This post is a part of the Story of Wales series, which looks at different aspects of Welsh history, and how today’s Wales remembers, and shapes it. Subscribe to the blog on the right to ensure you don’t miss any posts.
‘Hel Llwch’ by Valériane Leblond, 2018 (Copyright: Valériane Leblond)
The National Library of Wales is home to an important collection of contemporary Welsh art. On display in the Library’s recently launched ‘Collecting Contemporary’ exhibition (6.4.19 – 21.3.20) are examples of works recently acquired by the Library, which vary from Paul Peter Piech’s dynamic linocut, to Charles Byrd’s cubist work.
‘Abstraction’ by Charles Byrd, 1964 (Copyright: Charles Byrd Estate)
An important gift which recently came into the Library’s possession was the Roese Collection, a valuable and comprehensive collection of contemporary Welsh art. This is one of the most important collections of contemporary art to enter the Library’s collections, and a number of the works by artists such as Charles Byrd, Ernest Zobole, Ceri Richards, Mary Lloyd Jones, Ivor Davies, Glenys Cour, Charles Byrd and Iwan Bala can be viewed within this exhibition.
‘View through a window’ by Ivor Davies (Copyright: Ivor Davies)
This year we were also fortunate to acquire nine iconic works by the Glyn Neath based pop artist Ken Elias into our collections.
‘Check’ by Ken Elias, ca.2008-2009 (Copyright: Ken Elias)
The Library prides itself in collecting works from artists who are currently attracting attention in this field, such as the London based artist Seren Morgan Jones, and the locally based artist Teresa Jenellen in Machynlleth. The theme of women is central to their works. Another local artist whose work is exhibited here is Valériane Le Blond, and her imaginative paintings portray a Welsh countryside which is familiar to us all, whilst Sarah Carvell’s expressionistic landscapes and Lisa Eurgain Taylor and Elfyn Lewis’ abstract works show the eternal inspiration of the Welsh landscape.
‘Blue Gloves, Orange Chair’ by Seren Morgan Jones, 2016 (Copyright: Seren Morgan Jones)
Our collection is increasing in strength with ongoing purchases and donations from generous benefactors.
Morfudd Bevan, Art Curator at the National Library of Wales
Kyffin joined Highgate School in north London in September 1944. Much of the School had previously been evacuated to Westward Ho! in Devon but art had not been on the wartime curriculum so a teacher was needed on return to the capital. After working full-time (six days a week) for the first two years, Headmaster Geoffrey Bell suggested that Kyffin should find a colleague to share the job so that he could do more of his own painting and so the elusive William Cole, a friend from the Slade days, took over half of his timetable. Cole only lasted a couple of years though. Kyffin soldiered on alone for a further twelve months but his epilepsy wasn’t under control, so on the advice of his doctor and with the agreement of the School Governors he was awarded a sabbatical from the summer of 1949. This provided an opportunity to start travelling and in 1950 he visited Italy, the first of many trips abroad during the ensuing decade. His replacement was another acquaintance from the Slade, Antony Kerr, whose wife was the artist Elizabeth Rendell. On his return to Highgate Kyffin taught alongside Antony for nine years. Tom Griffiths, mentioned in ‘A Wider Sky’ and yet another Slade graduate, was tempted into teaching for a year, as subsequently was CF Ware. Then stability returned as Kyffin’s former pupil Anthony Green (1951-56) joined the Art Department in 1961 at the age of twenty-one. He was the last of the ‘Slade brigade’ to help Kyffin out – A Dear and JL Lowe from the Royal Academy Schools were his ‘other halves’ from 1968 until his retirement in 1973. Patrick Procktor, who had also studied under Kyffin from 1948-52 chose not to enter the profession. By the time Kyffin returned to Anglesey in 1974 a full-time Director of Art, Gordon Tweedale, had been appointed in his place.
Of course Kyffin had enjoyed another six months off in 1968-9 to travel to Welsh Patagonia on a Churchill Fellowship, an event that was probably responsible for his being nominated to be an Associate of the Royal Academy in 1969 and elected the following year, following an unsuccessful first attempt in 1961.
His becoming a full Academician four years later was proof, if any was needed, that he could finally make a living as an artist. Kyffin had first been accepted at an RA Summer Exhibition as early as 1946, though it wasn’t until 1959 that his work became an annual feature for almost forty years. His first show in a commercial gallery was at Colnaghi’s in 1948 and the Leicester Galleries were soon representing him too. It wasn’t until after he had left Highgate that the Thackeray became his main promoter in London.
Kyffin lived in or close to Highgate for his first twelve years in London, most famously as a tenant of Miss Mary Josling on Bisham Gardens in Highgate Village, a period that is vividly described in ‘Across the Straits’. During that time he recorded many local scenes and personalities, such as the former School cricket coach and groundsman Albert Knight. Albert, in his seventies when Kyffin painted his portrait, had played for England in the 1903-4 Ashes series in Australia, which was won by the visiting side. Brief residencies in Hampstead followed, including a stay with Fred and Diana Uhlman on Downshire Hill, before he spent a few years further west in Holland Park. When his artist friend David Smith moved from Finchley with his wife Elizabeth Hawes, Kyffin occupied one of the flats that they had created in their house for a year before learning that 22 Bolton Studios near the Fulham Road was vacant from Jane Richards, and old acquaintance from North Wales. The eight years he spent on Gilston Road, his last London address, also received a colourful rendering in his first volume of autobiography.
To mark Kyffin’s centenary and celebrate his ‘London years’ to some extent, two exhibitions under the banner ‘Kyffin Williams: Paper to Palette Knife’ are planned in Highgate in the autumn – one at the Highgate School Museum on Southwood Lane and a second in the Gallery of the Highgate Literary and Scientific Institution (HLSI) on Pond Square. The former will feature the School’s collection of oils alongside paintings borrowed from private collectors and small loans from the National Library of Wales and Oriel Môn on Anglesey; while the HLSI will be displaying a substantial loan of (mostly) works on paper from the NLW. Together the two exhibitions will possibly constitute the largest ever retrospective of Kyffin’s work to be shown in England. They will run concurrently from 14th September to 7th October with opening times: Tuesday to Friday 1-5pm, Saturday 11am-4pm and Sunday 11am-5pm. On Monday 10th September at 7 pm I will be giving a lecture about Kyffin’s London years at the School. Tickets can be booked online nearer the time here: https://www.ticketsource.co.uk/highgateschool Then on Friday 21st September at 8 pm Rian Evans, co-author of ‘Kyffin Williams: The Light and The Dark’, will be giving a talk at the HLSI. Tickets can be booked by e-mail: firstname.lastname@example.org or by phone: 020 8340 3340.
Kyffin Williams’ emotive seascapes which are on display in the artist’s centenary exhibition here at the National Library, should be celebrated in their own right and stand apart from the artist’s other more well-known works. Kyffin’s highly expressionistic style within these monochrome works manages to convey the movement and the violence of a storm at sea in in a tremendously effective manner, reflecting the artist’s own hidden inner turmoil.
Kyffin’s connection to Trearddur Bay, which is located on the west coast of Holy Island off the coast of Anglesey where many of these seascapes were based can be traced back to the artist’s childhood. As a young boy of six years old who would turn 7 the following week he was sent to Trearddur Bay Boarding School in May 1925. He stated in his memoir ‘Across the Straits’: ‘It did not take me long to fall under the spell of the island’s mood. The storms, the sea mists, the wrecks, the wailing sirens, and in summer the peculiar haze that hung over the island, all made Trearddur Bay a very special place’.
The expressionistic impasto technique used in such works as ‘Stormy Sea’ was explained by the artist in the book ‘The Land and the Sea’, 1998: ‘These great storms have always excited me and I seem to be stimulated by the noise and energy of the waves – to such an extent that, when I transfer my frenzied scribbles onto canvas, my own energy attacks the canvas…These paintings are not easy to control for often they try to take over and I lose my tones in a confusion of white wave and spray… My personal chemistry demands the excitement of a storm at sea.’
As the authors Rian Evans and Nicolas Sinclair stated in the recently published work, ‘The Light and the Dark’ on Kyffin’s life, the artist who had suffered with the afflictions of epilepsy and depression throughout his life acknowledged that he expressed his most turbulent feelings through his seascapes. In an interview in 2000, the artist stated that it was due to his battle with epilepsy that he felt a need to apply strongly contrasting colours down onto the canvas, as can be seen in these seascapes. He stated: ‘It might be part of the epilepsy, the excitement – the epileptic shock of dark against light, it’s very exciting you see. Van Gogh was an epileptic and he had the same love of contrast’. Inspired by other notable palette knife users such Gustave Courbet and Van Gogh, Evans and Sinclair also saw a parallel within Kyffin’s seascapes to other iconic works such as Hokusai’s ‘The Wave’ and August Strindberg’s dramatic seascapes. The artist would return to paint the subject throughout his life.
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:
01970 632431 email@example.com
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.
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.
This month, artist Valériane Leblond takes part in our #LoveArt campaign.
She has chosen View from Hen Gaer Castellan by Edrica Huws (1907-1999) as her final choice.
I love how the artist uses the different fabrics in a way a painter would use the colours on a palette. The tones are subtle, and the subject itself is not obvious at first sight. I find it interesting that Edrica Huws uses patchwork, a craft that is not very present in the art world, but which has been a mean for women to express themselves for several centuries, especially in Wales. Her style is unique and the patterns on the fabrics give it an extra dimension.
This month, artist Valériane Leblond takes part in our #LoveArt campaign. She has chosen Pictorial dictionary by Eliza Pughe (c.1831-1850) as her third choice.
This is a very cute piece of work. I used to create tiny books when I was a child, and I have always found illustrated alphabets and educational posters interesting. Eliza Pughe has been illustrating in a simple and efficient way everyday objects and actions, and has been writing the words for them in both Welsh and English. The story around the artist is touching as well, as she was deaf and mute from birth, she must have found a way of expressing herself through pictorial art.
A blog about the work and collections of the National Library of Wales.
Due to the more personal nature of blogs it is the Library's policy to publish postings in the original language only. An equal number of blog posts are published in both Welsh and English, but they are not the same postings. For a translation of the blog readers may wish to try facilities such as Google Translate.