John Tunnard

John Tunnard (May 7, 1900 - December 18, 1971), was a British artist and designer.

Tunnard was born in Bedfordshire, England. He is best known for his paintings of strange private worlds, which are instantly recognisable. Ever enthusiastic to experiment and be at the cutting edge of the Avant Garde,Tunnard consciously developed his work in the style of British Surrealism as it emerged after the second world war. A use of biomorphic forms and architectural elements combine with elements of constructivism, reflecting his interest in the technology of space travel. Many of the paintings are of fantastic constructions in deep space, and demonstrate a preoccupation with entomology and geology.Tunnards work commonly depicts the detailed design that is found abundant within nature itself. When placing Tunnards work in context, it is important to consider the proliferation of ecology based fiction, art and discussion that was begining to appear in the late 1950's and early 1960's. In his famous 1951 novel Day of The Triffids, John Wyndham was spurred on by reported scientific practice at this time. Public attention had reverted unfavourably from scientific experiments carried out on plants in 1940s America. Science had formerly been held in high regard as champion of the brave new world. With this new concern, Rachel Carson's literary augur of environmental catastrophe Silent Spring was published in 1962. The book summarized her main argument, The 'control of nature' is a phrase conceived in arrogance, born of a flawed understanding of biology and philosophy, when it was supposed that nature exists for the convenience of man. Tunnard's themes, in part owe much to the discussion that was being generated in the midst of this burgeoning ecological angst; although the man identified more strongly with modernism and his work is more detached, observational; and less community spirited than his literary contemporaries. In his Self Portrait ( now in the National Gallery, London) the artist depicts himself alongside an oversized insect. The meaning of this odd coupling cannot be made clear. This ambiguity may provide some answers to questions about Tunnards decline into obscurity since his death in 1971. Artists are expected to make clear and purposeful the contents of their work.This may at best be seen as a clumsy meandering of ideas.His work refers to natural resources;he painted the textures of stone; water; earth. Not unlike his contemporaries; in particular Graham Sutherland; who was primarily concerned with portraying the dark underside of nature;Tunnard shared the interest in the British tradition of landscape demonstrated by the Neo Romantics. They transformed it through a modern sensability. Despite a firm root in tradition, Tunnard's paintings have a bleak and sinister quality which can make them inaccessible to those viewing them for the first time. The repeated use of cold colours such as blues, greys and greens; and an inhuman scale further evoke this feeling of remoteness in his paintings. His art is commercialy less sought after than his contemporary Ivon Hitchens, who was also born in Berkshire, seven years before Tunnard. Hitchens work typically uses a warm palette of reds, browns greens and yellows. Tunnard did not adhere entirely to the Earth and nature as a theme; His work was possibly the first among modernists to depict satellites and moonscapes in painting.His work was allways meticulously executed with clear precise edges and carefully rendered modelling; indeed, with scientific precision. His vision was a unique one which transcended a documentary representation of the world. His technique evolved from his youthful employ as a commercial designer.He was at first, quietly naive about modern art techniques; he once asked a colleague whether it was acceptable for him to use a compass and a ruler. Would he foresake his authenticity as an artist? His choice of materials was unusual, tempera and oil paint was sometimes combined in a single work. He also worked with oil on glass supports. Many times oils were painted on his choice of fibre or composite board.This being an ill-advised choice for professional artists in general. He knew that collectors are as fussy about the quality of the support as they are the painting.

External links

Further reading

External links