Claire Stockings-Baker works from Krowji Studios in Redruth. She combines her painting practice with the making of organically-inspired pieces of jewellery.
The artist 'representing the first generation of colonial New Zealand artists who were to succeed as professional painters' was born at Diamond Harbour, Canterbury, New Zealand. On her family's second trip back to her father's native Scotland, she was enrolled at the Merchant Maiden School, Edinburgh, where she took art lessons (1876-9).
Returning home, she began as a foundation student at the Canterbury School of Art (CSA) in 1882. Starting as a flower painter, as many women training in art did, she became fascinated with native plants, providing her with opportunities to travel widely in 1886 and in 1891 (Chatham Islands). From 1883, she exhibited with the CSA and other New Zealand societies, winning a prize for a study of ferns in 1885. Having met the Australian flower painter, Ellis Rowan, she visited Melbourne, Australia in 1894 to hold a solo show, which was met with glowing reviews.
In 1899 she travelled back to Europe, initially studying with Louis GRIER at St Ives, where she was greatly influenced by the Newlyn school manner of working. That same year she travelled to Europe, possibly in the first instance with Norman GARSTIN. Later, in Paris, she studied under the expatriate American artist, Charles Augustus C Lasar (1856-1936) where he held his own atelier. After settling back in St Ives, she was visited by New Zealand friends Frances HODGKINS and Dorothy RICHMOND in 1902, and further extended her interest in landscape painting. Stoddart finally returned to New Zealand in 1907 and taught at the Canterbury School of Art, remaining a leading member of the arts community until her death in North Canterbury. A collection of her watercolour studies of native NZ flowers is in the Canterbury Museum, and she is represented in most major galleries there, with a large collection in McDougall. One of her titles, Old Cornish Orchard (c1902) was purchased in 2000 by the Christchurch Art Gallery Te Puna o Waiwhetu. A major retrospective, with accompanying book by Julie King, Flowers into Landscape (Christchurch: Robert McDougall Art Gallery), was held in 1997-8.
Mark Stoddart is a sculptor who was born in Nottingham. He moved to St Ives in 2007. Many of his works, particularly the larger ones, are conceived with the idea that they should also be experienced by touch. This means that anyone with visual impairment can enjoy them.
Born on 27 October 1902, London, the artist read Philosophy, Politics and Economics at Magdalen College, Oxford, 1920-3. He studied art at the Euston Road School, starting in 1936 with Victor PASMORE and mixed with Ben NICHOLSON, Barbara HEPWORTH, and Naum GABO, all of whom he later invited to Cornwall to escape the war.
His first wife was Margaret MELLIS whom he married in 1938 after meeting her painting in France. The couple moved to Carbis Bay, where they painted and ran a market garden for the war effort. After the break-up of their marriage, he married her sister Ann Mellis.
Stokes is better known as a writer on art, also a poet, and because of sharing a name with a distinguished previous artist of the St Ives Colony, is most often referred to as 'Stokes, the writer' even though both artists published books about art.
Their home at Carbis Bay, near St Ives was Little Parc Owles, 1939-46, which was sold to Peter LANYON.
Titles of paintings include Landscape, West Penwith Moor (1937) and primarily were topographical and impressionistic.
Among his published books are The Thread of Ariadne 1925, The Stones of Rimini 1934, Colour and Form 1937, Cézanne 1947, Michelangelo 1956, Greek Culture and the Ego 1961, and Painting and the Inner World 1963.
The 1891 Census lists him as Allen F G Stokes, born in Goring, Oxfordshire, and married to Charlotte V Stokes, living at The Terrace, St Ives with their daughter Murial (aged 7) in a house owned by the Berriman family. The 1901 Census lists him as head of household, married, but at that time living alone, aged 46, an Artist (Painter) living at 9 Bedford Road, St Ives. The artist worked from St Ives in 1894, but is no longer listed as a working artist in The Year's Art by 1902. From this time he appears to have concentrated on journalism, working for The Studio and other magazines and publishing companies.
In 1915, he covered the work of 'Alfred Hartley, Painter and Etcher' in The Studio (Vol 64). And in 1919, 'The Paintings of Louis Sargent' (Vol 77) in the same journal. His works of book-length which he both wrote and illustrated are listed below.
Born in Southport, Merseyside, WORMLEIGHTON writes of him as one of the 'painters of light' in his admirable study, Morning Tide. His obituary noted especially his interesting family connections, one cousin marrying into the publishing Faber family, and another who became the mother of 'Charles Reade, the novelist, one of whose stories Stokes illustrated as almost his first commission.' One brother, Sir Wilfred Scott Stokes, was the inventor of the Stokes gun, and another, Leonard Stokes, an architect, designed Chelsea Town Hall, among many ecclesiastical and public buildings. The artist and writer on Cornish subjects, Folliott STOKES was his cousin.
Adrian studied at the RA Schools(1872-75) and in Paris. In Pont Aven Stokes met (1883) and a year later married in Graz (1884) the Austrian artist Marianne PREINDLSBERGER. With her he travelled in Denmark working with the art colony at Skagen, and then returned to Paris to work with Dagnan Bouveret in 1885. He made many painting trips to France pre-1900 working in the plein air manner and developing a naturalistic style.
The couple moved to Cornwall at the suggestion of Stanhope FORBES (1886), who had made friends with him in France. First they lived at Lelant, then St Ives. In 1891, they were staying as visitors with John and Alice WESTLAKE at Tregerthen Cottage, Zennor. Being one of the first generation of St Ives painters to arrive, he achieved recognition quickly when the Chantrey Bequest purchased his Uplands and Sky in 1888, a landscape painted near St Ives. The following year he exhibited a view of St Ives harbour at the RA. The couple departed St Ives in 1898 and worked first from 6 Edwards Square Studios, Kensington in London and later other addresses, while they travelled widely, painting in France, Spain, Austria and Italy and exhibiting steadily, returning to Cornwall on occasion and for summer months.
In 1903, the Chantrey Bequest purchased a second painting, entitled Autumn in the Mountains, a landscape in the Austrian Tyrol. His book about the techniques of landscape painting, including an analysis of earlier landscape artists, Landscape Painting, was published in 1925.
Stokes was an all-round personality, and interested in fishing, hunting, sports of many kinds - he distinguished himself on the St Ives cricket team - and the couple, he and Marianne had a wide circle of friends both in Cornwall and internationally. Amongst their closest friends were those of the John Singer SARGENT circle in Europe.
Joy Sefton is a watercolourist who has lived in Porthleven since 1953. She studied at the School of Art in Colchester before travelling extensively in the Middle East, where she has held four major exhibitions. Her paintings are held in collections in the UK, USA, Hong Kong, New Zealand, Australia and South Africa.
Born in Austria, she studied art under Lindenschmidt in Munich, and won prize money there that enabled her to travel and study in France with Courtois, Colin and Dagnan-Bouveret. At the Atelier Colarossi in 1881 with Helene SCHJERFBECK, the two friends sought out the right places for 'plein air' social realism, and were attracted to Pont Aven in 1883. Marianne met Adrian STOKES there and married him the following year. Later Schjerfbeck would also follow the Stokes pair to St Ives. In 1891, while staying with the Westlakes at Tregerthen Cottage, Zennor, another guest was the great women's rights campaigner, Millicent G Fawcett, who was visiting from Aldeburgh, Suffolk.
Later, when the Stokes' moved on to London (after 1898), Marianne Stokes gave Alice WESTLAKE's London address for many years as her contact for submissions. Her portrait of John Westlake is in the National Portrait Gallery. Candlemas Day (1901) was purchased by the Chantrey Bequest for the nation in 1977. A tapestry, Honour the Women, is in Manchester. Along with Elizabeth Armstrong FORBES, Marianne Stokes was considered in the first line of women painters in England by the turn of the 19th century, and according to Sparrow 'has worked of late in that most stern and stubborn medium, tempera, and small things of hers in various exhibitions attract one always with the desire to know more of her most attractive work.'
The painting lives of Marianne and Adrian Stokes are fully explored in the 2009 publication, Utmost Fidelity, which appeared with the major retrospective of their work mounted simultaneously by Penlee House Gallery, Penzance, and the Royal Cornwall Museum, Truro in that year, within a national touring programme. Magdalen Evans, the author and a descendant of Adrian, presented an illustrated lecture on 'The Portraits of and by Marianne & Adrian Stokes' at the National Portrait Gallery in February, 2010.