that painting women didn’t come easy to him; it took him about twenty years to be happy painting the smooth face of a girl:
“The reason for this was my use of the palette knife for, painting in broad rough areas of paint; it was difficult to achieve the delicacy necessary”.
Norma Lopez was a favourite sitter of his in Trevelin while he visited Patagonia in 1968/69. Kyffin described Norma as an excitable girl “smiling through two large brown eyes”. Norma, who was about 8 years old, loved to tease the artist and when not playing with her brother Paulino enjoyed sitting for her portrait. Kyffin painted her several times, but could never paint her in oils once back in London as the paint didn’t capture her fun and light character.
Kyffin was obsessed by people, the people of his native Anglesey, the ones he observed as a young boy visiting parishioners with his cleric father. That probably explains why he often turned to portray the people around him, like the sketch “Woman with Duster” held in the collection (finished paintings Mrs Hughes (private collection) and Mrs Rowlands (Anglesey County Council)). She’s a composite portrait of many women the artist had known on the island who would patiently and cheerfully go about their cleaning duties.
Kyffin’s paintings are full of emotion, while working on a portrait he’d be happy to catch the likeness of his sitter but just as important was the mood the work would convey, preferring to catch melancholy rather than a smile. In his portrait of Miss Parry he depicts old age and what he summed up as the feelings and thoughts of an older generation “tired and waiting for rest”.
There’s a chance to enjoy these portraits on the walls in Gregynog Gallery until 1st September 2018, come in to see the anonymous nun, Michelle, Norma Lopez, Miss Parry and many more.
Lona Mason – Head of Graphic, Screen and Sound
The Library is buzzing with activity today as we launch our new exhibition Kyffin Williams: Behind the Frame. So what can you expect?
There are 4 themes in the exhibition ‘Self’, ‘Artist’, ‘People’ and ‘Places’ which is situated in the Gregynog Gallery and Annexe on the second floor of the Library. The artist himself will guide you through the show as many of his own words taken from his diaries, letters and publications are placed around the exhibits. For those who want to delve deeper there is an opportunity to scan selected paintings using the Smartify app; the Library and Oriel Ynys Môn are the first institutions in Wales to use this new technology.
Upon entering, you will be confronted with a miscellany of Kyffin’s image in various guises, from the early sketches of the pensive young man to the more confident older artist whose eyes gaze directly into your own in an almost challenging way. Diaries and letters delve deeper into the character of the artist, one of the highlights being a particularly endearing letter he wrote to his ‘Mummy & Daddy’ when he was at boarding school in Trearddur.
In ‘Artist’ you will see the making of Kyffin and his life-long influences, especially his association with Van Gogh and the parallels he drew with his fellow epileptic. His paintings, ’Sunflowers with Mountains Beyond’ and ‘Crows and Storm coming’, are of particular note, the latter often thematically compared to one of Van Gogh’s most famous works ‘Wheatfield with Crows’, in which Kyffin mimics Van Gogh’s strong colour combinations and the menacing sky which is said to signify the artist’s loneliness. Some of his early works from his time in the Slade are uncharacteristically ‘Kyffin’ but a fascinating insight into how he perfected his craft.
Turn the corner and you immediately feel as if you are being watched by the many eyes in Kyffin’s portraits. His placement of the sitter on his canvases is intentional and intriguing. Kyffin mentioned in his book ‘Portraits’: “The placing of the head within the confines of the canvas can show the personality of the sitter.” Indeed, the larger more confident subjects fill the canvas and look directly at you, whilst the more timid and neurotic subjects tend to be placed to one side and looking away. Our favourite is Miss Parry; a partially invented character representing his fascination with old age, “especially those who sit and wait for the end to come”.
Although he never saw himself as a traditional portrait painter, Kyffin was obsessed with people. He once said: “I feel that the land and its people are almost part of me”. Kyffin grew up among the hills and valleys of north Wales and was drawn to the landscape and its people, especially the figure of the farmer whom is constant in his work and adorns many living rooms and gallery walls. There are a few of his best examples in the exhibition.
‘Places’ is the largest and most significant theme in the show. His work in this genre was so prolific, it was very difficult to boil it down to fit into the space; but with a little help from Kyffin himself (he often listed his favourites in interviews and in his diaries) we have tried to represent the very best of his of works inspired by the mountains and seascape of Wales and beyond.
The large Welsh landscape wall which is hung in a salon style as an acknowledgement to the artist’s appointment as a Royal Academician in 1973 is a fitting finale to the exhibition. A challenging hanging method never before attempted by our team, but has been our personal highlight of the whole exhibition.
It has been some 13 years since we last dedicated an exhibition to Kyffin and we do hope that you will enjoy the experience and find some favourites of your own…maybe even be inspired to try your hand at creating your very own masterpiece! Do let us know what your own personal highlights are on social media using #Kyffin100 [Twitter: @NLWExhibtion] and remember to download the Smartify App before your visit.
In May 1773 the naturalist Thomas Pennant of Downing Hall in Flintshire wrote of his plans for a book of ‘travels at home’. This would become the Tours in Wales, published in three volumes between 1778 and 1783: it was a ground-breaking and profoundly influential work, which would shape people’s ideas about Wales for well over a century.
“I beg to be considered not as a Topographer but as a curious traveller willing to collect all that a traveller may be supposed to do in his voyage”
Pennant was already internationally recognized by the time these Tours appeared. He was known as the author of the beautifully-illustrated British Zoology, as an assiduous correspondent with some of the great naturalists of C18th Europe (including the Comte de Buffon and Carl Linnaeus), and as the adventurous pioneer of two Scottish Tours, which inspired the famous Journey to the Western Isles of Dr Samuel Johnson and James Boswell. Pennant’s partnership with the artist Moses Griffith brought Welsh and Scottish scenes to a much wider audience, and encouraged many hundreds of people to undertake their own ‘Home Tours’.
The National Library of Wales holds a rich collection of Pennant’s published works and manuscripts, as well as many of Griffith’s lovely watercolours, some of which will go on display in the Summers Room (5-9 February 2018). The ‘Curious Travellers’ project, funded by the AHRC and run by the University of Wales Centre for Advanced Welsh and Celtic Studies and Glasgow University, has been exploring this wonderful archive, and discovering the delights (and disasters!) of travel in C18th and C19th Wales and Scotland. This is the beginning of modern tourism – and Pennant’s complex legacy is still very much with us today.
To find out more about the project go to: http://curioustravellers.ac.uk/en/
Mary-Ann Constantine, University of Wales Centre for Advanced Welsh and Celtic Studies
Our exhibitions team are very busy now as we are gearing up for our major exhibition ‘Kyffin Williams: Behind the Frame’ which opens on 16th February. There are so many amazing collections to choose from – not just his paintings, but his letters, diaries and ephemera from a previously unseen archive. It has been an immense yet enjoyable task; there is enough material to fill our extensive gallery over and over again!
At the same time we have been preparing almost 70 items for an exhibition at Oriel Ynys Môn entitled ‘Kyffin Williams: Celebrating a Centenary’ which opens on 3rd February. In return there are few little gems coming here on loan from the collection of Oriel Ynys Môn, which you can see on display at the Library. One of which is an emotive depiction of a storm across the Menai Strait which is the same view of an oil painting in our collection entitled ‘Storm Approaching’. It was Ian Jones, Buildings and Collections Manager at Oriel Môn, who noticed the link between their drawing and our oil painting: “Kyffin called the work ‘Beaumaris’, but it’s a view of the Menai Strait and Eryri beyond from Glanrafon, near Llangoed. Beaumaris is in the middle of the drawing behind the trees on the shore of the Menai.”
Kyffin was a staunch supporter of the Library and Oriel Ynys Môn and he would be thrilled to know that we continue to work together to share his collections with the nation.
For regular updates on the progress of the exhibition, follow us on
The need to conserve, preserve, catalogue and interpret our collections is a vital element of the work of the National Library of Wales, thereby making them available to the public. As the Library is home to a significant number of Kyffin Williams’ most prominent paintings and as we celebrate his life in 2018, safeguarding these and ensuring that they are correctly framed is an integral part of the conservation process.
Not only does a frame protect a painting from damage, but it also affects the presentation of the finished work. Indeed a good frame choice can greatly enhance a work of art and elevate the experience of the individual viewing the contents. Selecting the right frame for a work of art is a skill in itself. Kyffin had very definite ideas about how to frame his paintings, and the Library has embarked on a new conservation project to re-frame some of its works with the aim to honour the artist’s original vision.
The Framing the Future Fundraising Campaign will fund this key conservation project to enable Kyffin’s work to be cared for and appreciated by future generations.
Framing one art work will cost in the region of £2,000 and the generous support of our supporters will allow us to do more of the work. Every contribution will make a real difference and safeguard these iconic works for the future.
Rhian Haf Evans, Fund Raising Officer
In less than a month’s time, the Library’s Arthurian exhibition will close its doors, and our hero will return to his isle of enchantment.
To mark this year’s Explore your Archive, two events at the National Library on the 15th of November drew attention to all things legendary and archival here.
A lunchtime presentation by Scott Lloyd of RCAHM Wales (author of The Arthurian Place Names of Wales) discussed myths, legends and archaeology, drawing on examples from over a century of archival accumulation by the Commission.
A gallery talk by Maredudd ap Huw, curator of the Arthurian exhibition, led visitors on a trail following the king in his many guises: from the legendary Welsh figure in sources such as the Black Book of Carmarthen and the White Book of Rhydderch, through his medieval French manifestations, before returning to his mixed fate in Tudor Britain.
It is unlikely that King Arthur himself was an archival creator: he was far too busy to keep minutes, file correspondence, and audit accounts. However, manuscripts and books concerning the king may still be seen and enjoyed at the Library’s Hengwrt Gallery until he finally sets sail on December 16th.
Maredudd ap Huw
Curator of Manuscripts
‘This is the land that has obsessed me throughout my life. My love of it
is not superficial but deep, for my family have for so many generations
had the same feeling for the land and its people. When I left art school
I did not have to think what I should paint for my subject was deep
inside me and waiting for me to record it’.
(Kyffin Williams, ‘The Land & the Sea’, Gomer Press,1998).
The Kyffin Williams Exhibition which opens on the 16th of February,
2018 will commemorate the centenary of the birth of one of Wales’
leading artists. It is therefore an opportunity for the National Library
to celebrate its rich collection of the Anglesey born artist’s works –
from his iconic landscapes and powerful seascapes of Anglesey,
north-west Wales and abroad to his emotive portraits. There is also an opportunity within the exhibition to view lesser-known works by the
artist previously unseen by the public, which include his preparatory
works such as his sketchbooks and his printing blocks. The Library
houses over 200 oil paintings, over 1,200 works on paper and over 300
original prints by the artist.
Many people mainly associate Kyffin Williams with his impasto technique
of painting – placing the oil paint down thickly onto the canvas using
a palette knife. An extremely interesting aspect of the research into
this exhibition was to discover the early works which the artist created
whilst he was a student at the Slade School of Art and an art teacher at
the Highgate School in London in the 1940s through to the early 1970s.
These early works are of great importance in showing how Kyffin
developed his technique and iconic style of painting which from the
beginning of his career caught the imagination of the people of Wales.
Within this exhibition we shall also gain an invaluable insight into
Kyffin’s creative mind by taking a look at a few films on the
artist and also his diaries and letters which are housed within
our archives. Kyffin Williams was a skilled writer who instantly caught the
reader’s imagination and his entertaining autobiographies are
testimony to this. This exhibition will therefore be an unique
opportunity to celebrate Kyffin’s words and images in an extremely
effective manner on the walls of the National Library’s iconic Gregynog
Morfudd Bevan, Art Curator, National Library of Wales
With the Library’s current exhibition Arthur and Welsh Mythology looking at Wales’ rich tradition of myths, legends and folklore, including the Welsh Arthurian tradition, now is perhaps an opportune moment to note that amongst the Library’s Welsh Print Collection is one of Wales’ largest collections of Arthurian literature and works on the Arthurian legend.
With its roots in early Welsh poems such as Y Gododdin, early Welsh tales such as Culhwch ac Olwen and Geoffrey of Monmouth’s Historia Regum Brittania, the Arthurian legend encompasses a variety of literary forms, including the chronicle, the romance, poetry and the novel, and a number of other artistic forms such as opera and film. The Arthurian legend and its mythos also give us an example of a truly Trans-European literary tradition (or transatlantic tradition if we include the Connecticut Arthur). Starting from its roots in Welsh poetry and folklore, Arthurian literature and legend spread across Europe, with English, French, Italian, German and Nordic influences, amongst others transforming, cross-fertilising and enriching the genre.
The Arthurian legend has also proved to be an especially durable and enduring literary tradition, from early Welsh poems and folk-tales through to the chivalrous romances of the medieval period, the Arthurian revival in the nineteenth century and the fantasy novels and historical fictions of the twentieth and twenty-first century. During this time the Arthurian legend has also been used for a variety of political and ideological purposes with the uses made of the legend to support both Welsh and Norman claims to the island of Britain during the medieval period just one example of how Arthur was used in this way.
The Library’s collection of printed works related to the Arthurian legend is as varied as its history. Comprising over 1,500 titles, the collection, dating from the early nineteenth century onwards, reflects its trans-European nature including works in Welsh, English, French, Italian, Spanish, Portuguese, German and Norwegian. It also reflects the variety of literary forms with works ranging from early Welsh poems and tales, the chivalric poems and tales of the medieval period through to the novels of John Steinbeck, T. H. White, Bernard Cornwell and Rosemary Sutcliffe alongside the Monty Python and the Holy Grail screenplay. The collection also includes a large number of academic works on the Arthurian legend and Arthurian Literature.
So if you have an interest in Arthurian literature, Arthurian legend or the mythology of ancient Britain or are visiting the exhibition and want to learn more, why not take a moment to explore the collection through the Library catalogue.
Dr Douglas Jones
Published Collections Projects Manager
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