Les Andeleys Sir Claude Francis Barry.
Les Andeleys Sir Claude Francis Barry.

"Les Andeleys" Sir Claude Francis Barry.

1883 to 1970 British

Offered by Mitchell Studio Gallery

£16,350 gbp
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Framed oil painting on board in a Classic light Paris finished frame made in the Mitchell Studio Gallery Classic frame studio.
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The artist studio
Details
Sir Claude Francis BARRY RBA Details
Gender:
Male
Media:
Painter of landscapes in oils; printmaker and etcher, aquatints
References:
Benezit;
Crespon-Halotier;
Buckman (2006) Dictionary of Artists in Britain since 1945;
Green (2002) Posing the Model;
Johnson & Gruetzner (1975) Dictionary of British Artists;
The Grand Fleet by Searchlight (c1919) in Naval and Military Record, Feb 1920;
Public Catalogue Foundation (2007) Cornwall & Isles of Scilly: Oil Paintings in Public Collections;
Tovey (2000) GF Bradshaw & STISA (Appendix 3: Principal Members of STISA 1927-1960); (2003) Creating a Splash; (2009) St Ives: Social History (illus); (2010) Sea Change (Section 3.7);
Whybrow (1994) St Ives (1994) (1911-20 list pp 216-8)
Memberships:
RBA;
STISA 1939-46
Exhibitions:
RA May 1919; 1920; RBA, NEAC
Berni Gallery, Jersey London and War Time Dec 2003;
Paintings and prints, St Ives Mar 1911;
Piazza Studios, St Ives
Lanhams, 31 Aug - 7 Sep 1918; 1919; 1920
St. Leonard's Studio, Porthmeor
Market Hall, Penzance 28 Apr - 5 Mar 1917;
Great Exhibition and Sale of Work Plymouth Art Gallery 1917;
Mitchell Studio Gallery, Addlestone, Surrey, Exhibition, Moon Behind Clouds 2006;
Mitchell Studio Gallery, Burlington House Exhibition at, LAPADA fair 2008;
Mitchell Studio Gallery, Berkley Square, Exhibition at LAPADA fair 2009;
Mitchell Studio Gallery, Berkley Square, Exhibition at LAPADA fair 2010:
Mitchell Studio Gallery, Science Museum, London, Watercolors, Works on Paper Art Fair 2010:
2011: A Master Revealed, A retrospective exhibition of the work by Sir Claude Francis Barry, Royal Cornwall Museum, Truro.

Works and access:
Works include: Fishing Boats alongside at St Ives; Cornish Fishing Village St.Ives; Landscape with Oak Trees; Panoramic View of Windsor from Richmond Park; Spring landscape with shade Trees; Spring Morning; Windsor Forest; Blitz on St Paul's; Windsor Forest; Elizabeth Castle; Jersey Winter's Morning; Victory celebrations; Peace Celebrations, Moscow; Date Palms (1922)
Oils and etchings: St Ives; Windsor; Picardy & Italian Lakes Mar 1919; Summer Clouds; Snow Scene; Windsor Forest Mar (1920); Show Day; Armistice Night, Trafalgar Square; The Grand Fleet by Night Mar (1920); Giotto's Tower, Florence, Floodlit; The Bridge, Dulce Aqua
Works for London Galleries: The Grand Fleet on Peace-night; Monarchs of Windsor Forrest; L'isle bien heurense; Morning Light, St Ives; The Merry Woods of Windsor; Serenity at Night; Autumn Moonrise, Windsor; Nocturne; Trencrom; Sunlit Road in Picardy; Windsor; (aquatint, Royal Albert Institute of Windsor Dec 1913); The Hills of Home
Access to Work: Swindon Museum and Art Gallery; Manchester Public collections; Swindon Societe Jeriaise.
Cornwall: Engine House, at Royal Cornwall Museum.

SIR CLAUDE FRANCIS BARRY 1883-1970

A painter and etcher born in London in 1883, he was educated at Harrow school and then studied art at St Ives and Newlyn in Cornwall with Stanhope Forbes. He was also a pupil of Sir Alfred East and Sir Frank Brangwyn. He showed at the I1, L6, LS13, NEA1, RA17, RBA78, ROI2, NEAC and Paris Salon. Sir Francis lived in Windsor in 1906, St Ives, Cornwall in 1911, London in 1922, the French Riviera and Northern Italy in the 1920’s and 30’s, St Ives Cornwall from 1940 to 1945 and Jersey in the Channel Islands at Val Plaisant from 1945 until his death in 1970. (Book ref: Moon Behind Clouds)

Philip Vann Overview
Produced for the Mitchell Studio Gallery

Paintings and etchings by the British painter Sir Francis Barry, as he preferred to be known professionally – are now emerging into the clear light of critical recognition and increasing acclaim. Recent exhibitions reveal the distinctive visionary sensibility and powerfully subtle colourism of a modernist artist whose works have been, until quite recently, relatively occluded from public view.
Over a long career, Barry created a remarkably variegated body of work, underpinned always by a lucid sense of structure and a quite continental self-assurance in employing often quite audacious contrasts of colours and tones. His work includes many stylised portraits of sensually confident women, chicly clothed or naked - including his two wives and, especially, the beautiful Doreen Durrell, his mistress in the 1950s - sometimes rendered with Fauvist fluency and vigour, at times with graceful Pointillist refinement.
In contrast to these female studies is a series of beautifully bleak paintings made during the Second World War which depict tragically cross-strewn, tree-blasted landscapes (at Monte Cassino and elsewhere) at the dead of night, illumined partly by a singular star or spangles of stars above. The melodious barrenness of these scenes movingly conveys the artist’s own anguished historical contemplations; he himself declared, ‘the last fifty years are the most terrible of which history has any record’.
During the War, Barry also created several major paintings – at once historically momentous and lyrically intimate - describing the Blitz over London and Windsor with a scintillatingly intricate and dramatic use of patterning which describes numerous asymmetric searchlights transfiguring the nocturnal scene. Here, Barry’s own fertile study of modern art movements has resulted in a highly original synthesis: the searchlights themselves uniting the severe mechanical angularities of Vorticist and Futurist art with delicate tonal modulations characteristic of Pointillism (itself a way of building up form by juxtaposing countless, almost infinitesimal dots of contrasting colours, as initiated in the late 19th century by George Seurat).
The War’s end helped inspire Barry to create a series of deliriously exuberant yet nevertheless succinctly composed paintings representing fireworks over the Houses of Parliament on VE Day in London and over Red Square in Moscow (the latter informed by photographs of the event). Barry’s self-declared appreciation of colour as ‘the joy and glory of painting’ is clear in these semi-abstracted explorations of light and colour exploding apocalyptically over the victorious capital cities. It was in his early days as a painter that Barry had learnt from the example of Frank Brangwyn the expressive power of an attenuated palette: ‘four tones of light, three of shadow’. From Matisse, he imbibed lessons about the radical emotive and decorative potential implicit in what he called the extreme ‘contrast of colour’.
Born into an affluent family - his grandfather, a first baronet, had earned a fortune as an industrialist, and owned several large estates - Barry had an unsettled childhood, following the death of his mother when he was two years old. After he left Harrow School early following some kind of nervous breakdown, he toured Italy with a tutor, enchanted especially by Venice (a recurrent future subject). Alienated from (and largely disinherited by) his family, he settled with his first wife in the Cornish art colonies of Newlyn and St. Ives, where he was encouraged as a painter by the artist Sir Alfred East. He left his wife and two children around 1922 and went to live abroad, and remarried in 1927. Until the outbreak of War, when he returned to St. Ives, he lived as an itinerant painter and etcher in France, Germany and Italy. Following the death of his father in 1949, he inherited the family title (he was now to be addressed as Sir Francis), and, with his wife, settled in St. Helier in Jersey.
His paintings and etchings of continental subjects - such as the Cathedral at Chartres, Mont St. Michel, San Gimignano and Entrance to San Remo but also winter in Moscow - range from heightened realism of an almost hallucinatory precision to a poetic distillation and re-figuration of the entire scene. In the latter, swathes of vibrant non-naturalistic colour are contained by precise yet rhythmically fluid outlines - a decorative economy of style reminiscent of artists such as Gauguin and the French Symbolists and Nabis. In his later portrayals of natural forms such as trees, clouds, rivers, lakes, mountains and the sea, Barry invests his subjects with such a dynamically simplified presence (in terms of colour and form) that they appear enthrallingly on the verge of pure abstraction.
This overview was commissioned by Robert Mitchell.

Philip Vann is a writer on the visual arts, and has written for many publications including Interiors, The Economist and Galleries. His book on the painter Dora Holzhandler was published in 1997 in London and in 1998 in New York. His most recent book is the critically-acclaimed Face to Face: British Self-Portraits in the Twentieth Century

(Published by Sansom and Co., 2004).

SIR CLAUDE FRANCIS BARRY 1883-1970

A painter and etcher born in London in 1883, he was educated at Harrow school and then studied art at St Ives and Newlyn in Cornwall with Stanhope Forbes. He was also a pupil of Sir Alfred East and Sir Frank Brangwyn. He showed at the I1, L6, LS13, NEA1, RA17, RBA78, ROI2, NEAC and Paris Salon. Sir Francis lived in Windsor in 1906, St Ives, Cornwall in 1911, London in 1922, the French Riviera and Northern Italy in the 1920’s and 30’s, St Ives Cornwall from 1940 to 1945 and Jersey in the Channel Islands at Val Plaisant from 1945 until his death in 1970. (Book ref: Moon Behind Clouds)

Philip Vann Overview
Produced for the Mitchell Studio Gallery

Paintings and etchings by the British painter Sir Francis Barry, as he preferred to be known professionally – are now emerging into the clear light of critical recognition and increasing acclaim. Recent exhibitions reveal the distinctive visionary sensibility and powerfully subtle colourism of a modernist artist whose works have been, until quite recently, relatively occluded from public view.
Over a long career, Barry created a remarkably variegated body of work, underpinned always by a lucid sense of structure and a quite continental self-assurance in employing often quite audacious contrasts of colours and tones. His work includes many stylised portraits of sensually confident women, chicly clothed or naked - including his two wives and, especially, the beautiful Doreen Durrell, his mistress in the 1950s - sometimes rendered with Fauvist fluency and vigour, at times with graceful Pointillist refinement.
In contrast to these female studies is a series of beautifully bleak paintings made during the Second World War which depict tragically cross-strewn, tree-blasted landscapes (at Monte Cassino and elsewhere) at the dead of night, illumined partly by a singular star or spangles of stars above. The melodious barrenness of these scenes movingly conveys the artist’s own anguished historical contemplations; he himself declared, ‘the last fifty years are the most terrible of which history has any record’.
During the War, Barry also created several major paintings – at once historically momentous and lyrically intimate - describing the Blitz over London and Windsor with a scintillatingly intricate and dramatic use of patterning which describes numerous asymmetric searchlights transfiguring the nocturnal scene. Here, Barry’s own fertile study of modern art movements has resulted in a highly original synthesis: the searchlights themselves uniting the severe mechanical angularities of Vorticist and Futurist art with delicate tonal modulations characteristic of Pointillism (itself a way of building up form by juxtaposing countless, almost infinitesimal dots of contrasting colours, as initiated in the late 19th century by George Seurat).
The War’s end helped inspire Barry to create a series of deliriously exuberant yet nevertheless succinctly composed paintings representing fireworks over the Houses of Parliament on VE Day in London and over Red Square in Moscow (the latter informed by photographs of the event). Barry’s self-declared appreciation of colour as ‘the joy and glory of painting’ is clear in these semi-abstracted explorations of light and colour exploding apocalyptically over the victorious capital cities. It was in his early days as a painter that Barry had learnt from the example of Frank Brangwyn the expressive power of an attenuated palette: ‘four tones of light, three of shadow’. From Matisse, he imbibed lessons about the radical emotive and decorative potential implicit in what he called the extreme ‘contrast of colour’.
Born into an affluent family - his grandfather, a first baronet, had earned a fortune as an industrialist, and owned several large estates - Barry had an unsettled childhood, following the death of his mother when he was two years old. After he left Harrow School early following some kind of nervous breakdown, he toured Italy with a tutor, enchanted especially by Venice (a recurrent future subject). Alienated from (and largely disinherited by) his family, he settled with his first wife in the Cornish art colonies of Newlyn and St. Ives, where he was encouraged as a painter by the artist Sir Alfred East. He left his wife and two children around 1922 and went to live abroad, and remarried in 1927. Until the outbreak of War, when he returned to St. Ives, he lived as an itinerant painter and etcher in France, Germany and Italy. Following the death of his father in 1949, he inherited the family title (he was now to be addressed as Sir Francis), and, with his wife, settled in St. Helier in Jersey.
His paintings and etchings of continental subjects - such as the Cathedral at Chartres, Mont St. Michel, San Gimignano and Entrance to San Remo but also winter in Moscow - range from heightened realism of an almost hallucinatory precision to a poetic distillation and re-figuration of the entire scene. In the latter, swathes of vibrant non-naturalistic colour are contained by precise yet rhythmically fluid outlines - a decorative economy of style reminiscent of artists such as Gauguin and the French Symbolists and Nabis. In his later portrayals of natural forms such as trees, clouds, rivers, lakes, mountains and the sea, Barry invests his subjects with such a dynamically simplified presence (in terms of colour and form) that they appear enthrallingly on the verge of pure abstraction.
This overview was commissioned by Robert Mitchell.

Philip Vann is a writer on the visual arts, and has written for many publications including Interiors, The Economist and Galleries. His book on the painter Dora Holzhandler was published in 1997 in London and in 1998 in New York. His most recent book is the critically-acclaimed Face to Face: British Self-Portraits in the Twentieth Century

(Published by Sansom and Co., 2004).







Dimensions
Height 29.00 inch (73.66 cm)
Width 39.00 inch (99.06 cm)
External Height 40.00 inch (101.60 cm)
External Width 50.00 inch (127.00 cm)
Stock Code
OLG CAT695
Medium
Oil painting on board.
Signed/Inscribed
Signed and dated on the rear of the board 65.
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