The Life of Alfred Wallis


Book Description

This is the story of Cornish fisherman-turned-artist Alfred Wallis, whose paintings of boats from his past inspired the future of British modern art. Told from Wallis' perspective - inspired by his crudely written letters to Jim Ede - this book takes the reader through his remarkable life; his early sailing days, his late arrival to painting, his encounters with 'proper' artists and his battle with mental health. Wallis' naïve yet poignant work has captured the imagination of many. His paintings are a portal into Wallis' world of ships, boats and the sea; and his deep concern for preserving 'what used to be'.




Alfred Wallis


Book Description

Wallis was a semi-literate Cornish fisherman, a little mentally unbalanced and largely deaf, who took up painting at the age of seventy, never having received any tuition. He painted largely out of loneliness, selling his pictures for a few pence to anyone who wanted them. He died in a workhouse above Penzance at the age of eighty-seven. Wallis used to paint old scraps of cardboard, most of them oddly shaped and supplied by the local grocer. He insisted on using ship s paint, a medium which he understood, and he employed very few colours. His subject was usually the sea and boats - scenes he had known during his early days as an Atlantic seaman and offshore fisherman. Painting was for him a dip into the memories of the past. Despite his lack of training, during his lifetime Wallis had a few distinguished patrons, for the most part artists, scholars and museum officials, among whom were Ben Nicholson, Barbara Hepworth and H. S. Ede (then at the Tate Gallery)."




The Alfred Wallis Factor


Book Description

Since his death in 1942, St Ives has become marinated in the spirit of the naive painter, Alfred Wallis. Naum Gabo, the Russian Constructivist, felt that Wallis's gift as an artist was that he never knew he was one. His unconventional approach and the innocence of his personal method of making art marked Alfred Wallis, even after his death, as a crucial figure in the modernist movement. The art scene in St Ives during World War II is depicted vividly in The Alfred Wallis Factor which illustrates the birth of modernism in the small fishing port in the far south-west of England. With dominant personalities like Sven Berlin, Ben Nicholson, Barbara Hepworth, Adrian Stokes, Bernard Leach, Terry Frost, Peter Lanyon, Wilhelmina Barns-Graham and Patrick Heron, it was inevitable that personal relationships would both form and fracture. Though causes would range from the banal to the bizarre, David Wilkinson never loses focus on the high stakes for which these characters were playing: the creation of their work, and reputations, of lasting significance. Their passion was strong and their ambition even stronger. The Alfred Wallis Factor tells the story of this extraordinary painter's long-lasting influence on - and beyond - modernism: David Wilkinson expounds the events around and following the artist's death, assessing the roles of friends and rivals in making Alfred Wallis a benchmark of modern British art. The Alfred Wallis Factor is a comprehensive examination of a troubled era, in which life met war and changed the destiny of the art world.




The Voyages Of Alfred Wallis


Book Description

Alfred Wallis was born in 1855 and died in a workhouse in Cornwall in 1942. A fisherman, sailing from Newlyn, Mousehole and St Ives, he began to paint in the 1920s - strange, brilliant pictures of ships and the sea. In 1928 he was discovered in St Ives by Ben Nicholson and Christopher Wood and for the rest of his life, alone in his tiny cottage, attacked by periods of madness, he painted furiously. In MATISSE'S WAR, Peter Everett explored the psyche of one of the most celebrated painters of our age. Here he performs a similar feat for another artist, one who knew no fame in his lifetime but whose paintings have found vast popularity since his death.







First Steps in Egyptian


Book Description







Artistry of the Mentally Ill


Book Description

No one is more conscious of the faults of this work than the author. Therefore some self -criticism should be woven into this foreward. There are two possible methodologically pure solutions to this book's theme: a de scriptive catalog of the pictures couched in the language of natural science and accom panied by a clinical and psychopathological description of the patients, or a completely metaphysically based investigation of the process of pictorial composition. According to the latter, these unusual works, explained psychologically, and the exceptional circum stances on which they are based would be integrated as a playful variation of human expression into a total picture of the ego under the concept of an inborn creative urge, behind which we would then only have to discover a universal need for expression as an instinctive foundation. In brief, such an investigation would remain in the realm of phenomenologically observed existential forms, completely independent of psychiatry and aesthetics. The compromise between these two pure solutions must necessarily be piecework and must constantly defend itself against the dangers of fragmentation. We are in danger of being satisfied with pure description, the novelistic expansion of details and questions of principle; pitfalls would be very easy to avoid if we had the use of a clearly outlined method. But the problems of a new, or at least never seriously worked, field defy the methodology of every established subject.




Ben Nicholson


Book Description




Self-Taught and Outsider Art


Book Description

A collection of self-taught and outsider art with a European representation of artists.