Frank BRAMLEY

Frank BRAMLEY ARA, RA
1857
1915

Born on 6 May 1857 in Sibsey, nr Boston, Lincolnshire (GRO), he studied at the Lincoln School of Art and Antwerp Academy, and spent a year in Venice before arriving in Newlyn during the winter of 1884.  He was considered to be a leading figure of  the Newlyn School along with Stanhope FORBES and Walter LANGLEY. Though he was a founder of New English Art Club, he resigned in 1890 following a scathing attack on his work by Walter Richard SICKERT.

Before marriage (1891), his home and studio were at the corner of the Rue des Beaux Arts in Newlyn. In 1886 he produced Domino using the square brush technique. This painting was Bramley's only exhibit at the Dowdeswell Exhibition of 1890, and regarded as the first substantial interior scene by a Newlyn artist. His work is know for its social realism, which Wood described as that 'of Courbet and Millet, combined with the plein air landscape of the Barbizon painters.'

From 1893-97 the Bramleys lived at Orchard Cottage (then Belle Vue Cottage), and then in 1889 at Belle Vue House. In 1895, he served on the provisional committee of artists supporting the Passmore Edwards Art Gallery at Newlyn, and in the Opening Exhibition exhibited three pieces, the sketch for his large painting Saved being purchased by Elizabeth FORBES.

The couple then moved to Droitwich that same year (1895) and on to Grasmere in 1900, spending the last years of their lives in London. His major painting A Hopeless Dawn was purchased for the nation by the Chantrey Bequest. He died on 10 August, 1915, age 58, at Chalford, near Stroud, Gloucestershire (GRO). Phryne comments that Bramley was 'Newlyn School's answer to Moore and Whistler'. His colour harmonies and adroit arrangements reflect the Cornish ambience strongly.

media

Painter of portraits and genre, and flowers, mostly in oils

 

works and access

His titles include: The Italian Boy (1883); Neapolitan Fisher Boy (1883); For of Such is the Kingdom of Heaven (1891); Old Memories (1892); After Fifty Years (1893); Weaving a Chain of Grief (1887);

Access: Cork; NPG; RA; Tate;// USH, Auckland, New Zealand; South African National Gallery, Cape Town

In Cornwall: Penlee House (The White Pinny, a study); RCM, Truro (The Truce)

memberships

ARA 1894

RA 1911 (Elected 4 May)

NEAC Founder member

misc further info

 

references

Bednar Every Corner was a Picture

Benezit

Chantrey Bequest list

Chester, Austin (1908) 'The art of Frank Bramley' The Windsor Magazine XXVlll June-November 1908 pp 612-628.

Cross (1994) The Shining Sands (illus); 

Green (1994) Artists at Home

Hardie (1995) 100 Years in Newlyn: Diary of a Gallery

Hardie (2009) Artists in Newlyn and West Cornwall (Col pl: Eyes and no eyes; full Bibl)

Johnson & Greutzner (1975) Dictionary of British Artists

Langley (1997) Walter Langley, Pioneer of the Newlyn Art Colony;  

MacDonald J J Passmore Edwards Institutions

Mallett’s Index

NAG Loan (1958) Exhibition catalogue

NAG sales records

Newton et al (2005) Painting at the Edge

Notts Exhibition catalogue; 

Stevens et al The Edwardians and After RA Exhibition catalogue (Col pl: Confidences)

The Studio (Ill)

Rezelman (PhD 1984) The Newlyn Artists and their Place in Late-Victorian Art

Richards ‘Newlyn as a Sketching Ground’ Studio (1895 p180)

Wallace (2002) Under the Open Sky

Wood (1995) Victorian Painters Vol 1: Text, Vol 2 (b&w plate A Hopeless Dawn)

Personal bibliography:

Chambers (1999) The Auckland Bramley;

Hamerton (Apr 1894) ‘Old Memories, painted by Frank Bramley, ARA’ Scribner’s Magazine 15 (pp 423-25)

Hiatt (1903) ‘Mr Frank Bramley ARA, and His Work’ Magazine of Art (p54-9 (Reprinted pp 83-5 in Hardie 2009)