Liss Llewellyn Fine Art - 20th Century British Art

Arthur Studd (1863 - 1919)   BIOGRAPHY

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Blue sky and clouds with branches of fruit trees to the fore, South of France
Unframed (ref: 4703)

Paper label '352' attached to reverse

Oil on panel,  8 3/4 × 6 1/4 in. (22.2 × 15.8 cm.)


 


Provenance: Peter Cochran;The Fine Art Society Exhibited: (?) Arthur Studd, Alpine Club Gallery, London, June 1911 After meeting Whistler in Paris in 1892, Studd worked with him in 1894 and 1895 in London, where they were neighbours in Chelsea for some ears.The style of this panel, which is related to three other views of Venice by Studd on similar sized panels (Tate), is indebted to Whistler’s paintings of beaches and seascapes. Studd was also a collector, and he bequeathed three major works by Whistler to the National Gallery, London (now in the Tate Collection): Symphony in White, No. 2:The Little White Girl; The Fire Wheel; and Nocturne: Blue and Silver – Cremorne Lights). It’s commonly believed that Paul Gauguin worked in isolation in Tahiti, living in self-imposed exile from France and far from the reach of the European avant-garde. But from 1897 to 1898 Gauguin was joined in Tahiti by a British painter, Arthur Haythorne Studd (1863 – 1919). It was Studd’s wish, as he declared in a letter to his friend James McNeil Whistler (dated 22 June, 1897), to establish a ‘Studio of the South Seas’, and his work from Tahiti includes the View from Gauguin’s House, of 1898. This paper will compare Studd’s paintings to Gauguin’s treatment of the Tahitian subject, and examine how these artists imagined the Islands for a modern European audience. It will tease out the various influences on Studd’s Tahitian work, from his Slade School and Academie Julian training, to his ties to Whistler, and an artistic circle which included the New English Art Club, French painters Degas, Picard, and Puvis de Chavannes, and Australian Charles Conder. Notwithstanding the influence of contemporary artists, Studd’s paintings will also be understood in the context of colonial modernity and the extent to which modern political, economic and cultural agendas may have impacted his treatment of the Tahitian subject. Though the focus of this paper is on Studd’s contact with Gauguin and modernist re-imaginings of the Pacific Islands, it will also begin a biography of this important British painter and collector, whose story remains to be told. (2008 paper from the University of Queensland, S Australia) Studd had one-man exhibitions during his lifetime at The Goupil Gallery (1896), The Baillie Gallery (1906) and The Alpine Club Gallery, London, (1911). He excelled in small plein air sketches in oil on panel.



Arthur Studd (1863 - 1919)

Painter and collector born at Hallerton Hall, Leicestershire. From a monied background he was, all his life of independent means. Studd (known as “Peter”) read history at King's College, Cambridge, 1884–87 where his peers included Roger Fry. He went on to study art under Legros at the Slade School 1888–89, and at the Académie Julian, Paris, 1889. He visited Le Pouldu in Brittany, 1890, where he befriended Gauguin and De Haan. Although strongly influenced by Gauguin, his style changed after he had worked with Whistler 1892-95. Visited Samoa and Tahiti about 1898. However, he did not become completely acquainted with Whistler until his return to London in 1894, when he became Whistler's neighbour in Cheyne Walk, Chelsea. They painted together at Lyme Regis, Dorset and in Dieppe. The subdued tone and limited range of colour of Studd's landscapes were greatly influenced by those of Whistler. Studd, a serious collector of paintings bequeathed three paintings by Whistler to the National Gallery which were ultimately transferred to the Tate Gallery. The National Gallery, London also benefited from his largesse in the acquisition of an important paintings by Pierre-Cécile PUVIS de CHAVANNES including “Death and the Maidens” Studd held a solo exhibition of his work was held at the Alpine Club Gallery,  1911. His work is in the collection of  the collections of the  Hunterian, Glasgow and York City Art Gallery.

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