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.
The Merry Mug Quiz returns
Tuesday 17th May 7.40 for 8.00 pm.
HLSI 11 South Grove N6 6BS
Entrance free. Booking not necessary.
After a gap of two years due to the pandemic, the annual battle of wits between the Highgate Society and HLSI returns, compered by John Plews. For a full description see the Spring 2022 issue of Buzz.
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.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
There will be dozens of colourful stalls lining the Square and South Grove selling an
exciting range of world food, crafts, plants, books and clothes. The vast majority of
stalls are run by local charities, societies and businesses and The Fair gives them an
ideal showcase to the thousands of visitors who typically flock to Highgate on the
day. Visitor feedback reveals many people value the opportunity to explore the
range of local activities to get involved in – from volunteering to the arts, beekeeping,
horticulture or sports.
Christina Eberhart: Do you Hear the Flowers Sing?
1-14 July 2022
The title of Christina Eberhart’s exhibition ‘Do you hear the flowers sing?’ is a reference to the work of Anthropologist Natasha Myers, whose study of our interconnectedness with nature has inspired the artist. Plants have an agency and a unique intelligence which needs to be acknowledged.
‘The recognition that plants are breathing us into being, that their exhaling is the possibility of our inhale’ – Natasha Myers
The exhibition includes paintings, drawings, prints and cyanotypes.
The paintings are playful celebrations of colour and shape, and a sensory response to the exuberance found in plant life. Christina Eberhart is exploring and experimenting with how to show nature in art. She invents or paints from memory, then simplifies and refines the imagery, so that the paintings sit at the intersection between representation and abstraction. The intention is to provide a liminal space, with scope for the viewer to respond to them in their own personal way.
Plants and trees are an absolute necessity and integral to our lives and Christina explores and examines our relationship to them. Recent science is making astonishing discoveries about the behaviour of plants: their ability to communicate and procreate while rooted to the spot is helped by their unique sensory faculties and strategic choices of colour, light and environment.
For the works on paper, Christina applies a range of methods and processes that lend themselves particularly well to responding and capturing different types of phenomena and natural elemental influences. She works with plant dyes on textiles, and with an early photographic method called cyanotype.
The artist finds cyanotypes endlessly fascinating because the outcome depends directly on light and water. She will be showing several in the exhibition, and offering a workshop on the subject during the show for those who are interested in making their own.
Included in the exhibition is a series of paintings and drawings depicting crows and ravens, which add an element of ancient naturistic symbolism to the show. In the world of mythology and augury there are countless interpretations pertaining to these clever birds, from foretelling death and renewal to a change in circumstances. Hence they are apt symbols for the challenging times we live in.
Christina Eberhart is an artist living and working in London. She trained at Central St. Martins (2001) and her work has been included in numerous shows in London and abroad and is enjoyed by private collectors.
Drop-in Cyanotype workshop Sunday 10 July during Gallery opening hours.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Tina Leslie – London Dreams – 10-23 June 2022
These oil and mixed-media paintings from London-based artist Tina Leslie speak to each other in their contrasts, both in theme, between city and countryside, and in style, between representative and abstract. The cityscapes capture atmospheric light and show familiar landmarks from unexpected vantage points, while the paintings in the Nature’s Threads series have a viewpoint that is up close, in the tangle of nature itself.
Christina Eberhart: Do you Hear the Flowers Sing?
1-14 July 2022
The title of Christina Eberhart’s exhibition ‘Do you hear the flowers sing?’ is a reference to the work of Anthropologist Natasha Myers, whose study of our interconnectedness with nature has inspired the artist. Plants have an agency and a unique intelligence which needs to be acknowledged.
‘The recognition that plants are breathing us into being, that their exhaling is the possibility of our inhale’ – Natasha Myers
The exhibition includes paintings, drawings, prints and cyanotypes.
The paintings are playful celebrations of colour and shape, and a sensory response to the exuberance found in plant life. Christina Eberhart is exploring and experimenting with how to show nature in art. She invents or paints from memory, then simplifies and refines the imagery, so that the paintings sit at the intersection between representation and abstraction. The intention is to provide a liminal space, with scope for the viewer to respond to them in their own personal way.
Plants and trees are an absolute necessity and integral to our lives and Christina explores and examines our relationship to them. Recent science is making astonishing discoveries about the behaviour of plants: their ability to communicate and procreate while rooted to the spot is helped by their unique sensory faculties and strategic choices of colour, light and environment.
For the works on paper, Christina applies a range of methods and processes that lend themselves particularly well to responding and capturing different types of phenomena and natural elemental influences. She works with plant dyes on textiles, and with an early photographic method called cyanotype.
The artist finds cyanotypes endlessly fascinating because the outcome depends directly on light and water. She will be showing several in the exhibition, and offering a workshop on the subject during the show for those who are interested in making their own.
Included in the exhibition is a series of paintings and drawings depicting crows and ravens, which add an element of ancient naturistic symbolism to the show. In the world of mythology and augury there are countless interpretations pertaining to these clever birds, from foretelling death and renewal to a change in circumstances. Hence they are apt symbols for the challenging times we live in.
Christina Eberhart is an artist living and working in London. She trained at Central St. Martins (2001) and her work has been included in numerous shows in London and abroad and is enjoyed by private collectors.
Drop-in Cyanotype workshop Sunday 10 July during Gallery opening hours.