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Anthony Powell — The Artist as a Young Man
Powell is known as a novelist and book critic, but he probably began drawing before he knew how to write. In his autobiography, he relates that by the time he was six, his drawings, including a Mephistopheles, were shown to a visitor to his family. The term Post Impressionism (then recently introduced by Roger Fry) was bantered as the pictures were critiqued. He began at Eton in 1919 and took Extra Drawing from the drawing master Sidney Evans, who first told him of Picasso and Matisse. At Eton he drew for an art magazine, The Eton Candle (1922) , and at Oxford, which he attended from 1923 to 1026, his drawings appeared in another magazine, The Cherwell. His drawing Colonel Caesar Cannonbrains of the Black Hussars (1922) is reproduced in To Keep the Ball Rolling (p56).
Monthly Archives: October 2014
Moreland and Barnby talk Art
About 1928, Huge Moreland and Ralph Barnby talk about art when they meet at the Mortimer [CCR 30-31]. Moreland said of Barnby: “I can see Ralph has talent…but why use combinations of colour that make you think he is a … Continue reading
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Caricatures of Thackery or President Thiers
Mingling with the artsy drinkers at the Mortimer, Jenkins describes Maclintick, whose “calculatedly humdrum appearance, although shabby, seemed aimed at concealing bohemian affiliations. The minute circular lens of his gold-rimmed spectacles, set across the nose of a pug dog, made … Continue reading
Bronzino’s Folly
On first meeting Hugh Moreland, Nick describes his physical appearance: “Moreland, like myself, was then in his early twenties. He was formed physically in a ‘musical’ mold, classical in type, with a massive, Beethoven-shaped head, high forehead, temples swelling outwards, … Continue reading
Truth Unveiled by Time
At the Mortimer, Mr. Deacon tells Nick, “I have come to this gin palace primarily to inspect an object of virtu — a classical group in some unspecified material, to be precise. I shall buy it, if its beauty satisfies me. … Continue reading
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