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Book Description
This is the remarkable story of the colony of artists who were inspired by the people, landscape and light
of West Cornwall. Now internationally celebrated, they are forever to be associated with the small fishing
ports of Newlyn and St Ives. Arriving from the artists' colonies of France, the Barbizon and Pont-Aven, and the
painting schools of London and Paris, they set up their studios in the cottages and net lofts overlooking the
sea. Here they painted: their subjects centred on the working life and conditions of the people they lived
amongst, and the stark beauty of the rugged Cornish landscape.
of West Cornwall. Now internationally celebrated, they are forever to be associated with the small fishing
ports of Newlyn and St Ives. Arriving from the artists' colonies of France, the Barbizon and Pont-Aven, and the
painting schools of London and Paris, they set up their studios in the cottages and net lofts overlooking the
sea. Here they painted: their subjects centred on the working life and conditions of the people they lived
amongst, and the stark beauty of the rugged Cornish landscape.
Challenging the accepted styles of the Victorian masters, their bold work, full of light and colour, often drew
upon the working life of the fishermen and their families, recording the tragedies and simple pleasures of their
lives.
In The Shining Sands, Tom Cross records the life and work of these artists, from the earliest arrivals in the 1870s
through to the decade surrounding the Second World War. In this period the artists' colony grew into one of
the most significant art movements of recent times, the influences of which directly inspired the post-war
`modern' movements, and which reverberate even today.
The Shining Sands includes almost one hundred colour pictures, and two hundred images in all, produced by
such artists as Walter Langley, Frank Bramley, Stanhope Forbes, Norman Garstin, Elizabeth Forbes, Lamorna
Birch, Laura Knight, Ben Nicholson and Christopher Wood. The author describes the events and circumstances
behind the making of many of the paintings, adding a further dimension to our appreciation of these fine works.
The Shining Sands is a companion to Tom Cross' earlier work, Painting the Warmth of the Sun - St Ives Artists
1939-75, and was followed by Catching the Wave - Art and Artists in Contemporary Cornwall.
About the Author
Tom Cross trained at the Slade School in London and then spent two years travelling and painting in Italy and France on Rome and French government scholarships. On his return he worked in Wales as Assistant Director of the Welsh Arts Council and later became Senior Lecturer in Painting at Reading University. In 1976 he became Principal of the Falmouth School of Art, a post which he held until 1987
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Customer Reviews
Most Helpful Customer Reviews
26 of 26 people found the following review helpful
Format:Hardcover
The Shining Sands, ISBN 1841147001 published 2008. A revised edition in new larger format
(first published 1994 and reprinted 1999)
The Shining Sands is a record of the colony of artists who gathered around Cornwall during the latter half of the nineteenth century and into the twentieth century. Through twelve chapters Cross chronicles the arrival of the numerous artists and discusses the various movements and their work.
Among the many artists Cross discusses in his study are: Lamorna Birch, Frank Bramley, Frank Dobson, Elizabeth Forbes, Stanhope Forbes, Norman Garstin, Thomas Gotch, Harold Harvey, Augustus John, Laura Knight, Walter Langley, Cedric Morris, Alfred Munnings, Ben Nicholson, John Park, Walter Sickert, Matthew Smith, Henry Scott Tuke, James McNeill Whistler, Christopher Wood, and Andres Zorn.
While this is clearly a well researched volume which makes interesting reading, it has what might be considered some serious flaws. Although the book is illustrated throughout, the chosen pictures frequently do not relate directly to the text; work by the artist being discussed might appear alongside the text, but often not the specific painting that is mentioned in the text. Conversely many of the pictures illustrated are not discussed or even mentioned in the text. When a specific picture is shown, the text does not indicate this, so unless it appears on the same page, which it often does not, the reader might miss this. To make matters worse there appears to be no reference to the illustrations in index, which itself is incomplete. There is also no bibliography as such but there is a short list of suggested further reading. Publication and source references are included in the text.
There are around 100 colour illustrations and as many again in black and white (the latter including many period photographs), but only few are more than half a page in size even when having a whole page to themselves, and many are quite small or even little more than a thumbnail. The impression is that the pictures have been added as an afterthought, and are there more as decoration rather than to advance the thoughts proffered in the text. This is a great shame as there are many beautiful paintings here demonstrating a dramatic change over the relatively short period of about half a century, but the potential impact of such is somewhat weakened by the generally small images.
(first published 1994 and reprinted 1999)
The Shining Sands is a record of the colony of artists who gathered around Cornwall during the latter half of the nineteenth century and into the twentieth century. Through twelve chapters Cross chronicles the arrival of the numerous artists and discusses the various movements and their work.
Among the many artists Cross discusses in his study are: Lamorna Birch, Frank Bramley, Frank Dobson, Elizabeth Forbes, Stanhope Forbes, Norman Garstin, Thomas Gotch, Harold Harvey, Augustus John, Laura Knight, Walter Langley, Cedric Morris, Alfred Munnings, Ben Nicholson, John Park, Walter Sickert, Matthew Smith, Henry Scott Tuke, James McNeill Whistler, Christopher Wood, and Andres Zorn.
While this is clearly a well researched volume which makes interesting reading, it has what might be considered some serious flaws. Although the book is illustrated throughout, the chosen pictures frequently do not relate directly to the text; work by the artist being discussed might appear alongside the text, but often not the specific painting that is mentioned in the text. Conversely many of the pictures illustrated are not discussed or even mentioned in the text. When a specific picture is shown, the text does not indicate this, so unless it appears on the same page, which it often does not, the reader might miss this. To make matters worse there appears to be no reference to the illustrations in index, which itself is incomplete. There is also no bibliography as such but there is a short list of suggested further reading. Publication and source references are included in the text.
There are around 100 colour illustrations and as many again in black and white (the latter including many period photographs), but only few are more than half a page in size even when having a whole page to themselves, and many are quite small or even little more than a thumbnail. The impression is that the pictures have been added as an afterthought, and are there more as decoration rather than to advance the thoughts proffered in the text. This is a great shame as there are many beautiful paintings here demonstrating a dramatic change over the relatively short period of about half a century, but the potential impact of such is somewhat weakened by the generally small images.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
2 reviews
1 of 1 people found the following review helpful
Flawed
24 Dec 2008
Format:Hardcover
The Shining Sands, ISBN 1841147001 published 2008. A revised edition in new larger format
(first published 1994 and reprinted 1999)
The Shining Sands is a record of the colony of artists who gathered around Cornwall during the latter half of the nineteenth century and into the twentieth century. Through twelve chapters Cross chronicles the arrival of the numerous artists and discusses the various movements and their work.
Among the many artists Cross discusses in his study are: Lamorna Birch, Frank Bramley, Frank Dobson, Elizabeth Forbes, Stanhope Forbes, Norman Garstin, Thomas Gotch, Harold Harvey, Augustus John, Laura Knight, Walter Langley, Cedric Morris, Alfred Munnings, Ben Nicholson, John Park, Walter Sickert, Matthew Smith, Henry Scott Tuke, James McNeill Whistler, Christopher Wood, and Andres Zorn.
While this is clearly a well researched volume which makes interesting reading, it has what might be considered some serious flaws. Although the book is illustrated throughout, the chosen pictures frequently do not relate directly to the text; work by the artist being discussed might appear alongside the text, but often not the specific painting that is mentioned in the text. Conversely many of the pictures illustrated are not discussed or even mentioned in the text. When a specific picture is shown, the text does not indicate this, so unless it appears on the same page, which it often does not, the reader might miss this. To make matters worse there appears to be no reference to the illustrations in index, which itself is incomplete. There is also no bibliography as such but there is a short list of suggested further reading. Publication and source references are included in the text.
There are around 100 colour illustrations and as many again in black and white (the latter including many period photographs), but only few are more than half a page in size even when having a whole page to themselves, and many are quite small or even little more than a thumbnail. The impression is that the pictures have been added as an afterthought, and are there more as decoration rather than to advance the thoughts proffered in the text. This is a great shame as there are any beautiful paintings here demonstrating a dramatic change over the relatively short period of about half a century, but the potential impact of such is somewhat weakened by the generally small images.
(first published 1994 and reprinted 1999)
The Shining Sands is a record of the colony of artists who gathered around Cornwall during the latter half of the nineteenth century and into the twentieth century. Through twelve chapters Cross chronicles the arrival of the numerous artists and discusses the various movements and their work.
Among the many artists Cross discusses in his study are: Lamorna Birch, Frank Bramley, Frank Dobson, Elizabeth Forbes, Stanhope Forbes, Norman Garstin, Thomas Gotch, Harold Harvey, Augustus John, Laura Knight, Walter Langley, Cedric Morris, Alfred Munnings, Ben Nicholson, John Park, Walter Sickert, Matthew Smith, Henry Scott Tuke, James McNeill Whistler, Christopher Wood, and Andres Zorn.
While this is clearly a well researched volume which makes interesting reading, it has what might be considered some serious flaws. Although the book is illustrated throughout, the chosen pictures frequently do not relate directly to the text; work by the artist being discussed might appear alongside the text, but often not the specific painting that is mentioned in the text. Conversely many of the pictures illustrated are not discussed or even mentioned in the text. When a specific picture is shown, the text does not indicate this, so unless it appears on the same page, which it often does not, the reader might miss this. To make matters worse there appears to be no reference to the illustrations in index, which itself is incomplete. There is also no bibliography as such but there is a short list of suggested further reading. Publication and source references are included in the text.
There are around 100 colour illustrations and as many again in black and white (the latter including many period photographs), but only few are more than half a page in size even when having a whole page to themselves, and many are quite small or even little more than a thumbnail. The impression is that the pictures have been added as an afterthought, and are there more as decoration rather than to advance the thoughts proffered in the text. This is a great shame as there are any beautiful paintings here demonstrating a dramatic change over the relatively short period of about half a century, but the potential impact of such is somewhat weakened by the generally small images.
Newlyn School Painters
17 Sep 2008
Format:Paperback
I visited the small village of Newlyn, near Penzance, in the 1980's. As an artist, I was taken by the quality of the Newlyn Painters from the late 1800's. I purchased several books, on the Newlyn School, in the UK at that time. This is a wonderful addition to my knowledge of some of the best painters of that period.
jc
jc
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