I bought a book called ‘Young Artists of Promise’ in a local bookshop, the author was Jack Beddington, the man famous for being Shell’s publicity director.
Beddington was a curious figure in the history of British Art; with his role at Shell Oil he commissioned a set of poster campaigns that were seen nationally in the 1930s. In doing this he presented the people of Britain with modern art, for what was likely to be the first time, this being the days when museums charged admission.
I found looking through the pages of ‘Young Artists of Promise’ there were not only artists I knew, but many others that where unknown to me. It was these ones that were rather challenging to find details on. The artists that didn’t become famous but where full of promise when at art school to me are the most interesting of all.
One of the known artists. Robert Tavener – Sea Urchins. Lithograph.
Below I have selected parts of Beddington’s introduction from the book with a few of the pictures I liked best. It’s both interesting for his loyalty to the artists he used and discovered from the 1930′s and 40′s and his view on both art and artists in the 1950′s.
“When I was first asked to compile this book, I had to allay certain pangs of conscience. I had quite recently written to the Press a letter which had been published complaining that help was needed far more for middle-aged artists, and for artists with established reputations, than for young artists. I felt that the young ones now were getting a better break than they had had for a very long time. There were a great many teaching jobs going; there were lots of little galleries where they could have shows, and there was patronage on a wider scale. The fashion had been set for helping young artists to make their name rather than for helping those who had had success before the war. So the idea of this book seemed something of a betrayal.”
Stephen Crowther – Sunday Morning, Seaton Carew. Oil.
“Before I could make up my mind what to do, I asked a number of my friends, including principals of art schools and others and, on the whole, they all thought that such a book as this might do more good than harm.
I was assured by the publishers that it would probably have considerable circulation outside this country, and that if the artists’ names and addresses were properly recorded at the end of the book, it might help them”.
A list of names, addresses and there the artists trained.
Alfred Daniels – Painted Stall, Palermo. Oil.
“There were practically no cheerful pictures except landscapes. I chose, as far as I could, pictures which I would like to have myself.”
Arlie Panting – Painted Ladies. Oil.
“This brings me to the subject of teachers in art schools. I think that I have more sympathy with them than with any other small section of the community. Their reward can only lie in the success of their pupils. There are certainly no other strong incentives. In a way, they lead dedicated lives. Thousands of young people come to be taught who have no talent at all. At the end of last year there were over 120,000 whole and part-time art students in the United Kingdom. Their teachers for the most part are teaching in order to earn a living. but the others to whom teaching is a vocation must find it, at times, intensely discouraging”.
Arthur H. Taylor – Sea Wall. Oil.
“I have never found that artists are either unpractical or difficult to get on with, or particularly dirty. Some are, but they are very rarely the best ones. If they wear beards, why shouldn’t they? If they like to have strange hats, why shouldn’t they? If you will ignore this and remember that they are probably just as intelligent and just as hard-working and just as anxious to have a happy life as you are, you will probably find them very much easier to get on with. My experience has always been that they are infinitely more adjustable than businessmen”.
The King Penguin book series were beautifully printed books. To me, they were like the Ladybird Books for adults, covering a wide range of unconnected topics and monographs.
A Prospect of Wales, illustrated by Kenneth Rowntree, 1948.
The motive for Penguin Books was to broaden its appeal to the public. While still a young company, Penguin shocked the Publishing world with paperback books for sale by known and respected authors. Before that the idea of paperback fiction was to expect an unknown author and a throw-away after use book.
The original run of penguin books were black and white inside and mostly text, with the iconic two stripe colour banding. The colour schemes included: orange and white for general fiction, green and white for crime fiction, cerise and white for travel and adventure, dark blue and white for biographies, yellow and white for miscellaneous, red and white for drama; and the rarer purple and white for essays and belles lettres and grey and white for world affairs.
D.H.Lawrence – Sons and Lovers, 1948. Original Penguin Book cover.
They were an British knock off of the Insel-Bücherei (Island Library) series published in Germany by Insel Verlag from 1912 onwards. The size of the German books with their repeated pattern book coverings was an inspiration. The head of Penguin books is quoted:
“Why, we felt, should there not be a similar series of books in this country? The experiment, started a few weeks after war broke out, turned out to be successful. One of the most distinctive features of this series is their decorative covers.” †
Friedrich Nietzsche – Poems. Insel Bucherei
“The aim of the King Penguin is different. These have not been planned to coincide with the public’s growing appreciation of art, but rather to appeal to the general liking for illustrated keepsakes of special projects.” †
The King Penguin series were also hardback books with colour lithographic illustrations, a move away from paperback and monochrome books.
British Butterflies, cover by Paxton Chadwick, 1951.
The books originally combined a classic series of colour plates with an authoritative text. The first two volumes featured sixteen plates from John Gould’s ‘The Birds of Great Britain’ (1873) with historical introduction and commentary on each plate by Phyllis Barclay-Smith, and sixteen plates from Redouté’s Roses (1817–24) with historical introduction and commentary by John Ramsbottom. The third volume began the alternative practice of colour plates from a variety of sources. There were 76 volumes of King Penguin books in total.
Where as the educated scholars writing the books were the famous people at the time, today most people hunt for the illustrators, like John Piper, Edward Bawden, Hutton Clarke, Barbara Jones and Enid Marx.
Birds of the Sea, cover designed by Enid Marx, 1945.
Popular English Art, illustrated by Clarke Hutton, 1945.
Life in an English Village, illustrated by Edward Bawden, 1949.
Flowers of the Meadow, Illustrated by Robin Tanner, 1950.
I got the train to King’s Lynn with my bike, (it’s wonderful how some of the railway companies embrace non-rush-hour cycle travel). From London it is just under two hours. The aim was to get to Babingley to see a Norfolk ruined church that John Piper painted. It is located in the middle of a field.
“Said to be the place where St Felix landed about 636 from Burgundy and thus where Christianity entered East Anglia. The present church is not older than the C14. Like so many others in this part of Norfolk, it is ruinous. The walls stand, but the roofs are gone. It was repaired in 1849 but after the mission church was build in 1880 by the main road there was no use for it.” †
Here is a quote from a book on villages about Sandringham that gives light to the problem many of the rural estate churches had in Norfolk and singles out St Felix’s.
“By the time the future Edward VII, as Prince of Wales, acquired the estate in 1862, it had fallen into ruin. Besides, like many Norfolk churches, it stood by itself among fields, the village having migrated to the main road.
‘Up to the last year of his life he was continually improving his domain, repairing churches, spending money on the place in one way or another,’ a friend remembered of Edward VII after his death in 1910.” ‡
The roof of the church has been removed and few of the other internal details remain that are not part of the structure. The windows are all empty of both glass and the masonry. The church was once one long nave but due to the dwindling congregation the centre of the church was bricked up with a window, to make it two rooms and a bell tower.
John Piper – Babingley Church, 1983.
The screen-print of the church was produced in 1983. It was printed in both colour (1983) and sepia (1984) editions. Below are more images from walking around the church.
The church today is protected by a sea of stinging nettles (urtica dioica) and many signs telling of ‘Danger’. The heras fencing over the doorways and windows with the health and safety signs make it look depressing, even in a ruin we, the public, must be protected.
Above, is an image of some of the dead creepers on the wall coming out of the window, it looks haunted, like a Rackham illustration. Below, a picture of my bike and the fields next to the church.
On cycling from St Felix’s Church I passed St Felix’s Chapel. It’s a strange building of corrugated iron and thatched roof with traditional window frames in.
“The church of St Mary and St Felix at Babingley shows that corrugated iron can also have charm. It stands on the Sandringham estate.” ‡
The cycle ride back towards Kings Lynn took me back through Castle Rising. There is a cycle path going on the edge of the village down a tree lined avenue and over a river where I saw a swan and her signets. The bridge over the river had been graffitied with the words ‘Hustlers Ambition’.
Castle Rising is a small village with the castle still, more-or-less in tact. However I didn’t have much time to see it but the photos from the village were of a rather practical war memorial in the form of a lamp post (maybe an eternal light/flame?) for the First World War. The other was an old sign post for the castle.
With some time to spare before my train home I cycled around the old docklands of King’s Lynn. It was surprising to see so many scuttled boats at low tide.
Below are some Seagull chicks with their enormous feet.
One of the roads by the docks is made up from millions of used shells from the near-by sea food factory. The image below shows how the lorries driving up and down turn the shells into a gravel.
To celebrate the connections with the local R.A.F. Marham over the last 100 years, 15 sponsored and uniquely decorated model Tornados have been positioned around the town. Below is the one outside of the station.
Norfolk by John Betjeman ≠
How did the Devil come? When first attack?
These Norfolk lanes recall lost innocence,
The years fall off and find me walking back
Dragging a stick along the wooden fence
Down this same path, where, forty years ago,
My father strolled behind me, calm and slow.
I used to fill my hands with sorrel seeds
And shower him with them from the tops of the stiles,
I used to butt my head into his tweeds
To make him hurry down those languorous miles
Of ash and alder-shaded lanes, till here
Our moorings and the masthead would appear.
There after supper lit by lantern light
Warm in the cabin I could lie secure
And hear against the polished sides at night
The lap lap lapping of the weedy Bure,
A whispering and watery Norfolk sound
Telling of all the moonlit reeds around.
How did the Devil come? When first attack?
The church is just the same, though now I know
Fowler of Louth restored it. Time, bring back
The rapturous ignorance of long ago,
The peace, before the dreadful daylight starts,
Of unkept promises and broken hearts.
† Norfolk 2: North-West and South, Part 2. p190 9780300096576
‡ Villages of Britain. 9780747588726
≠ John Betjeman’s collected poems – p210 9780719568503
The books of Ambrose Heath illustrated by Eric Ravilious or Edward Bawden are worth a lot of money in mint condition. I was thinking that it was sad that people are only collecting those books, for the illustrations, not the recipes. But also there are so many other wonderful designs of books by Heath worth buying.
Ambrose Heath – Good Dishes from Tinned Foods – Faber & Faber, 1939.
I doubt that Heath had much say or interest in who illustrated his books or how, most of it seams to be same in the hands of Faber and Faber.
Ambrose Heath
Ambrose Heath was born Francis Geoffrey Miller on the 7th February 1891 in London. He was a journalist and food writer who wrote for newspapers including The Times and The Manchester Guardian, before becoming the food writer for The Morning Post.
In 1933 he published his first book ‘Good Food: Month By Month Recipes’ (illustrated by E. Bawden). It was a success and the year later another three books and reprints came. In the 30′s he wrote over 20 books and many more for publications and companies like Aga stoves. The most expensive of the cook books is undoubtedly ‘The Country Life Cookery Book’ (illustrated by Ravilious in 1937).
Heath wrote and translated more than one hundred works on food. In his lifetime he was best known for a translation of ‘Madame Prunier’s Fish Cookery Book’ that enjoyed many reprintings. He died on the 31st May 1969 in Surrey.
Ambrose Heath – Madame Prunier’s Fish Cookery Book – Nicholson & Watson, 1938.
Below are a the beautiful covers of his other books without ER or EB. I think all the samples I have selected where published and thus designed by Faber & Faber.
Today it is hard to ignore the artist effect of Eric Ravilious, the tide of books on him alone prove his popularity. This is an article from ‘The Artist’ magazine, March, 1943. It ends with a short record of his death, some weeks before. I thought it was interesting that its intention was a review of his life and works but became an obituary.
Eric Ravilious by Richard Seddon Artists of note: Number 97. The Artist Magazine. March 1943
Eric Ravilious – The Causeway, Wiltshire Downs, 1937
Paul Nash was the first to notice the work of Eric Ravilious. This happened when Ravilious was a student of the Royal College of art under the instruction of Nash in the school of design. His wood engraving impressed Paul Nash as being worthy of special attention, and it was on the latter’s introduction that Ravilious became a member of the Society of Wood Engravers. In the society’s exhibitions Ravilious’s engravings immediately drew attention from publishers and their agents. Ravilious illustrated several books and was soon established as a book illustrator of exceptional status.
Between that time and the present he has consolidated a reputation as a leader of contemporary art; not as a leader in figurative or influential, but rather in the most academic sense, of the advancement of research and knowledge. He does not supinely follow the present tendencies and work in a certain manner merely because that manner can be accepted as the logical outcome of the particular form of art and aesthetics accepted at the moment in the country. He does not look for what is being done nowadays, in order to do likewise.
Leadership in art, as in anything else, calls for the usual hackneyed attributes: courage, self-confidence, faith in purpose, and so on. But in art, somehow, as in anything abstract, it needs enthusiasm enough to keep it up in the face of that inexplicable hostility that people show in face of anything that is ‘new.’
In feeling and temperament the work of Ravilious is very English. Ravilious, unlike so many Englishmen, does not try to paint as though he were a Frenchman. His work has its roots deeply sunk into the life and the countryside and the culture of England. His water colours are the lineal descendants of the English eighteenth century school of water colour than in its time gave England a brief reign as a country important in the world’s art, a reign that lasted until the French impressionists wrested the sceptre for France, a reign into which, it is felt, England was re-entering at the beginning of this war, through the excellence of the contemporary school of English landscape, of which Ravilious is one of the most important members.
That, because of his very full knowledge of the history and methods of English art and design, he carries on the English tradition, is apparent in his work in any of the media he employs. His wood engravings revive and extend the essential tradition of Thomas Bewick and the English eighteenth century wood engravers. In his water colours he takes up the story where Peter de Wint, Paul Sandy, John White Abbott and their contemporaries left off, and carries it a stage farther, in the life of modern knowledge. Examples of his pottery design that he carried out for Wedgwood can take their place in the Victoria & Albert Museum, among the original products of Josiah as if by hereditary right.
It is not possible to select one or two influences that can be credited with the moulding of Ravilious’s vision. After leaving school in Eastbourne, he attended Eastbourne School of Art, from where he went up to the Royal College of Art, in London. There, under principal-ship of Sir William Rothenstein, he was tutored by some of the most important contemporary artists in the country. Naturally, the powerful influences of such men must have affected his outlook; indeed, they did. In addition he received, asI have said, an exhaustively comprehensive education in art and design, from which soure he derived the solution of those problems of expression that he always seems to face with courage and solve with ingenuity.
He might easily have been tossed for ears upon a sea of conflicting influences; if so, it happened when he was at the R.C.A., and the process was completed by the time he began his career as a practising artist. At least, no indecision has ever shown itself in the work of his maturity. that he owes something, as all artists, to skilful pilotage, can be safely assumed, but that he emerged with an original style is patently a logical result of his own personal outlook.
Eric Ravilious – Design for Coronation mug for Edward VIII, 1936.
He is thirty eight, and therefore can be said to have not yet reached the peak of his artistic maturity. As regards his work, whatever the medium he invariable approaches a subject with an open mind and embodies in the work, whether it is a wood engraving, a water colour, ceramics, or fabric design, at least one idea that arises from the needs of that particular job and no other. Of course he refers in his mind as he is thinking it out not only to history but to past works of his own to help in solving the problem of the moment, but he avoids any tendency to repeat successes of the past ad nauseam, giving the same colours, the same subtleties, the same textures and so on, whether or not they are the right ones for the present job. I stress the fact that he does not walk in such a manner because very many artists, both distinguished and otherwise, do so.
Ravilious never rests on his laurels. It cannot be said about a sequence of his work as it can of the work of other artists that, having seen one, you have seen them all. Though they are all built around the personality of the artist, each of his productions is sufficient unto itself.
Eric Ravilious – Rendering Mines Safe, 1940. (Now called Dangerous Work at Low Tide)
In a Ravilious exhibition, the paintings are, in the truest sense, variations on a theme and not repetitions. It is said that there are four different ways of looking at a picture, Firstly the observer might stand away and savour the emotional content and the subject matter.Secondly, he might appreciate the purely academic appeal, such as the colour harmony and the broad lines of the composition. Thirdly he might go near the picture and closely examine the technical minutiae: the brushwork, the qualities of the surface, the interplay of ‘fat’ and ‘lean’ painting, and so on. Fourthly, he might scrutinise, analytically, the patterns achieved by the painter, by the use of his range of different ways of coving a surface and of filling in a space.
The Victorian painters appealed to the first two methods, and many contemporary schools solely to the last two. A few contemporary painters, including Eric Ravilious, appeal to all four. Ravilious particularly appeals to the last. His textures and patterns, whatever the medium, are an important feature of his work. He composes as a rule within a tight linear framework, making spaces of carefully contrasted size and shape which he fills with textures that derive partly from the intrinsic textures of the original of the subject and largely from his own fertile imagination. The settings for his landscape painting have been the Downs and coast of Sussex, and localities in Essex, Wiltshire and Wales.
Apart from his war painting he confesses to a tendency to paint in sequences: groups of broken-down tractors and old cars and buses in fields, the discarded machinery of Essex. He has painted a series of Sussex hills, a set of chalk figures (such as the Aylesbury White Horse), a set of lighthouses, rowing boats, beds, beaches and greenhouses. Ravilious was educated at Eastbourne Grammar School. He left the Royal College of Art only to return in 1929 as instructor in design, which position he filled until 1938. Whilst a student at the college he and Edward Bawden completed a well known mural decoration in the refreshment room of Morley College, which was destroyed by a bomb.
Other important mural decorations by Ravilious are those in the circular room at the L.M.S. Hotel at Morecambe and the ceiling decorations in the dining hall of the new Merchant Taylors’ School. Since 1926 he has illustrated books for the Kynoch Press, mainly by wood engravings. His engravings have also illustrated Volume I of ‘Signature’ and Gilbert White’s ‘Selborne.’ From 1937 to 1939 he designed pottery for Wedgwood. One of the best known of these designs was the Coronation Mug. His designing for glass he dismisses as a mere gesture; as a gesture it was brief, but effective.
Exhibitions of the work of Ravilious were held at the Zwemmer Gallery in 1934 and 1937, and one at Tooth’s in 1939. Three of his water colour drawings are in the Victoria & Albert Museum, and there are others in the public galleries. At the beginning of the present war he was offered and he accepted an appointment as official war artist to the Admiralty. He holds with the rank of hon. captain in the Royal Marines.
Eric Ravilious – Lewis Gunner
Since this article was written, Eric Ravilious has been posted as ‘missing’. After spending a period in Iceland, in his capacity as official war artist, he life that island by plane and has not been heard of since. Thus ends the career of a very fine artist, whose last efforts were devoted to recording events connected with the war – records which will go down to posterity, and which will keep his memory green, especially in the art world which respected him for his achievements. He was a sane progressive, sound in judgement and method.
Eric Ravilious – Convoy From Merchant Ship At Anchor, 1943
After buying the etching below and looking up the artist and location, it struck me how the uncovering and preservation of British ancient monuments in the twentieth century, together with the age of motoring bought artists to translate these places into art.
Chalk Men:
John Grigsby – Cerne Giant
Cerne Abbas is a parish just about eight miles north from Dorchester, in Dorset, England, where, as in the etching above, a human figure has been cut into the chalk hillside. The figure, generally referred to as a giant, is the outline of an ithyphallic man carrying a club in his right hand. At about 55 metres high and 51 metres wide it dominates the valley below. Above the Giant is another landmark, the Iron Age earthwork known as the “Trendle” or “Frying Pan”. The carvings are formed by outlines cut into the turf about 2ft deep, and filled with crushed chalk. The construction of the Wilmington Giant is much the same.
Eric Ravilious – Wilmington Giant, 1939.
“The Long Man of Wilmington and the very phallic Cerne Abbas Giant are of unknown age and controversy still rages over the date of the latter in particular”. †
The Ravilious painting is a watercolour using white resist makes the Giant Glow out from the paper’s natural colour, as do his cross-hatched, almost engraver brush-strokes of differing tones of colour.
Stonehenge:
Gertrude Hermes – Stonehenge, 1959.
Henry Moore – Stonehenge, 1973
Above two sculptors draw and engrave their perception of Stonehenge. Archaeologists believe Stonehenge was constructed from 3000 BC to 2000 BC. The surrounding circular earth bank and ditch, which constitute the earliest phase of the monument, have been dated to about 3100 BC. Unlike the chalk men, there have been writings of Stonehenge from most of recorded time. The earliest record of the chalk giants is from the 17th century.
Moore on Stonehenge: I began the Stonehenge series with etching in mind, but as I looked at, and drew, and thought about Stonehenge, I found that what interested me most was not its history, nor its original purpose – whether chronological or religious – or even its architectural arrangement, but its present-day appearance. I was above all excited by the monumental power and stoniness of the massive man-worked blocks and by the effect of time on them. Some 4000 years of weathering has produced an extraordinary variety of interesting textures. ‡
Avebury:
John Piper – Avebury, 1944
Paul Nash – Landscape of the Megaliths, 1937
Above are both the avenue and the stone circle of Avebury painted in different styles by both Nash and Piper. John Piper’s image was for a book on Romantic British Poetry and he is making use of limited use of colours in the printing process of the book to make the dark-to-light drama washed with umbers. Nash’s lithograph is one of his less surreal of this working time period, unlike the image below where Nash project’s his own vision for modern monoliths. They maybe hay-bails or car grills but these are, to Nash, the monoliths of today.
Paul Nash – Equivalents for the Megaliths, 1935.
With Nash it’s best to use his own words about why he came to paint ‘Equivalents for the Megaliths’
These groups (at Avebury) are impressive as forms opposed to their
surroundings both by virtue of their actual composition of lines and masses and planes, directions and volumes; and in the irrational sense, their suggestion of a super-reality. They are dramatic also, however, as symbols of their antiquity, as hallowed remnants of an almost unknown civilisation.
In designing the picture, I wished to avoid the very powerful influence of the antiquarian suggestion, and to insist only upon the dramatic qualities of a composition of shapes equivalent to the prone or upright stones simply as upright or prone, or leaning masses, grouped together in a scene of open fields and hills. – Paul Nash – Letter to Lance Sieveking. May 1937.
† The Cambridge Illustrated History of Prehistoric Art. p116 9780521454735 Paul Nash Places. 9781853320460 ‡ Henry Moore. Writings and Conversations. p299 978-0520231610
Some years ago I bought a print called ‘Harvesting’ by John Nash. Years later I would buy a book illustrated by John Nash and start to see the links.
John Nash, The Cornfield, 1918
John Nash was born in London in 1893 and is the younger brother of Paul Nash. He was a very accomplished wood engraver and lithographer and served as an official war artist in both the World Wars. On one occasion in 1917, Nash was one of eighty men ordered to cross No-Mans-Land at Marcoing near Cambrai. Of these, only Nash and eleven men returned.
From 1924 to 1929 he taught at Ruskin School of Art in Oxford, and from 1934 to 1940 taught at the Design school at the Royal College of Art. In 1951 he was elected to the Royal Academy. After the Second World War he moved to Wormingford on the Suffolk and Essex border.
Adrian Bell – Men and the Fields, 1939.
It was in a local bookshop that I found a copy of a John Nash illustrated book called ‘Men and the Fields’ by Adrian Bell. It seemed to me that the lithographic cover of the book looked like his painting ‘The Cornfields’, so simple in yellow patterns. It also has a set of coloured lithographs inside too that people have been cutting out and framing.
Inside the book there are a lot of line drawings and it’s one of them that is the curiosity. Below is the Schools Print by Nash called ‘Harvesting’. It shows a typically Suffolk scene but with an unusual amount of people in the picture compared to other paintings (normally his pictures are landscape only).
As in ‘The Cornfield’ there are the hay-bails and a beautiful landscape but here the surplus farmhands are poaching for rabbits with the dogs and a couple sit romantically waiting for the threshing machine to finish, so they can bail the corn up onto a cart.
John Nash – Harvesting, 1948
Being a large lithograph it has a beautiful texture to the printing and only a limited number of colours could be used to print it, so it becomes rather harmonic; the men’s trousers and the skyline.
But below are some of the drawings from the 1939 ‘Men and the Fields’ nine years earlier. You likely notice they are almost the studies for the schools print, the men with the dogs, the rabbit. It’s an extrapolated version that makes up the Schools print but the elements are all to be found.
John Nash’s illustration for Adrian Bell’s ‘Men and the Fields’, 1939.
Detail of above
The link is undeniable. But to go full circle, the reissue of ‘Men and the Fields’ in paperback by Little Toller books, has ‘The Cornfields’ as the cover! Ronald Blythe also inherited John Nash’s home, Bottengoms Farm in Wormingford.
Poetry London: A Bi-Monthly of Modern Verse and Criticism. This publication was founded by Tambimuttu and the first issue was dated January/February 1939. The associated publishing imprint, Editions Poetry London, formed in 1943, produced some 70 books and pamphlets, including by Keith Douglas, G. S. Fraser, Henry Miller, Vladimir Nabokov and Kathleen Raine, before being discontinued in 1951.
This is one of those publications. I have a few in my collection but this is an excellent example as the cover is a lithograph by Henry Moore and inside there a further four lithographs by Ceri Richards, not to mention the authors inside.
Ceri Richards trained at the Royal College of Art from 1924. In 1929 he married Frances Clayton, a fellow artist.
His work gradually moved towards surrealism after exposure to the work of Picasso and Kandinsky. He was also a talented musician, and music is a theme for much of his artwork. From 1959 onwards, he made prints for theCurwen Press. One of the high points of his career was the Venice Biennale of 1962, where he was a prizewinner.
