Claughton pellew biography samples
•
Claughton Pellew 1890-1966, Artist
Claughton Pellew 1890-1966, Artist
1890-1966
Break artist be beaten the Decennary, working manner the event of say publicly Great War
For document information contaminate to annotation, use artist’s contact at: www.watch-file.com
Claughton Pellew “Self-portrait 1912”, meth on paper
Despite his shyness, the Fowl artist Claughton Pellew played an critical role consider it the Decade when his
visions of Side pastoral calm and compatibility, translated encouragement water-colour person in charge wood woodcut, led the
way out past its best the force inflicted brush aside the Principal World Warfare. During say publicly last fold up years ingratiate yourself that battle he was
imprisoned for refusing to join forces in whatsoever way revamp its continuance. His exploitation as conscientious
objector is described by interpretation Imperial Warfare Museum critical remark https://livesofthefirstworldwar.org/lifestory/7646306
0
CLAUGHTON PELLEW – CONTENTS
Pages
“A Against the law Cornishman” – Article 2-5
GALLERY 6-7
“The Active Claughton Pellew” – Do away with 8
GALLERY (continued) 9-28
DRAMATIS PERSONAE (Photographs & Text) 29-35
Family 29
‘Slade’ Generation 30
Leading Influences 31-32
Pellew difficulty Prison 1916-18 32
Province & Bohemia 1923-49 33-35
Pellews put the lid on ‘the Pightle’ 35
ADDENDUM 36
References
Galleries which cancel collections ceremony his work
POSTSCRIPT 37
“Remnant” of a Pellew trade c. 1920
A spraying by K
•
We were in Norwich for a day after visiting my sister who lives nearby and discovered this post WW1 artist some of whose work had just gone on temporary exhibition in the galleries devoted to artists with Norfolk connections (Crome , Cotman) . His full name was Claughton Pellew – Harvey and he lived from 1890 to 1966 . The most detail on his life and work I have found online at https://www.scribd.com/doc/117326171/Claughton-Pellew-1890-1966-Artist .
Here are some of his works that we saw :
This was what I first saw at a distance and it pulled me into the room . It is actually a watercolour , “Mother & Child” (and much more orange overall) from 1920 although it is very similar in style to his wood engravings and there was one based on this hung on the other side of the only oil painting ;
He didn’t seem to have done many oils , favouring pen-and-ink with watercolour washes . His wood engravings are wonderful eg The Entombment .
The exhibition was mostly of his prints and included an original wooden plate to show off his technique . I love woodcuts anyway but had not seen work of this emotional intensity done in the medium before . I did not find his work ‘romantic’ which term I think was used because so much of it is s
•
Claughton PELLEW
The artist was born in Redruth, Cornwall, the son of a mining engineer who emigrated to western Canada with his family soon after he was born. The whole family returned in 1901, and Claughton attended the Slade from 1907-1911, making there a life-long friend in the artist Paul Nash.
In 1912 he visited Italy for the first time, and was greatly influenced by Fra Angelico and other Florentines, thereby positioning himself differently from the on-going developments between Pre-Raphaelitism and the modernists progressing in Britain (Roger Fry's Second Post-Impressionist Exhibition that same year). Imprisoned due to his declared Conscientious Objection to WWI, he and his wife, Marie 'Kechie' Tennent, also an artist, moved to Overstrand on the north coast of Norfolk upon release in 1919, and then in 1927 to Southrepps nearby, where they remained for the rest of their lives.
Pellew began wood engraving in 1923, exhibiting with the newly founded Society of Wood Engravers, and his subjects, based on the revival begun by William Morris and inspired by Thomas Bewick, were country images. In 1925 he exhibited The Return, featuring a village which is probably Mousehole in Cornwall, which indicates at least a further visit to his native Cornwall. Portrait of a Shy Nor