{"id":1163,"date":"2021-09-24T09:30:55","date_gmt":"2021-09-24T09:30:55","guid":{"rendered":"https:\/\/gobetween.wpengine.com\/?p=1163"},"modified":"2021-09-21T13:54:41","modified_gmt":"2021-09-21T13:54:41","slug":"antonia-jameson-still-life-in-barbara-hepworth-and-ben-nicholson","status":"publish","type":"post","link":"https:\/\/sites.courtauld.ac.uk\/digitalmedia\/2021\/09\/24\/antonia-jameson-still-life-in-barbara-hepworth-and-ben-nicholson\/","title":{"rendered":"Antonia Jameson: Still-life in Barbara Hepworth and Ben Nicholson"},"content":{"rendered":"
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No. 7 The Mall studio, Hampstead, 1933. Photo by Paul Laib. The De Laszlo Collection of Paul Laib Negatives at The Courtauld, London.<\/figcaption><\/figure>\n
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No. 7 The Mall studio, Hampstead, 1933. Photo by Paul Laib. The De Laszlo Collection of Paul Laib Negatives at The Courtauld, London.<\/figcaption><\/figure>\n
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No. 7 The Mall studio, Hampstead, 1933. Photo by Paul Laib. The De Laszlo Collection of Paul Laib Negatives at The Courtauld, London.<\/figcaption><\/figure>\n
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No. 7 The Mall studio, Hampstead, 1933. Photo by Paul Laib. The De Laszlo Collection of Paul Laib Negatives at The Courtauld, London.<\/figcaption><\/figure>\n
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Sculpture by Barbara Hepworth. Photo by Paul Laib. The De Laszlo Collection of Paul Laib Negatives at The Courtauld, London.<\/figcaption><\/figure>\n
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No. 7 The Mall studio, Hampstead, 1933. Photo by Paul Laib. The De Laszlo Collection of Paul Laib Negatives at The Courtauld, London.<\/figcaption><\/figure>\n

The topic of still-life carries a lot of art historical baggage. Immediately, for me, the baroque, commercial, and kitsch come to mind. But as art critic Herbert Furst argues, still life is often overlooked as a dull subject when it can be an \u201caesthetic laboratory\u201d through which artists play around with analogy, line and colour (Tobin, 2020). Even now, contemporary art often relies on the everyday to evoke a feeling of relatability between artist\u2019s work and audience.<\/p>\n

Ben Nicholson is an excellent example of a modernist painter who conveyed his ideas through the subject of still life. He believed that living and painting must be \u201cone thing\u201d (Tobin, 2020). When I was looking through some of the photographs in the Courtauld\u2019s Conway Library, Paul Laib<\/a>\u2019s series from the De Laszlo Collection documenting Nicholson\u2019s arrangements of his and Barbara Hepworth\u2019s work stood out, because there is a total lack of hierarchy between the artworks (whether it is Hepworth\u2019s sculpture or Nicholson\u2019s painting) and the collection of objects that surround them. These compositions are conversations. Nicholson interprets three-dimensional space into the frame of a two-dimensional painting, and then reintroduces these paintings back into a live space through his juxtaposition of everyday objects. Still-life can be approached in this way as an installation. The art collector and artist HS Jim Ede<\/a>, a good friend of Nicholson\u2019s, embodied this way of thinking with his house Kettle\u2019s Yard<\/a>, in Cambridge. He kept his painting collection surrounded by objects and colours that related to them, allowing a dialogue to form between art and life. His house is maintained as he arranged it and is now a museum. Interestingly, he published a book entitled A Way of Life: Kettle\u2019s Yard<\/em>, which contained photographs, poetry, and prose (Ede, 1984). While exploring each of Laib\u2019s photographs, I could not help but list each object I found and identified. I view these lists as poems that say a lot about the accompanying image. They both indicate an order of noticeability but also highlight how seemingly random the objects are, without the distraction of Nicholson and Hepworth\u2019s skilful visual arrangements. They expose the images in a way that feels more stripped down and obvious than any photograph could. Parallels can be drawn between Ede\u2019s book, and its use of poetry and visual analysis.<\/p>\n

It could be important to understand the relationship between Nicholson and Hepworth when looking at these still-life arrangements. They were both already married when they met in 1931, but they fell in love and remarried in 1938 after having triplets in 1934 (Chow, 2015). And so, they were both artistic collaborators and lovers. Hepworth was concerned with landscape, and it could be argued that her presence in Nicholson\u2019s life shifted his focus to still-life with the inclusion of landscape, for example on a windowsill. Nicholson\u2019s first wife, Winifred, also had a lasting impact on his use of colour beyond just the descriptive, as she was also a painter of still-lifes. I believe that the spaces (both physical and mental) in which we create things are inextricably enmeshed with the things we create. The effect of relationships and conversations among artists should not be undermined; one reason why art schools are such ripe grounds for exploration and discovery. It is noteworthy that Nicholson\u2019s father, William Nicholson, was a painter, and Nicholson often claimed that his father\u2019s collection of beautiful objects had an everlasting influence on his own artistic practice. His daughter with Hepworth, Rachel Nicholson, is a painter of still lifes too. And so, this love of object and painting has been handed down from generation to generation.<\/p>\n

As a fine artist pursuing curating, I have loved arranging my own studio and drawings in this way with the intention of reworking the photos I take back into painting and then arranging them again. This loop of visual information and contextualisation could be endlessly fruitful. Do we consider Laib\u2019s photographs as documentation or creation of new work? We could speculate the extent to which he had artistic freedom to choose what was included and left out of the frame. I gained a newfound respect for this process, as my first few attempts failed rather gloriously. Nicholson and Hepworth were clearly thinking carefully about line and contrast in their arrangements, which I found was only obvious once contained within a photo. This led to a process of trial and error as I attempted to emulate the entrancing compositions visible in Laib\u2019s photographs. I worked with line drawings I had made from these photographs. For the sake of time and resources I used digital photography but decided to edit them as if they were glass plate negatives, then made a still life painting while thinking about Nicholson\u2019s work. His use of colour and straight lines were very different from my usual painting practice which proved itself to be a challenge. But as a process it made me analyse my working space and consider visual elements (like the transparency of paint) that I might usually overlook.<\/p>\n

To conclude, there is a lot to be discovered within these collaborations between Laib, Hepworth and Nicholson. I encourage you to sit for a while and take them in; each photo contains so much materiality both within the objects in Hepworth and Nicholson\u2019s artwork but also as photographic objects themselves. Small signs of wear in fingerprints, creases and traces of editing remind us that they have a living past beyond being part of The Courtauld\u2019s collection. There is materiality integral to the objects that surround the works of art which is heightened by the material nature of the photographs themselves. Laib\u2019s documentation of these arrangements has not only sustained their existence but brought them into a new realm; they exist as artistic photographs in their own right.<\/p>\n

 <\/p>\n

Bibliography<\/p>\n

Tobin C (2020) Modernism and Still Life: Artists, Writers, Dancers<\/em>. Critical Studies in Modernist Culture, Edinburgh, pp. 125-131.<\/p>\n

Ede HS (1984) A Way of Life: Kettle’s Yard<\/em>. Cambridge: Cambridge UP.<\/p>\n

Chow A (2015) The personal and professional life of Barbara Hepworth<\/em>. Available at: https:\/\/blog.nationalarchives.gov.uk\/archives-behind-artist-barbara-hepworth-work\/<\/a><\/p>\n

Ben Nicholson: From the Studio (<\/em>2021) exhibition. Available at: https:\/\/pallant.org.uk\/whats-on\/ben-nicholson-from-the-studio\/<\/a><\/p>\n

With thanks to Louise Weller and Tom Bilson.<\/p>\n

\"\"<\/a>
Image courtesy of Antonia Jameson.<\/figcaption><\/figure>\n
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Image courtesy of Antonia Jameson.<\/figcaption><\/figure>\n
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Image courtesy of Antonia Jameson.<\/figcaption><\/figure>\n
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1943-45 (St Ives, Cornwall), Ben Nicholson OM (1943\u20135).<\/a> Oil paint and graphite on canvas, 16 x 20 inches. \u00a9 Angela Verren Taunt 2018. All rights reserved, DACS.<\/figcaption><\/figure>\n
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Still life (starfish), Antonia Jameson (2021). Acrylic on canvas board, 10 x 8 inches.<\/figcaption><\/figure>\n
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Image courtesy of Antonia Jameson.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

The topic of still-life carries a lot of art historical baggage. Immediately, for me, the baroque, commercial, and kitsch come to mind. But as art critic Herbert Furst argues, still life is often overlooked as a dull subject when it can be an \u201caesthetic laboratory\u201d through which artists play around with analogy, line and colour…<\/p>\n

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