Art Postcard - Work of art title: Hortus Inclusus
- Artist (if known): Joseph Edward Southall
- Media or other details: watercolour on vellum
- Publisher / Gallery: Birmingham Museums and Art Galleries
- Postally used: no
- Stamp & postmark details (if relevant): na
- Size: modern
- Notes & condition details:
NOTES:
Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5 1/2in x 3 1/2in. Larger sizes mentioned, but if you need to know the exact size please ask.
All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.
Stock No.: A317
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Postage & Packing:
UK (incl. IOM, CI & BFPO): 99p
Europe: GBP 1.60
Rest of world (inc. USA etc): GBP 2.75
No additional charges for more than one postcard. You can buy as many postcards from me as you like and you will just pay the fee above once. (If buying postcards with other things such as books, please contact or wait for invoice before paying).
Payment Methods:
UK - PayPal, Cheque (from UK bank) or postal order
Outside UK: PayPal only please (unless otherwise indicated). NO non-UK currency checks or money orders (sorry).
NOTE: All postcards are sent in brand new stiffened envelopes which I have bought for the task. These are specially made to protect postcards and you may be able to re-use them. In addition there are other costs to sending so the above charge is not just for the stamp!
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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:
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Joseph Edward Southall RWS NEAC RBSA (23 August 1861 � 6 November 1944) was an English painter associated with the Arts and Crafts movement.
A leading figure in the nineteenth and early twentieth-century revival of painting in tempera, Southall was the leader of the Birmingham Group of Artist-Craftsmen�one of the last outposts of Romanticism in the visual arts, and an important link between the later Pre-Raphaelites and the turn of the century Slade Symbolists.[1]
A lifelong Quaker, Southall was an active socialist and pacifist, initially as a radical member the Liberal Party and later of the Independent Labour Party.
Southall was elected an Associate of the Royal Birmingham Society of Artists (RBSA) in 1898 and Member in 1902. He became President of the Society in 1939 and stayed in this post until his death in 1944.
Joseph Southall was born to a Quaker family in Nottingham in 1861. His father, a grocer, died a little over a year later, and the young Southall and his mother moved to Edgbaston, Birmingham to live with his mother's family.[2]
After an education at Quaker schools including Ackworth School and Bootham School in York, Southall returned to Birmingham in 1878 and was articled as a trainee with the leading local architects' practice Martin & Chamberlain, while studying painting part-time at the Birmingham School of Art.[3] Both institutions were steeped in the spirit of John Ruskin and the Arts and Crafts movement: architect John Henry Chamberlain was a founder and trustee of the Guild of St George, while the Principal of the School of Art, Edward R. Taylor, was a pioneer of Arts and Crafts education and a friend of William Morris and Edward Burne-Jones.[4]
Southall however was frustrated by his architectural training, feeling that an architect should have a broader understanding of craft disciplines such as painting and carving. With this in mind he undertook several tours in Europe. In 1882 he visited Bayeux, Rouen and Amiens in Northern France. The following year, having left Martin & Chamberlain, he spent thirteen weeks in Italy, visiting Pisa, Florence, Siena, Orvieto, Rome, Bologna, Padua, Venice and Milan.
Italy was to have a profound impact. The frescoes of Benozzo Gozzoli were to inspire a deep admiration for the painters of the Italian Renaissance who - before the practice of oil painting spread to Italy from Northern Europe in the sixteenth century - worked largely in egg-based tempera. Forty years later Southall recalled:
the thrill of joy which I experienced when, without any knowledge of what I was about to see, I stepped inside the enchanting cloisters of the great Campo Santo of Pisa. There I found myself at 21 years of age face to face with a vast series of frescoes, so quiet and yet so gay, so reticent in manner and so lively in essence that words must ever fail to convey even the faintest expression of what I felt.
[2]
Southall's decisive moment came while viewing Two Venetian Ladies by Vittore Carpaccio in the Museo Correr in Venice. Ruskin's discussion of the painting in St Marks' Rest -- the volume that Southall was using as a guide�included Ruskin's remark that ""I must note in passing that many of the qualities which I have been in the habit of praising in Tintoret and Carpaccio, as consummate achievements in oil-painting are, as I have found lately, either in tempera altogether or tempera with oil above. And I am disposed to think that ultimately tempera will be found the proper material for the greater number of most delightful subjects.""[5] On his return to Birmingham Southall conducted his first experiments in tempera painting at the School of Art.
Initially, however, Southall's discovery of Italian tempera painting had less effect than his studies of Italian architecture. Southall's uncle George Baker - a friend of John Ruskin and Master of Ruskin's Guild of St George - passed some of Southall's Italian sketches on to Ruskin himself, who remarked that ""he had never seen architecture better drawn"".[3]
Ruskin was so impressed by Southall's architectural understanding that in 1885 he gave him his first major commission: to design a museum for the Guild of St George to stand on his uncle's land near Bewdley, Worcestershire. Southall made a second trip to Italy in 1886 to research this commission, but the project was abandoned when Ruskin revived his original plans to build a museum in Sheffield. Southall later recalled ""my chance as an architect vanished and years of obscurity with not a little bitterness of soul followed"".
Southall's experiments with tempera were also taxing throughout the late 1880s, and for a while he returned to oils. A third visit to Italy in 1890 re ignited his enthusiasm, however, and from 1893 his increasingly successful works in tempera received the wholehearted support of Edward Burne-Jones, who expressed particular admiration for Beauty Seeing the Image of her Home in the Fountain and personally submitted Southall's work for exhibition alongside his own.[2]
By the late 1890s Southall's experiments had established a method of painting that, while not identical to those documented by Italian sources such as Cennino Cennini, was practical, viable and a genuine tempera method. Although he was not the first Victorian artist to experiment with tempera (John Roddam Spencer Stanhope had exhibited a tempera painting in 1880)[6] he was acknowledged as one of the leaders of its revival, exhibiting with the Arts and Crafts Exhibition Society, the Royal Academy and the Paris Salon. In 1901 he was prominent among the artists who exhibited at the Modern Paintings in Tempera exhibition at Leighton House Museum and six months later was one of the founder members of the Society of Painters in Tempera, writing the first of the society's technical papers on Grounds suitable for painting in Tempera.[5]
Although Southall was never on the staff of the Birmingham School of Art, he maintained close friendships with the core of staff and pupils at the school who would later be identified as the Birmingham Group of Artist-Craftsmen - introducing artists such as Henry Payne, Maxwell Armfield and Arthur Gaskin (a lifelong friend) to his methods during technical demonstrations at his studio in Edgbaston.
The years before the outbreak of World War I saw Southall at the height of his achievement and fame. He worked on a series of large tempera paintings on mythological subjects that were widely exhibited across Europe and the United States. These could take up to two years to complete but were to establish his reputation critically.
He was elected an Associate of the Royal Birmingham Society of Artists in 1898 and a full Member in 1902,[7] a member of the Arts and Crafts Exhibition Society in 1903 and of the Art Workers Guild and Union Internationale des Beaux-Arts et des Lettres in 1910.[8] In 1907 he was prominent in the first exhibition dedicated to the work of the Birmingham Group held at the Fine Art Society in London, and in 1910 he was the subject of a one-man exhibition at the Galerie Georges Petit in Paris, which was both a critical and a commercial triumph.[2]
In 1903 Southall married Anna Elizabeth Baker. The couple had been close companions since their youth and had always intended to marry, but were cousins and had deliberately put off marriage until she was after child-bearing age.[2]
type=printed postcards
theme=artists signed
sub-theme=art
number of items=single
period=1945 - present
postage condition=unposted
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