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The artist attended, before the outbreak of the Second World War, drawing classes under [[Fernand Léger]] and studied sculpture with [[Ossip Zadkine]] in Paris. During those formative years [[David Gascoyne]], the Surrealist poet, was her mentor<ref>Gascoyne, David (1980)Journal 1936-37.London: Enitharmon Press, ISBN 0905289668 p.51</ref>,<ref>Gascoyne, David (1978) Paris Journal 1937-39, London: Enitharmon Press, ISBN 0905289 35 8 p. 110</ref>,<ref>Betty Shaw correspondence to David Gascoyne, Series I 1945-1989.Beinecke Rare Books and Manuscripts Library, Yale University, New Haven</ref>.On her return to London in September, 1939, Shaw-Lawrence met [[David Kentish]] and [[Lucian Freud]] both students at [[Cedric Morris]] and [[Arthur Lett-Haines]]' [[East Anglian School of Painting and Drawing]]. This encounter enabled her to spend the summer of 1940 studying under the artist Cedric Morris and though she returned to the School at Benton End near [[Hadleigh]], Suffolk for short spells during the war, Shaw-Lawrence mainly painted in Richmond (Surrey), events attested by her letters addressed to her two art teachers between 15 May, 1940 to 17 June, 1943<ref>Hyman Dreitman Research Centre, Tate Britain Millbank, London SW1P 4RG</ref>.
The artist attended, before the outbreak of the Second World War, drawing classes under [[Fernand Léger]] and studied sculpture with [[Ossip Zadkine]] in Paris. During those formative years [[David Gascoyne]], the Surrealist poet, was her mentor<ref>Gascoyne, David (1980)Journal 1936-37.London: Enitharmon Press, ISBN 0905289668 p.51</ref>,<ref>Gascoyne, David (1978) Paris Journal 1937-39, London: Enitharmon Press, ISBN 0905289 35 8 p. 110</ref>,<ref>Betty Shaw correspondence to David Gascoyne, Series I 1945-1989.Beinecke Rare Books and Manuscripts Library, Yale University, New Haven</ref>.On her return to London in September, 1939, Shaw-Lawrence met [[David Kentish]] and [[Lucian Freud]] both students at [[Cedric Morris]] and [[Arthur Lett-Haines]]' [[East Anglian School of Painting and Drawing]]. This encounter enabled her to spend the summer of 1940 studying under the artist Cedric Morris and though she returned to the School at Benton End near [[Hadleigh]], Suffolk for short spells during the war, Shaw-Lawrence mainly painted in Richmond (Surrey), events attested by her letters addressed to her two art teachers between 15 May, 1940 to 17 June, 1943<ref>Hyman Dreitman Research Centre, Tate Britain Millbank, London SW1P 4RG</ref>.


In the aftermath of the Second World War, Bettina travelled to the Continent. Countries such as Spain or France inspired her works and were subsequently exhibited at The Leicester Galleries and the Hanover Gallery. Around that time, the artist turned her hand to etching for the purpose of a book<ref>'An Herbarium for the Fair: Being a book of Common Herbs with etchnings by Betty Shaw-Lawrence'.London: The Hand and Flower Press. 1949</ref>, a know-how Bettina Shaw-Lawrence remembers imparting to [[Lucian Freud]]. However, in 1958 Shaw-Lawrence left England to move to Italy where her oils on canvas became more luminous and serene though her work "which might be sets for very sophisticated doll dramas" <ref>''Reviews and previews:New names this month'' (May 1963) Artnews. Volume 62. Number 3: p.64</ref> still exuded loneliness. Her work became steeped in "a world of crystalline beauty, alive and real", a world devoid of intruders "because of this power of hers to purify reality and restore it to innocence"<ref> Maovaz, Sigfrido (1963), ''Bettina Shaw Lawrence,'' New York: The Bodley Gallery Catalogue,OCLC 83884329</ref>.
In the aftermath of the Second World War, Bettina travelled to the Continent. Countries such as Spain or France inspired her works and were subsequently exhibited at The Leicester Galleries and the Hanover Gallery. Around that time, the artist turned her hand to etching for the purpose of a book<ref>'An Herbarium for the Fair: Being a book of Common Herbs with etchnings by Betty Shaw-Lawrence'.London: The Hand and Flower Press. 1949</ref>, a know-how Bettina Shaw-Lawrence remembers imparting to [[Lucian Freud]]. By 1958 Shaw-Lawrence had left England to move to Italy where her oils on canvas became more luminous and serene though her work "which might be sets for very sophisticated doll dramas" <ref>''Reviews and previews:New names this month'' (May 1963) Artnews. Volume 62. Number 3: p.64</ref> still exuded loneliness. Her work became steeped in "a world of crystalline beauty, alive and real", a world devoid of intruders "because of this power of hers to purify reality and restore it to innocence"<ref> Maovaz, Sigfrido (1963), ''Bettina Shaw Lawrence,'' New York: The Bodley Gallery Catalogue,OCLC 83884329</ref>.


However, from the 1970's onwards, with the advent of [[abstract art]], [[figurative]] artwork went into decline affecting the artist's self-confidence. Bettina Shaw- Lawrence has now settled permanently in Italy with her daughter Julia.
However, from the 1970's onwards, with the advent of [[abstract art]], [[figurative]] artwork went into decline affecting the artist's self-confidence. Bettina Shaw- Lawrence has now settled permanently in Italy with her daughter Julia.

Revision as of 20:36, 22 May 2008

Bettina Shaw-Lawrence
NationalityEnglish
EducationFernand Léger, Sir Cedric Morris
Known forFigurative art
MovementMagic realism

Bettina Shaw-Lawrence, also known as Betty Shaw-Lawrence, is an English 20th century figurative artist born in 1921.

From childhood the artist's life was devoted to painting and drawing, skills honed by training under Fernand Léger, Cedric Morris and Arthur Lett-Haines. These assets were further stimulated during the Second World War by her two friends, David Kentish and Lucian Freud. It was a time of intense creativity and artistic exchange. Her talent was recognized by prominent galleries, art collectors and editors in England, Italy and the United States.

Biography

Born on 29 July, 1921 in London, Bettina Shaw-Lawrence, also known as Betty Shaw-Lawrence, is a post-World War II artist. Her work is figurative and expresses itself mainly through oil paintings. Her other favourite mediums are black and white or coloured ink drawings. She is also a book illustrator, "widely known as a portrait painter",[1] and a sculptor. Her works are represented in many private collections. From 1946 onwards, the artist had several solo and group exhibitions in major galleries of contemporary Art in London, Rome and New York.

The artist attended, before the outbreak of the Second World War, drawing classes under Fernand Léger and studied sculpture with Ossip Zadkine in Paris. During those formative years David Gascoyne, the Surrealist poet, was her mentor[2],[3],[4].On her return to London in September, 1939, Shaw-Lawrence met David Kentish and Lucian Freud both students at Cedric Morris and Arthur Lett-Haines' East Anglian School of Painting and Drawing. This encounter enabled her to spend the summer of 1940 studying under the artist Cedric Morris and though she returned to the School at Benton End near Hadleigh, Suffolk for short spells during the war, Shaw-Lawrence mainly painted in Richmond (Surrey), events attested by her letters addressed to her two art teachers between 15 May, 1940 to 17 June, 1943[5].

In the aftermath of the Second World War, Bettina travelled to the Continent. Countries such as Spain or France inspired her works and were subsequently exhibited at The Leicester Galleries and the Hanover Gallery. Around that time, the artist turned her hand to etching for the purpose of a book[6], a know-how Bettina Shaw-Lawrence remembers imparting to Lucian Freud. By 1958 Shaw-Lawrence had left England to move to Italy where her oils on canvas became more luminous and serene though her work "which might be sets for very sophisticated doll dramas" [7] still exuded loneliness. Her work became steeped in "a world of crystalline beauty, alive and real", a world devoid of intruders "because of this power of hers to purify reality and restore it to innocence"[8].

However, from the 1970's onwards, with the advent of abstract art, figurative artwork went into decline affecting the artist's self-confidence. Bettina Shaw- Lawrence has now settled permanently in Italy with her daughter Julia.

Career

Solo exhibitions

1947 - The Leicester Galleries - London.[1]. This first exhibiton of the artist was announced by the Times [9].

Its catalogue [10] comprised: 16 oil paintings and 12 drawings (ink and gouache, ink and water-colour, coloured inks and chalk as well as one pastel), most of which depicted landscapes, flowers or still-lives with the exception of one portrait of David Gascoyne.

In 1948, The Penguin New Writing n°33 edited by John Lehmann published two of her works from this exhibition: 'Richmond Bridge' (oil) and 'Boy with a Donkey' (coloured inks).

1953 - Hanover Gallery - London. The artist's second show was also announced in The Times[11]. The catalogue [12] listed 18 oil paintings.

1963 - Bodley Gallery - 223 East 60th Street, New York.

The exhibition catalogue[13] comprises 40 "oil on canvas", all pertaining to the artist's Italian period. Her exhibition was announced by ARTnews[2] [14].

1975 - Wivenhoe Arts Club - Wivenhoe (Essex)

"An exhibition of paintings and drawings by Bettina Shaw-Lawrence opened at the club on Saturday evening and among the guests was Mr Lett-Haines, one of the leaders of the East Anglian School of Drawing and Painting where Miss Shaw-Lawrence studied many years ago. There are 39 works in the exhibition... which will remain open for the next three weeks", [15].

Further exhibits

Her first exhibits in London included the Reid & Lefèvre Gallery and the Léger Gallery. These were followed in 1955 by the Arthur Jeffress Gallery in London in collaboration with the Galerie Charpentier in Paris. On this occasion, her portrait entitled 'Portrait with a Rose' was selected for the cover of 'The Listener' to announce a BBC radio programme on the art of the 'Trompe l'Oeil',dated February 3,1955[16].

The Bodley catalogue dated 1963, indicated that for "The last four years the artist's home has been in Rome, Italy, where she has exhibited at the Obelisco and Gallery 88[17].

In 1985, Bettina Shaw-Lawrence took part in the exhibition entitled 'The Benton End Circle' which was held at Bury St Edmunds Art gallery in Bury St Edmunds (Suffolk) where a drawing of hers was purchased of Lucian Freud posing naked as a model at The East Anglian School of painting and drawing at Benton End in the early 1940's. This was her last exhibition and it had taken place in a gallery located close to Benton End where she had always longed to be during the war years and would "always remember the lovely times I've had down there"[18].

Portrait artist

Among her many sitters were the designer Jean Muir, her husband Harry Leuckert, David Kentish, his sister, the actress Elizabeth Kentish, the poet David Gascoyne, and the journalist and writer Paul Johnson.

Book illustrator

1946 - William Abrahams. 'Interval in Carolina'. Jacket designed by Bettina Shaw-Lawrence[19].London: Editions Poetry London.

1949 - Shaw-Lawrence, Betty and Thomas Fassam. 'An Herbarium for the Fair: Being a book of Common Herbs with etchings by Betty Shaw-Lawrence'.London: The hand and Flower Press [20]. This book is part of London Library's safe collection as it is "particularly rare or valuable"[21].

1972 - Shaw-Lawrence, Bettina.Festchrift for KFB (Katherine Falley Bennett). London: The Lyrebird Press, Micro-dot-Book. p.167

1979 - Shaw-Lawrence, Bettina, Lawrence Durrell.'Apple Grammar'. London: Poetry London/Apple Magazine, vol.1 N°1.p.79

1989 - Shaw-Lawrence, Bettina. Tambimuttu Bridge Between Two Worlds. London: Peter Owen ISBN 0 72060718 3. p.236

References

  1. ^ Bodley Gallery New York catalogue. (1963).Bettina Shaw Lawrence: Bodley Gallery,New York: Bodley Gallery,OCLC:83884329
  2. ^ Gascoyne, David (1980)Journal 1936-37.London: Enitharmon Press, ISBN 0905289668 p.51
  3. ^ Gascoyne, David (1978) Paris Journal 1937-39, London: Enitharmon Press, ISBN 0905289 35 8 p. 110
  4. ^ Betty Shaw correspondence to David Gascoyne, Series I 1945-1989.Beinecke Rare Books and Manuscripts Library, Yale University, New Haven
  5. ^ Hyman Dreitman Research Centre, Tate Britain Millbank, London SW1P 4RG
  6. ^ 'An Herbarium for the Fair: Being a book of Common Herbs with etchnings by Betty Shaw-Lawrence'.London: The Hand and Flower Press. 1949
  7. ^ Reviews and previews:New names this month (May 1963) Artnews. Volume 62. Number 3: p.64
  8. ^ Maovaz, Sigfrido (1963), Bettina Shaw Lawrence, New York: The Bodley Gallery Catalogue,OCLC 83884329
  9. ^ Art Exhibitions ( October 1,1947). Leicester Galleries, Leicester Sq.: First Exhibitions by Betty Shaw-Lawrence. The Times p.10, Issue 50880, col A
  10. ^ Catalogue available at Victoria and Albert Museum Library: N°200.B.217
  11. ^ Art Exhibitions (June 9, 1953. Hanover Gallery, 32 A, St Georges Street, W.1: Paintings by Betty Shaw-Lawrence. The Times p.2, Issue 52643, col A
  12. ^ Hanover Gallery (1953).Betty Shaw-Lawrence. London:Hanover Gallery. OCLC 80727175. Catalogue available at: Frick Art Reference Library, New York, NY 10021, U.S.A.
  13. ^ Bodley Gallery (1963).Bettina Shaw Lawrence: Bodley Gallery. New York: Bodley Gallery, OCLC 83884329. Catalogue available at:The Museum of Modern Art Library, New York, NY
  14. ^ Reviews and previews: New names this month (May, 1963). ARTnews. Volume 62.Number 3: p.64
  15. ^ The Essex County Standard, 4 July 1975
  16. ^ 'The Listener' cover available at: Frick Art Reference Library, New York, OCLC: 77739295
  17. ^ Catalogue available at:The Museum of Modern Art Library, New York, NY
  18. ^ Letter 8317.1.3422 addressed to Lett-Haines - Hyman Dreitman Research Centre, Tate Britain Millbank, London SW1P 4RG
  19. ^ A complete Checklist of the imprint."Tambimuttu Bridge Between Two Worlds"(1989). London:Peter Owen ISBN 0 72060718 3. p286
  20. ^ Book available at: Cambridge University Library, London Library, University of Oxford Library
  21. ^ Hannah Palmer, Issue desk, The London Library
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