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.
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
(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.
'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.
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/
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.)
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’.