Liss Llewellyn Fine Art - 20th Century British Art

Sir Thomas Monnington (1902-1976)   BIOGRAPHY

 PRIVATE COLLECTION
 
Nocera Umbra, 1925
Framed (ref: 6777)
Signed, dated, titled and dedicated to DPF, in pencil
Tempera on panel
10 x 12 in. (25.5 x 30.5 cm)

 


Provenance: Given by the artist to D.PG (his dentist) in the 1950's;


In 1925, Monnington was completing his final year as the 1922 Scholar in Decorative Painting at The British School in Rome.  Having married Winifred Knights in 1924 the newly-weds made several painting trips outside Rome visiting their favourite haunts, espeically in the province of Perugia.


This panel, painted en plein air, was produced in the same year that Monnington was completing his epic Allegory, (Tate)


Nocera Umbra is a town in the province of Perugia, Italy, 15 kilometers north of Foligno, at an altitude of 520 m above sea-level. 





Sir Thomas Monnington (1902-1976)

Painter, especially of murals. Born in London, he studied at the Slade School in 1918-23 and was Rome Scholar in 1923-26. He married fellow Rome Scholar Winifred Knights in 1924. Among his public works are a decoration for St Stephen's Hall, Westminster, 1928, and the new Council House in Bristol, 1956. Monnington taught drawing at the Royal Academy Schools, 1931-39, and in 1949 joined the staff of the Slade, whose strong linear tradition marked his own work. Monnington is represented in a number of public galleries, including the Tate, British Museum and Imperial War Museum. He was elected RA in 1938, became its President in 1966 and was knighted in 1967. There was a memorial exhibition at the RA in 1977. Another traveled from the British School at Rome to the Royal Albert Memorial Museum in Exeter and the Fine Art Society in 1997. From the 1940s Monnington lived in Groombridge, Kent; the local landscape inspired much of his post-war work. Monnington was one of the outstanding draughtsmen of his generation. He had a considerable influence as a teacher (Euan Uglow was among his pupils), and was one of the most effective of the twentieth-century presidents of the RA, turning around the Academy's ailing fortunes. Remarkably he was the first president of the Academy to produce abstract paintings and indeed made no distinction between abstract and figurative art: "Surely what matters is not whether a work is abstract or representative, but whether it has merit. If those who visit exhibitions would come without preconceptions, would apply to art the elementary standards they apply in other spheres, they might glimpse new horizons. They might ask themselves: is this work distinguished or is it commonplace? Fresh and original or uninspired, derivative and dull? Is it modest or pretentious?" (Interview in the Christian Science Monitor, 29.5.67).

Selected Literature: Judy Egerton, Sir Thomas Monnington, Royal Academy of Arts, 1977 Paul Liss, Sir Thomas Monnington, British School at Rome/Fine Art Society plc, 1997

See all works by Sir Thomas Monnington