Umělec
A Life Dedicated to Portraiture: Howard J. Morgan (1949–2020)
Howard James Morgan, born in Denbigh, North Wales on April 21st, 1949, and passing away on September 22nd, 2020, was a British portrait painter whose career spanned decades of capturing the likenesses – and often, the very essence – of prominent figures. His artistic journey began with formal studies at Newcastle University’s fine art department from 1967 to 1973, after which he established himself in London in 1974. From his early work, a dedication to realism and an ability to convey character quickly became hallmarks of his style. He wasn't merely replicating features; he was attempting to reveal something deeper about the sitter, their inner life hinted at through brushstrokes and subtle nuances of expression. The son of a lay preacher, Morgan perhaps inherited a sensitivity to human nature that informed his approach to portraiture, seeking not just physical resemblance but also spiritual presence.
The Royal Brush: Commissions and Recognition
Morgan’s talent didn't go unnoticed, and he was elected a member of the prestigious Royal Society of Portrait Painters in 1986 – a testament to his growing reputation within the art world. This recognition opened doors to an impressive series of commissions, most notably portraits of three British queens: HM Queen Elizabeth II, HM Queen Elizabeth The Queen Mother (displayed at Butchers’ Hall, London), and HM The Queen of The Netherlands. These royal portraits cemented his position as a leading portraitist of his time. Beyond the monarchy, he painted HRH Prince Michael of Kent, TRH The Prince & Princess of Hanover, and numerous other notable personalities including Tom Stoppard, Philip Larkin, Francis Crick, Paul Maurice Dirac, Dame Antoinette Sibley, and Herbert Norman Howells. Many of these works found a permanent home in the collection of the National Portrait Gallery, London, ensuring his legacy for generations to come. His ability to capture both authority and vulnerability within his subjects was particularly admired.
Beyond Royalty: A Diverse Range of Subjects
While celebrated for his royal commissions, Morgan’s artistic scope extended far beyond the aristocracy. He wasn't limited by subject matter; he embraced landscapes and religious paintings alongside portraits, demonstrating a versatility that enriched his overall body of work. However, it was his “conversation pieces” – often described as profoundly disturbing yet tantalizingly indecipherable scenes – that truly set him apart. These works demanded attention, challenging viewers with their complexity and underlying humor. He wasn’t simply documenting the world around him; he was interpreting it, adding layers of meaning and inviting contemplation. This willingness to experiment and push boundaries distinguished him from more conventional portrait artists.
Influences and Artistic Style
Morgan's artistic lineage is complex, drawing inspiration from both historical masters and contemporary trends. Comparisons have been made to John Singer Sargent, particularly in his confident brushwork and ability to capture the energy of a scene. However, critics often point to Annibale Carracci as a more accurate parallel, citing Morgan’s stylistic freedom and impasto technique – a method of applying paint thickly, creating texture and depth. He wasn't afraid to embrace bold colors and dynamic compositions, resulting in paintings that were both visually striking and emotionally resonant. William Packer, a respected art critic, famously described him as “the most daring of modern portrait painters,” acknowledging his courage in tackling large-scale portraits and complex narrative scenes. His work often featured a sense of movement and drama, reflecting a keen understanding of human psychology and social dynamics.
A Lasting Legacy
Howard J. Morgan’s contribution to British portraiture is significant. He wasn't merely a skilled technician; he was an artist who sought to capture the spirit of his time through the faces – and lives – of those he painted. His work continues to be exhibited and admired, serving as a reminder of his exceptional talent and unwavering dedication to his craft. His portraits offer not just likenesses but windows into the personalities and stories of some of the most important figures of the late 20th and early 21st centuries. The National Portrait Gallery’s holdings of his work ensure that future generations will have access to these compelling images, allowing them to appreciate the artistry and insight of a truly remarkable painter.
Muzeum
Vystaveno v Cambridge, United Kingdom
A Legacy Forged in Red Brick: Discovering Girton College, Cambridge
Introduction
Pioneering Spirits and Artistic Echoes
Architectural Grandeur and Hidden Histories
Girton’s Alumni Legacy
Conclusion: A Beacon of Progress
Introduction
Girton College stands as more than just a constituent part of the University of Cambridge; it is a powerful testament to the relentless pursuit of educational equality and a striking example of Victorian architectural vision. Founded in 1869 by the pioneering Emily Davies and Barbara Bodichon, Girton began its life not within the hallowed grounds of the university itself, but at Benslow House in Hitchin – a deliberate choice reflecting the initial resistance to women’s access to higher education. This early act of defiance set the tone for the college's history, one marked by courageous challenges to convention and an unwavering commitment to inclusivity. The relocation to its present site near Cambridge in 1873, and the subsequent construction of the iconic red-brick buildings designed by Alfred Waterhouse between 1872 and 1887, solidified Girton’s physical presence and symbolic importance. These structures, with their elegant Victorian detailing, aren't merely beautiful; they represent a hard-won victory for generations of women seeking intellectual fulfillment.
Pioneering Spirits and Artistic Echoes
The story of Girton is inextricably linked to the broader feminist movement of the 19th century. The “Pioneers,” as the first students were known, bravely navigated uncharted territory, becoming among the first women to sit for the rigorous Tripos examinations at Cambridge – a feat that paved the way for full admission in 1948. This spirit of innovation continued into the late 20th century, with Girton breaking further ground by becoming the first Cambridge women’s college to admit male students in 1976, embracing a truly coeducational future. Within this environment of intellectual ferment and social change, art found a natural home. While not widely known as a major public gallery, Girton College possesses a carefully curated collection that reflects its history and values. Notably, the portrait Marianne Frances Bernard by Francis Dodd offers a serene glimpse into the lives of women from this era, inviting contemplation on themes of age, wisdom, and resilience. The presence of works connected to Barbara Leigh Smith Bodichon herself – an artist as well as a fervent advocate for women’s rights – further underscores the college's dedication to celebrating female creativity.
Architectural Grandeur and Hidden Histories
A stroll through Girton College is a journey through time, beginning with the Old Wing, completed in 1876, which embodies the quintessential Victorian aesthetic. The striking red brickwork, characteristic of Waterhouse’s style, exudes both solidity and grace. Beyond its visual appeal, the architecture speaks to the practical needs of a pioneering institution – providing spaces for study, accommodation, and communal life. Exploring further reveals hidden gems like Taylor's Knob and the Hospital Wing, each building whispering tales of the college’s early days and the challenges faced by its first students. These structures weren’t simply built; they were created as environments conducive to learning and fostering a sense of community amongst women who were breaking down barriers with every lecture attended and every exam passed. The expansive grounds themselves, spanning 33 acres (13 hectares), offer a tranquil escape from the bustle of Cambridge, providing space for reflection and connection with nature – an essential element in nurturing both intellectual and personal growth.
Girton’s Alumni Legacy
Today, Girton College continues to uphold its legacy of inclusivity and academic excellence. It stands as a vibrant community where students from all backgrounds come together to pursue their passions and shape the future. The college’s commitment extends beyond simply admitting diverse students; it actively fosters an environment where everyone feels valued, supported, and empowered to reach their full potential. This dedication is reflected in its modern facilities – including state-of-the-art accommodation, a well-equipped library, and excellent sporting amenities – seamlessly integrated with the historic architecture. Girton isn’t merely preserving the past; it's building upon it, creating a dynamic space where tradition and innovation coexist harmoniously. Among Girton’s notable alumni are Queen Margrethe II of Denmark, Lady Hale, Arianna Huffington, the comedian/author Sandi Toksvig, the economist Joan Robinson, and the anthropologist Marilyn Strathern, who also held the position of Mistress from 1998 to 2009.
Conclusion: A Beacon of Progress
Girton College is more than just an educational institution; it is a living monument to progress, a symbol of courage, and a hidden gem within the Cambridge landscape. Its remarkable alumni – including Queen Margrethe II, Lady Hale, Arianna Huffington, the comedian/author Sandi Toksvig, the economist Joan Robinson, and the anthropologist Marilyn Strathern – stand as testaments to the transformative power of education and the enduring impact of Girton’s pioneering spirit. Whether you are an art enthusiast drawn to its subtle artistic treasures or a history buff captivated by its compelling narrative, Girton College offers a unique and enriching experience that will resonate long after your visit. It is a place where the past informs the present, and where the future of education continues to be forged with boldness and vision.
