The Millinery Works Art Gallery

FRANK STANTON 

The Millinery Works Gallery
Wednesday 10th May - Sunday 28th May 2006
Tuesday to Saturday 11am to 6pm, Sunday 12 to 5pm

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Fig and Yucca Oil on canvas 1995 99 x 75

When you look around this exhibition it is relatively straightforward to see that these drawings and paintings by Frank Stanton are based on observations of plant forms, a theme which Frank has regularly revisited since his student days. But, they are not snap shots of gardens or flower arrangements. No 'impressionism' here, more a scrutiny of how things fit together and a visual distillation. These works also require contemplation, a sort of getting-to-know period. They display the kind of integrity that he so much admires in others' work. In the paintings, tone is as important as hue, sometimes more so, although a certain familiarity is obtained through the consistent use of a blue/green palette. Indeed, when warmer colours are introduced they act to emphasize the lushness of the whole. Compositions might look tightly planned but they are arrived at intuitively, working directly on to the support surface. One is reminded of Cezanne's comments to Emile Bernard: 'Drawing and painting are no longer different factors, as one paints, one draws. The greater the harmony of colour, the greater the precision of drawing'.

Hydrangea Oil on board 2005 24 x 30 

These are definitely the work of a draughtsman but what are the factors that contributed to Frank's achievement that you see here? Education? Friendships? Curiosity? Determination? Of course, it is all of these, and more.

Frank remembers that, as a child, he spent a large proportion of his free time drawing. At school, these skills were placed in a more specific context and, under the guiding hand of John Russell, the Art Master at St. Dunstan's College, Frank was also introduced to Art History. His profound interest in architecture, design and Fine Art, together with a quest to travel, particularly in Italy, in order to see these jewels of creation first hand, stems from this initial spark.

Echevaria Oil on board 2004 40 x 40cm

It was only fitting that Frank went on to study at the Slade School of Fine Art. Under the leadership of Henry Tonks and Alphonse Legros, the Slade had become noted for it's instruction in drawing. The fact that it was the first university in England to accept students regardless of their gender, race or religious beliefs would also have appealed to Frank's egalitarianism. This was a period of transition for the Slade. William Coldstream had recently been appointed as Professor and brought with him a band of Euston Road followers, who taught the 'international' style. Many students, Frank included, felt caught in the cross-fire between the old guard and the 'Coldstream guards'.

Frank followed what was then a familiar course of study, drawing from antiquities for at least the first term before he was allowed in the Life Room, only drawing for the first year before being let loose with paints. Encouragement came from John Minton, who singled out Frank's work for particular praise. Even more significant was the guidance that he received from Robert Medley.

Lillies Oil on canvas 1990 61 x 91.5cm

Stage Design had been introduced in 1949 and Robert Medley was now running this, relatively new, area of study. He was also known for his involvement in experimental, 'left-wing' theatre and, as a painter, was one of the few British artists of the time to dare straddle that thorny divide between representation and abstraction. So soon after the war, this must have seemed dangerously revolutionary. Robert's encouragement proved pivotal in Frank's development, both as a designer and as a painter. Frank remained in regular contact with John Russell and with Robert Medley for the rest of their lives.

Following his studies at the Slade, determination enabled Frank to continue with work as a designer and to exhibit his paintings. He also worked as a mural painter, assisting Martin Battersby ( the renowned designer, collector and critic ) and, among other commissions, designed the first production of Albert Camus's Le Just, this performed by The Tavistock Repertory Company and in which a young Sian Phillips made an early stage appearance. Frank was also persuaded to return, as a visiting teacher, to St. Dunstan's College which is where we first met, both of us teaching part-time in the Art Department. He eventually took over the reins from John Russell and proved to be an inspirational teacher with a healthy mixture of ability, sincerity, curiosity and common sense. Many of his past students maintain regular contact with Frank, as he kept in touch with his own teachers. A significant number of these will, no doubt, visit this exhibition.

Colin Hillier
'Visiting Teacher, Artscom at Camberwell College of Arts'

This essay and catalogue is also published in hard copy and available from the gallery

Garden - Evening Oil on board 2005 2006 61 x 77cm 

Designed by Frank Stanton and Jeff Jackson.
Published by The Millinery Works Gallery, 85 - 87 Southgate Road, London N1 3JS
(Tel: 020 7359 2019 Fax: 020 7359 5792)

For further information email paul@millineryworks.co.uk

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Green and Pink on Gold Oil and gold leaf on board 2002 40 x 40cm