Showing posts with label art. Show all posts
Showing posts with label art. Show all posts

Wednesday, 14 November 2018

The watercolours of John White: artist and explorer












































Detail from the title page of 'Thomas Hariot’s A Briefe and True Report' of the New Found Land of Virginia, published in 1590   

All John White images © The British Museum

A talk about Sir Walter Raleigh – and I did quite a few in 2018 – covers so many aspects! One that’s always interesting for audiences because of the visual element – as opposed to the talking – is the amazing collection of watercolours by John White, one of the treasures of the British Museum. 
    

 The paintings are a record of White’s time as an artist and mapmaker on the 1585 expedition to Roanoke Island, on the east coast of North America, funded by Sir Walter Raleigh.

Also accompanying the expedition was Raleigh’s friend and tutor, the scientist Thomas Harriot.  

His account of the voyage, named 'A Briefe and True Report of the New Found Land of Virginia', was published in 1588, probably written a year before.









Above: Virginea Pars map, drawn by John White during his initial visit in 1585. Roanoke is the small pink island in the middle right of the map.


White’s images were used by the publisher Theodor de Bry in a new, illustrated 1590 edition of 'A Briefe and True Report of the New Found Land of Virginia'. They added to an already intense interest in the New World. 

The only surviving visual record of the land and peoples encountered by England’s first settlers in America, the paintings are rarely on display, needing to be kept away from the damaging effects of light. A major public of the images took them to the USA in 2008.


The British Museum had no plans to exhibit them for Raleigh’s 400th anniversary.








A watercolour by John White depicting a village of the Secotan Indians in North Carolina 

‘Come to this place where everything is neat and tidy and there is food everywhere!’ is the message of John White’s watercolours according to the American author and science historian Deborah Harkness.




















'The towne of Pomeiock and true forme of their houses, covered and enclosed some wth matts, and some wth barcks of trees'












'The manner of their fishing'


























'You won't starve' in the New World' is the message that  Raleigh was keen for readers to understand.











'The seething [boiling] of their meate in Potts of earth' 










Equipment for curing fish used by the North Carolina Algonquins 










Dancing Secotan Indians on Roanoke Island








A ceremony of Secotan warriors




An Algonquian chief 









A 'flyer' or medicine man
















Apart from his achievement as a an artist, John White is known as the grandfather of Virginia Dare, the first English-speaking child to be born in the New World.   Tragically, he never saw his granddaughter, who was one of the 115 settlers known as 'The Lost Colony' 









Governor John White and his men discover in 1590 the word CROATOAN carved on a tree - the only trace of the 1587 ‘Lost Colony’ of 115 settlers which included White's granddaughter (19th century illustration)

The later history of the relationship between Native Americans and the English is an unhappy one, full of sad episodes of mistrust, betrayal, violence and murders in which two of Raleigh’s commanders, Sir Richard Grenville and Sir Ralph Lane, played critical roles.

John White was different, wrote David Stick in his book 'Roanoke Island: The Beginnings of English America'(1983). He was ‘without question, a compassionate man, and, unlike Lane, an individual with a reverence for all God’s earthly creations, including even the natives of America, whom he had depicted in his drawings as people both gentle and proud.’


Historian Anna Beer, while writing of what she described as ‘the dark underbelly of the English colonial project’, cites John White’s drawings and Thomas Harriot’s study of the Algonquin language as supporting the view of those who argue that Raleigh ‘respected the culture and people he was intruding on, and sought to understand it and them’.

Had Raleigh himself led the 1585 Roanoke expedition rather than Grenville and Lane, things might have taken a happier turn. But that’s wishful thinking. Queen Elizabeth kept her favourite at court. And however ‘soft’ Raleigh’s imperialism may have been, English culture would end up by first transforming and then obliterating the culture of Native America as Dr Beer points out.

Yet John White’s drawings can stand on their own, be admired, and allow us to dream of how it might have been.




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Friday, 19 October 2018

Budleigh Salterton's 2018 Gala Week's Raleigh 400 in pebble art











Above is a record of some of the fine work by our Budleigh beach artists before it disappeared with the tides: i. The Raleigh shield with its five white lozenges on a red background, or, in heraldic language  'Gules, five fusils conjoined in bend argent'; ii. a smoking Sir Walter; iii. with his Queen.  


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Tuesday, 28 August 2018

Re-enacting ‘The Boyhood’: Take 2


Continued from



































Continuing my August Bank Holiday appearance as Sir Walter I arrived at the Raleigh Wall from East Budleigh’s Street Party to find that the stage was already set for the repeat re-enactment of Millais’ Boyhood of Raleigh.

Pebbles, galleon, starfish and anchor were in place. Millais (John Washington, of Budleigh Art Club) was at his easel. 

The Sailor (Nick Speare) was there with his outstretched arms and had grown a moustache since his last appearance on 28 May earlier this year. 

‘Young Walter’ in his green costume was already there, later joined by another model as Raleigh’s half-brother Humphrey.

But I’d forgotten the toucan aka puffin. Once he was in place the picture was complete. You can see it above.



































The models were given this great scroll, designed by ‘Millais’ himself. It's on sale in Fairlynch Museum. 










Passing visitors were welcome to discuss the painting with the artist at work.








The Sailor had the same problem with fake facial hair that I’d had back in May.







A view of ‘Sir John Millais’; he didn’t seem to have any problem with the sideburns. Not sure about the dark glasses. But the sun had really come out by now. 








Image credit for the above three photos: Martyn Brown

I reckon that dog wants to be in the painting.

A successful day!  It didn’t rain, and Sir Walter’s history lessons to the passers-by seem to have done their stuff judging by admissions to the Museum that afternoon.  ‘There were over 90 visitors to Fairlynch - certainly a record in recent years!’ noted Chairman Trevor Waddington.

And perhaps best of all we'd introduced young Devonians to the story of one of the most interesting and complex figures of the county's history. 






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Thursday, 5 July 2018

Fairlynch Museum's Object of the Month: July 2018


































This copy of ‘The Boyhood of Raleigh’ was created by 19 members of the Budleigh Salterton Venture Art Group in 2015. 

They found it to be a challenging but enjoyable project, with individual members responsible for producing a panel each. Now that Fairlynch has the original painting on view you can compare the two by visiting the Raleigh 400 exhibition!

The verse below can be sung to the tune of ‘Greensleeves’, one of the best known of Tudor compositions.


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Raleigh the Peacemaker (1586)

  A copy, in All Saints' Church East Budleigh, of one of the best known portraits of Sir Walter formerly attributed to Zuccaro but now...