Many members of the Highgate Literary and Scientific Institution are creatively talented with the membership including both professional artists and gifted amateurs. The Members’ Art Exhibition, held every three years at Highgate Gallery, celebrates and displays this breadth of talent.
All HLSI members can submit up to three pieces of two-dimensional work, be it oils, watercolours, acrylics, textiles, prints or photographs. Selection for exhibition is made by a panel consisting this year of Simon Turner, artist and teacher at Haberdashers’ Girls’ School; Mary Shurman, doyenne of Members’ Art shows for the past twenty years; and several members of the Highgate Gallery Committee. The aim is to show the range of expertise and the highest quality of work produced by members.
The event is always popular with exhibitors and Gallery visitors alike, and is a much anticipated date in the HLSI winter programme as well as the wider social life in Highgate village. One of the exhibiting artists will be in the Gallery each day throughout the show to welcome visitors, assist with queries and introduce the work on show.
Admission is free and all work will be for sale. Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
image: Barbara Herrmann, The Edge of the Sea (Sunset) [print].
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale.
www.instagram.com/beyondthelikeness
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon. Exhibition continues until 17 March.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale.
www.instagram.com/beyondthelikeness
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon. Exhibition continues until 17 March.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Beyond the Likeness Group: Life after Life. 4-17 March 2022
Highgate Cemetery is the inspiration for thirteen artists, all trained in portraiture, who bring their own personal interpretations to paintings of some of those who are buried there. In doing so they discover the richness and diversity of their worlds and examine their legacies.
The Group explore scenarios in which different centuries come together, presenting those with contradictory and complementary attitudes. They investigate attitudes to sexual mores, the environment, different cultures, the individual, and even the Cemetery itself.
Those being featured include: Eva and Walter Neurath, founders of Thames and Hudson; Shu Pao Lim, founder of the Chinese Community Centre; William Friese-Green, inventor of the motion picture camera; David Edward Hughes, inventor of the microphone; Bert Jansch, folk/jazz guitarist; Jane Arden, film director; Mehmet Aksoy, filmmaker; Berenice Sydney, abstract artist; Elizabeth Siddall, artist and muse; Malcolm McClaren, visual artist and performer; Charles Cruft, founder of the dog show; Claudia Jones, journalist and activist; Philip Harben, first celebrity chef; Ernestine Rose, suffragist, abolitionist and free thinker, and the Lost Girls of Highgate, ten residents of a home for ‘lost women’.
With a wealth of artistic talent drawn from around the world, all of whom have very different cultural approaches to death and commemoration, Life after Life is a unique look at mortality, the march of time and the inevitability of our demise, from a unique Highgate Cemetery perspective.
The Beyond the Likeness Group consists of former and current Art Academy London students who met while studying on the Contemporary Portraiture degree course. Members – who are from four continents and have nine languages between them – are:
Norman Frost; Corrie Georgala; Alicia Griffiths; Patricia Gutierrez; Kate Linden; Constance Regardsoe; Jess Routley; Minnie Scott; Paul Starns; Ruth Swain; Susan Terrones; Richa Vora; Belinda Wrigley.
Their work has appeared in various national competitions and galleries, ranging from the Royal Portrait Society, Royal Academy Summer Exhibition, Mall Galleries, Ruth Borchard, Ashmoleum Musem, Holly Bush, London’s Newington Gallery, in the book ‘Portraits for NHS Heroes’ and in several online exhibitions. All work in this exhibition is for sale. Admission free.
To book a place for the related lecture on 1 March please visit https://hlsi.net/lectures
1 March 2022 at 6pm: Life after life: death and commemoration at Highgate Cemetery with Ian Dungavell.
Ian Dungavell is chief executive of the Friends of Highgate Cemetery Trust, the charity which runs Highgate Cemetery. An architectural historian and conservationist he has lectured widely on nineteenth-century cemeteries and Highgate in particular.
£5 (HLSI members free). Sign up online by 1.00pm on the day.
Highgate Gallery open Tues-Fri 1-5pm, Sat 11am-4pm, Sun 11am-5pm; closed Mon.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016).
Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Image: Spirit of the Valley (detail)
When A. E. Housman published ‘A Shropshire Lad’ in 1896, he was living in Highgate village on the outskirts of London, where sheep grazed the hills around Hampstead Heath and Highgate, reminding him of his youth in rural Worcestershire.
On his walks around the family home high in the hills above Bromsgrove he would have seen the changes of the seasons and the now famous ‘blue remembered hills’ in the distance, the Clee Hills, Bredon and the Malverns.
Robert Cunning’s paintings portray the beauty of the change of seasons and the wildflowers in the hay meadows that Housman loved so dearly. There is still much to celebrate in the changing light of the high hills in spite of the climate crisis and the effects of industrialised farming.
Did Housman have a premonition that the world was rapidly changing? His poems only became well known 20 years later at the outbreak of The Great War, when enlisted men and their families looked back with nostalgia to the peaceful rural England of pre-industrial times.
“Superficially the countryside appears unchanged but beneath the surface there has been a catastrophic loss of wildlife and wild places,” Robert Cunning says. “The Shropshire landscape is still beautiful, the rivers have fish and invertebrates, there are insects and birds, but they have all sadly diminished in the 30 years that I have been living here. 125 years after the publication of ‘ A Shropshire Lad ‘ (1896), we are going through an ecological crisis. These landscape paintings are both a celebration of nature and a recognition of change.”
Robert Cunning lived and taught in London for 20 years but now lives and works in Shropshire. A common thread of his paintings is that they evoke a strong sense of place, whether it is the deep rural hills of South Shropshire and the Welsh Marches, or the inner cityscapes of London and New York. His paintings observe the changing architectural spaces of our cities and the seasonal changes of the countryside.
5 April 2022, 18:00: A Shropshire Lad in Highgate. Lecture by Peter Parker, author of Housman Country: Into the Heart of England (2016). Parker discusses why A Shropshire Lad became one of the most popular books of poetry ever published and how it has influenced English culture and notions of what “England” means both here and abroad.
£5 (HLSI members free). Sign up online by 13:00 on the day. Please visit https://hlsi.net/lectures
Highgate Gallery open Tues-Fri 13:00-17:00, Sat 11:00-16:00, Sun 11:00-17:00; closed Mon. Free Exhibition continues until 7 April.
Handmade in Highgate is back on 8 – 10 April, for the Spring Fair. The Highgate Literary and Scientific Institution will feature up to 30 of the UK’s finest designers/makers and artists. As an added bonus this year the historic library will be open for a book sale on Saturday 9 April and Sunday 10 April.
The opening times will be:
Friday 8 April: 5pm – 8pm
Saturday 9 April: 10am – 6pm
Sunday 10 April: 11am – 5pm
Handmade in Highgate is back on 8 – 10 April, for the Spring Fair. The Highgate Literary and Scientific Institution will feature up to 30 of the UK’s finest designers/makers and artists. As an added bonus this year the historic library will be open for a book sale on Saturday 9 April and Sunday 10 April.
The opening times will be:
Friday 8 April: 5pm – 8pm
Saturday 9 April: 10am – 6pm
Sunday 10 April: 11am – 5pm
Handmade in Highgate is back on 8 – 10 April, for the Spring Fair. The Highgate Literary and Scientific Institution will feature up to 30 of the UK’s finest designers/makers and artists. As an added bonus this year the historic library will be open for a book sale on Saturday 9 April and Sunday 10 April.
The opening times will be:
Friday 8 April: 5pm – 8pm
Saturday 9 April: 10am – 6pm
Sunday 10 April: 11am – 5pm
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
Anthony Taylor, Girl In A Mondrian Dress
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
Anthony Taylor, Girl In A Mondrian Dress
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.
These three artists, friends since art college, share a common interest in figurative and landscape themes, their work reflecting a love of both traditional painting and its modern counterpart.
The inspiration for Ken Gallagher’s work is his family in Ireland and the moody Donegal landscape. Figures working the land or sitting at a table are familiar subjects in his drawings and heavily worked etchings. His London work is motivated by the landscape and aspects of day to day life in the city.
John Mortimer’s work is mainly concerned with the urban and rural landscape and the human figure. All his works begin with drawing directly from the subject and later he develops his ideas in his studio where the challenge is to make pictorial sense from what is essentially visual chaos. In recent years, John has worked on a series of self-portrait images, painting directly from life, a subject he first approached in his late fifties.
Anthony Taylor is strongly influenced by expressionist painting, but he has always sought an individual approach, believing that experience and observation are the bedrocks of meaningful work. He is a keen lover of the outdoors, in particular the high moorland tracts and rugged landscapes found in the North West of England. His recent landscape work, featuring old and decrepit dry-stone walls, makes a striking contrast to the paintings of the dry-stone walls – the paret seca – of Minorca, which he recorded whilst there on holiday.
About the artists: Ken Gallagher studied at Horsey College of Art and the Royal Academy Schools, London. He lives in East London, dividing his time between Ireland and England. John Mortimer studied at Accrington College, Liverpool Polytechnic Faculty of Art and Design and the Royal Academy Schools. He is based in East London. Anthony Taylor is a northern based artist who trained at Accrington College and Liverpool College of Art. He has exhibited widely throughout the North West of England having held solo shows in Liverpool, Bury, Manchester, Leeds and many other venues. His work is in both private and public collections.
For further information about any of the artists please contact Anthony Taylor anthony_taylor22@hotmail.com
Exhibition continues until 7 April.