John Brett: A Pre-Raphaelite on the Shores of Wales

A celebration of the work of artist John Brett (1831-1902) comprising a catalogue of 36 of his atmospheric paintings of Welsh coastal scenes, mostly in oil, with relevant notes, together with a comprehensive introduction by Dr Ann Sumner, and piercing studies by Christopher Newall, David Cordingly and Kate Lowry. 50 colour and 25 black-and-white plates. Welsh version available.

Table of Contents:
Director's Preface. Chronology. Introduction by Dr Ann Sumner(Curator, Fine Art at the National Museums & Galleries of Wales). John Brett - the Pre-Raphaelite Years by Christopher Newall. John Brett in Wales by David Cordingly. A Technical Note on Brett's Paintings by Kate Lowry (Chief Conservation Officer, Art at the National Museums & Galleries of Wales). Exhibition Catalogue. A Note on the Framing of John Brett's Welsh Seascapes by Ann Sumner. Biography. List of Lenders.

Review :
English review below Y llun cyntaf i mi erioed ei weld gan artist Cyn-raffaelaidd oedd yn ysgoldy’r capel lle cynhelid dosbarth babanod yr Ysgol Sul. Dichon yw dweud na wyddwn ar y pryd mai Holman Hunt a beintiodd y llun hwnnw o Grist, ond roedd gweld yr hen brint yn ei ffrâm dderw gyda’r geiriau “Myfi yw Goleuni y Byd” oddi tano yn fy swyno bob prynhawn Sul (er mai creu lluniau mewn tywod oedd fy hoff weithgaredd!). Mae yna sawl cenhedlaeth o anghydffurfwyr Cymreig wedi cael cyflwyniad tebyg i’r ysgol gelf arbennig yma oherwydd y pwyslais a roddwyd ar luniau crefyddol a delweddau gyda neges foesol gref gan sylfaenwyr a phrif aelodau’r ysgol. Mae’r gyfrol hon yn cyflwyno hanes a gwaith John Brett – arlunydd a ddaeth dan ddylanwad y steil hon o beintio. Cyhoeddwyd y gyfrol i gyd-fynd ag arddangosfa o’i waith a gynhaliwyd yn yr Amgueddfa Genedlaethol yn Hydref 2001, ac er y gellid ei hystyried fel catalog, mae’r wybodaeth sydd ynddi mor helaeth nes ei gwneud yn gyfrol werthfawr a chain fydd yn apelio at efrydwyr a charedigion y gelfyddyd weledol yng Nghymru. Arlunydd o Sais oedd John Brett a dreuliodd gyfnodau helaeth yn gweithio yng Nghymru. Amlygwyd ei hoffter o’r tirwedd ac arfordir Cymru yn y ddau gant o luniau a gynhyrchodd yma dros gyfnod o ddeugain mlynedd o 1860 ymlaen (llawer ohonynt o’r cwch yr hwyliai o gwmpas Cymru ynddo). Atgynhyrchwyd dros 40 o’r rhain yn y gyfrol (llawer ohonynt o gasgliadau preifat) a cheir adran hynod o ddifyr sydd yn olrhain hanes ei fywyd a’i ddatblygiad fel artist. Disgrifiwyd Brett mewn adolygiad o arddangosfa haf yr Academi Frenhinol fel “a rather crotchetty (sic) genius”. Gŵr peniog, pendant ei farn ac unplyg wrth feithrin ei grefft. Roedd yn ffotograffydd arloesol yn ogystal ag artist, ac mae yna ffotograffau hyfryd o’i deulu yn y gyfrol. Nodir fel y mae’r rheiny'n dyst i’r straen a osodwyd ar ei gymar fu’n magu saith o blant yn ogystal â dygymod â’i gymeriad ecsentrig yntau – tipyn o dasg! Daeth i amlygrwydd gyda’i gampwaith o lun “The Stonebreaker”, sy’n gyforiog o symbolaeth o foeseg cymdeithasol a chrefyddol a nodweddai waith y Cyn-raffaelyddion cynnar. Mae’r gyfrol hon yn canolbwyntio ar y lluniau o arfordiroedd Cymru a gyflawnodd mewn cyfnod wedi’r llwyddiant hwnnw. Yn ogystal â chofnodi ei deithiau i Gymru, ceir hanes hefyd taith ei yrfa o amlygrwydd a chyfoeth i dlodi, ac o’i daith ysbrydol o ffydd i anffyddiaeth bendant. Gyferbyn â phob tirlun ceir gwybodaeth ddiddorol am gefndir y lleoliad a manylion technegol am y llun a’r arddull sy’n gwneud y gyfrol hon yn un ddifyr ac addysgiadol. Mae yna ambell gymal yn bradychu’r wybodaeth mai cyfieithad o’r testun Saesneg sydd yma, ond mae’n hyfryd cael croesawu cyfrol Gymraeg arall o arlwy’r Amgueddfa Genedlaethol ac ychwanegiad gwerthfawr at y casgliad cynyddol o gyfrolau am gelfyddyd weledol sydd i’w cael yn yr iaith Gymraeg. Mae’n galonogol i weld bod y cynhyrchiad safonol hwn wedi ei greu yn gyfan gwbl yng Nghymru – polisi a ddylai bellach fod yn ddisgwyliadwy oddi wrth ein prif sefydliadau. Llongyfarchiadau i bawb fu wrthi’n creu’r gyfrol. * * * I was introduced to the works of the Pre-Raphaelites at a very young age. The print of Holman Hunt’s picture of Christ with the words “Myfi yw Goleuni y Byd” (I am the Light of the World) printed underneath it intrigued me when I first attended Sunday School. It was a rare work of Art deemed acceptable to adorn the walls of the school-rooms of our non-conformist chapels. Generations of us were introduced to the religious iconographic elements which appeared in some of the works of the Pre-Raphaelite Brotherhood. This book introduces the work of an English artist – John Brett, who was heavily influenced by the Pre Raphaelites, although his enquiring mind and powerful intellect prevented him from accepting fully the philosophy preached by Ruskin. This volume was produced as a catalogue to accompany the exhibition held at the National Museum during 2001, but it can be considered as a volume in its own right as it includes a wealth of biographical history as well as excellent reproductions of over 40 works by the artist. It is a book which should appeal to students of art and those interested in the history and appreciation of art in Wales. John Brett had a passion for seascapes and he found Wales to be a place rich in inspiration. He painted over two hundred works here in the forty years from the 1860s. A great number of these which are now in private collections were exhibited and many are reproduced in this volume. Brett was described in a review of a summer exhibition at the Royal Academy as “a rather crotchetty (sic) genius”. A highly talented individual, he was also a pioneering photographer. There are some superb photographs of his family to be seen in this book, and it is noted in the text that they also show the strain placed on his wife faced with the task of rearing seven children as well as supporting her husband who, on the evidence of this book, could not have been an easy man to live with! However, he did devote time to his family life and lovingly recorded it. This book traces the development of his career from the success of his famous painting “the Stonebreaker”, to the successful period when he earned a high reputation and considerable wealth, to the downturn in popularity and the resulting material hardship. The large plates – 37 in all – show his evocative seascapes of the Welsh coastline; each one is presented with a background history of the location and useful information about the technique and style of painting. Many of the views were taken from his boat as he sailed around the coast during his many visits here. Although he bought land and property he never lived here permanently, but can be counted as one of many artists who sought and found inspiration in the Welsh landscape and produced a body of work. These works should be of interest not only to those interested in art and in particular art produced in Wales, but also to those who have a passion for marine life and history. This is another superb volume from the collection of the National Museum, and it is encouraging to see that such an elegant book was produced entirely in Wales – a policy which should be expected from all our national institutions. Congratulations are due to all concerned with this production.