Liss Llewellyn Fine Art - 20th Century British Art

Sir Thomas Monnington (1902-1976)   BIOGRAPHY

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Landscape around Leyswood, late 1940s
Framed (ref: 502)
Inscribed by John Monnington on reverse
Oil on canvas, 14 ◊ 18 in. (35.5 ◊ 45.7 cm.)

 


Provenance: the artistís son, James

In a modern gilded D-section reeded frame

The landscape of the Leyswood Estate, near Groombridge, East Sussex,
where Monnington lived from the late 1940s, provided the subject matter for a number of his paintings. John Monnington, the artistís son, recalls that, as the summer light began to dwindle, his father would wander out with his artistís materials and paint a rapid impression of the surrounding landscape.
Sometimes these served as studies for fuller compositions, worked up in
the studio. This view is probably of Buckhurst Park, the seat of the Earl and
Countess De La Warr, which adjoined the Leyswood Estate.

We are grateful to John Monnington for assistance.



Sir Thomas Monnington (1902-1976)

Painter, especially of murals. Born in London, he studied at the Slade School in 1918-23 and was Rome Scholar in 1923-26. He married fellow Rome Scholar Winifred Knights in 1924. Among his public works are a decoration for St Stephen's Hall, Westminster, 1928, and the new Council House in Bristol, 1956. Monnington taught drawing at the Royal Academy Schools, 1931-39, and in 1949 joined the staff of the Slade, whose strong linear tradition marked his own work. Monnington is represented in a number of public galleries, including the Tate, British Museum and Imperial War Museum. He was elected RA in 1938, became its President in 1966 and was knighted in 1967. There was a memorial exhibition at the RA in 1977. Another traveled from the British School at Rome to the Royal Albert Memorial Museum in Exeter and the Fine Art Society in 1997. From the 1940s Monnington lived in Groombridge, Kent; the local landscape inspired much of his post-war work. Monnington was one of the outstanding draughtsmen of his generation. He had a considerable influence as a teacher (Euan Uglow was among his pupils), and was one of the most effective of the twentieth-century presidents of the RA, turning around the Academy's ailing fortunes. Remarkably he was the first president of the Academy to produce abstract paintings and indeed made no distinction between abstract and figurative art: "Surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions 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?" (Interview in the Christian Science Monitor, 29.5.67).

Selected Literature: Judy Egerton, Sir Thomas Monnington, Royal Academy of Arts, 1977 Paul Liss, Sir Thomas Monnington, British School at Rome/Fine Art Society plc, 1997

See all works by Sir Thomas Monnington