Sidney Nolan and Graham Sutherland: A Sense of Place

Sidney Nolan and Graham Sutherland: A Sense of Place

Oriel y Parc, St David's: Sat 30 Sept 2017 - Sun 28th Jan 2018, daily 10am-4pm

Read more...
Re-imagining the Laws of England & Wales

Re-imagining the Laws of England & Wales

5 Sept - 24 Nov 2017: Herefordshire Archive & Records Centre

Read more...
Five days in Rodd Wood

Five days in Rodd Wood

Over the last five weeks we have had between sixteen and twenty young people coming to the Rodd to experiment with 2D and 3D drawing in Rodd Wood. All 100 or so students are newly enrolled on the Level 3 Diploma and Extended Diploma in Art & Design at Hereford College of Arts. They have been accompanied by their tutors Lotte Millward-Brookes and Matthew Thomas. The first four of these five visits have all coincided with beautiful autumnal days and we are hoping that the last visit tomorrow will also have good weather. The students have been making works in the woods and have left them each week so their next peer group can visit them and see how they endure. At the end of their day of being creative in Rodd Wood we have noticed that the young people are relaxed and smiling as they walk back down to the grain barn. Students have commented that they have felt totally immersed in the landscape and have been inspired. In November, the Level 3 students may be curating an exhibition of their work in the Gallery here at The Sidney Nolan Trust; details are to follow.

Read more...
76. Abraham and Isaac - Sarah Bardwell

76. Abraham and Isaac - Sarah Bardwell

“About a year ago I was at a concert in Britten’s library at the Red House in Aldeburgh, his home with his partner Peter Pears during the middle of the 20th century. The concert programme included Canticle II which Britten wrote in 1952. It was not a piece that I knew but hearing it for the first time in Britten and Pears’ own library, sung by two young, passionate singers, accompanied on Britten’s Steinway piano was one of those musical moments that will stay with me forever. At the opening of the canticle Britten uses the two voices, singing in rhythmic unison, to create the voice of God talking to Abraham. It is a breath-taking effect and the impact is spine chilling not least as God is asking Abraham to sacrifice his own son. I was so taken with the piece that I wanted to find out more and was delighted to discover that Britten owned the work Nolan had painted after Canticle II. The painting, currently in store in the Britten-Pears Foundation archive based at the Red House, has vivid colours that are as memorable as the music. The picture, with Uluru as a backdrop, depicts a naked, bearded Abraham seated beside his son Isaac. Alongside them is a goat or small four legged animal. Given the glorious colours it is perhaps the moment that God has declared that the sacrifice does not need to go ahead and Abraham appears to have noticed the animal that will be the substitute sacrifice. In the canticle Britten marks this same moment by repeating the technique he used at the beginning for the voice of God, two voices in unison. When this musical theme reappears it becomes less chilling and more spine tingling. These two works of art enhance and complement each other perfectly. To me, they have now become inextricably linked. I cannot see the painting without humming the tune nor hear the tune without imagining the painting.” Sarah Bardwell is the General Director of the Britten-Pears Foundation. https://brittenpears.org/ Sidney Nolan, Abraham and Isaac, 1967, mixed media, 50.2 x 74.3cm, gift from the artist to Benjamin Britten and Peter Pears in 1968 ©Sidney Nolan Trust

Read more...

Contact Us

Sidney Nolan Trust,
The Rodd, Presteigne, Powys,
LD8 2LL

Find us

T: +44 (0)1544 260 149
E: info@sidneynolantrust.org
Registered Charity No: 1161850

Supported By

Arts Council England