Frank Bramley, Painter of the Square Brush

If one were asked to select two of the artists that formed the group of painters around the small port town of Newlyn as representative of what is generally recognized as the Newlyn method of painting, those two would be Stanhope Forbes and Frank Bramley. In them, the influence of Bastien Lepage is most clearly to be traced, and it is their pronounced square brushwork which so many people consider the hallmark of the Newlyn painters of the 1880s. But exactly who were the Newlyn painters, and why were they clustered around the small fishing village in the southern part of England? The so-called Newlyn painters, or better expressed as a colony of artists, found the location desirable and very quaint, and discovered it to be a place that might be suitable for subjects to paint an idyllic unchanged lifestyle nestled amidst villages, fishing ports, and hamlets. Frank Bramley would be one of the first to find it very suitable for his aims after his studies in Belgium, and alongside fellow painter Stanhope Forbes, would eventually lead others of their mates to relocate to the region, and found its tranquil atmosphere perfect for The people were hard-working, with warmth, and appealing as ready models when called upon. It is noteworthy at this point to add some names to the list of artists that gathered at Newlyn, and a few of their outstanding pictures. Along with Stanhope Forbes, there was Miss Elizabeth Armstrong, afterward Mrs. Stanhope Forbes, Edwin Harris, Chevalier Taylor, and then we have Walter Langley, who may have been the very first to Newlyn to name just a few. It would continue to grow in numbers from the 1880s to 90s, when Stanhope Forbes and his wife established a school for painters. Frank Bramley would begin his most important pictures in this remote village, and gain rapid recognition. The village had a blacksmith's shop, and was growing in industry, and the textile trade with shops for fishing gear and boats. So great in number were the artists of the Newlyn school, that the Great Western Railway Company was forced to add additional carriages to the Penzance to London train, to accommodate the number of submissions to the annual Royal Academy exhibitions by the many artists resident in Newlyn. The favourite pastime of the colony was cricket, and of the team Bramley was captain. Bramley's Newlyn studio was very crude and primitive, which he preferred. Situated in a building consisting of two flats, each consisting of a single large room, one above and the other below ground. On the ground floor, the future painter did his work, while the basement was used as an infant school, and a greengrocer's shop combined. Mr. Bramley seems never to have winced at the continuous squalling and chattering, which was often so loud as to penetrate into his studio. At all events, some of his best work was produced in an environment which few painters would find useful, and by which most would be dismayed. It was largely through submissions to the annual Royal Academy exhibitions, that the Newlyn school painters became so well known. So it was that this small out-of-the-way place would breed so many canvases by artists who would make their mark, and Frank Bramley, early in his career, made his most important step and serious study of painting in Belgium at the Fine Arts School. Frank Bramley received his first art education in the local school of art, which held perhaps, even at that time, a more progressive scheme of schooling than do many of the training centres available. Then came the term of instruction at Antwerp, under the tutelage of Charles Verla and from thence he travelled to Venice before finally settling in Newlyn. So what exactly was the square brush method that became the rage for Newlyn artists? To answer that we must go to France and the circle of Bastien Lepage. It cannot be overstated just how phenomenal was his influence on art, with such pictures as Grandfather and his tour de force Joan of Arc. The power of realism, not just in the usual picture sense, but by the way in which it was produced that gave his work such supremacy. He forged his way with the brush to manipulate the paint application using squarish touches to build the form, and while it cannot be readily seen in Bastien's work, it was the conviction it gave and stark authority to make the canvas breathe life. So startling was the effect that Bastien would be the hero of a whole generation of artists to follow. It may be added here that Sorolla, the great Spanish painter, was so awed by the power of Bastien's Joan of Arc, that when the Spaniard visited America, where the picture was housed at the Met, that his number one goal was to seek out the painting and study it at length. Thus, when this same enthusiasm for Bastien's technique reached English shores, the adoration for his method became the procedure everyone adopted, terming it the square brush method. In short, it may be said that it was the use of this application of pigment, built up over layers, successively progressing toward the delicacy of form, that it became the fashion to gain that sense of realism unlike what was done before. In fact, it may be said it is naturalism. One of the great successes of the Newland artists was Stanhope Forbes' painting of the Fish Sail on a Cornish Beach, of 1885, exhibited in London to wide acclaim and showing his use of the method and its appeal. Frank Bramley followed suit with his own work, a submission of the following year titled Domino. A simple but charming painting depicting the home life with a table game being enjoyed, and here again we find the powerful square brush treatment throughout the picture. In the study for the painting, it is much more evident and shows the characteristic method used of working out the idea in some form before the final canvas. It was the beginning of the artists of the Newland colony to start making their mark in London where it counted. The new style of painting brought about a sensation and many more of their colleagues were drawn in with Bramley and the small group quickly grew. The painting titled Eyes or No Eyes by Bramley is marvellous in every respect. There is the naturalness and playfulness of the figures, showing he carefully selected movements by the girls being somewhat coy, while the fisherman is working to find the eye of the needle. It also marks the absolute dedication to mastering the out-of-door light, so difficult to achieve just a century before by artists. But the communion of artists banding together generally in the atelier at first and working out these problems shows there are no limits to solving complications of this sort, particularly since artists working together can be as challenging as herding squirrels at times. Too many cooks in the kitchen. However, this union of artists would subside slowly as one faces the right path to individuality in some way. Artists were so dedicated to the idea of truth to nature that the adage was, your work could not be any good unless you caught a cold doing it, as Norman Garstin has put it. The artists blossomed under the general adherence to that ideal. The work was an out-of-door laboratory and very much a competition of sorts to please one another artist, even more than that of the general public, though ultimately that has to be an important part of the equation. Now let's take a closer look into the wonderful canvases of Mr. Bramley. His major canvases that he put forth possessing the naturalism and distinction that he gives inherent in his talent. He became more and more inclined to the pathos that one would find in a community of harrowing livelihoods, as would be the lot of the Newlyn Mariner. The uncertainties of weather and tides and sometimes the painful loss at sea of a seaman and father or husband. Bramley would take to the studio interior to tell the stories that were very real and heartfelt and leave out-of-door painted canvases for a later time. Bramley made a major impact at the Royal Academy in 1888 when he exhibited his now famous work entitled A Hopeless Dawn. It was and remains one of those pictures that moves the soul. It is not overtly sentimental but by way of technique. He controls the narrative by his use of light, caressing the dimly lit cottage and careful arrangement of the figures. A superb work by any account. In Fireside Tales we have the same powerful skill at work of two women under a backlit light, gracefully flowing over the forms, beautifully drawn and composed tightly and smartly that beckons one to listen quietly to the unfolding story. Bramley's ease of handling adds to the effect with the slight tension the picture evokes. Then we have the remarkable picture weaving a chain of grief and while we're not sure where the title originated it detracts from the otherwise buoyant flow of flowers and pervading light of the room filled with windows all around the figure. Nevertheless the painting is a charmer and Bramley's painterly handling and naturalism is always present. In another painting the flowers remain an item of useful design for Bramley. It has always been a good aspect of useful picture making to add bits and pieces of things or in this case flowers to liven up a canvas. In this painting the pose while well drawn is nevertheless posed. The model is still very natural and the drawing well done. Notice the scissors drooping from her fingers and is reiterated by the cascading ribbon just to underscore relaxed tranquility. Now to Bramley's more ambitious works we have his very powerful and involved composition with many figures in a procession. The skill in this canvas is on display in every respect. Solid draftsmanship, good design and a very fluid composition of people that are fully animated, expressions handsomely worked out and well placed dark accents to carry the impression further. The painting we refer to here is titled For of Such is the Kingdom of Heaven of 1891. A close-up look at the painting is marvellous and the soft grey light with the lonely lighthouse in the background underscores the theme stunningly. It is a tour de force for Bramley. In the next canvas we have another procession painting this one called The Grasmere Rush Bearing which is an annual festival that started in medieval times when parish churches still had earthen floors originally for cleanliness and insulation. It largely died out when flagstones were introduced but the ritual was revived in the 19th century in many villages throughout England. It still takes place in Grasmere in the Lake District on or near to St. Oswald's Day on the 5th of August. New rushes or sweet flag and garlands of flowers on a cart or poles are brought by the young villagers in a procession accompanied by music and dancing. Frank Bramley in 1900 and the following year commenced to paint this large picture for which all 57 characters sat for their portraits. It was exhibited at the Royal Academy in London in 1905 to great acclaim. It was purchased from the artist with local donations in 1913 and is the first painting acquired by the National Trust at a time when it did not own buildings with collections. In later work we find Frank Bramley's palette is opening up with more vibrant colour and a higher key. His pictures are flowing with pigment and no doubt due to the changing tastes that occur every 15 to 20 years in the arts as one generation leaves and another emerges either adds to the legacy or chooses to delete it altogether. He was also very busy with the portrait trade and it can be seen by what we have available to be seen that the portraits are wonderful indeed. He always has the natural skill to easily make believable the charm of what is there in front of him. Nature is in good hands with his talent to render it faithfully and with consummate skill. There are many works by Bramley waiting to be seen and discovered in private collections. Interestingly in Newlyn many of the young artists gave paintings to families and storekeepers for food or board so who knows what gems will emerge from the quaint harbour folks of Newlyn and St Ives areas. As we close this presentation there is the painting called Saved. It's a dramatic setting with warm colours and silhouettes of figures around the drama within the darkened room. The 1889 painting Saved depicts a trio of Cornish fishwives and their children gathered around the fire in a Newlyn cottage to await news of their husband's boat lost at sea. Frank Bramley at his pictorial best. We hope you enjoyed the look at Frank Bramley's wonderful pictures. It is hoped too that many of his works not available currently to be seen may show up soon. There will be more presentations on English artists in the future so be sure to leave a like and we thank our subscribers who help the channel to grow and reach more aficionados of fine painting. So until next time it's bye for now.