AUTUMN JOURNAL 2013

printed by Sandgate Printers t: 01303 858100 www.sandgateprinters.com

FRONT COVER ILLUSTRATION: Ewan Macaulay ‘Rainy Night, London’(The People’s Choice at the FAS Spring Exhibition)

FAS COMMITTEEChair: Sue Breladeeton8@btinternet.com 01303 259507

Secretary: Liz Nguyenlizold@aol.co.uk 07903 108350

Treasurer: Lesley Haymanl.s.hayman@tesco.net 01303 814679

Publicity: Elena Priestleyyelpri@yandex.com 01303 246523

Exhibition Organiser: Robert Mowlrobertmowl@tiscali.co.uk 01303 250039

Membership Secretary: Chris Melville-Brownchris.melvillebrown@btopenworld.com 07803 189031

Journal Editor: John Sussamsjohn@sussams.freeserve.co.uk 01303 242990

Facebook Co-ordinator: Pauline Fitzpatrickpollyfitz12@hotmail.co.uk 01303 210667

Press Officer: (to be appointed)

Social Secretary: Leigh Norgrovenorgy14@hotmail.com 07850 768231

Artistic Lead: Laura Froudelaurafroude@gmail.com 07725 022067

For further information about FAS go to www.folkestoneartsociety.co.uk

FOLKESTONE ART SOCIETYAUTUMN JOURNAL 2013

President: Alan Luff

Patrons: Michael Stainer, Graham Gordon, Robert Benson

CONTENTS

Editorial John Sussams

Letter from the Chair Sue Brelade

Society Events FAS

When Terry met Gary Phillippa Goddard

Murals in New Romney John Sussams

Art and Me Yvonne Hutchcraft

Why do I paint? Kay Beatton

Anthony Slinn’s Lectures John Sussams

Arts Crossword Alan Luff

The Rose Ian Standing

City Ablaze Barrie Thompson

Cartoons or Caricatures Simona Richmond

Watercolour Challenge Alan Luff

Summer of ’76 Pauline Fitzpatrick

Tribute to John Doyle Claire Collis

Prizes for Young Art & Design Students FAS

Folkestone Book Festival The Creative Foundation

There is more material in this issue of the Journal than we have hadsince the 80th Anniversary Issue of Spring 2008. My sincere thanksgo to Sue Brelade and to Pauline Fitzpatrick for their efforts insecuring extra articles and advertisements to put in this issue.

Apart from this Editorial, the Letter from The Chair,ads, there are eight articles by FAS members, twoCrossword, and an article on the Book Festival froFoundation. We have also included more pictures by members:colour on the cover and ten black & white on the inside pages.

The Committee has decided that it would be more efficient to puttwice as much material into a single (Spring) issuAutumn issue … for the time being at any rate.

One of the problems with the Autumn Journal has always beenthat, with a deadline in the first half of September and many peopleaway or otherwise occupied in August, we need to haveby June or July. Otherwise we have a last-minute panic and I havehad to dig into my own archive material for a few more pages of copy.

In the current issue there is an article on ‘Murals in new Romney’based on an interview with Briony Kapoor and a guided tour of themurals. If you haven’t seen them, you should. Several FAS memberscontributed works. I also prepared an article on the life and work ofAnthony Slinn who has been lecturing to us in his inimitable wayevery year since 2006, as well as contributing articles to the Journal.

If you have not already attended a Slinn lecture now is the time todo so. I have left a copy of the article in The Quarterhouse wheremembers of the public and visitors to the Folkestone Book Festivalcan pick it up, read it, and hopefully be encouraged to buy tickets forthis year’s illustrated lecture on ‘The Post Impressionists’.

May I now ask all members who have something to say, to startthinking about it now and let me have it in January or February 20… and avoid any last-minute panic. The more the merrier

There is more material in this issue of the Journal than we have hadAnniversary Issue of Spring 2008. My sincere thanks

go to Sue Brelade and to Pauline Fitzpatrick for their efforts inextra articles and advertisements to put in this issue.

the Letter from The Chair, notices andpoems, Alan Luff’s

Crossword, and an article on the Book Festival from The Creativeincluded more pictures by members: six in

on the inside pages.The Committee has decided that it would be more efficient to put

twice as much material into a single (Spring) issue and to drop the

One of the problems with the Autumn Journal has always beenthat, with a deadline in the first half of September and many peopleaway or otherwise occupied in August, we need to have articles ready

minute panic and I havehad to dig into my own archive material for a few more pages of copy.

In the current issue there is an article on ‘Murals in new Romney’poor and a guided tour of the

Several FAS membersI also prepared an article on the life and work of

Anthony Slinn who has been lecturing to us in his inimitable waywell as contributing articles to the Journal.

If you have not already attended a Slinn lecture now is the time tohe Quarterhouse where

members of the public and visitors to the Folkestone Book Festivalck it up, read it, and hopefully be encouraged to buy tickets for

this year’s illustrated lecture on ‘The Post Impressionists’.May I now ask all members who have something to say, to start

thinking about it now and let me have it in January or February 2014ute panic. The more the merrier

Dear Members and Friends,This year’s Summer Exhibition has been a great success with many

works sold and over 7,800 visitors. Congratulations to all those volunteersand committee members who worked so hard to make it happen. Theexcellent video of the exhibition, by Steve Thomas, is on our website.

Earlier in the year we conducted a member survey. This told us thatthere was a desire for more social events – in response our social secretarydid a great job arranging demos and workshops during the SummerExhibition. These provided an excellent opportunity for members to meettogether over a glass of wine. Our thanks go to the presenters for theirinteresting and entertaining sessions.

Next year is the Folkestone Triennial. This promises to be an excitingartistic event of international importance but it will mean that the TontineStreet Gallery will be unavailable for the summer months. However, I’mpleased to tell you that we have been able to book the Tontine StreetGallery for the whole of May 2014. We will still be exhibiting at ‘TheGrand’, but in July rather than in the spring.

Our 2013 Autumn Exhibition will soon be upon us, and as usual we willneed volunteers to help with hanging and stewarding. If you have notvolunteered before then please consider doing so. The Society is acooperative undertaking and only survives through the voluntary efforts ofits members, whether through serving on the committee or helping-out atexhibitions.

This year’s Autumn Exhibition will also see the launch of the GloriaGordon Award – donated by one of our patrons, Graham Gordon, inmemory of his late wife. This is aimed at young artists and will recognise thecreativity and imagination that goes into preparatory work encapsulated insketch-books. More details are given in a separate notice in this Journal.

As ever, my thanks go to John Sussams, our tireless editor and to themany contributors to this Journal for their interesting, informative andentertaining contributions. We must also thank our advertisers for theircontinuing financial support. See John’s editorial for more information onnew developments with the Journal.

Thanks are also due to Phil Biffen, who stood down as Press Officerearlier in the year, although you will still see him helping out at hangingdays! Chris Melville-Brown will also be standing down as MembershipSecretary at the end of this year. Both have done a fantastic job and will bemissed. Chris has kindly offered to provide an induction to his successor –anyone interested in taking on the role should speak to him in the firstinstance. Laura Froude has been welcomed onto the committee as ArtisticLead and has done much of the work organising the Gloria Gordon Award.

The society continues to provide the opportunity for members to exhibitand sell their works, and with the high quality of our exhibitions it remainsone of the leading art societies in the Southeast. With this is mind, I lookforward to seeing you at our Autumn Exhibition preview evening.

With very best wishesSue

SOCIETY EVENTSAutumn Exhibition 2013 at ‘The Grand’

Saturday 9th November to Wednesday 20th November 2013(inclusive). The exhibition opens at 10am and closes at 5pm eachday. Members and Guests private preview evening is on Friday 8thNovember at 6.30pm.

Anthony Slinn Lecture 2013 at ‘The Grand’“The Post Impressionists”Sunday 17th November 2013 at 7.00 pmFAS members free, others £8, tickets from ‘The Quarterhouse’.

Harbour Exhibition 20143rd May 2014 to 1st June 2014 (inclusive). The exhibition opens at10am and closes at 6pm each day. Members demonstrations andworkshops to be confirmed.

Summer Exhibition 2014 at ‘The Grand’Saturday 12th July to Sunday 27th July 2014 (inclusive). The exhibitionopens at 10am and closes at 5pm each day. Members and Guestsprivate preview evening is on Friday 11th July at 6.30pm.

Autumn Exhibition 2014 – dates to be confirmed

WHEN TERRY MET GARYPhillippa Goddard

It started with an email from someone called Gary Williams.‘Are you the Terry Goddard that went to Folkestone School of Art

in the 1960s?’He is.

‘We have something that belongs to you – we’ve been lookingafter it.’

Hmmm. Intriguing.And so the date, time and place for a reunion were set. We were

on stewarding duty for the Folkestone Art Society’s Autumn Exhibitionat The Grand when a dapper gent in smart overcoat and scarfentered with a large bubble-wrapped parcel under his arm, asking forTerry. They did not recognise each other immediately – it was 42years since they’d met. But the parcel’s contents had a story to tell.

Terry finished his Foundation course at Folkestone in the summerof 1969. He was off to start the three-year Diploma in Art and Design(Fine Art) at Exeter College of Art that autumn. (None of this namby-pamby year-out-travelling-the-world business in those days.) A newbeginning in Exeter beckoned. And stuff, inevitably, was left behind.

Meanwhile, Folkestone Art School’s days were numbered. In1971 it was closing and due to be demolished, making way for‘improvements’ in the shape of the multi-storey car park. But Gary,who was still around (thanks to dating art student Maureen), spottedsomething familiar in the abandoned studios and liberated it beforethe bulldozers moved in.

Terry’s painting was, according to Gary, a swiftly executedpastiche in the style of Matisse, a satirical response to the chiding ofa certain Head of Department, and was, therefore, viewed as atriumph for student-kind against the establishment. Gary andMaureen valued the image and what it stood for, taking it home toenjoy and vowing to return the work to Terry if they ever found him.

The years passed. The painting travelled with them fromFolkestone to Maidstone, then Purley and on to Milton Keynes and‘always found a place on our walls’. Then, in 2011, Gary andMaureen were visiting relatives in New Romney. A portrait of their

niece (and former bridesmaid) is among the twenty or more displayedon the wall of the car-park at Sainsbury’s as part of the ‘RomneyIndigenous’ mural*. An inspection of the work revealed that severalof the other portraits were by a Terry Goddard and, combined wittheir familiar painterly style, Gary made the connection and sent theemail which led, on a chilly, grey November day, to him travellingfrom Milton Keynes to The Grand, Folkestone with a large bubblewrapped parcel under his arm on a quest to reunite papainter.

*The ‘Romney Indigenous’ portraits are of local and/or bornRomney people, by artists Dee Taylor, Brian Oxley, Ken Fisher, PhilGee, Elena Priestly, Terry Goddard and Victoria Fontainequite a haul of FAS members – and form one of an expandingnumber of murals in and around New Romney masterminded bydriving force Briony Kapoor of the IMOS Foundation.

Phillippa Goddard from ‘Armorial

former bridesmaid) is among the twenty or more displayedpark at Sainsbury’s as part of the ‘Romney

Indigenous’ mural*. An inspection of the work revealed that severalof the other portraits were by a Terry Goddard and, combined withtheir familiar painterly style, Gary made the connection and sent theemail which led, on a chilly, grey November day, to him travellingfrom Milton Keynes to The Grand, Folkestone with a large bubble-wrapped parcel under his arm on a quest to reunite painting with

*The ‘Romney Indigenous’ portraits are of local and/or born-and-bredRomney people, by artists Dee Taylor, Brian Oxley, Ken Fisher, PhilGee, Elena Priestly, Terry Goddard and Victoria Fontaine-Wolf –

form one of an expandingnumber of murals in and around New Romney masterminded bydriving force Briony Kapoor of the IMOS Foundation.

Armorial’

Victoria Fontaine-Wolf from ‘Romney Undersea’

Elena Priestley from ‘Animural’

Wolf from ‘Romney Undersea’

Elena Priestley from ‘Animural’

MURALS IN NEW ROMNEYJohn Sussams

I talked to Briony Kapoor about the murals in New Romney. They areher brainchild, and the feedback has been nothing but well-deservedpraise. One adulatory telephone call (recorded) included the words‘absolutely brilliant … magnificent … wonderful portraits…marvellous … and smashing!’ There have been several articles inthe press as well as interviews on local radio (Academy FM andChannel Radio).

The public love the murals. They are seen as ‘real’ art with themeaning that ordinary people usually attach to the word ‘art’.‘Normal people like them,’ Briony said. The message is clear – and itis a good message. The murals are art which is in and for thecommunity, and there is enough of it within the small town of NewRomney (population 8,850 at the most recent count) for it to have anoticeable impact: the inhabitants of this ancient Cinque Port and ofThe Marsh have been encouraged to feel good about themselves andto take pride in their little corner of England.

I asked Briony where she got the idea for this project and how itgot started. She said that, as a collector of paintings, she was runningout of wall-space! Why not on outside walls? Then other people couldenjoy them too. This was the germ of an idea which grew and grew.The next steps were to talk to people who might have suitable walls,to talk to local artists who might be interested, and to obtainsponsorship, all three of which objectives Briony diligently pursued.

Sponsorship was obtained from the Roger de Haan CharitableTrust, Shepway District Council, Kent County Council, Sainsbury’s,and others. In 2010 the first mural was painted on a wall of theRH&DR Station by Elena Priestley. It shows two of the trains and theMarsh Landscape through which the narrow-gauge railway runs.Other murals soon followed as a group of talented local artists (manyFAS members) were approached and agreed to participate.

There are 90 works of art in 14 groups, each with a signboardgiving a brief explanation and the names of the artists. Half of theexhibits (7 groups ) are in the High Street in the vicinity of the

Library. Four more are within the area of Sainsbury’s Supermarketand the remaining three (still within walking distance) are somewhatless central. Some idea of the variety and excellence of thispermanent outdoor art exhibition can be gained from the chronologicallist below, which includes the titles and names of the artists:

20101. New Romney Railway Mural (Elena Priestley)2. New Romney Town Mural (Sue Randle, Elena Priestley, Dee Taylor)3. Romney Perpendicular (Maria Priestley, Dee Taylor) 5 paintings of

tall structures4. Proverbial Sheep (James Marsh) Romney Sheep of many colours

20115. Animural (Elena Priestley) on wall of a pet shop6. Romney Armorial (Phillippa Goddard) based on designs from tombs

in churchyard7. Romney Indigenous (Dee Taylor, Brian Oxley, Ken Fisher, Elena

Priestley, Terry Goddard, Victoria Fontaine-Wolf) Portraits of localMarsh-born people

8. Romney Undersea (Victoria Fontaine-Wolf) Fish and otherunderwater objects

9. Landscape Mural (Ryan Kai Orme) 11 Marsh scenes showingseasonal changes

10. Country Fayre Parade (Phillippa Goddard)2012

11. Bishop Odo (Victoria Fontaine-Wolf) painted in the style of theBayeux Tapestry

12. Library Mural (Ali Stump, Paula MacArthur) Mementos of localliterary figures

13. Flowers of Dungeness (Elizabeth Weckes) 10 different wild flowersare depicted

14. Romney Youth and Age (to be hung shortly)

‘Flowers of Dungeness’ painted by German artist Elizabeth Weckes isthe first mural in a series of works from the EU. Briony is hopingeventually to get contributions from all 27 EU member states. If she is

successful there is a distinct possibility that New Romney will run outof wall-space! As well as the murals there are now some finesculptures on display.

----ooOoo----

Briony Kapoor grew up on Romney Marsh, was at school in Suffolk,and at University in Northumberland. After worldwide travel sheowned an art gallery in Central London before settling for many yearsin India with her husband, a distinguished academic. As a widow, shereturned to build her own house in New Romney from where she runsthe IMOS Foundation which, among other things, is responsible forinstalling works of art in public places on Romney Marsh.

A 20-page illustrated booklet Murals in New Romney is availableTel: 01797 363099 email enquiries@IMOSfoundation.org

www.IMOSfoundation.org

EDWARD HOPPER’S WINDOWSMarie Holloway

I think Edward Hopper is probably a favorite with many of us. Hispictures often feature windows. Sometimes a lonely figure is staringout or looking into the window. These intriguing situations create asense of mystery. In the famous ‘Nighthawks’ diner scene, theoutside and inside are separated mainly by the presence of light. Inromantic nineteenth century art, the window symbolised theexpansive world beyond and was also a barrier separating the viewerfrom the drama within.

The subjects that Hopper explored were almost all variations onthemes that had fascinated him before – as a child, then a student,then later as an illustrator and a struggling artist. He liked to workthrough a sort of process of improvisation. This would start withsketches and memories, but the end result would be to a large extentimaginary. His vision of life had a great deal to do with his teacherRobert Henri at the New York School of Art. Henri taught hisstudents to give atmosphere to their work.

Edward Hopper is said to have avoided social interactionwhenever possible. He was quiet and shy. It is interesting that heloved the theatre. This is reflected in his work. Although Hopper feltthat he could not relate to the modernists, I’ve always thought thatsome modernists have been inspired by him, in particular BenNicholson with work like ‘Ice Off Blue’

Edward Hopper loved the work of French Symbolist poets. Icame across a poem by Armen Lubin who was influenced by thesepoets and I couldn’t help wondering if Hopper had also read it.

“A window framing the real worldWith the tender line of its contour

It opens itself like an eyelid,Shuts with nothing around”.

(Excerpt from ‘With Nothing Around’ by Armen Lubin, 1903-1974)

ART & MEYvonne Hutchcraft

I started painting in 1991 when I was living in Cardiganartist friend of mine volunteered to teach me to paint.him for a few years; then I had the chance to spend a couple of yearsstudying art full-time at college, as a mature student. That was probablythe most enjoyable period of my life, when I had the chanall the various branches of art: drawing, painting, pottery, printmakingand sculpture, and also art history. I then started to specialise insculpture. I didn’t do any sculpture for quite a long time due to lack ofspace; however, I have now taken it up again.

I paint mostly in acrylic, using brushes or a knifepastels or do linocuts. I remember what a thrill it was when someonefirst wanted to pay money for my work in Wales. Luckily I hato sell paintings.

I moved back to Kent in 2000 and to Folkestone in 2004joined the adult education classes with a view to meeting likepeople. I joined FAS and was Membership Secretary for a number ofyears until I passed the mantle to Chris Melville-Brown in 2012.

I still work in acrylic. I love the vivid strong colours that can beused thinly or applied with a thick texture. I have done quite a lot oflandscapes in the past, but my style has now changed to colourfulhumorous subjects in a Lowry style with lots of peoplefeature my bald son-in-law – the “Spot Steve series

Yvonne Hutchcraft

I started painting in 1991 when I was living in Cardigan, West Wales. AnI had lessons with

then I had the chance to spend a couple of yearsas a mature student. That was probably

I had the chance to indulge indrawing, painting, pottery, printmaking

ted to specialise ina long time due to lack of

using brushes or a knife. I sometimes usepastels or do linocuts. I remember what a thrill it was when someone

uckily I have continued

I moved back to Kent in 2000 and to Folkestone in 2004. Here Imeeting like-minded

ecretary for a number ofn in 2012.

I love the vivid strong colours that can beI have done quite a lot of

my style has now changed to colourfulth lots of people. My pictures often

the “Spot Steve series” – much to his

disgust. But mother-in-laws have to get their own back somehow! I’mnever sure what will inspire me next.

My work lends itself to being printed on tee shirts, postcards,cards, bags, and giclée prints which prove popular for presents. I havealso run workshops in primary schools and museums on open days.These are often billed as Art History (ArtHist) events.

WHY DO I PAINT?Kyung-Hee Beatton

Why did I join the Folkestone Art Society and why did I start painting?This was the question people have been asking me recently. Well,maybe the oriental origin and the characteristics revealed in my art havecaused the question to be asked; or maybe it is the kind of questionasked of anybody who joins an art society.

My name is Kyung-Hee Beatton, rather difficult to pronounce forthe majority of Westerners – so my father-in-law suggested calling meby my initial “Kay”, which I liked and accepted as my new name.

The origin of my art work is linked to my passion for writingchldren’s stories. I do this to assist Sunday-school teachers who arestruggling with the problem of how to engage youngsters who havealready heard most of the usual stories in the Bible. I wanted to re-writeand interpret the Bible stories so that today’s children could relate themto their everyday lives rather than just listening to ancient stories.

My own artistic creativity was spurred on by the need to findsomeone who would illustrate my books without pay. After a long periodof struggle, I decided to do it myself and picked up brushes and paints.

As I had had no formal lessons in art and illustration, I had todepend on my childhood memories of making flat paper dolls and theirdresses. Then, having had lessons in digital manipulation, I was able toextend my ability to include the use of colours.

As I had lived my childhood in Korea, then spent the first decade ofmy married life in Africa, and now living in England; this panorama ofexperience enables me to explore and express the mood and feeling ofdifferent times, places and creations in my art

.I am encouraged when I get together with like-minded artists inthe Art Society and I look forward to a creative journey and seeing whathidden treasure may come out to give joy to me and to others.

ANTHONY SLINNwhose lectures about famous artists have a

unique style

by John Sussams … based on information supplied by Anthony Slinn

A car stops on The Leas outside the entrance to The Grand. The driver getsout and goes into Reception to announce his arrival. He returns to unpackhis equipment: a screen, a slide projector, and various boxes. I help himcarry it into the Green Room.

Anthony Slinn, artist, teacher, and acclaimed lecturer is due to makeanother presentation to members of the Folkestone Art Society as well asto visitors to the Folkestone Book Festival, which is on at the same time asthe Art Society’s exhibition. The events are timed to coincide so that wehave some synergy. The exhibition includes some 200 framed paintings andthree-dimensional works plus a large number of unframed drawings andpaintings. It is in The Ballroom, next to the Green Room, where the lectureis to take place.

The equipment is set up and tested. We don’t want any of the slides tobe upside-down! The microphone works. The curtains are drawn. The lightswitches are located. A carafe of water is provided for the speaker. Theaudience begins to come in and to take their seats. There are about ahundred and fifty altogether, maybe more – not bad for a provincial artsociety! The speaker needs no introduction, as they say … but I introducehim anyway.

There is something rather special about a Slinn lecture – something overand above the speaker’s evident passion for Art with a big ‘A’ and the adeptmanner of his presentation. It has to do with the thorough and enthusiasticway in which he goes about his research.

Anyone can dig out their old notes, visit libraries, and leaf through a fewbooks and articles. But that is not the Slinn approach. Anthony visitsmuseums and galleries to study the original works; he talks to curators andlocal artists; he visits and explores the places where the artist he is studyinglived and worked; he soaks up the atmosphere; he tries to understand andfeel what the artist actually felt, as he painted.

Why would anyone want to paint a very ordinary chair? Why wouldanyone want to paint a row of pots on a shelf? This is the kind of questionto which people, experts and non-experts alike, would like to know theanswer. There must be a reason.

Obviously there is a world of difference between the real thing and apostcard or the scaled-down reproduction we may have on our wall or in abook. Anthony Slinn opens the door to this real world of Art. He tells us, forexample, how he stood aghast before Picasso’s Guernica (25½ ft. wide x11½ ft. high) in Madrid’s Prado Museum and began to feel the same kind ofemotion which (he imagined) Picasso himself must have felt as he workedon one of the world’s greatest masterpieces.

Inspiration for the first lecture or rather, for the kind of research that ledto the first lecture (on Van Gogh) came in 1967 when Anthony was living inHertfordshire and teaching at Luton School of Art. The Head suggested thathe should read the letters of Vincent Van Gogh. He obtained a copy of thesefrom the library and was surprised to see that Letter 69 was written from‘Ivy Cottage, Welwyn’. That was just down the road from where he and hiswife Rosemary were living. He just had to go and find Ivy Cottage. When hedid he was overwhelmed by the thought that Vincent had actually beenthere, in those very rooms, living and breathing … and drawing.He took photographs, drove back home and said to his wife, ‘If Vincent cancome to Welwyn, then we are going to Arles’.

The Slinn lectures are more about what artists believe and feel ratherthan about the techniques they use to express their feelings – the agonyand the ecstasy. The second lecture was on Picasso’s Guernica.

Anthony Slinn was born in 1937 and his formative years were spent inMerseyside. His father was a signwriter who encouraged Anthony and histwin brother Brian to use a pencil and draw correctly when they were bothvery young, perhaps no more than three years old. Brian tragically died ofmeningitis when he was only seven years old. At school, Anthony was onlyinterested in drawing. So, having neglected his ‘three Rs’, this future artist,teacher, and lecturer failed his Eleven Plus, and found himself in a ‘rough’Secondary Modern School. His parents thought this was unsuitable foryoung Anthony and got him into Worcester Cathedral King’s School.

At the age of fifteen (the then school-leaving age) Anthony leftWorcester and began his serious artistic studies at St Helen’s School of Art.As with many youngsters of his generation, a major influence during those

early years had been Walt Disney.(Who has not drawn Mickey Mouse in theback of a school exercise book?) Anthony had seen the film Pinocchio andremembers having made a huge picture of Gepetto in his workshoptogether with other characters from the film.

His next obsession, again typical for boys of his age, was rocket shipsand space travel. He had seen the film Destination Moon in 1950. However,once he was at the art school, his interest turned to illustration. Hecollected hundreds of the black and white illustrations which appearedweekly in Radio Times and stuck them in a scrap book. He was alsofascinated by the cartoons of Ronald Searle which depicted the infamousgoings on at St Trinian’s. And he admired the work of the famous local(Salford) artist L S Lowry, who at that time was not yet at the height of hisfame,

These interests motivated the young Anthony Slinn to apply to theLiverpool College of Art to study Commercial Art and Illustration. Hisapplication was accepted and, after two years, he gained First ClassHonours. You can’t keep a good man down, can you? It was also atLiverpool College of Art that he met his future wife, Rosemary, a sculptress.At one point during this period, Anthony visited the Walker Art Gallery inLiverpool to see an exhibition of the work of Karel Appel, the Dutch abstractexpressionist painter. Anthony was most impressed by ‘the big canvasses ofthick, wild paint – a bit like Jackson Pollock’.

Following this visit, Anthony went home where, having access to copioussupplies of paint and hardboard in his .father’s workshop, he was able toproduce numerous paintings in the style of Karel Appel. He never tookthese paintings into the college, but students visiting him at home said thathe ought to apply to The Slade. At the time he did not know that The SladeSchool of Art was the Fine Art Department of London University. But heapplied anyway and, a few weeks after a somewhat gruelling interview withSir William Coldstream, flanked on either side by half a dozen other staffand with his numerous Appel-like paintings displayed on ledges round theroom, he was offered a place. Anthony’s tutor at The Slade was theeminent Sir Ernest Gombrich.

Anthony recalls his time at The Slade, studying painting. He writes: ‘Somany famous artists came into The Slade during my two years there:Stanley Spencer, Lucian Freud, John Piper to name but a few. But the onepainter who was a regular visitor was Keith Vaughan. I spent a lot of time

talking to him, and even visited his studio … Vaughan’s work has been aninfluence on me all my life’

While Anthony was at the Slade studying painting, Rosemary was at theRoyal College of Art doing sculpture. They were engaged in 1958 andmarried (in Birkenhead) in 1959. Anthony obtained a houseboat in CheyneWalk, Chelsea. It was called The Saint and needed a good deal ofrenovation. After they were married, Anthony and Rosemary moved intothe houseboat. Their son Gabriel was born in 1962.Three decades were spent teaching at numerous schools up and down thecountry … and painting. During this time Anthony contributed work to morethan twenty exhibitions including two one-man shows. An early triumphwas the sale of a painting to John Moore (the Littlewoods tycoon). Theproceeds enabled him to buy his first car. In 1958 £40 was a lot of money!He also found the time to do the research for his first two lectures (onVincent Van Gogh and on Guernica). By 1983 he had enough confidence togive up the day job and become a full-time painter. He set up his RoadShow to share his enthusiasm for painting … and sell his work.

He established The Slinn Foundation in 2000 to promote his ownpainting. By this time the number of Slinn Lectures had risen to nine, andart societies, educational establishments, and others were coming back formore. There are currently (2013) fourteen Slinn Lectures, some morepopular than others. The Slinn Lecture has become an annual event for theFolkestone Art Society. We have already had half of what Slinn currentlyhas to offer.

You may have seen a cartoon in which a spotty young man is depictedgawping at The Rokeby Venus (The Toilet of Venus, a life-size nude byVelazquez which is in The National Gallery) and saying ‘I don’t know muchabout Art, but I know what I like’. After a Slinn lecture, you might go outsaying something like ‘I don’t know much about Art, but now I know whatthe artist is trying to tell us.’ Not a lot of people can say that.

THIS YEAR’S SLINN LECTURE‘THE POST-IMPRESSIONISTS’

THE ORIGINS OF MODERN ARTSun 17 Nov at The Grand. FAS Members Free

Non Members £8. Tickets from Quarterhouse 01303 658500Or order online from www.folkestonebookfest.com

THE ANTHONY SLINN LECTURES

(Dates relate to the first presentation)

1963 Vincent (Van Gogh)1963 Guernica (Picasso)1989 The Impressionists1989 Dali Explained1989 Henry Moore1992 The Post-Impressionists1996 Chagall1996 Modigliani1997 The Taj Mahal and Abu Simnel2001 Masterpieces of the 20th Century2004 The Pre-Raphaelites2006 The Greatest Work of Art in the World2008 Constable and Turner2010 Paul Gaughin

www.slinnfoundation.comwww.folkestoneartsociety.comwww.folkestonebookfest.co,john@sussams.freeserve.co.uk

ARTS CROSSWORD

THE ROSEIan Standing

The inspiration for this painting came from a trip to Colorado Springsover twenty years ago. I discovered a sculpture attraction calledMagic Town. The sculptor in question was Michael Garman who hadset up this exceptional display of America in the 1930s. These are notstand alone sculptures but show a scene or snapshot of everyday life,almost reminiscent of Edward Hopper’s paintings.

There’s a website, www.michaelgarman.com,story behind the sculptures. It also includes a virtual tour of MagicTown.

It was completed in 1/6 scale. I was impressed by the intricatedetail and expressions he captured on his figures’ faces. One inparticular was of a man down on his luck and the slumped forwardpose seemed to encapsulate the Depression. Based on this figureThe Rose conveys the melancholy of lost love but hopefully somehowgives hope to incurable romantics everywhere.

painting came from a trip to Colorado Springsover twenty years ago. I discovered a sculpture attraction calledMagic Town. The sculptor in question was Michael Garman who hadset up this exceptional display of America in the 1930s. These are not

ne sculptures but show a scene or snapshot of everyday life,almost reminiscent of Edward Hopper’s paintings.

which tells you thealso includes a virtual tour of Magic

It was completed in 1/6 scale. I was impressed by the intricatedetail and expressions he captured on his figures’ faces. One inparticular was of a man down on his luck and the slumped forward

eemed to encapsulate the Depression. Based on this figureThe Rose conveys the melancholy of lost love but hopefully somehow

CITY ABLAZEby Barrie J Thompson

Blazing infernos light the sky,smoke, sparks rising upward going on high.

High above the drone of fear,men sending death to those below.

Sounds of movement rushing to and fro,shouts, screams cries of help fill the night.

Warehouse, dock, shop and home ablaze,men with helmet, ladder and hose, stand amaze.

Men shouting, bells clanging,engines racing, whistles blowing.

Water weeps from dried up hose,fire-fighters struggle to bring control.

Hungry flames still seek the food of death,falling bombs, incendiaries feed the flame.

Buildings shake and shiver to the dawn,desperately seeking help from those below.

Exhausted men await the peace that morning brings,to rest, refreshed to face the night once more.

St Paul's, unscathed, stands to fight another day,against men who will drop death to the city once more.

Simona Richmond ‘Cartoons or caricaturs: that is the question’

CARTOONS OR CARICATURESSimona Richmond

I often ask myself, ’Am I a cartoonist or a caricaturist?’ After allthese years of having a passionate relationship with this type ofvisual magic, I didn't know! One or the other? That is the question!

Cartoons and caricatures can easily be confused as theyboth seem quite similar in nature. Cartoons have been associatedwith children and cover the concept of Good v Evil or have morals atthe end of the stories in order to teach young people certain values.The word ‘cartoon’ comes from the Italian ‘cartone’, meaning ‘paperor paste-board’, used in old times as a model for a painting. EvenLeonardo da Vinci followed this practice.

A caricature is a portrait that exaggerates or distorts theessence of a person or thing to create an easily identifiable visuallikeness. It can be insulting or complimentary.

The word ‘caricature’ or, in Italian, ‘caricare’ means ‘to load’;and that is what it actually does: it loads a portrait with details anddistortions. Obviously, some people might be intimidated and regardthis style as the ultimate antithesis of beauty. True caricatures do

not seek expressional distortion but the artist’s goal is to ‘stretch’certain features, so that the drawing still makes sense structurally.In spite of the exaggeration, the origin of caricatures is embedded inreality while also revealing more of it. Caricatures require realpeople as models, to create a statement; it does not need a set ofstorylines, and it can also shed light on a controversial point orsimply be a way of making a joke and having a laugh.

Personally, I define myself a cartoonist and a caricaturist. Ilove to express myself through symbols and grotesque images.They are so full of innuendo! Humour is very powerful and can bevery therapeutic too. It keeps your mind young and flexible. So whatare you waiting for? Get pencils and paper ready and let thesearchetypes come out of the closet!

WATERCOLOUR CHALLENGE

ALAN LUFF, our President, is well-known for his portraits inwatercolour, mainly of jazz musicians, and landscapes, mainly ofRomney Marsh. He gives us, below, advice and tips based on hisown personal experience:

1.Today there is only one rule: there are no rules. You can betaught to paint, but you can’t be taught to be an artist.

2.Painting from photographs does not mean making an exact,detailed copy of the subject, itself the work of someone else.

3.The easy availability of many items has possibly led to thepopularity of mixed media. Just do what it says on the tin and usewhatever takes your fancy.

4.Masking fluid (ugh!), eraser (spoils the paper), sponges,toothbrush, comb, ruler (!), charcoal, pencil, salt, gin, ox-gall (what isit?) and now hair-dryers. If you’ve found use in some of these, carryon please. It’s the end-product that counts.

5.Your own style will develop in time, naturally. I start with themere briefest outline of the subject in watercolour pencil and thenwade in, arms working from the elbow, made easier by standing up.

6.Be bold, use bigger brushes, fingers, paint really wet to achievethat lovely, lively, loose watercolour you admired, perhaps, in others.

7.Set yourself, say, half-an-hour. You may not finish, that’s OK,when you return you may well find it is actually complete!

8.Paper is very important, try to afford the best - look out for Lanaand Cornwall. Don’t waste time stretching it; stick it down at thecorners with masking tape, stretching it diagonally as tight aspossible. Better still, give up one of your pub meals and treat yourselfto a block of paper – it does away with stretching.

9.Brushes are for your personal vanity, I use only old Chinesebrushes, bristle brushes and a hake occasionally. You will havefound your favourites, so wait for Christmas to get your Kalinsky RedSable.

10.Don’t forget, use plenty of water, stand up, flay your elbows andforget the rules. Your subject may be still life, flowers, boats,butterflies – paint what you want to paint and, thus, gain a doublepleasure. After all, it’s only a bit of paper.

**********************SOLUTION TO CROSSWORD Across: 7. Cache 8. Orchestra 10. Cresta11.Screamer 12. Brilliant Idea 14. A String of Pearls 16. William Reeves 19.Oratorio 20. Edited 21. Analysis 22. Larry.Down: 1. Hairbrush 2. Whistler 3. Arts in for a Boost 4. Charlie Parker 5. Escape6. Green 9. National Trust 13. Bluebeard 15. American 17. Intalk 18. Grand.

Pauline’s stall in Walthamstow

SUMMER OF 76’Pauline Fitzpatrick

It was the summer of ‘76 and it was hot. That sounds a bit like thebeginning of a love song but, believe me, it wasn’t much fun. Myhusband had lost his job through his own fault, I had four kids to feed,and he was as much use as a chocolate teapot! Thosbefore help with childcare, interest only mortgage paid in yourbenefits and women were still second-class citizens in many ways.‘The Good Old Days’!

So what could I do? Certainly not go back to my job as creditmanager, not with one child under school age and the others only atprimary school. Well, I could sew and I could draw, so I got myself alittle stall in Walthamstow market. I made little triangular summerdresses with tiny matching headscarves or mobcaps and I boughtsome decent pencils, cartridge paper and I set up my stand. I hadalso made some plywood trays and teapot stands on which I

’Pauline Fitzpatrick

It was the summer of ‘76 and it was hot. That sounds a bit like thebeginning of a love song but, believe me, it wasn’t much fun. Myhusband had lost his job through his own fault, I had four kids to feed,and he was as much use as a chocolate teapot! Those were the daysbefore help with childcare, interest only mortgage paid in your

class citizens in many ways.

So what could I do? Certainly not go back to my job as creditchild under school age and the others only at

primary school. Well, I could sew and I could draw, so I got myself alittle stall in Walthamstow market. I made little triangular summerdresses with tiny matching headscarves or mobcaps and I bought

ent pencils, cartridge paper and I set up my stand. I hadalso made some plywood trays and teapot stands on which I painted

cats, dogs or flowers and gave them a couple of coats of woodvarnish. I still use one with a caterpillar on it today!

I did a couple of sketches of well-known people and I waited. Iwas shaking the first time I did a picture, just a 10-minute sketch, butit wasn’t too bad and the girl liked it. In addition, it drew attention tothe stall and slowly it started to make money. Not a lot, but it paid forthe little odds and ends that make life brighter for kids, like a bit ofpocket money and a trip to the pictures. The income support was OKduring term time but in that long summer holiday they had great funbeing spoilt by the other stallholders and we even got to do theNewbury Air show and camped out in a tent! It was the beginning of alifetime love affair with art, portraits in particular, and, incidentally, theend of my marriage. All in all a year!

I am now, as they say, living the dream. I promised myself Iwould retire to the coast where my family all came from, write, andpaint. So far I’ve only done the painting bit but I intend to live to atleast 120 so that means I am only middle-aged now. Therefore, Ihave plenty of time to write the book I know is hiding in theresomewhere. Watch out J.K.Rowling!

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YOUNG ART & DESIGN STUDENTSThree £100 Prizes are to be won

The Gloria Gordon Award has been generously donated by theGordon Family in memory of Gloria Gordon, to celebrate art created byyoung people. So, if you live or study in Shepway, are under 25 andstudying (Category1)fo GCSE in Art & Design; (Category 2) for A-levelin A & D, or (Category 3) a higher qualification in A & D, you can enterthis competition. If you are a parent or grandparent of such a person,please bring this to their attention.

There is a prize in each Category.

Artists’ Sketch Books are often not seen and contain some of theirmost creative personal work. For young artists the use of a sketch bookis critical in their development. The visually exciting pages in thesebooks are often amazing – illustrative of the artist’s perspective on life.

The Aim of the Competition is to find and celebrate the excellence ofA & D students’ sketch books. The books will have already beencreated within the course being studied at school, college, or university.

Books may be up to A3 in size; pages should be fixed; and booksmust be labelled with student’s name, address, and school or college.

Enter online here: http://www.surveymonkey.com/s/C3QVKRT

Deadline 1st Nov 2013

Register and bring sketch books in between 10 a.m. and 5 p.m. toThe Grand, The Leas, Folkestone on 7th Nov.

Collect books from FAS exhibition desk at The Grand 9th or 10th Nov.

For further information visit www.folkestoneartsociety.co.ukor email to secretary@folkestoneartsociety.co.uk

The Folkestone art Society will look after your work carefully but cannot accept liability fot lost,damaged, or stolen work. The qualified judges’ decision is final.

FOLKESTONE BOOK FESTIVAL(From The Creative Foundation)

So, summer has slipped by once again and now the days are getting shorter,the weather is getting wetter and the nights are getting colder. But it’s not alldoom and gloom, this time of year is the perfect time to lose yourself in agood book and let the words warm your soul. Whether it’s romance oradventure, fact or fiction nothing beats a good read to escape to anotherworld and be inspired. This year’s Folkestone Book Festival hopes to be yourguide to finding your new favourite novel.

Curator Geraldine D’Amico and the Creative Foundation have onceagain brought together the best and brightest to delight and excite thisautumn. Tales of dystopian futures, middle class buffoonery or true stories ofadventure, the Book Festival has something to grab your imagination. Thefestival is not afraid to tackle issues and spark debate either. Award winningauthor Lionel Shriver will be talking about her new book Big Brother, which,like the theatre production Mess broaches eating disorders and much more.Something that really looks set to cause some heated debate is the questionof Can Atheists learn anything from Religion? Something surely to raise afew blood pressures is God Bless the NHS by Roger Taylor, which discussespossible reforms. Not to be missed.

With an eclectic programme of events that include talks, live debate,films and theatre production the festival finds new ways to engage withliterature. Author of Careless People: Murder, Mayhem and the Invention ofthe Great Gatsby, Sarah Churchwell, will host a live Q&A after a screening ofthe latest version of the Great Gatsby film to discuss the wild times of theroaring twenties. One of the highlights of the programme this year is a newadaptation of the underrated Shakespeare classic As You Like It. Reworkedby Transport Theatre Company, they will perform the original play butreference contemporary political affairs. If you attended the QuarterhouseGarden Party back in September you may have even bumped into a castmember and had Shakespeare recited at you. If you did then you know justhow good this is going to be.

With so many fabulous offers available there is no excuse not to join in.Early bird tickets, extended concessionary rates and exclusive diningopportunities from Rocksalt, Smokehouse and Blooms make this year’s BookFestival quite possibly the best yet. Whether you are a book worm or notbrighten those cold November nights with something new and exciting. Tofind out more information visit the Folkestone Book Festival websitewww.folkestonebookfest.com. Or drop into the Quarterhouse to pick up yourown Book Festival brochure.

The arts magazine forFolkestone and Hythe

With illustrated articlesabout local arts events,

and a three-page What’s On coveringthe next two months.

We issue six editions a year.Receive your copies

for just £12 a year, by sendingyour name and address and

a cheque for £12 toLilburne Press, 7 Wingate Road,

Folkestone CT19 5QE

Or ring us at 257 659 for a sample copy

The arts magazine forFolkestone and Hythe

With illustrated articleslocal arts events,

page What’s On coveringthe next two months.

We issue six editions a year.

for just £12 a year, by sendingyour name and address and

Lilburne Press, 7 Wingate Road,9 5QE

Or ring us at 257 659 for a sample copy

FRONT COVER ILLUSTRATION: Ewan Macaulay ‘Rainy Night, London’(The People’s Choice at the FAS Spring Exhibition)

FAS COMMITTEEChair: Sue Breladeeton8@btinternet.com 01303 259507

Secretary: Liz Nguyenlizold@aol.co.uk 07903 108350

Treasurer: Lesley Haymanl.s.hayman@tesco.net 01303 814679

Publicity: Elena Priestleyyelpri@yandex.com 01303 246523

Exhibition Organiser: Robert Mowlrobertmowl@tiscali.co.uk 01303 250039

Membership Secretary: Chris Melville-Brownchris.melvillebrown@btopenworld.com 07803 189031

Journal Editor: John Sussamsjohn@sussams.freeserve.co.uk 01303 242990

Facebook Co-ordinator: Pauline Fitzpatrickpollyfitz12@hotmail.co.uk 01303 210667

Press Officer: (to be appointed)

Social Secretary: Leigh Norgrovenorgy14@hotmail.com 07850 768231

Artistic Lead: Laura Froudelaurafroude@gmail.com 07725 022067

For further information about FAS go to www.folkestoneartsociety.co.uk

AUTUMN JOURNAL 2013

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