ST
IVES : THE ART AND THE ARTISTS
By Chris Stephens
Pavilion in conjunction with the Tate. 304 pages. £26. ISBN
978-1-911624-32-5
Reviewed by Jim Burns
St Ives, a place, and also a name that resonates with stories about
the “school” or “movement” associated with it. And the artists, of
course. There have been artists around St Ives since the
late-nineteenth century, but it was, perhaps, only from the 1930s on
that the notion of a group which could have something in common in
relation to what might be called “modernist art” appeared to have
substance. Prior to that, most of the artists worked in a style that
largely documented the town and its residents, with an emphasis on
the sea and the men and women employed in various aspects of the
fishing industry. Not all of the painters lived in St Ives, and for
a time Newlyn was important, with Stanhope Forbes and Walter Langley
located there. But St Ives soon started to dominate in terms of a
broad awareness of art in
I suppose it’s reasonably accurate to say that it all began with the
arrival of Ben Nicholson and Barbara Hepworth in 1939. They were
refugees, in a sense, from the Second World War and the threat of
Bernard Leach was already in St Ives, though Chris Stephens says
that “while the artists’ colony was an attraction” Leach found it a
“disappointment until the arrival of Hepworth and Nicholson”. The
war years weren’t easy for any of them, and the post-1945 period,
with the country locked into an austerity as harsh as that
experienced during the war, didn’t improve quickly. There was
initially a feeling that a better society might evolve from the
election of a Labour Government committed to radical changes. But
the spirit of “make do
and mend” persisted well into the late-1940s, and artists like Peter
Lanyon, Margaret Mellis, and John Wells, had to improvise and
produce constructivist works from whatever material they could find,
including old piston rings, pebbles, knitting needles and string.
Bryan Wynter moved into The Carn, a cottage near Zennor Hill. It was
isolated, and had no electricity or running water.
It wasn’t just painters that were being attracted to the area
around St Ives, and Stephens particularly refers to the poet W.S.
Graham, who was to establish friendships wIth Wynter, Peter Lanyon,
and a later arrival, Roger Hilton. But Graham wasn’t the only poet
to settle in
There was a St Ives Society of Artists which had been founded in
1927, but Peter Lanyon started the Crypt Group, along with Sven
That there was a steadily growing development of a community is
evident from other activities beyond those of the painters. Guido
Morris was producing leaflets and catalogues for the exhibitions,
but was also printing small collections of poems by, among others,
Norman Levine and Arthur Caddick. Levine later turned to fiction and
works like the novella, The
Playground, and the novel,
From a Seaside Town, are
clearly based on characters and events in St Ives. Francis Bacon,
who didn’t stay in St Ives for any length of time, appears in
fictional form in From a
Seaside Town.
As for Arthur Caddick, he was, as a poet, not in the same class as
W.S. Graham, but he wrote entertainingly about life in
It’s also of relevance to refer to
The Cornish Review, a
magazine started by Denys Val Baker in 1949, which went through
several issues, died in 1951, and was revived in 1963. He wrote two
books about St Ives art, the first appearing in 1950 and the second,
better-known one in 1959. And some of his novels and short stories
(he was a prolific writer) revolved around Cornish artists and their
involvements. The most significant is probably his novel,
A Journey with Love,
which gave Val Baker an opportunity to comment on various styles of
painting then current in
One further item worthy of attention is J.P. Hodin’s article,
“Cornish Renaissance”, which was in the penultimate issue of
Penguin New Writing in
1950. This points to the growing awareness of the importance of St
Ives on the British art scene.
The use of the word “community” to describe the artists in St Ives
can’t hide the fact that clashes of personality were frequent
occurrences. Stephens describes how the Penwith Society of Arts in
Stephens is informative on the subject of the personalities and
in-fighting, but what of the art that was being produced? By the
1950s it was clear that “modern art,” especially of the abstract
variety, had become the dominant mode. The American Abstract
Expressionists (particularly those based in
It’s often difficult to know exactly what was seen and by whom, so
I’m hazarding a guess based on my own experiences of seeing the work
of the artists referred to and that of the St Ives artists. It’s a
personal opinion, but from the point of view of its quality, I’d
place the best of Bryan Wynter’s work alongside that of Motherwell,
Kline and de Kooning. It’s interesting to note that Stephens says
that Alan Davie, not a St Ives artist, was probably the British
painter of the period who was closest to the Abstract
Expressionists.
Patrick Heron always insisted that what happened in St Ives was just
as important and original as anything coming from across the
Stephens discusses in some detail the work of several individuals,
including Nicholson, Hepworth, Wynter, Lanyon (for what it’s worth,
I’ve always thought of him and Wynter as the two most interesting
artists linked to St Ives) Terry Frost, and Roger Hilton. His
comments, which are astute and enlightening without being
over-analytical in an academic way, help the reader to understand
how and why the artists concerned aimed to achieve what they
did. But he doesn’t just focus on a few successful painters or
sculptors, and is informative about Terry Frost, John Wells, Paul
Feiler, Karl Weschke, and others. What it is important to note is
that, despite any talk about a “movement”, or “school”, there was a
wide divergence of artistic aims and interests among the St Ives
painters. A broad commitment to abstraction may have been the one
overall design that could be usefully said about the modernists in
The book is concerned with social as well as art history, and what
happened in and around St Ives as the traditional occupations like
fishing and mining declined is related to the development of the
town as a holiday destination. Day trippers began to flock in,
others spent a week or two there. It changed the character of the
place and long-term residents were not pleased by it. In the
late-1950s, when there was something of a wide revival of the
bohemian spirit, St Ives was a
This invasion didn’t go down well with the locals, who often blamed
the genuine writers and painters for bringing in the great unwashed,
as they were seen, and sometimes “corrupting” local people. Norman
Levine’s novella, The
Playground, climaxes with the suicide of a garage owner who
mixes with the artists, and is based on real events. There were
suggestions that he had been drawn into a homosexual circle among
the artists and their followers, and Peter Lanyon, one of the few
Cornish-born artists, reported that, because of his death, there was
an “ugly mood” in the town.
With this in mind there was, perhaps, some irony in the fact that,
among the genuine artists, a macho rather than a gay culture was
predominant. Stephens refers to “the strongly masculine character”
of the social life that largely took place in pubs, which in 1950s
There were casualties among the artists. Peter Lanyon, whose
paintings sometimes reflected his interest in gliding, died in an
accident. Roger Hilton, who had established a reputation as a
painter and heavy drinker before he settled in
The personal stories, the anecdotes, the scandals, are always
interesting to read about, and my own feeling is that they can’t be
divorced from the art that was being created at the same time. It’s
Chris Stephens’ achievement to have written a book that successfully
combines analysis of the work of the painters with commentary on the
social scene that, in many ways, they helped to create. Their
dedication to art, which led to bohemianism, and what seemed to some
to be a cultivation of poverty as a way of life¸ may well have been
one of the reasons for the arrival of mostly middle-class young
people who wanted to play at being poor. The real artists had been
that way out of necessity. But bohemianism, as expressed by the Beat
writers, and others like them, was in the air in the late-1950s and
early-1960s.
The main question to
consider, however, is how worthwhile and lasting was the quality of
the work produced in and around St Ives during the period concerned?
St Ives: The Art and the
Artists makes a powerful case for claiming that the best of it
made its mark in both national and international contexts at the
time, and that a retrospective view adds weight to it still being of
value.
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