AUGUSTUS JOHN, R.A.

Evening Post, Volume CXIII, Issue 30, 5 February 1932, Page 7

AUGUSTUS JOHN, R.A.

VISIT TO NEW ZEALAND

INTEREST IN THE MAORIS

AUTHORITY ON GIPSIES

(From "The Post's" Representative.) LONDON, 17th December.

Mr. Augustus John, R.A., is probably tho greatest authority on tho gipsies. It is often said that he himself is a gipsy. This is quito incorrect, however. He was born at Tenby, Wales, and it is possible he inherits Roman blood. When ho was teaching at Liverpool before the war ho used to disappear during the • holidays and live with the gipsies. He learned to speak the Eomany language, and he learned much about their life and lore. His gipsy pictures first brought him prominently before the public.

If Augustus John visits New Zealand in the near future—and ho is actually making defiuito inquiries in regard to such a visit—his thoughts will turn first and foremost to the Maoris. He has expressed his desire to see much of them, and to paint them, and if the scenery inspires him ho will, no doubt, "work on that. Although Augustus John's famo in recent years has come through his vigorous portraits, he is a master in every branch of his art. He used to paint scenery, but he invariably brought human figures into these works. His war pictures, by which the general public came eventually to know him, are a combination of scenery and portraiture. One may, therefore, expect to find him reproducing New Zealand scenery where the Maoris are found, with the emphasis perhaps on the human element.

Augustus John had his early struggles as an artist, but they did not last for very long. Before he had. left the Slade School his drawings were recognised as those of a master. William Rothenstein (now Sir William, principal of the Eoyal College of Art) befriended him and showed his drawings to Sargent, Purse, Conder, and Harrison. Some- of these drawings wero bought, and John, was able to take a small studio. This was in 1899. Of his drawings at this periou- Sir William Rothenstein writes: "They were truly remarkable; so remarkable that they put mine, and Shannon's too, into the shade. He had the copiousness -which goes with genius." EARLY DAYS. Orpea and John were great friends in these early days; they lived together and shared the same studio. They not only worked all day, but at might too. John's sister, Gwen, was 'also a Slade student, and around these two a brilliant circle of young women gathered. Among the group was Ida Nettleship, who became John's wife. John found strange people whose surprising character or beauty he revealed in his drawings. In these days.the group of young artists spent long periods in France, mainly at Puy. , After the war there was the incident of the mutilation of one of John Js portraits, which brought him much into prominence. The artist had made a portrait of the late Lord Leverhulme. The latter was not altogether pleased with parts of it, and ho cut the head and shoulders out of the canvas. A great discussion arose as to whether the owner of a portrait had a moral right to mutilate it. Lord Leverhulme maintained that as he had paid for the picture he had a right to do with it what he liked. A young New Zealand artist (a Slade scholar) blossomed into prominence on that occasion. The students held a "rag," a cartoon by the New Zealander depicting the mutilation incident was hung on the fence outside the National Gallery. It was taken inside by one of the servants in the morning, and adjudged of such merit that it was retained as a permanent possession of the Gallery. SENSATIONAL WORK. Every now and then John's portraits cause a sensation. He i^ proverbially bored with certain subjects. Wealthy people who have little but their wealth to corr^nend them fail to interest him, and he sometimes does bad work judged by his own standards. There is the case of the American family who were to, pay £5000 for their portraits. He tried and tried again, but eventually he gave up the task and forfeited the payment. He can also be cruel. There was the portrait of Lord Spencer which appeared at the Academy a few years ago. The artist produced the finest ■work in painting the elaborate uniform, but, to quote the expression of the time, he "just put a pudding on the top." Lord Spencer is reported to have laughed heartily over the portrait. There was the case of Gerald dv Maurier, who said he looked too gloomy. There was the wonderfully painted portrait of Tallulah Bankhead, but the face was that of a dead woman. Coming nearer home, there was John's portrait of the late Mr. Massey, a work which the artist himself liked, but which few of Mr. Massey's friends admired. In the most recent Academy there were none tffat did not praise and admire the fine portrait of Lord D'Aberuon. Indeed, in. recent years he seems to have be- ■ come less erratic in his work. It may be mentioned that instead of settling down with his laurels he has now begun to produce flower groups as a diversion. TATE GALLERY PICTUKES. On some of his works he spends a long time. On the Lord D'Abernon portrait (which cost £2000) he worked for four years, and the portrait of Montague Norman was in his studio for several years. His usual prices are from £900 to £1000. However people may criticise the peculiarities of his works, it has to be remembered that John is one of the best draughtsmen England has turned out in the last hundred years, and he is acclaimed by many to bo the greatest artist of the present day. A number of John's works are to be seen in the Tatev Gallery. There is "The Smiling Woman," a portrait of the artist's wife. There is "Robin John,"_ the picture of a boy of seven— the artist's son, who is now 26 years of age. His finest work in the Gallery is 'Madame Suggia," a portrait of the great 'cellist. This picture was bought by an American and went to America. It was brought back for sale in this country some years ago and bought by Sir Joseph Duveen, who has lent it to the Gallery. This and "The Canadian Soldier," which is owned by the^Birmingham Art Gallery, are two erf uohn's most famous works. An amusing cartoon is also to be seen in the Tate Gallery. It was painted as a mural decoration for tho Arts and Crafts Exhibition at Burlington House in 1916. It is about 30ft long and 10ft high, and represents Galway Arts and Crafts. On the right is a group of Irishmen arguing; in the centre a group of women looking at a child; and on the left a group of men drinking beer. Such was the artist's idea of the industry of Galway. He haa a home in Chelsea, and has a home arid a studio in Chelsea, and a country house, Fryern Court, Fordingbridge (Hampshire), ou the River Avon. This is a long, rambling Tudor house, with an eighteenth century front on it, and it is here that he is doing most of his work at the present time.

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