Falmouth Art Gallery


The Falmouth Art Gallery is situated above the Public Library in Falmouth, Cornwall, UK.
It was first opened in 1978, and after renovation with the help of National Lottery Funds, reopened in 1996.
The gallery exhibits range from automata to surrealism, with examples of the work of old masters, Victorian artists and the British & French Impressionists.

The following is a selection of works in the gallery, with the artists in alphabetical order.

Francis Bacon, Metropolitan Tryptych, 1974-77, 109 x 64 cm


Frank Brangwyn, Constructing South Pier, Mevagissey, 1888, oil on canvas, 51 x 76 cm


John Bratby, Portrait of Dr A L Rowse


Elizabeth Frink, Eagle; and Eagle in Flight


Thomas Gainsborough, Portrait of Rev Isaac Donnithorne, oil on canvas, 206 x 177 cm


Charles Napier Hemy, Falmouth Natives, 1890, oil on canvas, 81 x122 cm


William Hogarth, The Beggar’s Opera, Act III, 1790, engraving, 50 x 62 cm


Laura Knight, Behind the Scenes in the Coulisses, 1920-25, oil on panel, 63 x 57 cm


Roy Lichtenstein, Paper Plates


Henry Matisse, Coquelicots


Joan Miró, La Mélodie acidique, 1980


Henry Moore, Shipwreck I, coloured lithograph, 26 x 35 cm


Henry Moore, Girl at Desk, 1974, lithograph, 28 x 23 cm


Edvard Munch, Norwegian Landscape, 1908, etching


Alfred Munnings, The Gap, 1909, oil on canvas, 46 x 46 cm


Alfred Munnings, The Caravan, 1910, oil on canvas


Ben Nicholson, Heads, 1933


John Opie, A Beggar Boy, 1782, oil on canvas, 91 x 71 cm


Alfred Parsons, The Pear Orchard, 1903, oil on canvas, 79 x 111 cm


Giovanni Batista Piranesi, Veduta del tempio di Cibele, etching, 1758


Gwen Raverat, The River Roding, engraving


Rembrandt van Rijn, The Baptism of the Eunuch, etching


Pierre-Auguste Renoir, Nue se baignant


Pierre-Auguste Renoir, Berthe Morisot, 1892, etching


Joshua Reynolds, George Boscawen, 3rd Viscount Falmouth, mezzotint, 76 x 64 cm


Joshua Reynolds, Sir George Beydas Rodney, Rear Admiral of the Blues, mezzotint, 36 x 27 cm


John Singer Sargent, Portrait of Charles Napier Hemy, 1905, oil on canvas


Henry Scott Tuke, A Morning Gossip, 1885, 27 x 34 cm


Henry Scott Tuke, Georgie & Richard Fouracre, oil on canvas, 37 x 52 cm


Henry Scott Tuke, At the Quay, 14 x 22 cm


John William Waterhouse, The Bouquet, c1908, oil on canvas, 59 x 42 cm


Aubrey Beardsley

Aubrey Vincent Beardsley, 1872-1898 was an English illustrator and author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the grotesque, the decadent, and the erotic. He was a leading figure in the Aesthetic movement which also included Oscar Wilde and James A. McNeill Whistler. Beardsley’s contribution to the development of the Art Nouveau and poster styles was significant, despite the brevity of his career before his early death from tuberculosis


Jacques Emile Blanche, Aubrey Vincent Beardsley, 1895, oil on canvas, 93 x 74 cm, National Portrait Gallery, London, UK


Aubrey Beardsley, Self Portrait, 1892, pen & ink wash, 25 x 10 cm, British Museum, London, UK

Almost all of his work was executed in black and white. This is a rare example in colour


Aubrey Beardsley, Isolde, illustration in “Pan”, Berlin, dated 1900, after his death

Aubrey Beardsley, Illustrations for Oscar Wilde, “Salomé”, 1894


Aubrey Beardsley, Oscar Wilde at Work, 1893

Aubrey Beardsley, illustrations for Thomas Malory, Le Morte d’Arthur, 1893

Aubrey Beardsley, illustrations for the stories of Edgar Allan Poe, 1895
“The Masque of the Red Death” & “The Black Cat”


Aubrey Beardsley, Siegfried, Act II, 1893


Aubrey Beardsley, Ali Baba, 1897

EH, Meeting No 19, 26 June 2018

Edward Hopper

Edward Hopper, 1882-1967, was a prominent American realist painter and printmaker. While he was most popularly known for his oil paintings, he was equally proficient as a watercolourist and printmaker. Both in his urban and rural scenes, his spare and finely calculated renderings reflected his personal vision of modern American life.

He is probably best known for his 1942 painting Nighthawks


Edward Hopper, Nighthawks, 1942, oil on canvas, 84 x 152 cm, Art Institute, Chicago, IL, USA

Hopper was born in Nyak, NY, into a fairly prosperous family. His early training was at the New York School of Art, under William Merrit Chase, where George Bellows was also a student.

In 1905 he worked as a part time illustrator, and this is a cover for the Morse Dry Dock Company, from 1919


He also studied in Paris


Edward Hopper, Notre Dame, 1907


Edward Hopper, Couple Drinking, 1907, watercolour, 34 x 51 cm, Whitney Museum of Art, New York, NY, USA


Edward Hopper, Les Poilus, 1918, etching, 16 x 18 cm


Edward Hopper, Summer, Interior, 1909, Whitney Museum of Art, New York, NY, USA

In 1924 he married Jo Nevison, also an artist. She gave up her art and devoted her life to Edward and the promotion of his work.


Edward Hopper, Jo, 1936, oil on canvas, 40 x 41 cm, Whitney Museum of Art, New York, NY, USA

She modelled for him on numerous occasions


Edward Hopper, Morning Sun, 1952, Whitney Museum of Art, New York, NY, USA


Edward Hopper, Two Comedians, 1965, oil on canvas, Private Collection

This work, painted two years before his death, has usually been interpreted as a bowing out, or final curtain for Edward and Jo.

Edward Hopper, Cape Cod Evening, 1939, oil on canvas, 76 x 102 cm, National Gallery of Art, Washington, DC, USA; and Cape Cod Morning, 1950, oil on canvas, 87 x 102 cm, Smithsonian American Art Museum, Washington, DC, USA

Hopper’s paintings are known for their sense of loneliness and alienation

Edward Hopper, New York Movie, 1939, oil on canvas, 80 x 102 cm, Museum of Modern Art, New York, NY, USA; and Office at Night, 1940, oil on canvas, 56 x 54 cm, Walker Art Center, Minneapolis, MN, USA

Edward Hopper, Rooms for Tourists, 1945, oil on canvas, 77 x 107 cm, Yale University Art Gallery, New Haven, CT, USA; and a preparatory sketch for the painting, Rooms for Tourists, 1945, Private Collection

and, finally, much loved by Hitchcock!


Edward Hopper, Haskell’s House, 1924, watercolour, National Gallery of Art, Washington, DC

RA, Meeting No 19, 26 June 2018

Flaming June


Frederick Leighton, Flaming June, 1895, oil on canvas, 120 x 120 cm, Museo de Arte, Ponce, Puerto Rico

Shortly after it was painted, the picture diasappeared, only to be found again in 1960. By that time Victorian art was no longer popular, and when exhibited at auction it failed to reach its reserve price of what would today amount to about $1400.
Shortly afterwords the canvas was bought by the Museum in Puerto Rico.
Since then, it has been exhibited all over world. Kenneth Clark, the author of the original TV series, “Civilisation” in 1969, stated that it was one of the most universally loved of all paintings.

BT, Meeting No 19, 26 June 2018

Tarsila do Amaral, 1886-1973

Tarsila do Amaral, known simply as Tarsila, is considered one of the leading Latin American modernist artists. She was a member of the Grupo dos Cinco, which was a group of five Brazilian artists who are considered to be the greatest influence in the modern art movement in Brazil. The other members were Anita Malfatti, Menotti Del Picchia, Mário de Andrade, and Oswald de Andrade. Tarsila was also instrumental in the formation of the Antropofagia Movement, 1928-1929, and it was she who inspired Oswald de Andrade’s Cannibal Manifesto.


Four self portraits, left to right:
Tarsila do Amaral, Auto-retrato I, 1924, Acervo Artístico-Cultural dos Palácios do Governo do Estado de S. Paulo, Brazil
Tarsila do Amaral, Auto-Retrato [Manteau Rouge], 1923, Museu Nacional de Belas Artes, Rio de Janeiro, Brazil
Tarsila do Amaral, Auto-Retrato
Tarsila do Amaral, Auto-Retrato, 1937

Tarsila was born in Capivari, a small town in the countryside of the state of São Paulo. She was born to a wealthy family of farmers and landowners who grew coffee, two years before the end of slavery in Brazil. At that time in Brazil, women were not encouraged to seek higher education, especially if they came from affluent families, but, despite coming from a well-to-do family, Tarsila had support in obtaining higher education. As a teenager, Tarsila and her parents travelled to Spain, where she began drawing and painting copies of the artwork she saw.

Three portraits of her by other artists, left to right:
Cavall, Retrato de Tarsila do Amaral
Anita Malfatti, Retrato de Tarsila, Acevo MASP, São Paulo, Brazil
Lasar Segall, Tarsila do Amaral

I know nothing about Carvall, but Mafatti was part of O Grupo dos Cinco, and Lasar was influenced by German expressionism,  noted for his depictions of human suffering.

Three portraits by Tarsila, left to right:

Tarsila do Amaral, Retrato Azul [Sérgio Milliet], 1923, Coleção Particular
Tarsila do Amaral, Retrato de Mário de Andrade, 1922, Acervo Artístico-Cultural dos Palácios do Governo do Estado de S. Paulo, Brazil
Tarsila do Amaral, Retrato de Oswaldo de Andrade, 1923, Museu de Arte Brasileira, São Paulo, Brazil

In 1916, do Amaral studied painting in São Paulo, and later with the academic painter Pedro Alexandrino, a respected but conservative teacher. Because Brazil lacked a public art museum or significant commercial gallery until after World War II, the Brazilian art world was aesthetically conservative and exposure to international trends was limited. Tarsila studied in Paris from 1920 to 1922 at the Académie Julian in Paris, where she met Fernand Léger, André Lhôte & Albert Gleizes.

Left: Tarsila do Amara, Academia n° 4, 1922, Coleção Acervo Instituto Moreira Salles, São Paulo, Brazil
Right: Tarsila do Amaral, Pont-neuf, 1923 Coleção Geneviève e Jean Boghici, Rio de Janeiro, Brazil


Tarsila do Amaral, A Negra, 1923, Coleção Museu de Arte
Contemporânea da Universidade de São Paulo, Brazil

This work was painted during of shortly after her studies in Paris, and was influenced by the considerable interest  in African and primitive art at that time in Europe.


Tarsila do Amaral, Morro da Favela, 1924, Coleção Hecilda e Sergio Fadel Rio de Janeiro, Brazil

On her return to Brazil, she decided to use the culture and tradition of her native roots in her painting. This is a depiction of a shanty town.

Tarsila do Amaral, São Paulo [Gazo], 1924, Coleção Particular, São Paulo, Brazil
Tarsila do Amaral, São Paulo, 1924, Acervo da Pinacoteca do Estado, São Paulo, Brazil

Left to right: Tarsila do Amaral, O Mamoeiro, 1925, Coleção de Artes Visuais do Instituto de Estudos Brasileiros, São Paulo, Brazil
Tarsila do Amaral, A Feira II, 1925, Coleção Particular
Tarsila do Amaral, A Gare, 1925, Coleção Rubens Taufic Schahin, São Paulo, Brazil
Tarsila do Amaral, Palmeiras, 1925, Coleção Particular

But, soon a change appeared, and she began to look at her surroundings a a more abstract way

Left: Tarsila do Amaral, Manacá , 1927, Coleção Simão Mendel Guss, São Paulo, Brazil
Right: Tarsila do Amaral, A lua, 1928, Coleção Particular

Left: Tarsila do Amaral, O Lago, 1928, Coleção Particular
Right: Tarsila do Amaral, A Boneca, 1928,  Museu de Arte do Rio de JaneiroTarsilaAbaporu

Tarsila do Amaral, Abaporu, 1928, Acervo Fundación Costantini

In 1926, Tarsila married Oswald de Andrade, with whom she had has a long relationship and they  travelled throughout Europe and the Middle East. In Paris, in 1926, she had her first solo exhibition at the Galerie Percier. Her works were praised for her use of bright colours and tropical images.
Tarsila’s first painting during this period was Abaporu (1928), which had been given as an untitled painting to Andrade for his birthday. The subject is a large stylized human figure with enormous feet sitting on the ground next to a cactus with a lemon-slice sun in the background. Andrade selected the eventual title, Abaporu, which is an Indian term for “man eats”, in collaboration with the poet Raul Bopp. This was related to the then current ideas regarding the melding of European style and influences. Soon after, Oswaldo Andrade wrote his Anthropophagite Manifesto, which literally called Brazilians to devour European styles, ridding themselves of all direct influences, and to create their own style and culture. Instead of being devoured by Europe, they would devour Europe themselves. Andrade used Abaporu for the cover of the manifesto as a representation of his ideals.


Tarsila do Amaral Antropofagia, 1929, Acervo Fundação José e Paulina Nemirovsky, São Paulo

The following year the manifesto’s influence continued. Tarsila painted Antropofagia, 1929, which featured the Abaporu figure together with the female figure from A Negra from 1923, as well as the Brazilian banana leaf, cactus, and  the lemon-slice sun.


Tarsila do Amaral, Sol Poente, 1929, Coleção Particular

Her style changed again in later years


Tarsila do Amaral, Maternidade, 1938, Coleção Particular

Left: Tarsila do Amaral, A Praia, 1944, Coleção Particular
Right: Tarsila do Amaral Primavera, 1946, Coleção Particular


Tarsila do Amaral, O Batizado de Macunaíma, 1956, Coleção Particular

This painting was inspired by the publication of Macunaíma, a 1928 novel by Mário de Andrade, no relation to her husband, but a fellow member of the Grupo dos cinco. The work is considered to be one of the first examples of Brazilian modernism. The plot follows a young man, Macunaíma, an anti-hero, born in the Brazilian jungle and possessing strange and a shapeshifting ability, as he travels to São Paulo and back again. The protagonist is often considered a representation of the Brazilian personality. The novel uses elements of what would later be called magic realism and is based on Andrade’s research into the language, culture, folklore, and music of the indigenous peoples in Brazil.

Religion played a large part in Tarsila’s life.

Tarsila do Amaral, Religião Brasileira, 1927, Acervo Artístico-Cultural dos Palácios do Governo do Estado de S. Paulo, Palácio Boa Vista
Top right
Tarsila do Amaral, Religião brasileira II, c1928, Coleção particular, São Paulo, SP
Bottom right:
Tarsila do Amaral, Religião Brasileira III, 1964, Coleção Particular

BT, Meeing No 18, 29 May 2018



Caspar David Friedrich, 1774-1840

Caspar David Friedrich was born in Greifswald, Swedish Pomerania, on the Baltic coast of Germany, the sixth of ten children, His father Adolf Gottlieb Friedrich, a candle maker and soap boiler, was a Lutheran, and Caspar was brought up in a strict household. Death was never far away throughout his childhood: his mother died when he was seven; a year later, his sister Elisabeth died, and a second sister, Maria, died of typhus in 1791. But the worst happened in 1787, when he saw his younger brother, Johann Christoffer, drown by falling throught the ice of a frozen lake at the age of thirteen, It has been suggested that Johann Christoffer died while trying to rescue Caspar David, who was also in danger on the ice.

Left: Caspar David Friedrich, Self Portrait, 1800, chalk, 42 x 28 cm, Statens Museum for Kunst, Copenhagen, Denmark
Right: Franz Gerhard von Kügelgen, Portrait of Caspar David Friedrich, 1810-1820, oil on canvas, 53 x 42 cm, Kunsthalle, Hamburg, Germany

Friedrich’s work belonged to Romanticism, which was an artistic, literary, musical and intellectual movement that originated in Europe towards the end of the 18th century, and continued until the middle of the nineteenth. It was characterised by its emphasis on emotion and individualism as well as the glorification of  nature, and was in part a reaction to the Industrial Revolution, the aristocratic social and political norms of the Age of Enlightenment, and the new scientific approach to nature.


J M W Turner, Hannibal and his Men crossing the Alps, 1810-1812, oil on canvas, 145 x 236 cm, Tate Gallery, London, UK


Caspar David Friedrich, Abtei im Eichwald, 1810, oil on canvas, 171 x 110 cm, Alte Nationalgalerie, Berlin, Germany

Friedrich and Turner were born within a year of each other, in 1774 & 1775.
Turner’s painting depicts the struggle of Hannibal’s soldiers to cross the Alps in 218 BC, opposed by the forces of nature and local tribes. A curving black storm cloud dominates the sky, poised to descend on the soldiers in the valley below, with an orange-yellow sun attempting to break through the clouds. A white avalanche cascades down the mountain to the right. It contains the first appearance in Turner’s work of a swirling oval vortex of wind, rain and cloud, a dynamic composition of contrasting light and dark.
Friedrich uses the same palette to different effect: here, emotion is the key. He painted his imaginary landscapes in the studio, having made sketches of isolated objects outside.


Caspar David Friedrich, Zwei Männer in Betrachtung des Mondes, 1825-1830, oil on canvas, 35 x 44 cm, Metropolitan Museum of Art, New York, NY, USA

Friedrich placed Die Rückenfigur, the figure seen from behind, into many of his paintings. This device distances the figures from the viewer, forcing them to look beyond into nature.


Caspar David Friedrich, Die Lebensstufen, 1835, oil on canvas, 73 × 94 cm, Museum der bildenden Künste, Leipzig, Germany

Completed just five years before his death, this picture, like many of Friedrich’s works, forms a meditation both on his own mortality and on the transience of life. The painting shows an old man with his back turned to the viewer, walking towards two adults and two children on a hilltop overlooking a harbour. The figures are echoed by five ships shown in the harbour, each at a different distance from the shore, an allegorical reference to the different stages of human life, to the end of a journey, to death.

Another painting with a similar theme:


Caspar David Friedrich, Mondaufgang am Meer, 1822, oil on canvas, 55 x 71 cm, Alte Nationalgelerie, Berlin, Germany


Caspar David Friedrich, Der Mönch am Meer, 1808-1810, oil on canvas, 110 x 172 cm, Alte Nationalgalerie, Berlin, Germany

In this work, the composition is divided horizontally into land, sea, and sky with a clear simplicity that shocked Friedrich’s contemporaries. The lonely figure of a monk faces the leaden blackness of the vast sea. The main space of the picture seems like an abyss of some kind; there are no boundaries, there is nothing to hold on to, just a sense of floating between night and day, between despair and hope.


Caspar David Friedrich, Der Wanderer über dem Nebelmeer, c1817, oil on canvas, 98 x 74 cm, Kunsthalle, Hamburg, Germany

This is probably the best known of his works and is a metaphor for the journey of life into the unknown.


Caspar David Friedrich, Friedhofseingang, 1825, oil on canvas, 143 x 110 cm, Galerie Neue Meister, Dresden, Germany

Friedrich was buried in this cemetery, having fallen out of fashion, and ending his life in poverty, following a disabling stroke. Later, his work was used as a national symbol of identity by the Nazi regime, and as a result his work became unpopular.

Left: Caspar David Friedrich, Das Eismeer, 1823-24, oil on canvas, 127 x 97 cm, Kunsthalle, Hamburg, Germany
Right: Paul Nash, Totes Meer (Dead Sea), 1941, oil on canvas, 102 x 152 cm, Tate Gallery London.

The destruction of the man-made vessel at the hands of powerful and unforgiving nature depicts Friedrich’s awe of the natural world. In this inhospitable realm of frozen seas, man’s audacity and self-confidence are crushed by the immense force of the ice, and powers beyond our control.

Nash’s painting was inspired by a dump of wrecked aircraft at Cowley in Oxfordshire. Nash based the image on photographs he took there. The artist described the sight: ‘The thing looked to me suddenly, like a great inundating sea … the breakers rearing up and crashing on the plain. And then, no: nothing moves, it is not water or even ice, it is something static and dead.’

Munch also used the figure viewed from behind in order to suggest a feeling of loneliness and alienation:


Edvard Munch, The Lonely Ones, 1899, print, Munch Museet, Oslo, Norway

BT, Meeting No 18, 29 May 2018