ok Dennis Creffield, Born in London in 1931, studied with David Bomberg at the Borough Polytechnic then attended the

Slade, where he won the Tonks Prize for Life-Drawing and the Steer Medal for Landscape Painting. By 1964 he had been appointed Gregory Fellow in Painting at Leeds University, his expressionistic style meeting acclaim, and he held his first solo exhibition at Leeds City Art Gallery in 1966. In 1977 he won an ACGB Major Award for Painting but it was ten years later that Creffield gained public recognition with a commission from the South Bank Board to draw all the English medieval cathedrals, forming a two-year touring exhibition of which Goldmark Gallery was the sole sponsor. Creffield‘s work is represented in several public collections including the Arts Council of Great Britain and Leeds City Art Gallery.
http://www.jameshymangallery.com/pages/artistworks/8259/dennis_creffield.html

Norwich from the East End: High Summer, 1987

1987 .Canterbury Cathedral.

Durham: The Central Tower. 1987 .

Coventry:The Old Cathedral Spire. charcoal. 845 x 595 mm . 1988.

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100 x 93 cm . 1987.St Albans.

Portrait of Peter Redgrove .

Paphos. the living as well as the dead (Shakespeare. ‗I‘m a peripatetic architectural draughtsman.) ‘England’s most closely guarded secret’ Dennis Creffield is admired by artists but little known to the wider public. signed and dated 'Creffield 77' charcoal. But it is with dramatic. (38. commissioned in 1987 by the Arts Council. expressive charcoal drawing that his name is most often associated.8 x 55.3 cm. and many aspects of London. the stately pile of Petworth House in Sussex. best known for his magnificent series of charcoal drawings of the medieval English cathedrals. Cyprus.Church Christo. Andrew Lambirth meets this octogenarian artist as his new show on the theme of William Blake and Jerusalem opens. and done his fair share of landscape painting. He has indeed travelled the country. . Mozart). He has also drawn and painted people.‘ says Dennis Creffield. Politsa. Queen Elizabeth I. 15 1/4 x 21 3/4 in. the pagodas of Orford Ness in Suffolk (laboratories that were used for testing the trigger mechanisms of atomic bombs). drawing not only cathedrals but also Welsh and English castles.

and the experience was transforming. The work has been four years in the making. and his work is in public and private collections worldwide. becoming in due course an effective teacher himself and a substantial artist in his own right. as was his ability to perceive what Bomberg called ‗the spirit in the mass‘. The exhibition really springs from a convivial lunch in 2007. Hyman himself was the prime mover in this new body of Creffield‘s work. He was only 17 when he started with Bomberg. Creffield became a member of the Borough Group. and a conversation between artist and dealer in which Hyman proposed an exhibition with the theme of Jerusalem and William Blake. (Among Bomberg‘s other students were Frank Auerbach and Leon Kossoff. whose aim was to promote Bomberg‘s work through exhibitions and his principles by example. one of the most charismatic and influential teachers of the century. He has had more than 20 solo exhibitions in the past 45 years.Creffield was born in south London 80 years ago. and brings together a very early drawing made prophetically in . Creffield later went on to study at the Slade where he was a prize-winner. W1.) Creffield‘s liking for charcoal was nurtured in Bomberg‘s classes. and studied with David Bomberg at the Borough Polytechnic from 1948 to 1951. His latest exhibition is called Dennis Creffield. Jerusalem and runs until 8 October at James Hyman Fine Art in Savile Row.

Wryly. Creffield acknowledges the difficulty of Blake‘s vision: ‗In order to understand it you have to become a bit deranged yourself. ‗I went up all sorts of wrong alleyways. but only to the extent of identifying a particular line of interest that has run through Creffield‘s career. and in his interpretations of the city at sunrise in oil paint. he was studying with Bomberg and the first Israeli–Arab war was taking place. he bought a cast of Blake‘s life mask from the National Portrait Gallery. with the more recent commissioned material. coming down from God out of heaven.‘ recalls Creffield.‘ In 1948. These earlier works form the bedrock for the more visionary drawings and paintings that have recently preoccupied him. and wonderfully vibrant and inventive. He recognises the challenge: ‗The problem is that Jerusalem is more than a city. He still doesn‘t know quite why he chose that subject. a charcoal drawing of King David dancing before the Ark of the Covenant. Most of the work is new. in which he feels he became a conduit for Blake‘s spirit. the New Jerusalem.1948. when Creffield made the earliest work in this exhibition.‘ To get himself started. Creffield established with this cast what amounted to ‗a daily conversation through the act of drawing‘. ‗It was very difficult to find my way into the subject. it is the spiritual home for Jews and Christians and a very important place to Muslims. It is both an actual place but also a part of their faith. a positive force among the often negative impulses of today‘s art world. prepared as a bride adorned for her husband‖ (Revelation 21:2). the resulting portraits of Blake were ‗allowed to happen‘. paintings from 1994 and 1999.‘ . This can be seen in the lyrical drawings of Jerusalem made on his first visit there in 1993. and this assumed an increasingly important role. The exhibition thus has something of a retrospective feel. others done in 1993. but it lit a trail of thought and feeling that was only to find its proper conclusion in this exhibition. imagination and dreams — dreams of the past and even hopes of the future. Devout believers of the three religions are buried in the Kidron Valley which they believe will be the site of the Last Judgment…For the ordinary Christian it is not only the place of Jesus‘s death and resurrection but also ―The Holy City. Creffield is a committed celebrator. made on a subsequent stay in 1994. He entered into a sort of mystical communion with it. Although the heads he subsequently painted of Blake tended to emerge in bursts of creativity. becoming ‗my main channel of communication and inspiration with him‘.

The group of 27 small paintings of Blake. are arranged on the facing wall of the smaller room of Hyman‘s gallery in a potent group intended to echo an iconostasis in the Greek Orthodox Church. to the city as bride. which ranges formally from abstraction to representation. Cliff Holden (born 1919). as well as by Creffield. ‗I allowed Blake to encourage me to be more wild. in south London. the paintings unfold more gradually and deserve time spent in looking. both physical and spiritual. from the mute and glowering to the sorrowful or serene. As he puts it: ‗Blake‘s vision of Jerusalem contains all of this but he presents it to us as the London of his time — a brutalised suffering city place — Albion/London. Miles Richmond (1922–2008) and Dorothy Mead (1928–75). to a more recognisable evocation of Blake‘s features.) The great dome of Blake‘s forehead is. was drawn to Blake‘s life mask and made several paintings from it. (It will be remembered that Bacon. The collector Sarah Rose is a passionate enthusiast for Bomberg and his Borough Group. offers a gamut of emotional expression. too. The drawings are immediate in their impact. This immensely varied group. So are the various strands of this exhibition brought together and interwoven. neatly echoed in the Dome of the Rock in Jerusalem and Wren‘s magnificent dome of St Paul‘s Cathedral. from a simple outlined container like a jug. Creffield moves easily from the literal to the metaphoric: from women with arms uplifted in attitudes of prayer. These images vibrate with life. which includes paintings and drawings by the master.‘ From such complex sources. His imagery is personal and esoteric and difficult to understand but it is clear that the message of the poem is that we must all forgive and love each — ―for all that lives is holy‖ — inextinguishable hope of a New Jerusalem. The broadly swiped charcoal drawings of Blake‘s head take this investigation further still. another project is stirring.‘ Has the draughtsman finally turned into a visionary himself? Meanwhile. from an extended series of improvisations on the life cast. Creffield has distilled an art of rare presence and power. as Hyman points out. . As Creffield admits. at least one transcription recalling the features of the painter Francis Bacon. The word Jerusalem appears in Hebrew script here and there — ‗it‘s the first time I‘ve used any calligraphy in my work‘ — but the quality that comes across most strongly is the crackle of energy.Creffield‘s task was to interpret Jerusalem the actual place and symbol in parallel with Blake‘s exposition in the prophetic books. angels dancing or Jerusalem in the form of a married couple. She has now decided to give her collection.

These drawings not only confirm Creffield‘s stature as one of the greatest draftsmen at work today but also capture the essence of what he does. 2011 * Body and Soul presents for the first time previously unseen drawings of the great Cathedrals of England and France as well as drawings of the human body. that ‗Man has no Body distinct from his Soul‘ and that ‗everything in life is holy‘. Creffield‘s vision may be considered to be highly personalised response to his teacher‘s exhortation to pursue the ‗spirit in the mass‘. ‗Eternal delight‘ is to be found as much in the thrusting spires of a cathedral as in a celebration of the human body.B. Linking these two bodies of work and informing this vision is a sense of shared structures and of connectedness that acknowledges. Kitaj once described Dennis Creffield as ‗England‘s most closely guarded secret‘. the Cathedral at Saint Denis. massive and contained and yet also light.to the University of the South Bank. and now it once again opens its doors when he is internationally famous and respected. the physical in the spiritual. he should finally become securely lodged in the art public‘s consciousness. these later works reveal the extraordinary diversity of this dramatic architectural style which appears at once dark. * This exhibition features the Gallery's holdings of charcoal drawings collected by Colin St John Wilson and is the first to present a selection of the English Cathedrals alongside a further series created in France in 1990 in which he traced the evolution of the gothic style. . From the first truly Gothic building. dated September 24. to the towering West Front of Laon. The spiritual is in the physical. open and aerial. and the forthcoming Borough Group display. in William Blake‘s words. This article first appeared in the print edition of The Spectator magazine. as one of David Bomberg‘s most powerful and original students. The distinguished American painter R. situated in Borough Road. along with Frank Auerbach and Leon Kossoff. Creffield is delighted by the appropriateness of this: the Borough Polytechnic sheltered Bomberg in the 1940s and 50s when he was unfashionable. A special display will be unveiled in 2012 to give local point and focus to this historic artistic alliance. SE1. With this remarkable new exhibition. Indeed.

these drawings differ from the more familiar illustrative accounts of religious architecture. . Described by the artist as ‗variations on a theme' each one is an individual portrait that captures the distinct character of the cathedral it portrays.Made mainly with charcoal and an eraser but also chalk. the series also demonstrates Creffield's ability to produce a range of diverse marks from violent slashes and stabs through to supple strokes and fluid contours. Seen as a whole.

Isle of Wight.Dennis Creffield. Bembridge Windmill. charcoal on paper .

1931) was once described by the American artist R.B. Kitaj as ‗one of England's most closely guarded secrets'. Later. Charcoal on paper Brighton-based Dennis Creffield (b. becoming a teacher himself and a substantial artist in his own right. Creffield studied at the Borough Polytechnic where he established his expressive approach to drawing. . A pupil of David Bomberg. 198890.Exeter Cathedral: The Two Transept Towers from the South-East. he attended the Slade where he was a prize-winner.

1945 Self Portrait (1931). charcoal and wash. by David Bomberg . St Paul's and River.David Bomberg.

‖ Though powerful individually. for which he painstakingly photographed office spaces and the peculiarities and rituals of the workers who occupy them. C-print. for which he trained his camera on housing developments in Swedish suburbia. but I always try to be very visible as a photographer. from the Times Square portfolio published May 18.6 cm Working in the vein of William Eggleston and the color photographers of the 1970s.‖ Tunbjork says. and I don‘t know how much I influence a situation. In other series he has photographed everything from marginalized communities in Sweden to American politicians on the campaign trail. and ―Office‖ (2001). . ―I often get asked if my pictures are staged. meant to present cohesive wholes greater than the sum of their parts.9 × 35.Lars Tunbjork. 1997. Lars Tunbjork captures deadpan images of contemporary life. He is perhaps best known for two series: ―Home‖ (1991-2002). ―They are not. just by having a camera. Tunbjork‘s images are usually presented in books or collections. 27. 11 × 14 in. 42nd Street and Eighth Avenue.

1997 Elaine Constantine is a London based photographer who covers music.Girls on Bikes. photojournalism as well as portraiture. By 1997 Constantine had become .

Around this time she produced 'Mosh' which was her first fashion photo shoot. Constantine puts young people in situations you would expect to find them in whilst including exaggerated expressions and body language often. Constantine's ability to capture a photograph through these techniques produce a very successful outcome. natural ideas and scenarios are necessary.one of the most featured photographers in The Face magazine. to create a natural photograph. This is a valuable resource to have when photographing people. this is illustrated through her success. energetic teenagers all of whom appeared in an authentic crowd surfing situation which documented the reality of that scenario. The spread featured many young. Elaine Constantine .

weaving a narrative like a moment in a fairy tale.jo metson scott & nicola yeoman talk about telling a story with a photo. between jo metson scott & nicola yeoman (photographer and set designer/artist. respectively).. a past. a something-just-happened tale to tell. the curious photos speak for themselves. every one of these has a history. in which the duo created a world within the woods. i just read about this collaborative photo project on my love for you. .

pinterest.Jo Metson Scott http://www.com/pthigrivi/archidork/ nice houses! .

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