Me Then Now Process

I began at M. Cezanne, such vitality. http://www.nationalgallery.org.uk/paintings/paul-cezanne-landscape-with-poplars I picture him restless behind the walls of that big house, outside his brush dashes across the canvas, evidence of the palette knife, just enough to know it is a roof. And in this http://www.nationalgallery.org.uk/paintings/paul-cezanne-the-avenue-at-the-jas-de-bouffan I find comfort as this quick study exhibits a similar degree of patience as my own work. The effect is admirable, engaging. It is not necessary to do more, it can be a mistake to do too much. But, oh, the confidence.

Next M. Corot. http://www.nationalgallery.org.uk/paintings/jean-baptiste-camille-corot-the-four-times-of-day-noon He laid in a large area of an umber to give the darks of the tree, in some places thinly washed across to tone down the canvas. The sky descends from rich blue heavens to white horizon. Over the top comes green for trees, deep, dark green mostly over umber and generally covering. Little highlight. At the foot a man with a red hat, for scale, and scattered nearby red for flowers, from the love of painting. The trunks ascend, some outlined and infilled, some of these worked, though deftly, not necessarily carefully, and not laboriously, others just line. The top of the painting is just colour, dark, flat colour, the bottom has more time spent on it bit is still just dark flat colour. He was the first and his influence is great extending even to my own Mr Alfred East.

Onward to Mr Constable, it seemed right. That, no that, no this, http://www.nationalgallery.org.uk/paintings/john-constable-the-cornfield . I’ve studied sketches for this work elsewhere and it has a wonderful informality. The far fields put in with a green tone then overpainted dry with a white-green. And yet the detail of the Church tower does not jar though clearly carefully put in.

And then pausing at Mr Gainsborough we have clearly stepped to a different school, http://www.nationalgallery.org.uk/paintings/thomas-gainsborough-cornard-wood-near-sudbury-suffolk that owes a good deal to the Dutch painters of a century earlier.

And then to Salvator Rosa, whose virtues are so enthusiastically extolled by Mr Joshua Gilbert, bridging between Titian and the Dutch. And for all its claim to mythology http://www.nationalgallery.org.uk/paintings/salvator-rosa-landscape-with-mercury-and-the-dishonest-woodman is a study of a tree.

Before leaving I must see Rubens, http://www.nationalgallery.org.uk/paintings/peter-paul-rubens-a-view-of-het-steen-in-the-early-morning his country house. There is so very much happening from the undergrowth to the fields of the middle ground, and there, beyond, dots of dark green on lighter green effortlessly give trees in field boundaries. And in the foreground the horse once painted repainted and the uncertain suggstion of a cart wheel, perhaps in motion, in carriage of goods and chattels.

It is almost too much, so wonderful is the Nationl Gallery and then as I make my way out I am diverted to http://www.nationalgallery.org.uk/paintings/piero-della-francesca-the-baptism-of-christ for the landscape in these Cinquecento works has drawn my attention since reading Mr Gilbert already mentioned. There is an entire world happening in these lands depicted, and usually in service of the narrative. Accuracy of depiction does not mean topographic study in these evocative works.

And so with a brief pause at http://www.nationalgallery.org.uk/paintings/filippino-lippi-the-virgin-and-child-with-saints-jerome-and-dominic I make my way out satiated and stimulated, and comforted. What a treasure is the National Gallery for the student of painting. The great masters inspire and inform, their techniques discernible to the patient eye and their effects uplifting on a Friday evening.

I hope too I was able to deliver some nice pictures to the other visitors as I made my way through, the painter of 19o4. I travelled through 400 years of lanscape painting, and the gallery became the site of contemporary performance practise.

To have an English language for English churches is the aspiration. Perhaps out of habit the most common language employed for new churches in the 19^th Century was based on Gothic. As an English style, particularly the Perpendicular Gothic, it was suited to the English Church. Of a later language the architecture of the Renaissance had closer association with the Roman church, both sharing roots in antiquity, though the scientific mind behind the great Anglican Cathedral of the Renaissance developed an English classicism as the most appropriate architectural language for the 17^th Century replacement of the Gothic St. Paul’s.

Widespread church building through the 19^th Century included the Catholic churches of Pugin who found the Gothic the most appropriate language. Both Anglican and Catholic lay claim to the Gothic. The later 19^th Century saw refinement and development of the Gothic language and in contrast to it the development of the Free Style arising from the Arts and Crafts Movement.

But what of the planning? What of context? A different language for the city and the country? The scale? The budget? Or even the purpose? Is the Church to reflect its congregation?

Absolutes are hard to establish, there needs to be instead a rule-of-thumb, some guideline to serve as a point of departure for the process and expression.

To take the Gothic, considered an English architecture though its great age was when the Church was the Roman church. So perhaps instead one should look for historical precedent in the years following the break with Rome. But the later Tudor and subsequent Early Renaissance are more characterised by domestic architecture than Ecclesiastical. It is with Wren’s City Churches following the Great Fire of London of 1666 (http://maps.google.co.uk/maps/ms?ie=UTF8&oe=UTF8&msa=0&msid=115784177921406587387.0004676262a9f91faf177 ) that a concerted effort is made toward developing a style for the English Church. But the hand of Wren and those of his office was strongly influenced by continental classicism and the hand of Inigo Jones as well as responding to small budgets and periodic difficulties in sourcing materials.

Where some stand tall in Portland stone some are of red brick, a material that is reminiscent of Tudor building and as English as York and Lancaster. St Benet Paul’s Wharf (http://www.imagesofengland.org.uk/Details/Default.aspx?id=199790 ) employs red brick articulated with stone dressings. There is no trace of the Gothic, instead an understated Italianate tower and round arched window heads. Internally the nave is a barrel vault articulated with plasterwork while the side aisles are minimally articulated ribs at the gallery level. The detailing is a language of restrained classicism. Nearby is St Andrew by the Wardrobe (http://www.standrewbythewardrobe.net/history/ ) in a similar language though of a more opulent interior. Both owe a good deal to Wren’s acquaintance with the Italian Renaissance classicism but the language is more austere, however there is a richness. It is found in the carving of plaster and wood focused at altar and screen with some limited ornamentation to panelling. There is painting and gilding and some limited use of rich materials. The light coming in through mostly clear glass in large windows falling onto walls and ceilings painted white with oak panelling fills and is somehow subdued. The effect is of a restrained intensity of feeling.

The Arts and Crafts principle of sincerity of craftsmanship can find expression in the building of a place of worship but is more suited to a rural location such as All Saints Church Brockhampton (http://www.brockhampton.com/church.htm ) designed by Mr Lethaby and assisted by Mr Wells with local craftsmen. It is subdued, of its place and of itself and inside elegant, uplifting and comforting. A town location would require language for a place of worship on a busy commercial street. Is there some scope in the Free Style to meet this need that coupled with the interior feeling of Wren can serve?