(Below): Charles Beale, by Mary Beale, c. 1665.
(Below): Abbeygate Street, watercolour, by Rose Mead, c. 1920.
(Below): Butter Market and Moyse's Hall, by Rose Mead, 1927.
(Below): Tumulus, colour linocut, by Sybil Andrews, 1936.
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Mary Beale (1633-99)
One of the most important local artists represented in the collection is
Mary Beale. Born the daughter of John Cradock, Rector of Barrow, near
Bury St. Edmunds, she married a distant cousin, Charles Beale, and moved to
London. She had already received training as an artist, and with additional
advice from Sir Peter Lely and other notable practitioners of the period, she set
up her own studio. It was very unusual for a woman to take up a professional
career as an artist at this time, but Mary Beale soon built up a considerable
clientele, especially among the new breed of leading Puritans. Indeed, she
became so successful that her husband chose to abandon his own career in
order to act as her assistant and secretary.
(Above): Self portrait, by Mary Beale, c. 1675.
Although she was highly rated by her contemporaries, and described by the
eighteenth-century art historian George Vertue as 'little inferior to any of her
[male] contemporaries either for colouring, strength, force or life', her work
was later unfavourably compared with her more illustrious male
contemporaries; only recently has it been reassessed and given the recognition
it deserves.
Notable examples of her work in this collection include a portrait of her
husband, painted around 1665; the wistful, haunting face of Sarah Hall,
c. 1680, and one of the best of the artist's self-portraits c. 1675, painted on
sacking because artist's canvas was expensive and so used chiefly for official
portrait commissions.
Rose Mead (1867-1946)
Rose Mead, the daughter of a local builder, studied at Lincoln Art College,
the Westminster School in London and in a private studio in Paris. She
exhibited some early works in the Royal Academy, but by around 1905 had
returned to Bury St. Edmunds where she spent the rest of her life. Having
established a studio in Crown Street, she made a living from painting
portraits, local views, interiors and still-lifes. Her attractive technique is
characterized by loose brush strokes, sombre and bright tones effectively
combined, and highlighted with touches of thickly-layered paint, or impasto.
Keen on painting girls and young women, Rose Mead would often approach
one that attracted her attention in the street and request a sitting; for this the
girl would be paid about sixpence to one shilling an hour.
(Above): Barbara Stone, by Rose Mead, c. 1930
The museum has a good representative
collection of her work. One of the most popular
portraits is that of her elderly housekeeper
Barbara Stone, peeling apples at the kitchen
table. Rose Mead was particularly talented at
portraying characters and this is a fine example
of a character she knew well. The artist's keen
affection for her home town is represented by
the lively painting of the Butter Market and
Moyse's Hall 1927
Sybil Andrews (1898-1992)
Sybil Andrews had a very distinctive approach although her early watercolours
record the same Picturesque buildings in the town which Rose Mead also loved
to paint. In 1925 she moved to London where she studied at the newly
established Grosvenor School of Modern Art. Under her tutor, the avant-garde
artist Claude Flight, she began to experiment with printing techniques. The
result was a series of highly individual colour linocuts which today have given
her an international reputation.
(Above): Day's End, colour linocut, by Sybil Andrews, 1961.
Hand-printed on Japanese tissue paper the dynamic, angular compositions
are built-up from three or four basic colours which are overprinted to create a
much greater variety of tone. For some time, Sybil Andrews had been striving
towards greater economy of form and she describes how for her, the lino block
process was 'the greatest teacher of all . . .you are forced to simplify your idea
to its fundamentals.'
Many of the linocuts reflect the machine age and urban life, but others are
of rural life inspired by the artist's early years in Suffolk. She continued to
produce these even after emigrating to Canada in 1947. Typical examples are
Michaelmas (1935), Ploughing Pasture (1954), and Day's End (1961)
In recent years Sybil Andrews very generously donated a substantial
collection of her works to the museum, including early watercolours of
Bury St. Edmunds.
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