• John-Cecil-Stephenson: Life-Class
    John Cecil Stephenson: Life Class
  • John-Cecil-Stephenson: Seated-Female-nude,-rear-view,-1944
    John Cecil Stephenson: Seated Female nude, rear view, 1944
  • John-Cecil-Stephenson: Kneeling-nude,-c.1940
    John Cecil Stephenson: Kneeling nude, c.1940
  • John-Cecil-Stephenson: Carpriccioso,-1960
    John Cecil Stephenson: Carpriccioso, 1960
  • John-Cecil-Stephenson: Approved-Design-for-Festival-of-Womens-House
    John Cecil Stephenson: Approved Design for Festival of Womens House
 

John Cecil Stephenson

Painter, born in Bishop Auckland, Co. Durham. He studied at Darlington Technical College, 1906-08, at the Leeds School of Art, 1908-14, the RCA, 1914-18, and Slade, 1918. Between 1915 and 1918 he did war work, making tools. In 1919 he took on Sickert's studio, 6 Mall Studios, Hampstead, where he was later joined by Herbert Read, Barbara Hepworth and Henry Moore. From 1922 until 1955 he was Head of Art Teaching in the Architectural Department, Northern Polytechnic, Holloway Road. In 1932 he began making his first abstract works, exhibiting during the next decade in many abstract and constructive shows in England, France and the USA. In 1934 he exhibited with the 7&5 Society, along with the likes of Ben and Winifred Nicholson, Ivon Hitchens, Henry Moore, Barbara Hepworth and John Piper. During World War II he returned partly to figurative work, making paintings of the Blitz. From the 1950s he returned to large abstract paintings, realising many of the abstract compositions he had sketched out on a small scale in the previous decade, when materials had been in short supply. In 1951 he made a 10 x 30 ft. fluorescent paint mural for the Festival of Britain, and began working with ply glass for murals. In 1958 he suffered three strokes, which left him unable to move or talk. Partly for this reason he is today less well-known than many of his contemporaries, but he was one of the key figures in the development of abstract art in Britain. He is represented in the collection of the Tate and internationally.

Selected Literature
Cecil Stephenson 1889-1965, Fischer Fine Art, London, 1976.
Simon Guthrie, The Life and Art of John Cecil Stephenson: A Victorian Painter's Journey to Abstract Expressionism, Cartmel Press Associates, 1997.

When in the fifties, I became engaged to Simon (David) Guthrie, he took me to meet his mother, Kathleen Guthrie, and his stepfather, Cecil Stephenson. They lived in a studio; to me, a novel idea. 6, Mall Studios, in Belsize Park, had been Cecil’s habitat for some thirty years. The main studio was a large room with a big north light running from the floor up into the roof. In one corner were Cecil’s easel and paints; in another were his machine tools and lathes and in a third was his piano. The fourth corner contained a sofa and some bookcases, where Kathleen could sit and read, or listen to Cecil playing his favourite Brahms or Chopin. Kathleen was Cecil’s second wife. She was herself a professional artist; a Sladey-lady and like Cecil, a founder member of the Hampstead Artists’ Council. There wasn’t room for her to paint in the studio, so Cecil had built her a painting shed in the garden. The garden also had a small pond with a large population of newts and some very decorative Koi carp, and a monorail for Cecil’s hand-built model steam locomotive. Cecil was a warm-hearted man of many talents, but modest and self-effacing, and meticulous in all his many undertakings. His output of paintings was small, due to the pressures of earning a living by teaching, and his inability to refuse requests for his engineering skills, whether it was to make a new part for a friend’s old Lagonda, dash off a metal staircase or a new set of wrought-iron gates. Perhaps he was overshadowed by his brilliant friend and erstwhile neighbour, Ben Nicholson. Other neighbours included Barbara Hepworth and John Skeaping, the art critic and writer Sir Herbert Read, and later, Henry Moore and Bernard Meadows. When Cecil died, he left quite a body of works which the family have cherished and enjoyed for the last forty years. These include most of the pictures in this exhibition. Simon retired from academic life in 1990 and he devoted himself to trying to promote his stepfather’s reputation. First he wrote a biography, based largely on Cecil’s abbreviated but carefully kept diaries. He then devoted much time and energy to trying to persuade a gallery to mount a proper retrospective of Cecil’s work, particularly the early abstracts. Remembering Cecil’s northern roots, he tried hard to interest various galleries in the north of England in such an exhibition. Sadly his ambition was never achieved. So his family were very willing to co-operate with the suggestion of The Fine Art Society to mount this show, in the hope that many more people could derive pleasure and satisfaction from these fine paintings.

Marjorie Guthrie


Catalogues with works by John Cecil Stephenson

Murals & Decorative Painting 1920-1960


Published: October 2013
352 pages, 130 colour illustrations
ISBN: 978-1-908326-23

Nominated for the William MB Berger Prize for British Art History.

This book is illustrated with a series of specially commissioned photographs that record some of the least known but most remarkable mural cycles in Great Britain. In the vast majority of cases these works have previously only been reproduced in black and white if at all. … Today murals are rarely seen as the artist intended. Often they are partially obscured, especially where there has been a change of building use. Frequently works are completely covered up or painted over – examples include murals by Mary Sargent Florence, Mary Adshead, Eric Ravilious, Dora Carrington, William Roberts and Gilbert Spencer. Where murals survive they are more often than not displaced works. Historic photographs showing John Piper’s The Englishman’s Home at The Festival of Britain, in situ on the river side of the Homes and Gardens Pavilion on Belvedere Road, come as a revelation; a digital reconstruction of Frank Brangwyn’s Empire panels for The House of Lords, seen in situ as they were originally intended, gives a dramatically more favourable impression than their final installation in The Brangwyn Hall, Swansea.


Murals & Decorative Painting 1910-1970


Published: February 2013
128 pages 114 illustrations
ISBN: 978-0-9567139-6

The murals that were produced in this country in the twentieth century remain as one of the great inventive achievements in modern British art. Highly original in their approach to design, balancing varying degrees of modernity or tradition, they demonstrate the creative drive of their makers and contain singular expressions of the aesthetic, personal and social concerns that typify the ages from which they come. Some are celebrations of simple human pleasures, perhaps to decorate a refreshment room, an ocean liner or a dining room. Others are intended to be the highest expressions of their art, ambitious allegorical or decorative compositions that like the frescoes of the Renaissance would speak through the ages to later generations. The individuals and committees who commissioned them similarly believed they would both represent the best that Britain had to offer and mark the high accomplishment of contemporary society, elevating the public and private spaces they occupied and inspiring moral purpose.


John Cecil Stephenson


Published: 2007
64 pages 41 illustrations
ISBN: 978-0-905062-42

Cecil Stephenson was one of the pioneers of abstract art in England, along with Ben Nicholson, Barbara Hepworth, Henry Moore, John Piper, Edward Wadsworth and half-a-dozen others. This move towards abstraction had two principal strands, one leaning towards surrealism and the other to geo-metric abstraction, or Constructivism as it came to be known. Stephenson and his friends were mostly in the latter camp, and the London Gallery exhibition drew them together along with a distinguished group of foreign exhibitors including Moholy-Nagy, Calder, Giacometti, Helion and Naum Gabo. Just as Mondrian began his journey towards non-figuration through the modification and simplification of forms, natural and man-made – branches of trees and elements of church architecture – so Stephenson began his through isolating and refining industrial elements – cogs, axles, wheels, pistons, etc – derived from the multiple pieces of machinery he managed to house within his Hampstead studio.


British Paintings & Works on Paper
1890-1990


Published: 2005
240 pages 176 illustrations

Many of the artists featured in this catalogue — Monnington, Jas Wood, Banting, Colquhoun, Stephenson, Medley, Rowntree, Vaughan, Canney and Nockolds —moved freely between figurative and abstract art. It was part of their journey. In their ambitious exploration to find a pure art that went beyond reality, they often stopped, or hesitated, and in many cases returned to figurative painting. Artists such as Bush, Knights, Kelly and Cundall remained throughout their lives purely figurative. Their best work, however, is underpinned by an economy of design, which not only verges on the abstract, but was fed by the compositional purity developed by the pursuit of abstraction.


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