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Showing posts with label e. williams. Show all posts
Showing posts with label e. williams. Show all posts

Tuesday, 2 January 2024

Artlyst: January Art Diary

My January Art Diary for Artlyst looks at the work of Emrys Williams and Richard Kenton Webb (including his links to Milton), William Blake, Markéta Luskačová, Oksana Kondratyeva, Maciej Hoffman and Hannah Rose Thomas:

'Kenton Webb has written about his experience of working on this series in an essay, which, together with an interview and nine of his works, is included in a new book ‘Milton Across Borders and Media’ demonstrating the breadth of response to John Milton’s work: “For the last ten years, Milton has been a companion like Virgil to Dante guiding me through the narrative of my own life. I started this collaboration with an imagined drawing of Milton the Blind Poet, considering the problem of evil. I ended my journey with a portrait of myself, acting as a companion piece to the long journey about good, evil, and everything in between that we had taken together. Milton is a great English poet who gives hope, which in itself is a creative act for these difficult times.”'

Follow these links for more on Kenton Webb, Luskačová, Hoffman, and Thomas.

Interviews -
Monthly diary articles -
Articles/Reviews -


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Sufjan Stevens - Everything That Rises.
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Tuesday, 24 February 2015

Evelyn Williams: Tender, intimate and emotional paintings

The "tender, intimate and emotional paintings" of Evelyn Williams "are concerned with the subtleties and complexities of relationships and the human predicament." Her work explored human relationships by establishing formal rhythmic relationship between figures and by charging them with intense emotion. "Her very personal paintings followed her progress through life as child, lover, mother and grandmother."

From tomorrow the Martin Tinney Gallery has an exhibition of approximately 25 works which features the last paintings she worked on. "These are powerful, haunting paintings which, fully aware that her health was declining rapidly, show the artist facing her own mortality with her customary directness and tenderness."

Fay Weldon has said: “Evelyn Williams’ work is imbued by an unmistakable mixture of grace and greatness. It is 'awesome' - if we can get back to the true sense of the word. It fills you with awe. In its restraint, its gravity, the sense it imparts of female endurance, female beauty, the power and seriousness of love between woman and child, woman and woman, man and woman, her sheer courage in taking on board the nature of the universe in its most unsmiling mode, it achieves greatness, and will outlast all of us”

Sister Wendy Beckett says: “All Evelyn’s work has a deep contemplative stillness within it. The dignity of her figures – women above all – is a consequence of their listening hearts. Looking at Evelyn’s paintings I think of Keats “Unheard Melodies” … love is her theme”

Williams' work has synergies with that of Eileen Cooper, Marlene Dumas and Ana Maria Pacheco, among others.

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John Keats - Ode On A Grecian Urn.
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Saturday, 8 December 2012

Evelyn Williams R.I.P.

Evelyn Williams was an artist in whom 'From her earliest drawings, vision, dream and reality combined; she characterised her work as "inner thoughts, other worlds".'

John McEwan wrote that 'In his thoughtful and observant essay [Nicholas Usherwood] warns us against the inadequacy of the words commonly used to convey Evelyn Williams’ art: visionary, feminist, Romantic, apocalyptic, expressionist, Gothic, outsider ... Robust generalisation is peculiarly unsuited to an art of such delicacy of feeling, subtlety of tone and exact observation. As he writes: ‘Peel away all those labels however and Evelyn Williams will, I believe, emerge finally, and not before time, as a painter and sculptor, most fundamentally, of ‘people and their attempts to relate to one another’.'

Fay Weldon described Williams' work as ‘awesome’ – 'if we can get back to the true sense of the word. It fills you with awe.' Williams had created, Weldon thought, 'a body of work, imbued by an unmistakable mixture of grace and greatness.'

She spoke of death in typically consoling terms as a space filled with as much energy as the sky is filled with raindrops in a summer storm: ‘As each drop falls and touches the earth seeds of new energy are released to be recycled again and again.’

Read obituaries from The Guardian and Telegraph here and here.

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The Doors - People Are Strange.
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Sunday, 22 February 2009

Everyday epiphanies

Another book that I found in the RA's bookshop was Betty Swanwick: Artist and Visionary.

Swanwick described herself as "part of a small tradition of English panting that is a bit eccentric, a little odd and a little visionary." This tradition begins with William Blake and Samuel Palmer and continues through Stanley Spencer and Cecil Collins to artists such as Albert Herbert, Ken Kiff, Norman Adams, Evelyn Williams, Carel Weight, Margaret Neve, Roger Wagner, Mark Cazalet, Dinah Roe-Kendall and Greg Tricker.

In the book Paddy Rossmore writes that Swanwick had in common with many other artists in this tradition, "the pursuit of the hidden reality behind appearance or - more specifically in her case - the connection between religious phenomena and psychic (or subliminal) processes." "She talked of 'biblical goings-on' in her late work" and "painted many pictures which relate to the great religious themes and stories from the Old and New Testaments." Rossmore argues that her late work "would seem to belong to that tradition in visionary painting whose strangeness is accompanied by a facility for penetrating spiritual insight and understanding."

The work of many of the artists in this tradition seeks to reveal everyday epiphanies, heaven in ordinary life, and Swanwick was no exception writing that she felt that "many people narrow life much too much" and so in her pictures she tried "to put the real thing, the miracle of it - indefinable because everything is connected."

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The Kinks - Days.
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