Present & Upcoming
Changing Lives: Ditchling Artists in WWI
Ditchling Museum of Art + Craft (Lodge Hill Lane, Ditchling, East Sussex, BN6 8SP)
20 October 2018 - 28 April 2019
From the webpage: 'Accompanying Max Gill: Wonderground Man, the museum’s Print Gallery will host a display looking at the affect of WW1 on Ditchling’s artistic community. When Max Gill was appointed by the Imperial War Graves Commission to design the lettering on the Cenotaph and every military headstone, he was well aware of the impact that the war had on friends, the artistic community, and even his own family.The exhibition tells the personal stories of three artist-soldiers: stonecutter Joseph Cribb, who worked with Max Gill on the design of the allied war graves; painter Louis Ginnett, whose experience is conveyed in his watercolours and in a series of letters to his family back home in Ditchling; and painter and poet David Jones, who vividly recorded a life in the trenches that was to affect his work for many years to come.
On the home front, the war years were a time of change for many of the artists. Hilary Pepler, who had started his printing business St. Dominic’s Press in Hammersmith, moved it down to Ditchling in 1915. The press’s wartime output reveals details of exhibitions held, including art sold to fundraise for refugees. Other artists who set up their studios in Ditchling included the weaver Ethel Mairet and her husband Philip, a conscientious objector who was sent to jail, and the painter Frank Brangwyn, who designed posters and stamps to aid the war effort.'
For more information and tickets, see: www.ditchlingmuseumartcraft.org.uk/event/changing-lives-ditchling-artists-ww1/
Ditchling Museum of Art + Craft (Lodge Hill Lane, Ditchling, East Sussex, BN6 8SP)
20 October 2018 - 28 April 2019
From the webpage: 'Accompanying Max Gill: Wonderground Man, the museum’s Print Gallery will host a display looking at the affect of WW1 on Ditchling’s artistic community. When Max Gill was appointed by the Imperial War Graves Commission to design the lettering on the Cenotaph and every military headstone, he was well aware of the impact that the war had on friends, the artistic community, and even his own family.The exhibition tells the personal stories of three artist-soldiers: stonecutter Joseph Cribb, who worked with Max Gill on the design of the allied war graves; painter Louis Ginnett, whose experience is conveyed in his watercolours and in a series of letters to his family back home in Ditchling; and painter and poet David Jones, who vividly recorded a life in the trenches that was to affect his work for many years to come.
On the home front, the war years were a time of change for many of the artists. Hilary Pepler, who had started his printing business St. Dominic’s Press in Hammersmith, moved it down to Ditchling in 1915. The press’s wartime output reveals details of exhibitions held, including art sold to fundraise for refugees. Other artists who set up their studios in Ditchling included the weaver Ethel Mairet and her husband Philip, a conscientious objector who was sent to jail, and the painter Frank Brangwyn, who designed posters and stamps to aid the war effort.'
For more information and tickets, see: www.ditchlingmuseumartcraft.org.uk/event/changing-lives-ditchling-artists-ww1/
David Jones: A Mythic Understanding
An exhibition at Camberwell College of Art, (Peckham Road, London SE5 8UF)
6 November - 14 December, 2018
From the web page:
'This exhibition is one part of a College-wide project led by Geoff Coupland (aka ZEEL) that explores the life and themes of the work of artist, illustrator and poet David Jones.
Jones was aged just 14 when he first attended the then Camberwell Art School in 1909, before enlisting for service with the Royal Welch Fusiliers to fight in the First World War. This experience had a profound effect on Jones both emotionally and artistically. He went on to write ‘In Parenthesis’, an epic, novel-length war poem, and as an artist working in many modes, he made numerous paintings, drawings and book illustrations with a particular use of mythical imagery.
His legacy is visible in the work of many illustrators working today, including John Vernon Lord, Clive Hicks Jenkins, Charlotte Cory, Marguerite Carnec, Sue Coe, Linda Kitson and David McKean, and their contemporary work will be shown alongside a display about Jones’ life and work created especially for the exhibition by design studio Work-Form.'
Contact: j.wallace@arts.ac.uk
Website:: www.arts.ac.uk/whats-on/a-mythic-understanding-inspired-by-david-jones
Press Release (with details about opening times, etc.):
An exhibition at Camberwell College of Art, (Peckham Road, London SE5 8UF)
6 November - 14 December, 2018
From the web page:
'This exhibition is one part of a College-wide project led by Geoff Coupland (aka ZEEL) that explores the life and themes of the work of artist, illustrator and poet David Jones.
Jones was aged just 14 when he first attended the then Camberwell Art School in 1909, before enlisting for service with the Royal Welch Fusiliers to fight in the First World War. This experience had a profound effect on Jones both emotionally and artistically. He went on to write ‘In Parenthesis’, an epic, novel-length war poem, and as an artist working in many modes, he made numerous paintings, drawings and book illustrations with a particular use of mythical imagery.
His legacy is visible in the work of many illustrators working today, including John Vernon Lord, Clive Hicks Jenkins, Charlotte Cory, Marguerite Carnec, Sue Coe, Linda Kitson and David McKean, and their contemporary work will be shown alongside a display about Jones’ life and work created especially for the exhibition by design studio Work-Form.'
Contact: j.wallace@arts.ac.uk
Website:: www.arts.ac.uk/whats-on/a-mythic-understanding-inspired-by-david-jones
Press Release (with details about opening times, etc.):
| press_release_jones_mythic_understanding__ual_.pdf |
Past
Beyond Shape and Sound: The war poetry and art of David Jones
Part of 'The Human Being: A Paradox of Freedom',
3 November, 2018, St. Paul's, 200 Aldersgate, London EC1A 4HD
As we reach the 100th anniversary of the end of the First World War, this exhibition will examine the paintings and poetry of David Jones, who served as an infantryman in the trenches. It recounts a story of camaraderie experienced in the face of detached superiors, unbending military rigour and inhuman danger. As a soldier, Jones found freedom in a tenderness towards his companions, an awareness of the beauty that lies beyond what is merely useful, and a heroism within what is mundane or enforced.
www.thelondonencounter.co.uk/a_paradox_of_freedom/
Part of 'The Human Being: A Paradox of Freedom',
3 November, 2018, St. Paul's, 200 Aldersgate, London EC1A 4HD
As we reach the 100th anniversary of the end of the First World War, this exhibition will examine the paintings and poetry of David Jones, who served as an infantryman in the trenches. It recounts a story of camaraderie experienced in the face of detached superiors, unbending military rigour and inhuman danger. As a soldier, Jones found freedom in a tenderness towards his companions, an awareness of the beauty that lies beyond what is merely useful, and a heroism within what is mundane or enforced.
www.thelondonencounter.co.uk/a_paradox_of_freedom/
| freedom_exhibition_poster__2018_.pdf |
Sussex Modernism: Retreat and Rebellion, Two Temple Place Gallery, London, WC2R 3BD
28 January - 23 April, 2017
Admission Free
Through over 120 works, the exhibition discovers intriguing connections between these enclaves of artists and the modernisms they represented. The art and craft of Eric Gill and David Jones in the Catholic community in Ditchling is compared with the paintings and interiors of Vanessa Bell and Duncan Grant at Charleston and the surrealist collaborations of Edward James and Salvador Dalí. The unexpected network of Serge Chermayeff,
Eric Ravilious, László Moholy-Nagy, Henry Moore and John Piper is revealed; despite sharing socialist ideas, they produced very different artistic output from striking architecture and sculpture to innovative photography and lm. Also included are the haunted watercolours of Edward Burra in Rye and the surrealist photos by Eileen Agar, Paul Nash and Lee Miller demonstrate the often tense relationship between artists and their environment.
Sussex provided the inspiration but all these artists and writers were outsiders in their new surroundings. Never settling, some brought unconventional ideas, others found nightmares in the most picturesque of scenes, but ultimately they challenged the idea of Sussex as an idyllic escape.
twotempleplace.org/exhibitions/2017-2/
See also the Press Release below:
| sussex_modernism_press_release.pdf |
The Mythic Method: Classicism in British Art, 1920-1950, Pallant House Gallery, Chichester, U.K.
22 October 2016 - 19 February 2017
A major exhibition exploring how Modern British artists drew on classical myth and ideals in a ‘return to order’ following the First World War. Featuring playful and Surreal versions of Greek myths from the 1920s and 30s by the likes of John Armstrong, William Roberts and Edward Burra; idealised depictions of stylish contemporary goddesses by Meredith Frampton, Dod Procter and Wyndham Lewis; studies for ambitious mural schemes by Vanessa Bell, Duncan Grant and Eric Ravilious; and classically inspired sculptures by Frank Dobson, Henry Moore and Glyn Philpot, the exhibition gives a fascinating new insight into how modern art met with tradition in an era of social and political change in the early 20th century.
Curated by Simon Martin, Artistic Director of Pallant House Gallery
pallant.org.uk/exhibitions/current-exhibitions/main-galleries/the-mythic-method-classicism-in-british-art/the-mythic-method-classicism-in-british-art
22 October 2016 - 19 February 2017
A major exhibition exploring how Modern British artists drew on classical myth and ideals in a ‘return to order’ following the First World War. Featuring playful and Surreal versions of Greek myths from the 1920s and 30s by the likes of John Armstrong, William Roberts and Edward Burra; idealised depictions of stylish contemporary goddesses by Meredith Frampton, Dod Procter and Wyndham Lewis; studies for ambitious mural schemes by Vanessa Bell, Duncan Grant and Eric Ravilious; and classically inspired sculptures by Frank Dobson, Henry Moore and Glyn Philpot, the exhibition gives a fascinating new insight into how modern art met with tradition in an era of social and political change in the early 20th century.
Curated by Simon Martin, Artistic Director of Pallant House Gallery
pallant.org.uk/exhibitions/current-exhibitions/main-galleries/the-mythic-method-classicism-in-british-art/the-mythic-method-classicism-in-british-art
For more information about the exhibition, see document below:
| mythic_method_pallant.pdf |
(Mametz), Aled Rhys Hughes & David Jones
2 July 2016 - 3 December, 2016, National Library of Wales, Aberystwyth, Wales
On 10 July 1916, during the Battle of Mametz, nearly 4,000 soldiers of the 38th Welsh Division were killed, wounded or declared missing. In 1937 this forest was the focus of David Jones’ experimental poem, 'In Parenthesis', an account of his own harrowing experiences in the battle.
Inspired by this important landscape in Welsh history, as well as David Jones’ seminal work, photographer Aled Rhys Hughes has tried to answer the question: does this landscape have a memory of what happened here one hundred years ago?
Items from the David Jones archive will be shown alongside these striking images of the scene, which even today, still bears the scars of battle.
www.llgc.org.uk/visit/things-to-do/exhibitions/forthcoming-exhibitions/mametz-aled-rhys-hughes-david-jones/
2 July 2016 - 3 December, 2016, National Library of Wales, Aberystwyth, Wales
On 10 July 1916, during the Battle of Mametz, nearly 4,000 soldiers of the 38th Welsh Division were killed, wounded or declared missing. In 1937 this forest was the focus of David Jones’ experimental poem, 'In Parenthesis', an account of his own harrowing experiences in the battle.
Inspired by this important landscape in Welsh history, as well as David Jones’ seminal work, photographer Aled Rhys Hughes has tried to answer the question: does this landscape have a memory of what happened here one hundred years ago?
Items from the David Jones archive will be shown alongside these striking images of the scene, which even today, still bears the scars of battle.
www.llgc.org.uk/visit/things-to-do/exhibitions/forthcoming-exhibitions/mametz-aled-rhys-hughes-david-jones/
'War's Hell!' The Battle of Mametz Wood in Art, National Museum of Wales, Cardiff
30 April - 4 September, 2016
Free Admission
2016 marks the centenary of the Battle of Mametz Wood, one of the most significant and bloody battles fought by Welsh soldiers during the First World War. Now embedded in the Welsh national identity, this battle has come to represent the bravery and sacrifice of Welsh troops in World War One. This heroic ideal was captured by the artist Christopher Williams in his painting The Welsh Division at the Battle of Mametz Wood, commissioned by David Lloyd George in 1916. The fierce fighting that took place inspired some artists and poets who were serving at Mametz such as Siegfried Sassoon, Robert Graves, David Jones and Llewelyn Wyn Griffith to share their experiences with the world. This exhibition will explore the art, poetry and writing by those who witnessed the battle first-hand and others who have since responded to it. It will also show how the battle continues to resonate with people today.
museum.wales/cardiff/whatson/8949/Wars-Hell-The-Battle-of-Mametz-Wood-in-Art/
30 April - 4 September, 2016
Free Admission
2016 marks the centenary of the Battle of Mametz Wood, one of the most significant and bloody battles fought by Welsh soldiers during the First World War. Now embedded in the Welsh national identity, this battle has come to represent the bravery and sacrifice of Welsh troops in World War One. This heroic ideal was captured by the artist Christopher Williams in his painting The Welsh Division at the Battle of Mametz Wood, commissioned by David Lloyd George in 1916. The fierce fighting that took place inspired some artists and poets who were serving at Mametz such as Siegfried Sassoon, Robert Graves, David Jones and Llewelyn Wyn Griffith to share their experiences with the world. This exhibition will explore the art, poetry and writing by those who witnessed the battle first-hand and others who have since responded to it. It will also show how the battle continues to resonate with people today.
museum.wales/cardiff/whatson/8949/Wars-Hell-The-Battle-of-Mametz-Wood-in-Art/
David Jones's Animals, Ditchling Museum of Art & Craft (Ditchling, Sussex)
24 October, 2015 - 6 March, 2016.
This exhibition is inspired by three objects from the museum’s collection which all feature animals. During Jones’ time in Ditchling he painted a mural on the kitchen wall in his cottage which remains intact to this day. While he was painting the mural he gave a watercolour study to his fiancée Petra Gill. This drawing is now in the museum collection and is exhibited in this exhibition alongside a carved wooden bear which Jones made for the son of another Guild member. Within the Guild was the St Dominic’s Press which took as its emblem the hound of St Dominic. Jones cut a woodblock of the hound for the press which was lost until earlier in the year when it was spotted in a London saleroom. As a result of the generosity of a number of the museum’s supporters and a donation from the ArtFund we were delighted to be able to purchase it and bring it home to Ditchling where it will be displayed for the first time in The Animals of David Jones.
www.ditchlingmuseumartcraft.org.uk/event/the-animals-of-david-jones-2-2/
24 October, 2015 - 6 March, 2016.
This exhibition is inspired by three objects from the museum’s collection which all feature animals. During Jones’ time in Ditchling he painted a mural on the kitchen wall in his cottage which remains intact to this day. While he was painting the mural he gave a watercolour study to his fiancée Petra Gill. This drawing is now in the museum collection and is exhibited in this exhibition alongside a carved wooden bear which Jones made for the son of another Guild member. Within the Guild was the St Dominic’s Press which took as its emblem the hound of St Dominic. Jones cut a woodblock of the hound for the press which was lost until earlier in the year when it was spotted in a London saleroom. As a result of the generosity of a number of the museum’s supporters and a donation from the ArtFund we were delighted to be able to purchase it and bring it home to Ditchling where it will be displayed for the first time in The Animals of David Jones.
www.ditchlingmuseumartcraft.org.uk/event/the-animals-of-david-jones-2-2/
David Jones: Vision and Memory, Djanogly Gallery, Lakeside Arts, (Nottingham, U.K.)
12 March - 5 June, 2016
This major exhibition has been organised to coincide with the publication of a new monograph and includes some 60 works from throughout Jones’s life in a timely reassessment of one of the most imaginative artists of his era. Exhibits range from sketches made on the Western Front to watercolours of trees, flowers and thorns, as well as drawings of Arthurian subjects and painted inscriptions. (The same exhibition from Pallant House.)
www.lakesidearts.org.uk/exhibitions/event/3037/david-jones-vision-and-memory.html
12 March - 5 June, 2016
This major exhibition has been organised to coincide with the publication of a new monograph and includes some 60 works from throughout Jones’s life in a timely reassessment of one of the most imaginative artists of his era. Exhibits range from sketches made on the Western Front to watercolours of trees, flowers and thorns, as well as drawings of Arthurian subjects and painted inscriptions. (The same exhibition from Pallant House.)
www.lakesidearts.org.uk/exhibitions/event/3037/david-jones-vision-and-memory.html
David Jones: Vision and Memory, Pallant House Gallery (Chichester, U.K.)
24 October, 2015 - 21 February, 2016.
Pallant House Gallery’s major autumn exhibition, ‘David Jones: Vision and Memory’, provides a long overdue reappraisal of one of the 20th century’s most significant British artists. David Jones is renowned for the wholly original work that he created across numerous disciplines throughout his life. A draughtsman, engraver, painter, maker of inscriptions, as well as a modernist poet revered by peers such as T.S. Eliot and W.H. Auden, David Jones was named by Kenneth Clark as ‘the most gifted of all the young British painters’ and ‘absolutely unique – a remarkable genius’.
Youtube video on the exhibition featuring Paul Hills and Ariane Banks: www.youtube.com/watch?v=4S3-s_xA8J8
Buy the Exhibition Book, The Art of David Jones, here: pallantbookshop.com/product/art-david-jones-vision-memory-hardback/
24 October, 2015 - 21 February, 2016.
Pallant House Gallery’s major autumn exhibition, ‘David Jones: Vision and Memory’, provides a long overdue reappraisal of one of the 20th century’s most significant British artists. David Jones is renowned for the wholly original work that he created across numerous disciplines throughout his life. A draughtsman, engraver, painter, maker of inscriptions, as well as a modernist poet revered by peers such as T.S. Eliot and W.H. Auden, David Jones was named by Kenneth Clark as ‘the most gifted of all the young British painters’ and ‘absolutely unique – a remarkable genius’.
Youtube video on the exhibition featuring Paul Hills and Ariane Banks: www.youtube.com/watch?v=4S3-s_xA8J8
Buy the Exhibition Book, The Art of David Jones, here: pallantbookshop.com/product/art-david-jones-vision-memory-hardback/
David Jones, Tate Britain (London, U.K.)
21 July -26 September, 1981
Exhibition Catalogue: Hills, Paul. David Jones. London: Tate Gallery, 1981.
21 July -26 September, 1981
Exhibition Catalogue: Hills, Paul. David Jones. London: Tate Gallery, 1981.
Cover Image: Page of In Parenthesis (Part VII), Early Manuscript Draft. National Library of Wales, David Jones Papers, LP1/1
The First World War Digital Archive, University of Oxford [Copyright Notice] ©
The First World War Digital Archive, University of Oxford [Copyright Notice] ©