Visits-Pallant House Gallery Chichester.

Back in October of last year, I visited Pallant House Gallery in Chichester to see the Bomberg exhibition.

Here is some information from their website;

‘Pallant House Gallery opened in its present incarnation to national critical acclaim in July 2006. The remarkable £8.6 million build project, which took nearly three years to complete, seamlessly married the original Queen Anne, grade I listed town-house and the new wing, quadrupling Pallant House Gallery’s exhibition space.’

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I understand if you are reading this that the Bomberg exhibition finished in February but still I suppose you can have a look at the other nice things that I saw.

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So firstly here is the gallery stairwell decorated with a piece called ‘Composition for a staircase’ by Lothar Gotz.  I enjoyed it and I liked how the walls changed the colours with the sunlight and also you were allowed to take pictures by it and then put them on Instagram. I believe it is ‘highly grammable’  Considering when I arrived I asked if I could take photos of the exhibits for my course and was given a map with crosses on which meant no, no and no, I was sad that this was to be the antithesis of my photo taking day but still it is a good site specific art piece.

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It even had its own #STAIRWELLSELFIE hashtag.

Pablo Bronstein, Wall Pomp. 18th Century stairwell until the 18th September 2018.

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‘An ambitious installation by Pablo Bronstein is the latest contemporary intervention in the Gallery’s 18th century townhouse. Reflecting his enduring fascination with architecture, Bronstein has created a wallpaper featuring monumental sculptures that disrupt the sense of history and space of the house, whilst providing a bold response to its past domesticity.’– Accessed 16th April 2018.

I really liked this installation and it was both overpowering and fascinating with the colours and shapes of the patterns used. I would very much like this wallpaper in my house and I would say when people asked what it was “Oh, it is just my wall pomp”.

Barbara Hepworth, Single Form, Nocturne, 1968.

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Fernand Leger, L’Engrenage Rouge, The Red Gear, 1939.Oil on canvas.

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I liked this image as it reminded me of a child’s drawing and I liked the blue and the red together. The shapes and the detail of the various parts and the greens. I thought it looked more like a red monster rising out of somewhere but with it being called The Red Gear, well yes I suppose it does look industrial. I hadn’t heard of this artist before and with a further look there is a retrospective of his work in Tate Liverpool this November so I will go and have a look at that.

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Lucien Freud, Portrait of a girl, 1950, oil on copper. 

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I always like to see a Freud if there is one about and I don’t know really, I like the style of his portraits and the way the faces are full of character. The bleached out colours and the sometimes stark backgrounds he uses in his paintings always makes me study them more. There is some more information about the David Dawson- Working with Lucien Freud exhibition at Pallant House in 2012 HERE.

Susie MacMurray, After ‘Shell’, 2008.

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I really liked this piece, mainly as the shells looked so grandiose but also the textures of the shells mixed with the velvet inserts. I collect shells and I had big ideas of doing this to all of mine when I got home, which was quickly quashed as I do not have any velvet and all of my shells are in jars out the way. In 2006 over 20,000 shells were displayed on the walls of the stairwell in Pallant House. You can see HERE.

Nigel Henderson, ICA Exhibition poster for Nigel Henderson;Recent Work, 1961, Printed poster on paper. 

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This part of the gallery was staging the exhibition, Nigel Henderson– A Centenary.

‘Nigel Henderson (1917-1985) was a transitional figure in the post-war British art world before the emergence of Pop Art in the 1950s and 1960s. A documentary and experimental photographer and artist who was close friends with Eduardo Paolozzi and Richard Hamilton, he was known for his ‘Hendograms’ and ‘stressed’ photographs.’– accessed 6th April 2018.

I immediately loved it as I love old posters and advertising sheets. I loved the font used and the black and white heavy-set ink. Further research brought me to Hammer Prints which Henderson set up with Eduardo Paolozzi.


Screen-printed papers, by Eduardo Paolozzi, c.1950-52. © The estate of Eduardo Paolozzi. All rights reserved, the estate of Nigel Henderson. Photography: Andy Keate-– accessed 6th April 2018.


‘Sgraffito’, ‘Coalface’ and ‘Newsprint’ textiles, by Hammer Prints Ltd, c.1957-72, printed and dyed cotton. Courtesy of Target Gallery, London and a private collection. Photography: Andy Keate.– accessed 6th April 2018.

Just beautiful and you can read more about Hammer Prints HERE and HERE.

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Zero pictures of Bomberg as it was forbidden but if you go HERE, HERE and HERE , you    can see the exhibition, more about the pieces and some more portraits by the artist. I have seen the exhibition painting ‘Jerusalem City and Mount of Ascension’ at the Ferens in Hull and it is very, very good. The images I saw in this exhibition at first, I was a bit perplexed but once you got into the pieces he created in Spain and Palestine, his style evolved and became a lot brighter and the images are really special.


© The estate of David Bomberg. All rights reserved, DACS 2017. Photo credit: Ferens Art Gallery-– accessed 6th April 2018.

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Pallant House Bookshop has everything I ever wanted and much more including The Unsophisticated Arts book secured inside a glass case for safety. When I win on the Thunderball I will back to purchase everything.

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Nice signage font.
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Nice pumpkin friend in a window.

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I really enjoyed my mini trip to Pallant House and their exhibition space and the building itself is really interesting.

Entrance fees vary so do check their website before visiting.




All websites/links accessed 6th April 2018.


Visit a Gothic church- St Nicholas Parish church-Sutton.

The nearest Gothic revival church in my area is St Nicholas which is 2 minutes walk away. I was christened in this church, have been to weddings, christenings, funerals and even broke up with an ex boyfriend by a broken gravestone in the rain which was very dramatic when you are 16. I also went through a stage as all good alternative teenagers do of taking rubbings from gravestones and studying them with malaise and sadness. I am glad to say that these days are long gone as well as my Doc Martens but still when I visited the other week I did feel like I was missing out by not taking my crayons (black) and paper.


From a church near you

‘This lovely Victorian Church was dedicated to Saint Nicholas, was built by King’s College, Cambridge, to commemorate the fourth centenary of the foundation of the College, and was consecrated on 4th June 1849 by the Right Reverend John Graham, Lord Bishop of Chester and Provost of Kings College, and the Vicar of Prescot, the Reverend R. W. Sampson of Prescot assisting. The Reverend H. E. Vallancey, one of the Senior Fellows of King’s College, was instituted as the first vicar on 10th July 1849 and was inducted on 4th August 1849. It was designed by Sharpe and Paley. St. Nicholas is a Grade II listed building, with an East Window designed by Henry Holiday, the Pre-Raphaelite artist.’


It is impressive and after years of not really looking at the church and its architecture you do find that there is a lot to see. From the angle below you can see all the different add-ons and the re-pointing of the brick work.


Almost the same view but from a postcard dated 1905- – accessed 5th April 2018.



More history of the church can be found HERE. I wasn’t able to gain inside access to the church the day I visited so a lot of my notes are based from photographs, memory and internet searches.






When I little I used to walk back from primary school through the graveyard and I always wondered what this little door was down the steps. It used to be a big brown door with lead on the front but I suppose over time and people messing about that it had to be replaced. Letterloves-39

This is the outside view of the Faith, Hope and Charity window designed by Henry Holiday in 1879. If you visit HERE you can see more about it and photographs of the window in the church.












Sandstone from the 1990’s vestry building.


Liverpool to Manchester railway line. Go HERE to see more.




My final notes for submission

St Nicholas Church is a small parish church in Sutton, St Helens. Built in Victorian Gothic architectural style it was designed by the architects Sharpe and Paley between 1847 and 1849. The churches squat west tower was added in 1897 which contains two louvred bell openings and a stair turret.

A more recent modern addition is a vestry chapel at the side of the west tower which is built in a sympathetic manner to match the surrounding original pink sandstone and slate roof. The church is said to have much earlier 14th Century detail present (Pevsner, p387).

Entrance to the church is from the south side porch.  The church has various raised levels of floor from the porch entrance with small vestibule and parallel aisles to the nave. The central aisle is separated by a ceiling and Gothic arches that are held up with circular pillars.

The central aisle sides have small clerestory windows which are leaded and there are five each side. The higher windows are rose shaped and are stained.

The east chancel contains a tall stained glass window which dates from 1879; it was designed by Henry Holiday and depicts Faith, Hope and Charity. (Pevsner, p387) It is the centrepiece to the chancel area and is it pointed with three separate panels and one central circle of glass split into six sections with two smaller geometric pieces either side. The chancel has gabled buttresses and an arched braced collar roof.  (Historical England 2018).

Parishioner’s seats are wooden and carved with sloping fronts and high back benches. Carved marks and holders for prayer mats with small sloping rail for hymn books are attached to the pews. Alongside various pews are brass commemorative plaques and various stone carvings of faces.

The west window is split into three stained glass windows showing various bible scenes. The tops of the roof pillars have carvings of flowers, which could be Lancashire roses but I am not certain, which are painted in gold gilt with a blue background. Smaller carvings into the stone of leaves and the occasional flower and angel also appear sporadically, perpendicular to each other across the churches ceilings.

Around the summit of the west tower is an embattled parapet. The colours of the brick suggest sandstone but also as the church is so close to the Liverpool/Manchester railway line the black brick at the top could be discoloration from steam trains, coal smoke and general pollution damage. A flag pole and weather vane are situated on the roof and a wooden clock face is to be found on two sides of the tower.

Outside near the entrance are two gargoyles to superstitiously warn off evil spirits and along the parapet and lower roof a mixture of stone faces varying and repeating themselves such as bishops, Jesus, Mary and what appears to be a well weathered Queen.

The building as a whole blends Victorian Gothic well with more traditional elements such as the 1990’s built chancel which blends with its slate and lead roof that matches the stair turret at the side of the tower. The church has a seating capacity of over 600 and is Grade II listed.

I think the strangest part is the battlement parapet at the top of the tower. I am unaware of any battles that have taken place in the time of the churches being but I think maybe it is for when you climb to the top you can look out safely or it could be the 14th Century detail being brought out.

HA1-Assignment 2 – Reflection.

Demonstration of subject knowledge

I feel that I have developed my research skills and have written a much more fluent assignment than the previous assignment 1. I have taken the time to read and research other avenues of information when needed.

Demonstration of research skills

I think that the research on the subjects asked for has been shown but also I feel that as I concentrated in my local area I came to a standstill quite quickly.

Books I had taken out of the library that were to do with the history of the church and the local area I researched didn’t really show me much so I relied again on internet sources. The books however did give me pointers to information I wouldn’t have necessarily found from searching by myself.

Demonstration of critical and evaluation skills

I feel I have performed better with this assignment and read and gained the necessary knowledge to be able to actually write my notes and annotations on the selected artworks. I think it is just confidence in knowing that what you have researched is correct, which is something I am yet to feel.


I went over the word count slightly as I wanted to be able to mention all the parts of the church architecture I had researched. I think I have communicated my findings well and they are in a concise manner but I also feel I could have found out more about my sculpture annotations. I hope that my tutor feedback highlights anything I have missed.


I honestly feel that this assignment has made me really think about the differences and time periods in more detail than I ever thought possible. I have found myself staring at churches and chapels and wanting to know if they are Gothic Revival. What is a buttress? Is that the kind of buttress I need to be looking at? I have been very surprised at the breadth of information needed to describe a church rather than it just being ‘a church’

I was christened in St Nicholas, have visited over the years for weddings, Sunday morning Girl Guides and the odd jumble sale but to really think about it and look at it, it is very interesting how much architectural value the church holds.

Reading the selected three chapters and making notes was hard going. The WHA is hard going if you are not used to the level of information and I felt that I struggled but nowhere near as much as last time. I feel I have a better understanding of what I need to be picking out when researching so that it gives me the information I need.

In my feedback from assignment one it was noted that I was very literal about describing and explaining things. I would for instance, about a picture of a pink balloon,  ‘Oh well it’s a picture of a pink balloon’ I have been trying to make myself really get into the meaning and delve further into pieces and it has been difficult and also I feel embarrassed  as I am not always sure that what I am describing is correct.

Researching the Romans in my area came to a standstill very quickly as even though there are slight mentions there doesn’t seem to be much recorded about them. The Pevsner book helped immensely in clearing up any lost bits of information I needed and was also a very interesting snapshot of life in Lancashire and its places of interest in the late 1960’s when it was written.

The church research has both annoyed me and made me feel like I have a duty to find things out for myself. I was unable to venture inside the church so a lot of my inside research is from the internet, Historical England and memory.  Considering the age of the church there isn’t that much written about it and my local history section in the library also came to a stop. I think all those Girl Guide Sundays spent staring  up at the painted ceiling and wondering why it was turquoise and red and the rest of the church was not will hopefully pay off somewhere.

I feel I have annotated my chosen artworks better this time round and I enjoyed looking for pieces to study. I would really like to try to see the Sleeping Venus in real life seeing as I know all about her now. I am feeling better about this assignment and I found it very enjoyable but also a lot of hard work and reading. I still have things to finish off on my blog and to redo my edits of the church photographs I took from the outside but otherwise, onward to part three.

WHA- Chapter Nine-Medieval Christendom.

Chapter 9 –Medieval Christendom-Notes.

Political, economic or social factors

The complexities of the early medieval civilisation reflect in the turbulent centuries following the death of Charlemagne in 814. (WHA p359)

Recovery from the century of terror came in Germany with the reestablishment of stable government by King Henry. (WHA p359)

Changes to status or training of artists

Sculptural proto –renaissance style.

Pistoia pulpits distinctly French.

A new vivid visual language for representing religious ideals of the day.  (WHA p401)

Painters active in late 13th century Rome where largely forgotten apart from Pietro Cavalini. (WHA p402)

Development of materials and processes

The Cluniac order set new standards for religious life and monastic organization. (WHA p367)

Proportions were conditioned by the use of strong vaulting, single great tunnels. (WHA p367)

‘Efforts were now being made to recover the ancient Roman art of large vault construction.’ (WHA p367)

Long naves and transepts made to accommodate pilgrims. (WHA p368)

The growing riches of monasteries, and the increasingly luxurious way of life adopted by abbots and priors, prompted a new call for monastic reform. (WHA p369)

Architectural developments of great importance where inspired by greater unity. (WHA p373)

Tunnel vaults unsatisfactory, excluded light. (WHA p374)

Church windows had been often filled with coloured glass since the 4th century. (WHA p381)

Styles and movements

Western European artists set themselves apart from Byzantium. (WHA p357)

Ottonian art- Greater need for emotional expressiveness. (WHA p361)

Early Christian plans and decorative schemes were revived. (WHA p362)

Use of surface pattern. (WHA p362)

​Sheathing buildings in marble came from ancient Rome. (WHA p363)

Temporal, none religious ideals. (WHA p365)

‘Romanesque ‘debased Roma’. (WHA p365)

Large self carving in stone had little been practiced anywhere in Europe since the fall of the Roman Empire. (WHA p370)

High Gothic- Clear spatial rhythm. (WHA p380)

The desire for light and immateriality complemented the gothic quest for ever greater height. (WHA p385)

Architects were trained as masons. (WHA p388)

All visual arts were involved in the construction and decoration of great cathedrals in the late twelfth and thirteenth centuries. (WHA p391)

The ‘Decorated Style’ was developed in England in the late thirteenth century. (WHA p391)

‘Flamboyant style’ appeared in France not long after (WHA p391)

Inside and outside influences

Northern artistic traditions of intricate flat patterning contributed much to the creation of medieval art in Western Christendom. (WHA p358)

Critics, thinkers and historians

In 1000 AD, monk Raoul Glaber​‘white garment of churches’. (WHA p362)



WHA- Chapter Five- Hellenistic and Roman Art.

WHA Chapter 5- Hellenistic and Roman art.

Political, economic or social factors.

The word ‘Hellenistic’ changed meaning from being a way of distinguishing speakers of Greek to a time period. (WHA p167)

The visual arts impact on the Hellenistic world was pervasive. (WHA p168)

Small communities had given way to vast urban centres. (WHA p168)

Aristotle’s teachings hoarded in new ideas and expressiveness. (WHA p169)

The emergence of these ideas signaled profound change in attitudes to the arts. (WHA p169)

Politics played a greater part than religion in the development of Roman architecture. (WHA p190)

Changes to status or training of artists

Artists were given more a place in history, with art collections being in fashion and the promotion of artists. (WHA p169)

Private art collections started to become popular around the 1st century BC. Copies of Greek artworks became more prevalent. (WHA p185)

Art collecting played a part in transforming attitudes to artists and their work. (WHA p185)

Development of materials and processes

The Romans artistic genius was fully expressed in architecture. (WHA p185)

Roman uniformity and planning. (WHA p188)

Far more important than marble, was concrete. The development of this material by the Romans revolutionised architecture. (WHA p191)

Roman concrete was a combination of mortar and pieces of aggregate. (WHA p192)

Styles and movements

Portraiture had rarely been practiced by the Greeks, but became increasingly important from the fourth-century BC onward. (WHA p167)

In the visual arts, the influence of the Hellenistic world was equally prevalent.  (WHA p168)

The portrait bust was the most notable Roman contribution to a sculptural form. (WHA p202)

Inside and outside influences

‘The meeting and intermingling of different cultures, is one of the essential aspects of both Hellenistic and Roman art’. (WHA p167)

Portraiture had rarely been practiced by the Greeks. (WHA p167)

Oriental and Occidental-Primitive ideas from Persia and Etruria, brought about the creation of new art for a new cosmopolitan era. (WHA p167)

Critics, thinkers and historians

Plato- contention that works of art should, like everything else, ideally conform to some absolute standard. (WHA p169)

Aristotle’s poetics. (WHA p169)

“An imitation is in itself pleasurable, and looking at it delights the eye. (WHA p171)


Visits-The Novium, Chichester-Roman Research.

The Novium museum is something that I found by accident whilst trying to find the library. It lies opposite and at half past three with rain all over my glasses in I went.

The Novium is in the city of Chichester and its name comes from “Noviomagus Reginorum” which is the Roman name for the Chichester.

Some information;

‘The museum, designed by the architect Keith Williams following an architectural design competition managed by RIBA Competitions, has an area of 1,300 sq m which is approximately 2.4 times the size of the previous museum in Little London. The building is divided into three floors each of which will contain a gallery for exhibition. It contains a research and learning room as well as a collection store for the social history collection. The museum is built directly over the top of the Chichester’s Roman Bath House complex which are displayed in the ground floor gallery.

The museum has over 350,000 objects of geological, archaeological and social historic interest. The social history and geological collections is made up of some 50,000 objects which are housed within the new building, whilst the archaeological collection is contained in a purpose built store within the Discovery Centre located at Fishbourne Roman Palace.’





The part about the Shippams excavation was very interesting, more so as I didn’t realise Shippams spreads were made in Chichester and this then made me desperate for a salmon paste butty.


There is PDF HERE from Sussex past from 2006 which details the Shippams dig site archaeology.



The Bosham head. I like him as his description says the word colossal and this isn’t a word I feel is used enough. I had fish and chips in a pub in Bosham once.



I like the Bosham head and I liked how you can still make it out and how big it is. It dates from around 122 AD which is really old. There is some more information HERE and a good piece HERE from the BBC website explaining how Bournemouth University archaeologists used 3D scanners on the head to examine it further. Some experts have said that it could be the head of the Roman Emperor Trajan. I guess we won’t ever fully know, but it is a very good head all the same.




The Jupiter Stone. I also liked this very much and yes you do feel like having a small sit down upon it but you must not. Here is some information from Chichester web,

‘Painstakingly conserved and rebuilt to take a prime position in the museum. It is a portion of a Roman sculpture base dated between the late first and early third century AD, which was dedicated to the God Jupiter. It was found during excavations in West Street, Chichester, in 1934’


The Roman Bath house. This was discovered during archaeological excavations in 1974 and 1975 and was left preserved under a car park. The whole museum is built around the bath house and I think that this is wonderful. I like anything like this and installations are shown on the walls telling you all about the dig and the items that were found. There is more HERE and quite an old post HERE.


It is very impressive.


The Chilgrove Mosaic. I find mosaics fascinating, not only their age when found or how they have survived mainly buried under fields for years but also how intricate they are and the sheer scale of them. The mosaics at Fishbourne are very impressive if you ever get to see them and they made me jealous as I want to live in a mosaic filled palace.

There is more about the mosaics HERE and HERE.








I have to keep on my Time Team line of learning to try and think like a Roman and observing all of the things that they built and created. Next stop to is to read the Roman art WHA pages again.

All websites and links accessed 10th April 2018.

Researching Churches in my area-Pevsner.

I am noticing that even on the smallest trips out and about I am seeing churches and various buildings and saying to myself “Is that Gothic?” “Is it revival?” “Does it have a buttress?”

More books borrowed from the library presented me with a Pevsner guide to South Lancashire and it is very entertaining and lists churches and buildings of interest around my area.

My favourite quote so far is;

‘Architecturally there is nothing to be said for St Helens. The centre is one of the least acceptable in Lancashire. The best buildings by far are the recent ones for Pilkington’s.’

p384, St Helens, Pevsner Nikolaus, The Buildings of South Lancashire, 1969, reprinted 1999.

I will make a decision on which church to research for my assignment this weekend as I’ve got two in mind, one in St Helens and one up near Lancaster.