The post-war rebuilding of
At St Mary the Virgin, Downe the East window was completely
destroyed when in August 1944 a bomb landed on the opposite side of High Elms
Road. After the war the Church applied to the War Damage Commission for funds
to install a new East window and consulted with Robin Darwin, Principal of the
Royal College of Art as to suitable artists to invite to submit designs. Darwin advised throughout
the selection process, also garnering views from Sir Jasper Ridley, a trustee
of the Tate Gallery. The result was the award of the commission to Evie Hone.
Evie Hone's masterpiece is generally thought to
be her windows for Eton College Chapel of which Patrick Reyntiens wrote that it
was, "a dramatic breakthrough ... Which may look historic now but when it
was done it proved to be the herald of a new period of co-operation between the
eye of the painter and the eye of the artist in stained glass." Apart
from these windows and the window at Downe there is little opportunity to view
her work in England, as she was, together with her friend Mainie Jellett, a
pioneer of modern art in Ireland. Patrick Pollen wrote that Hone had "done
much to bridge the gap here in Ireland
between a slow moving public taste and the revolutionary ideas of the
continental schools."
For two artists who were also committed
Christians, this may seem an unusual or unlikely place to choose to be. As David Morgan has written, "Moving through the discourse of Modernism in art was
a dominant conception of the sacred, one which distanced art from institutional
religion, most importantly Christianity, in order to secure the freedom of art
as an autonomous cultural force that was sacralized in its own right." However, despite this dominant narrative, some of the leading artists in France
were also committed Christians exploring ways of reviving sacred art. It was to
France
that Hone and Jellett went in order to study art. Again this was unusual, as
they were both at that time Church
of Ireland (Hone later
became a Roman Catholic) while Albert Gleizes, who became their tutor, was in
the process of returning to the Catholicism of his youth.
Reflecting on time spent with Gleizes, Hone
spoke of: "A direction to the spirit to contemplate the divine. Author of
the rhythm and form of all created life by composition of form and colour, by a
circular movement symbolic of eternity, by a sublimity of form, by simplicity
and severity of colour - an idea almost rediscovered by the cubist
painters."
Gleizes wrote of the three "discarding the
subject," by which he means the reproduction using perspective of
classical drawings and, by familiarity with the "laws that govern
painting" creating images which are "skillfully blended from the
different suggestions that arise in the linear organisation of a
composition."
Bruce Arnold writes that, in her stained glass
work, "Evie could be said to have passed from Gleizes to the rugged,
emotional, representational style of [Georges] Rouault's painting." JamesWhite suggests that "it is possible to consider that Rouault's drawings
and paintings were responsible for awakening in her the realisation that in
stained glass lay the possibility of combining formal statements of religious
art with the underlying abstract design she desired to incorporate in her work." C.P.Curran suggests that "To Gleizes vocabulary and method, she added a whole
language and a less exclusive practice."
The Crucifixion
at Downe is a bold and simple design with the crucified Christ on a red
cross in the central light, his arms and those of the cross extend into the two
side lights where Mary and John are located. Above, are an unusual choice of
symbols relating to the Passion narrative. Blues predominate in the background
with the red of the cross repeated in St John’s
robe and greens used to further delineate St
John and Mary.
Unlike other Irish stained glass artists of her
time, such as Harry Clarke and Michael Healy, Hone relies on the essential
brilliance of stained glass to create her effects without use of techniques – like
aciding in pinpoints - to create irradiation. Within the simplicity of the design,
her focus is on the essential components of harmonising bold colours and the
linked rhythms of interlocking lead lines. As White suggests, the necessary
data is ordered to the available space without irrelevant decoration
distracting from her central powerful focus. As the brief from the Parish had stated
that the design “should aim at simplicity, and there should be an avoidance of any
mass of detail,” it is clear that they found the right artist for this
commission.
The impact is apparent on entry as the window
dominates the interior. I arrived late and flustered after losing my way in
torrential rain to be met by Sue King, a patient, understanding and very
informative churchwarden. Her papers provided the background to the commission
as well as reflections on Evie Hone’s work and legacy.
Sue pointed out Robin Darwin’s wry comment about
artist expenses in his correspondence over the commission: “If all artists were
paid by a grateful public for the cost of painting pictures, which they fail to
sell, they would have a fine time, but the country would rapidly go bankrupt.”
He recommended that the unsuccessful artists, including Leonard Evetts and
Lawrence Lee, who had created designs for what was essentially an informal
competition, were paid £2.00 in expenses. As one who tries to ensure, through
my work with commission4mission, that artists are paid for design work, I was
relieved to see that Darwin ’s
comment didn’t lead to these artists being completely out of pocket.
Sue also highlighted other twentieth century glass found in
the church; the work of Keith and Freda Coleborn, both well regarded artists,
village residents and husband and wife. Freda’s panel is a copy of one in the Cathedral of Notre Dame at Dijon which has been
placed in a window in the north wall while Keith has two original designs
commemorating members of the Knox-Johnston family. His Tree of Jesse shows Jesse, the father of David, at the bottom of his
family tree which leads up, through all the human ancestors of Christ to Him
and His monogram at the top, while the other window commemorates the
first solo round the world voyage under sail as undertaken by Robin Knox-Johnston in ‘Suhaili.’
There is
clearly much more to see and explore in Downe, not least its connections with
Charles Darwin, but today, after a late arrival and a schedule that takes me
next to Tudeley and windows by Marc Chagall, there is only time for a quick
meal in the Queen’s Head, opposite the churchyard, before moving on through the
rain. I carry with me, in my mind’s eye, the image of Hone’s imposing,
expressive Christ, light streaming into life through his loving sacrifice.
No comments:
Post a Comment