Biography
Enquire about this picture£1,200
Presentation: Framed
Design for the University of London Students’ Union Mural, circa 1964 Gouache over pencil
33 x 51 cm.; 13 x 20 1/16 in.
Exhibited: Sir Thomas Monnington, Royal Academy, 1977, (54) Thomas Monnington, Fine Art Society, 1997, no 137.
Literature: Judy Egerton, Sir Thomas Monnington, Royal Academy, 1977, p.13; Paul Liss, Thomas Monnington, Fine Art Society, 1997, pp. 54-55.
In a stepped gesso reverse section Gluck style frame
In 1964 The Edwin Austin Abbey Trust for Mural Painting in Great Britain commissioned two works from Monnington for the University of London Students’ Union. The first of the two designs was executed in situ, in polyvinyl acetate on a panel 8 x 20 ft. (see photograph), following the compostion and colouring of this study.
The resultant geometric design is very different from the rather florid Scholar Gypsy painted by Gilbert Spencer R.A in 1957, also commission by the Abbey Trust, on the floor below. The Gilbert Spencer mural has remained in situ, but been painted over. The Monnington mural has suffered a worse fate:it was removed sometime in the mid 1990's and is assumed to have been destroyed.
Biography
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Presentation: Unmounted
Watercolour and charcaol
11 1/2 x 15 in. (29.3 x 38.2 cm.)
Provenance: John Monnington
Monnington was often drawn to this group of Ash, situation in an area known as the sandpit on the Leyswood Estate. Inspired especially by Cezanne, Monnington was fascinated by the abstract shapes formed by these spindly Ash.
We are grateful to John Monnington for assistance.
Biography
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Presentation: Passe-partout
Pencil, wax crayon and watercolour on tracing paper
50.5 x 38.5 cm.; 19 7/8 x 15 1/8 in.
Provenance:: Evelyn Monnington, thence by descent.
Exhibited: Thomas Monnington, Fine Art Society, 1997, no. 142
Literature: Judy Egerton, Sir Thomas Monnington, Royal Academy, 1977; Paul Liss, Thomas Monnington, Fine Art Society, 1997, pp. 55
Monnington was approached by his follow Trustees in 1966 to submit some design proposals for the redecoration of the main staircase. His proposal, which was not adopted, subdivided the wall surface into painted panels with two alternative decorative schemes: one using ornament related to the Department of British and Mediaeval Antiquities; the other a modern abstract design. It appears that the statue of Shakespeare by Roubillac, shown in outline, was one of the objects considered for display on the staircase.
Biography
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Presentation: Passe-partout
Pencil with traces of sanguine and green ink
20 7/8 x 15 1/4 in; 53 x 38.7 cm
This cartoon is for the right hand side of the central olive tree in Monnington's iconic painting Allegory (Tate Gallery) , the major work of his tenure as Rome Scholar in Decorative Painting.
The cartoon and related studies, commenced in the Spring of 1924, occupied the larger part of the second year of his Scholarship. He commenced the execution of the painting, which was to occupy his third and final year, in March 1925; it was purchased in Rome, by Jim Ede for the Contemporary Art Society, before it was completed and was presented to the Tate Gallery in 1939. The exact meaning of the Allegory is unclear and Monnington himself remained elusive about it; invited by the Tate to explain it, he replied, The idea is a bit complex and was based on the story of the Garden of Eden, but rather a personal interpretation of it” (letter of 17 May 1953). When pressed, a few years later to elaborate, he answered, “I don’t think this picture has anything to do with the Garden of Eden story, but I am no more able to explain its exact meaning now than I was at the time I painted it. The whole design certainly had a very particular meaning and purpose and was an attempt to express in pictorial form my attitude to life - almost my faith (2nd April 1957). Having to be content with this, the Tate Gallery retitled the picture Allegory - Monnington having always referred to it simply by the title Decoration. Iconogrpahically it contains elements of several myths but most obviously The Garden of Love; specific episodes within the painting are reminiscent of Adam and Eve; Apollo and Daphne; The Fountain of Youth. Luciano Chelles has pointed out that the composition is to some extent an adaptation of Piero della Francesca’s Death of Adam (San Francesco, Arezzo) and reproduces specific elements such as the figure sitting on the ground and the placing of a large tree at the centre of the composition. Ricketts and Shannon, asked by the Faculty of Painting at the British School to report on Monnington’s progress commented that they found Monnington, “keenly alive to the merit of the Masterpieces he had seen in Italy and alive to the technical practises of the Masters” (12.1.25) “The cartoons and studies Monnington has made ... are characterized by the utmost thoroughness and care; and some of his pencil drawings of hands, feet, plant forms etc.’ being quite notable in their sense of finsih and beauty” (Charles Ricketts, letter to Evelyn Shaw 12.1.25)
Biography
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Presentation: Passe-partout
Red chalk and pen and ink
6 in. sq.; 15.3 cm sq. (image size)
Provenance: Winifred Knights; thence by descent.
Winifred Knights was one of the Slade's most striking beauties. Amongst others fellow Slade-trained artists Arnold Mason, Colin Gill and Thomas Monnington all fell under her spell.
When Monnington arrived in Rome early in 1923, to take up his Painting Scholarship, Knights broke off her engagement to Arnold Mason. Knights and Monnington were married in April 1924.
Biography
Enquire about this picture£800
Presentation: Passe-partout
Red chalk and pencil on tracing paper, squared in pencil for transfer
18 1/2 x 12 in.;47 x 30 cm.
Provenance: Evelyn Monnington.
Literature: Judy Egerton, Sir Thomas Monnington, Royal Academy 1977
Monnington began studies for 'St. Luke's Printing Works', his third Bank of England picture, in 1934. He completed the cartoon in 1936. The finished painting is the same width as the cartoon but a few inches higher. It was completed in October 1937, with the assistance of L. J. Watson, one of his recent students at the Royal College of Art.
The cartoon illustrates Monnington's methods of controlling perspective, learned from Piero della Francesca. The spectator's viewpoint is the top of the cupboard below which parallel lines, graduated and numbered at the side, measure the distance leading in to the picture.
The three men portrayed are, from left to right, W. W. E. Paddick, Labourer; S. B. Chamberlain, General Works Manager; and J. R. Dudin, Supervisor of the Printing Section. The three girls are drawn from models (see no. 24). The downward gaze of the girl handling banknote paper is Madonna-like; but her hands and wrists have been drawn from accurate observation of the deft and practised movements of printing operatives.
Biography
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Presentation: Framed
Inscribed
Pencil and brown ink on tracing paper
6 ins. sq. (15 .1 cm sq.)
In a black recedingreceeding frame with gilded knull
This compostion is clearly indebted to Piero della Francesca’s Baptism of Christ (1450s, National Gallery, London). The National Gallery Baptism had a special significance for Monnington - it was, he later recalled, on first seeing this work as a young teenager, that he decided his vocation was to be an artist.
Biography
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Presentation: Framed
Chalk on tracing paper
squared in pencil
22 x 17 cm.
Provenance: the artist's estate
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£800
Presentation: Passe-partout
Coloured pencil and white and black chalk on paper,
18.5 x 15.5cm (25.5 x 23cm framed)
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£800
Presentation: Passe-partout
Coloured pencil and white chalk on paper, 23.5 x 17.5cm (28.5 x 22.5 framed)
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£380
Presentation: Passe-partout
Coloured pencil on paper. Two pictures.
Up : 19.2 x 7.5cm
Down : 19.5 x 7.5cm
All framed : 45.5 x 12.5cm
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£450
Presentation: Passe-partout
Coloured pencil on paper,
33 x 16.5cm ( 38 x 21.5cm framed)
The New Bristol Council House, designed by Vincent Harris, was built in the early 1950s. Monnington was commissioned to paint the ceiling in 1953; it was unveiled in 1956. The ceiling, measuring 95 x 45 feet (over 4000 square feet), is amongst the largest post-war decorative schemes in Europe. Monnington insisted on painting in the Renaissance manner - directly onto wet plaster. The colours were ground and mixed with an emulsion of eggs, chalk and water - Bristol's Clerk of the Works delivered baskets of eggs daily.
'A suggestion by the Bristol city fathers that the subject should be "something connected with the Merchant Adventurers" fell on deaf ears. Monnington determined that his design should instead commemorate those scientific achievements which future Bristolians would associate with the mid-twentieth century, and which he himself had become excited by over the last twenty years: modern nuclear physics; electronics, which had enthralled him first in the shape of radio masts and later in radar equipment; aeronautics, whose laws he had begun to comprehend during the war; and biochemistry, where enlarged photographs of recent research revealed amazing quasi-abstract patterns.' Judy Egerton, Monnington, Royal Academy, 1977, p. 13.
Monnington's design bears similarities to the paintings of the Italian futurist Balla, but is underwritten by his deep admiration for Piero della Francesca, constructed as it is along the lines of the Golden Section. There are also stylistic similarities with the sculptures of Monnington's neighbour, Professor Gerrard. A number of drawings by Monnington for the ceiling are in the collection of the Victoria and Albert Museum, The Science Museum and Bristol City Art Gallery.
Biography
Enquire about this picture£500
Presentation: Passe-partout
Coloured pencil and white chalk on paper,
31 x 31cm (36 x 36cm framed)
The New Bristol Council House, designed by Vincent Harris, was built in the early 1950s. Monnington was commissioned to paint the ceiling in 1953; it was unveiled in 1956. The ceiling, measuring 95 x 45 feet (over 4000 square feet), is amongst the largest post-war decorative schemes in Europe. Monnington insisted on painting in the Renaissance manner - directly onto wet plaster. The colours were ground and mixed with an emulsion of eggs, chalk and water - Bristol's Clerk of the Works delivered baskets of eggs daily.
'A suggestion by the Bristol city fathers that the subject should be "something connected with the Merchant Adventurers" fell on deaf ears. Monnington determined that his design should instead commemorate those scientific achievements which future Bristolians would associate with the mid-twentieth century, and which he himself had become excited by over the last twenty years: modern nuclear physics; electronics, which had enthralled him first in the shape of radio masts and later in radar equipment; aeronautics, whose laws he had begun to comprehend during the war; and biochemistry, where enlarged photographs of recent research revealed amazing quasi-abstract patterns.' Judy Egerton, Monnington, Royal Academy, 1977, p. 13.
Monnington's design bears similarities to the paintings of the Italian futurist Balla, but is underwritten by his deep admiration for Piero della Francesca, constructed as it is along the lines of the Golden Section. There are also stylistic similarities with the sculptures of Monnington's neighbour, Professor Gerrard. A number of drawings by Monnington for the ceiling are in the collection of the Victoria and Albert Museum, The Science Museum and Bristol City Art Gallery.
Biography
Enquire about this picture£400
Presentation: Passe-partout
Coloured pencil and white chalk on paper, 15.7 x 15.5cm (20.7 x 20.5cm framed)
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£200
Presentation: Passe-partout
Coloured pencil on paper,
15.5 x 25cm (20.5 x 30cm framed)
The New Bristol Council House, designed by Vincent Harris, was built in the early 1950s. Monnington was commissioned to paint the ceiling in 1953; it was unveiled in 1956. The ceiling, measuring 95 x 45 feet (over 4000 square feet), is amongst the largest post-war decorative schemes in Europe. Monnington insisted on painting in the Renaissance manner - directly onto wet plaster. The colours were ground and mixed with an emulsion of eggs, chalk and water - Bristol's Clerk of the Works delivered baskets of eggs daily.
'A suggestion by the Bristol city fathers that the subject should be "something connected with the Merchant Adventurers" fell on deaf ears. Monnington determined that his design should instead commemorate those scientific achievements which future Bristolians would associate with the mid-twentieth century, and which he himself had become excited by over the last twenty years: modern nuclear physics; electronics, which had enthralled him first in the shape of radio masts and later in radar equipment; aeronautics, whose laws he had begun to comprehend during the war; and biochemistry, where enlarged photographs of recent research revealed amazing quasi-abstract patterns.' Judy Egerton, Monnington, Royal Academy, 1977, p. 13.
Monnington's design bears similarities to the paintings of the Italian futurist Balla, but is underwritten by his deep admiration for Piero della Francesca, constructed as it is along the lines of the Golden Section. There are also stylistic similarities with the sculptures of Monnington's neighbour, Professor Gerrard. A number of drawings by Monnington for the ceiling are in the collection of the Victoria and Albert Museum, The Science Museum and Bristol City Art Gallery.
Biography
Enquire about this picture£280
Presentation: Passe-partout
Pencil on paper, 14 x 18.5cm (19 x 23.5cm framed)
The New Bristol Council House, designed by Vincent Harris, was built in the early 1950s. Monnington was commissioned to paint the ceiling in 1953; it was unveiled in 1956. The ceiling, measuring 95 x 45 feet (over 4000 square feet), is amongst the largest post-war decorative schemes in Europe. Monnington insisted on painting in the Renaissance manner - directly onto wet plaster. The colours were ground and mixed with an emulsion of eggs, chalk and water - Bristol's Clerk of the Works delivered baskets of eggs daily.
'A suggestion by the Bristol city fathers that the subject should be "something connected with the Merchant Adventurers" fell on deaf ears. Monnington determined that his design should instead commemorate those scientific achievements which future Bristolians would associate with the mid-twentieth century, and which he himself had become excited by over the last twenty years: modern nuclear physics; electronics, which had enthralled him first in the shape of radio masts and later in radar equipment; aeronautics, whose laws he had begun to comprehend during the war; and biochemistry, where enlarged photographs of recent research revealed amazing quasi-abstract patterns.' Judy Egerton, Monnington, Royal Academy, 1977, p. 13.
Monnington's design bears similarities to the paintings of the Italian futurist Balla, but is underwritten by his deep admiration for Piero della Francesca, constructed as it is along the lines of the Golden Section. There are also stylistic similarities with the sculptures of Monnington's neighbour, Professor Gerrard. A number of drawings by Monnington for the ceiling are in the collection of the Victoria and Albert Museum, The Science Museum and Bristol City Art Gallery.
Biography
Enquire about this picture£300
Presentation: Passe-partout
Pen and pencil on paper,
10.3 x 18.3cm (15.3 x 23.3cm framed)
Although never worked into a major painting numerous studies exist for The Postman . In these the basic composition remains the same: postman Setford enters from the right; the artist, his wife Evelyn, and son John (leaning on a gun) stand centre left, by the large cherry tree (cat. no. 120). Emerging from the left are Monnington’s neighbours, the sculptor A.H.Gerrard and his wife, the painter, Kathleen Leigh-Pemberton, (whose studio is seen behind). The other, distant figures, are Mr. and Mrs Young, emerging from their home in the Bothy
Biography
Enquire about this picture£280
Presentation: Passe-partout
Red and blue ink on lined paper, 3 3/4 x 5 3/4 in. (9.5 x 14.5cm.)
(7 1/4 x 9 1/4 in. (18.5 x 23.5cm.) framed)
Biography
Enquire about this picture£400
Presentation: Passe-partout
Pencil on paper, 15.8 x 16cm (21 x 21.2cm framed)
In a gilded square section frame mounted within a glazed gessoed shadow box with a matching gilded outer moulding.
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£400
Presentation: Passe-partout
Coloured pencil and white and black chalk on paper,
10 x 17.5cm (17 x 24.5cm framed)
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£600
Presentation: Passe-partout
Coloured pencil and black and white chalk on tracing paper,
17 x 19.8cm (22 x 24.8cm framed)
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£1,000
Presentation: Passe-partout
Coloured pencil and black and white chalk on paper, 24 x 24cm (29 x 29cm framed)
In a gilded square section frame mounted within a glazed gessoed shadow box with a matching gilded outer moulding.
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
Enquire about this picture£1,000
Presentation: Passe-partout
Coloured pencil and white and black chalk on paper, 38.5 x 37.5cm (43.5 x 42.5cm framed)
The New Bristol Council House, designed by Vincent Harris, was built in the early 1950s. Monnington was commissioned to paint the ceiling in 1953; it was unveiled in 1956. The ceiling, measuring 95 x 45 feet (over 4000 square feet), is amongst the largest post-war decorative schemes in Europe. Monnington insisted on painting in the Renaissance manner - directly onto wet plaster. The colours were ground and mixed with an emulsion of eggs, chalk and water - Bristol's Clerk of the Works delivered baskets of eggs daily.
'A suggestion by the Bristol city fathers that the subject should be "something connected with the Merchant Adventurers" fell on deaf ears. Monnington determined that his design should instead commemorate those scientific achievements which future Bristolians would associate with the mid-twentieth century, and which he himself had become excited by over the last twenty years: modern nuclear physics; electronics, which had enthralled him first in the shape of radio masts and later in radar equipment; aeronautics, whose laws he had begun to comprehend during the war; and biochemistry, where enlarged photographs of recent research revealed amazing quasi-abstract patterns.' Judy Egerton, Monnington, Royal Academy, 1977, p. 13.
Monnington's design bears similarities to the paintings of the Italian futurist Balla, but is underwritten by his deep admiration for Piero della Francesca, constructed as it is along the lines of the Golden Section. There are also stylistic similarities with the sculptures of Monnington's neighbour, Professor Gerrard. A number of drawings by Monnington for the ceiling are in the collection of the Victoria and Albert Museum, The Science Museum and Bristol City Art Gallery.
Biography
Enquire about this picture£350
Presentation: Passe-partout
Coloured pencil on paper, 27 x 18.5cm (32 x 24cm framed)
The New Bristol Council House, designed by Vincent Harris, was built in the early 1950s. Monnington was commissioned to paint the ceiling in 1953; it was unveiled in 1956. The ceiling, measuring 95 x 45 feet (over 4000 square feet), is amongst the largest post-war decorative schemes in Europe. Monnington insisted on painting in the Renaissance manner - directly onto wet plaster. The colours were ground and mixed with an emulsion of eggs, chalk and water - Bristol's Clerk of the Works delivered baskets of eggs daily.
'A suggestion by the Bristol city fathers that the subject should be "something connected with the Merchant Adventurers" fell on deaf ears. Monnington determined that his design should instead commemorate those scientific achievements which future Bristolians would associate with the mid-twentieth century, and which he himself had become excited by over the last twenty years: modern nuclear physics; electronics, which had enthralled him first in the shape of radio masts and later in radar equipment; aeronautics, whose laws he had begun to comprehend during the war; and biochemistry, where enlarged photographs of recent research revealed amazing quasi-abstract patterns.' Judy Egerton, Monnington, Royal Academy, 1977, p. 13.
Monnington's design bears similarities to the paintings of the Italian futurist Balla, but is underwritten by his deep admiration for Piero della Francesca, constructed as it is along the lines of the Golden Section. There are also stylistic similarities with the sculptures of Monnington's neighbour, Professor Gerrard. A number of drawings by Monnington for the ceiling are in the collection of the Victoria and Albert Museum, The Science Museum and Bristol City Art Gallery.
Biography
Enquire about this picture£350
Presentation: Passe-partout
Coloured pencil on paper, 27 x 18.5cm (32 x 24cm framed)
The New Bristol Council House, designed by Vincent Harris, was built in the early 1950s. Monnington was commissioned to paint the ceiling in 1953; it was unveiled in 1956. The ceiling, measuring 95 x 45 feet (over 4000 square feet), is amongst the largest post-war decorative schemes in Europe. Monnington insisted on painting in the Renaissance manner - directly onto wet plaster. The colours were ground and mixed with an emulsion of eggs, chalk and water - Bristol's Clerk of the Works delivered baskets of eggs daily.
'A suggestion by the Bristol city fathers that the subject should be "something connected with the Merchant Adventurers" fell on deaf ears. Monnington determined that his design should instead commemorate those scientific achievements which future Bristolians would associate with the mid-twentieth century, and which he himself had become excited by over the last twenty years: modern nuclear physics; electronics, which had enthralled him first in the shape of radio masts and later in radar equipment; aeronautics, whose laws he had begun to comprehend during the war; and biochemistry, where enlarged photographs of recent research revealed amazing quasi-abstract patterns.' Judy Egerton, Monnington, Royal Academy, 1977, p. 13.
Monnington's design bears similarities to the paintings of the Italian futurist Balla, but is underwritten by his deep admiration for Piero della Francesca, constructed as it is along the lines of the Golden Section. There are also stylistic similarities with the sculptures of Monnington's neighbour, Professor Gerrard. A number of drawings by Monnington for the ceiling are in the collection of the Victoria and Albert Museum, The Science Museum and Bristol City Art Gallery.
Biography
Enquire about this picture£380
Presentation: Passe-partout
Coloured pencil and white chalk on paper, 21 x 21cm (26 x 26cm framed)
The New Bristol Council House, designed by Vincent Harris, was built in the early 1950s. Monnington was commissioned to paint the ceiling in 1953; it was unveiled in 1956. The ceiling, measuring 95 x 45 feet (over 4000 square feet), is amongst the largest post-war decorative schemes in Europe. Monnington insisted on painting in the Renaissance manner - directly onto wet plaster. The colours were ground and mixed with an emulsion of eggs, chalk and water - Bristol's Clerk of the Works delivered baskets of eggs daily.
'A suggestion by the Bristol city fathers that the subject should be "something connected with the Merchant Adventurers" fell on deaf ears. Monnington determined that his design should instead commemorate those scientific achievements which future Bristolians would associate with the mid-twentieth century, and which he himself had become excited by over the last twenty years: modern nuclear physics; electronics, which had enthralled him first in the shape of radio masts and later in radar equipment; aeronautics, whose laws he had begun to comprehend during the war; and biochemistry, where enlarged photographs of recent research revealed amazing quasi-abstract patterns.' Judy Egerton, Monnington, Royal Academy, 1977, p. 13.
Monnington's design bears similarities to the paintings of the Italian futurist Balla, but is underwritten by his deep admiration for Piero della Francesca, constructed as it is along the lines of the Golden Section. There are also stylistic similarities with the sculptures of Monnington's neighbour, Professor Gerrard. A number of drawings by Monnington for the ceiling are in the collection of the Victoria and Albert Museum, The Science Museum and Bristol City Art Gallery.
Biography
Enquire about this picture£280
Presentation: Passe-partout
Coloured pencil on paper, 27 x 27.5cm (32 x 32.5cm framed)
Provenance:: Evelyn Monnington, thence by descent.
Literature: Judy Egerton, Sir Thomas Monnington, Royal Academy, 1977; Paul Liss, Thomas Monnington, Fine Art Society, 1997, pp. 55
Monnington was approached by his follow Trustees of the British Museum in 1966 to submit some design proposals for the redecoration of the main staircase. His proposal, which was not adopted, subdivided the wall surface into painted panels with two alternative decorative schemes: one using ornament related to the Department of British and Mediaeval Antiquities; the other a modern abstract design. It appears that the statue of Shakespeare by Roubillac, shown in outline, was one of the objects considered for display on the staircase.
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Enquire about this picture£220
Presentation: Passe-partout
Pencil on paper, 12 x 5.5cm (20 x 13.5cm framed)
Biography
Enquire about this picture£900
Presentation: Framed
Watercolour
Provenance: Lady Monnington; John Monnington
Literature: Paul Liss, Thomas Monnington, The Fine Art Society 1997, p. 57
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
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Presentation: Framed
Chalk on tracing paper
Provenance: Lady Monnington; John Monnington
Literature: Paul Liss, Thomas Monnington, The Fine Art Society 1997, p. 57
This work was inspired by a Clematis Montana growing at Leyswood. My interest in abstract is in trying to do something more than imitate, Monnington explained in an interview for the Church Times, (30 December 1966): I think it is possible that, through a more abstract approach, one can get nearer to the underlying nature of reality. A still life entitled Clematis - exhibited at the Royal Academy in 1959 (34) - was possibly the point of departure for this more abstract interpretation. This work is closely related to the ceiling of the Mary Harris Memorial Chapel in its colour and construction. Bristol and Exeter were undoubtedly instrumental in Monningtons pursuit of ‘Geometric’ paintings (a term he preferred to Abstracts). When the Tate purchased Monnington’s Square Design (1967) he spoke of his abstract paintings as “direct descendants from my ceiling painting in the Council House, Bristol, which was my first departure from purely representational painting. Since them I have been increasingly interested in the subdivisions of surface areas contained in equilateral rectangels (squares) and rectangles derived from square roots. These two-dimensional mathematical relationships suggest to me dimensions in depth, and provide a discipline which at the present time I find as necessary and interesting as that imposed previously in representational painting... You can cut out the blurb if you wish, but I was trying for my own edification to put into words what I think I have been trying to do in the last ten years”, (letter of 12th June 1968)
Biography
Enquire about this picture£400
Presentation: Passe-partout
White, black and red chalk, and pencil on paper. 35 x 21.5cm (44 x 30.5cm framed). The chapel was designed by Vincent Harris R.A. (architect of the Bristol Council House) in memory of his mother. He commissioned Monnington to paint the 112 x 28ft ceiling in 1956. Monnington completed his designs during 1956 and his assistants Scott Medd and W.B.(Peter) Lowe took 11 months to execute it. Lowe recalls: “Tom maintained that it was difficult to draw angels in the twentieth century, and was comforted by the enduring qualities of geometry and light. The design, based on simple geometry, was visualised as overlapping webs of transparent light extending into and partly veiling the mysteries of space”. Provenance: Evelyn Monnington Exhibited: The Fine Art Society, 1997, no. 134; The British School at Rome, 1997; Exeter Museum and Art Gallery.
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Presentation: Passe-partout
Wash on tracing paper, 19.2 x 18cm (28.2 x 27cm framed)
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To be included in a
forthcoming exhibition
Presentation: Framed
Oil on canvas, 122 x 216cm / 48 x 85in
PROVENANCE: The British School at Rome, Lowther Gardens, London; Sotheby's, London 14th October 1987, lot 118, purchased by Abbot and Holder; Alan and Susanna Powers
EXHIBITED: Exhibition of works submitted in the final competitions for the Rome Scholarship of 1922, Royal Academy, February 1923; International Exhibition of Modern and Decorative Industrial Art, Paris, April-October 1925, British Section, Grand Palais (309)
LITERATURE: Illustrated London News, loth March 1923, vol.162, p.366, (Reproduced)
Winter was Monnington's winning submission for the 1922 British School at Rome Scholarship in Decorative Painting. The landscape is based on studies looking towards Clerebury Rings near Salisbury, undertaken during visits in 1921 to the artist's cousin Dr. R. C. Monnington. In a review in the Observer, (22 February 1923), P. C. Konody praised Monnington's painting for being steeped in the best traditions of the Italian Renaissance. His colour is dull, but there is a marked sense of style in his design.
A link with the Italian Renaissance can be demonstrated more specifically in relation to the work of Piero della Francesca: the young peasant leaning with both hands on a spade is a possible echo from the Discovery and Proving of the True Cross (San Francesco, Arezzo). The man sitting on a rock in the middle of the composition appears to be based on the figure of St.. Joseph (in reverse) in Piero della Francesca's Adoration. I am grateful to Professor Luciano Chelles for these observations.
Lent by Sacha Llewellyn and Paul Liss
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Presentation: Framed
Pen and ink
4 x 6 in. (10 x 15.2 cm)
Provenance: Evelyn Monnington
The sketch relates to a large oil of two figures seated under a tree which the artist worked on, and abandoned, during the early 1930's
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Presentation: Framed
chalk over pencil
7 x 7 ins. (18 x 18 cm. sq.) image size;
1 x 11 in. (28 x 28 cm sq.) framed;
Provenance: The Artist's Estate
In a gilded square section frame mounted within a glazed gessoed shadow box with a matching gilded outer moulding.
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
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Presentation: Framed
chalk over pencil
4 x 4 ins. (10 x 10 cms.) image size;
8 1/4 x 8 1/4 ins. (21 x 21 cms.) in frame
Provenance: The Artist's Estate.
In a gilded square section frame mounted within a glazed gessoed shadow box with a matching gilded outer moulding.
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Biography
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Presentation: Framed
Charcoal over intersecting diagonals in red wax crayon,
sight size 21½ × 17½ in.(54.6 × 44.5 cm.),
overall size 24 × 20 in. (61 × 50.8 cm.)
Provenance: The Artist's Estate; Nick Bowlby; Rachel Moss
Literature: Sir Thomas Monnington, exh. cat.. The Fine Art Society, London, 1997, p. 56
Framed in a slim reeded d-section gilded frame with a conservation ivory mount.
Monnington began designs for fourteen Stations of the Cross for St George’s Parish Church, Brede, Sussex, in 1959; he exhibited studies for Jesus Meets his Mother and Jesus Falls for the First Time at the Royal Academy that year.The works were commissioned by the Rector of Brede, the Revd Percy Hill, with the support of Bishop George Bell, who enthusiastically endorsed Hill’s choice: ‘If you could get Monnington it would be wonderful.’ Monnington accepted thecommission at a cost of £100 for each station. He expressed a preference to execute the works as frescoes but, since the surface of the ancient walls did not allow this, painted them instead in tempera on panel.The work took several years to complete, and Monnington became deeply moved by the subject matter. The last four or five stations are markedly different in style from the earlier ones, as Monnington was increasingly drawn towards abstraction. Strong stylistic parallels can be made between Monnington’s Stations and Paul Nash’s twelve wood-cuts for Genesis (Nonesuch Press, London, 1924).
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Presentation: Mounted
Inscribed with title on the reverse by the artist's son, John
Pencil, 13⅜ x 11⅝ in. (34 x 32 cm.)
Provenance: James Monnington, the artist's son
In a polished oak frame with silver inner slip.
Sir Evelyn Campbell Shaw KCVO LLD (1882-1974) was assistant secretary, 1910-47, of the Royal Commissioners for the Exhibition of 1851, and Honorary General Secretary of the British School at Rome from 1911 until his retirement in 1947, when the Rome Scholars’ Society presented him with this drawing. It was as a young Rome Scholar that Monnington first met Shaw, twenty years his senior; this blossomed into a lifelong friendship. Knights and Monnington frequently visited Shaw in West Somerton, staying in his seashore cottage at Horsey, (see cat G3a.) Though his administration of scholarships and bursaries, Shaw was closely involved with practical support for science and the arts; a man of keen perception and sound judgment, he was much more than an able administrator. Monnington contributed an obituary notice of Shaw to The Times (30 January 1974), singling out as Shaw’s chief contribution to life as his ability to detect honesty of purpose and to encourage the creative capability of others. Monnington and Winifred Knights depended on Shaw (1882-1974) for his excellent judgement. His enormous charm and intellectual integrity quickly gained him immense respect, both from students and the great and the good in the arts. He had a vast circle of contacts who were also good friends. His judgement in the matter of choosing suitable applicants for the Rome Scholarship was excellent, (John Monnington, email to Paul Liss, 10 February 2007).
We are grateful to John Monnington for assistance.
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Presentation: Framed
Pencil and pen and ink on tracing paper
inscribed and titled by the artist's son, John.
5 1/8 x 6 1/4 in.; (13 x 16 cms.)
In a square section gilded oak frame with broad oak inner slip.
Monnington was passionate about aircraft - by the time he applied to become an official War Artist he had completed over 600 hours of flying time, having worked during the early part of the war in the Design Team of the Directorate of Camouflage. Whilst posted at the Brooklands race track he met Barnes Wallis – inventor of the Wellington Bomber and the bouncing bomb – who asked Monnington to apply his talent to improving the appearance of a heavy bomber which was being developed at the time, (two designs for which are in the collection of the Victoria & Albert Museum). Much in the same vien the Lysander shown here is a developmental design – Monnington’s view of what an enhanced Lysander might look like. Lydansers were used in the early part of the war for dropping SIS officers into France, the very long undercarriage and wide wheel base allowing for landing in fields at speeds as slow as 40 mph. The Royal Air Force (Handbook) by Eric Sargeant, circa 1941, descirbes The Lysander as follows: a very fine aeroplane which has performed many diverse operations during this war. Among its duties are reconnaissance, artillary spotting, delivery of food and ammunition, etc. to beleaguered troops, message-dropping and picking-up, light boming etc. Monnington's enhanced design shows elongated wings and a wider wheel base.
We are grateful to John Monnington for assistance.
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Presentation: Unmounted
Pen and ink
7 ins sq.; 17.8 cm sq (sight size)
Provenance: Evelyn Monnington; John Monnington.
Leyswood in Kent was Tom Monnington's home from 1937 unitl his death in 1976. Both Monnington and Winifred Knights had studios in a large barn in the garden. Following the death of Winfred Knights in February 1947 and Tom Monningtons marriage to Evelyn Hunt in December 1947, Leyswood continued to be the main base for all of Monnington's artistic endeavours. John Monnington, who was born in 1934, recalls that, "domestic life was a counterpart to my father's somewhat tormented life as an artist. His home, created by my step-mother, Evelyn, was a protective haven which restored his energy and gave him the strength needed to keep faith in himself and his work. He loved the truely rural life at Leyswood and was, I suspect, never happier than when working at some strenuous project in the garden with the help of neighbours and friends. While working with such close acquaintences he was able to exchange thoughts and perceptions on many subjects which were far from his own immediate concerns, and his interest in literature and scientific matters was profound and far ranging. As a father he was quite outstanding, both by example and by gentle persuasion. It was his initial infectuious enthusiasm for flying and, in particular his genuine hope that something should be learnt from studying bird-flight, that caused me to adopt my eventual career as an engineer. I am constantly aware that I was incredibly fortunate to have enjoyed my childhood as the only some of two artists. My one regret is that I never properly expressed my gratitude during his liefetime." Thomas Monnington, Paul Liss in association with The Fine Art Society, 1997, p. 17
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Presentation: Mounted
Charcoal
17 1/4 x 12 in. 43.7 x 30.5 cm.
This Still Life is similar to, and may have been one of, the charcoal drawings exhibited by Monnington during his Presidency of the Royal Academy during the late 1960's. Monnington was very drawn to African Violets, which Evelyn grew with great success, delighting in their deep purple hues and their soft fleshy leaves.
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Presentation: Passe-partout
This sketch was probably undertaken in Gloucestershire where Monnington often visited Lord Methuen.
Pen and ink
6 x 6 in; 15 x 15 cm.
Provenance: The Artist's Estate
We are grateful to John Monnington for assistance.
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Presentation: Passe-partout
Watercolour, squared in pencil
8 x 10 in; 20 x 25.5 cm. (image size)
Provenance: The Artist's studio
This composition possibly relates to a series of flower -inspired paintings which Monnington produced during the late 1950's, (for instance Flower-piece 1, RA Summer Show, 1959, no 281).
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Presentation: Framed
Pen, ink and chalk
3 x 3 ins. (9.5 x 9.5 cms.) image size; 9 x 9 ins. (24.5 x 24.5 cms.) in frame/overall
Provenance: the artist's estate
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).-
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Presentation: Framed
4 x 4 ins. (11 x 11 cms.) image size; 8 x 8 ins. (21 x 21 cms.) in frame/overall
Provenance: the artist's estate
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Presentation: Framed
Chalk, pen and ink over crayon
6 x 6 ins. (17 x 17 cms.) image size; 10 x 10 ins. (27.5 X 27.5 cms.) in frame
Provenance: the artist's estate-
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Presentation: Framed
Chalk over pencil
7W X 7W ins. (18 X 18 cms.) image size; 11 X 11 ins. (28 X 28 cms.) in frame
Provenance: the artist's estate 
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Presentation: Framed
Oil on canvas,
7 x 5 in. (17.7 x 12.8 cm.)
In a glazed square section limed oak frame with gilded hollow and limed oak lap jointed inner slip
John Monnington, the artist's son, recalls that, as the summer light began to dwindle, his father would wander out with his artist's materials and paint a rapid impression of the surrounding landscape. Sometimes these served as studies for fuller compositions, worked up in the studio. This study is likely to have been undertaken from the garden of Monnington's Mother, at Crawley Down in Sussex.We are grateful to John Monnington for assistance.
-
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Presentation: Framed
Charcoal over intersecting diagonals in red wax crayon,
sight size 21½ × 17½ in.(54.6 × 44.5 cm.),
overall size 24 × 20 in. (61 × 50.8 cm.)
Provenance: The Artist's Estate; Nick Bowlby; Rachel Moss
Literature: Sir Thomas Monnington, exh. cat.. The Fine Art Society, London, 1997, p. 56
Framed in a slim reeded d-section gilded frame with a conservation ivory mount.
Monnington began designs for fourteen Stations of the Cross for St George’s Parish Church, Brede, Sussex, in 1959; he exhibited studies for Jesus Meets his Mother and Jesus Falls for the First Time at the Royal Academy that year.The works were commissioned by the Rector of Brede, the Revd Percy Hill, with the support of Bishop George Bell, who enthusiastically endorsed Hill’s choice: ‘If you could get Monnington it would be wonderful.’ Monnington accepted thecommission at a cost of £100 for each station. He expressed a preference to execute the works as frescoes but, since the surface of the ancient walls did not allow this, painted them instead in tempera on panel.The work took several years to complete, and Monnington became deeply moved by the subject matter. The last four or five stations are markedly different in style from the earlier ones, as Monnington was increasingly drawn towards abstraction. Strong stylistic parallels can be made between Monnington’s Stations and Paul Nash’s twelve wood-cuts for Genesis (Nonesuch Press, London, 1924).
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Presentation: Passe-partout
Coloured pencil and white chalk on paper, 19 x 19cm (24 x 24cm framed)
In a gilded square section frame mounted within a glazed gessoed shadow box with a matching gilded outer moulding.
Monnington's studies for his 'Geometric Paintings' (as he preferred to call them) are works which he crafted meticulously. He frequently reworked the same design over and over again before producing a version in tempera. 'I do feel that as President of the R.A. I should show at least one painting there a year .. I take a long time to resolve a painting problem. I take a year to do one painting because I make innumerable studies preparing the way' (Sunday Express, 19 Oct 1969).
Monnington was significantly the first President of the Royal Academy to paint abstracts, and inevitably his work was not always well received:
'The President is indeed a charming man but his work is an embarrassment. I can only recommend it to some linoleum manufacturer.' So wrote Terence Mullaly, reviewing the Royal Academy Summer Show (Daily Telegraph, 28 April 1967)
Unlike his predecessors, Monnington was prepared to throw open to debate questions about contemporary art. 'I happen to paint abstracts, but surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions - and this applies to artists as well as to the public - would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: Is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?' (Marjorie Bruce-Milne, The Christian Science Monitor, 29 May 1967). At the same time Monnington was keen to defend traditional values. 'You cannot be a revolutionary and kick against the rules unless you learn first what you are kicking against. Some modern art is good, some bad, some indifferent. It might be common, refined or intelligent. You can apply the same judgements to it as you can to traditional works,' (interview with Colin Frame, undated newspaper clipping, 1967).
Thumbnail panels:
