An amateur painter from Penzance whose oil painting, entitled Dead Game, received the Bronze medal (Second prize) at the Cornwall Polytechnic Society's 1834 Annual Exhibition in Falmouth.
The involvement of foremost female sculptor Barbara Hepworth with West Cornwall is so well documented that it is pointless to list more than a few facts here. Her bibliography is also huge, both in terms of general reference and personal biographical documents. Her studio home and sculpture gardens in St Ives - 'Trewyn' - are part of the Tate St Ives set of museums and galleries, and as such also include a Visitor centre and bookshop. Opening times are posted on the relevant websites.
Her chief influences were said to be Picasso, Arp and Brancusi and most especially Mondrian. (Artists from Cornwall Exh Cat 1992)
Hepworth was born in Wakefield, Yorkshire and studied first at the Leeds School of Art. She was married first to the sculptor John Skeaping, and secondly in 1931 to the painter Ben NICHOLSON (dissolved 1951). She became a Dame of the British Empire in 1965. Her death in her St Ives home was due to an accidental fire.
Born at Liverpool, the artist studied at Leeds, London, Paris, Antwerp and Munich. He travelled widely, and painted not only on the European Continent, but in Egypt and Australasia, South America and Japan. He became the Director of the School of Art at Canterbury College, New Zealand before returning to the UK, where he exhibited between 1920 and 1932 from addresses in Newlyn (1920) and Wareham in Dorset (1932).
He is also referenced as holding the tenancy of 5 Piazza Studios, St Ives in the early years of WWII, because the illustrator Harry ROUNTREE took it over from him in 1942.
The son of Tom HERON, who brought his family to West Cornwall in 1925, Patrick was born in Leeds. Heron Sr had come to the South West at the invitation of Alec George WALKER to manage the business of CRYSEDE, the design and silks company based in Newlyn.
Patrick's training in art was at the Slade School in London, where his intelligence and socially-aware attitudes blossomed. He was a Conscientious Objector during WWII, and worked on the land instead. Later he returned to Cornwall and worked for Bernard LEACH at the Pottery, returning to painting full-time after the war ended.
Patrick purchased and established his permanent home just outside Zennor, Cornwall in 1955. The dramatically placed Eagle's Nest was the former home of the Andrew-Westlake family and the Arnold-Forster family, both of whom had strong ties to the arts communities in West Cornwall.
In 1978 Heron suggested a novel idea for an exhibition to his neighbour Alethea GARSTIN that a show should be arranged for the works of her father, Norman GARSTIN and her own paintings together. Michael CANNEY was willing to organise this at NAG, and the resulting show was an enormous success, reviewed widely and nationally. In his capacity as a popular art critic, Heron was known to believe that Alethea's work was 'as good as Vuillard' (p114, Hardie 1995).
Heron's work was not only as a painter and teacher of art, but also as a social and environmental campaigner, and influential art critic, both locally and nationally. His support for the Tate St Ives was influential in its establishment, and a memorial to his life and work takes the form of a wall-sized stain glass window in the vibrant colours of his pallette and to his own design. His bibliography is large, and a record of his writings is kept in WCAA files.
He died on March 20th 1999 in Zennor, and is buried in the Zennor Churchyard.
Susanna Heron was born in Welwyn Garden City, the daughter of artist Patrick HERON and his wife Delia. The family moved to Cornwall in 1955. Susanna attended Falmouth School of Art from 1967-1968, and then the Central School of Art & Design in London, graduating in 1971. Not unlike her father, she is both a multi-talented artist and writer. In 1973 her works were purchased by the Stedelijk Museum, Amsterdam. In 1977 she was awarded a United Kingdom/United States Bicentennial Arts Fellowship through the British Council which enabled her to visit the USA for one year, where she was inspired by the work of Sol LeWitt, and developed an interest in photography and performance. Susanna's first solo exhibition of sculpture took place at the Whitechapel Art Gallery in 1985. An interest in the botanical response of plants to their environment led to the publication of her book Shima: Island and Garden in 1992, illustrated with photographs of the garden at her family home, 'Eagles Nest'. In 1999 she was made an honorary Fellow of the Royal Institute of British Architects.
Commissioned work includes projects for the European Union in Brussels, the British Embassy in Dublin, the Brunswick Centre in Bloomsbury and the Metropolitan Cathedral in Liverpool.
Since 1978 the artist has lived and worked in the East End of London. She moved to her present studio in Shoreditch in 2006.
Father of Patrick HERON and friend of Alec George WALKER, who encouraged him to move from Leeds with his family in 1925 to take over the management of Cryséde, the fabric printing and dressmaking company first opened in Newlyn some years before. Heron managed the Cryséde factory on the Island in St Ives from 1926. A photograph of Heron watching Keith ROSS carving a printing block in the Crysede workshops may be found in Berriman (p52).
Herring lived at Pelican Hill, St Ives, but may well have spent part of each year in Spain, as between 1934 and 1940 her exhibits were of Spanish town and harbour scenes.
Ceramicist, originally from Germany, who ran her own studio gallery in Lamorna for some years. She learned pottery in Australia, and lived and studied in Taiwan, India, Nepal and Indonesia - but it was while on holiday in Cornwall that she found that the Cornish landscape and Raku pottery share similar characteristics of the rugged, unexpected and elemental. She never uses a wheel, hand-building every pot which is thus unique, a feature heightened by the Raku glazes she uses, with their unpredictable and individual finishes.
In later years she has turned to academic authorship in theology, primarily in the study of Hindu and Buddhist religions, and tours internationally from her dual bases in Cornwall and India, under the name of Swami Nitya.
Coming originally from Lightcliffe, Yorkshire, Hervey lived and worked mainly in Berkshire and Cornwall. From 1893 her companion was the artist Annie FALKNER, and they shared studios in both places, their St Ives base in the Piazza being used sporadically over some twenty to twenty-five years. Wood, noticing her work in only one circumstance at Smith Street (SS) in 1893-94, writes of her watercolour of Chrysanthemums and also mis-spells her name as Hervy. The best summary is found in Johnson & Greutzner.
She is listed as an exhibitor in the 1911 Show Day in St Ives. In 1918, reviewing a show of the Pastel Society, Ezra Pound remarked that Hervey "has at least tried to have a style" - which is much kinder than his comments about many of the other exhibitors. One of her main exhibiting venues was the Beaux Arts Gallery in London, but she also exhibited at the RA, the RBA and other galleries.