John Tunnard (1900–71)
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Last Stage
1946, gouache, 37.3 x 55.4cm
There is often a dilemma when viewing one of Tunnard's works, especially one with a distinctive title. Should one simply enjoy the painting or should one guess what the artist was thinking as he painted? In this case there is a lot to support the idea that the various parts have something to tell. Areas of scarlet in Tunnard's paintings of the late war period and the years immediately afterwards almost always indicate blood, though sometimes he also used a softer red to indicate communism. A brooding black shape in the background indicated fascism, but in this case the war has ended and only half the shape remains. The work was done at a time when the press was full of discussion how justice should be applied to the captured Nazi leaders, which led to the Nuremberg trials in the following autumn. The painting suggests a plank rising from the smoking concentration camps amid a sea of blood and with a small symbol of justice at the upper end. Above the base of the plank the ghosts of the victims of the amps rise up to encourage justice to deal with the Nazi evil.
© John Tunnard estate
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Forecast (0.97)
1945. Oil on gesso with scraffiti through the gesso. 59.7 x 55.8cm
© John Tunnard estate
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Prototype
1959, oil on board, 41 x 56cm
This is another from Sir David Scott's collection. Tunnard's ledger merely states "blue bird", but almost certainly the painting also reflects Tunnard's fascination with science, in this case the development of powerful new aircraft.
The subtle gradations of blue also demonstrate how effective Tunnard could be as a colourist. Michael Canney, then curator of the Passmore Edwards Gallery at Newlyn in Cornwall, captured the mood of the work like this in a 1959 article for "Discovery" with his comment that "...[Tunnard's] shapes are eminently contemporary and this explains the appeal of his pictures to the scientist, engineer and architect."
© John Tunnard estate
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Starting Point
1960, oil on board, 77.7 x 66cm
© John Tunnard estate
John Tunnard is best known for his paintings of strange private worlds, which are hard to define, but usually instantly recognisable and show much imagination. Works that at a casual glance might appear semi-abstract soon reveal distant horizons with the sea, moons, strange birds in flight or skeletal trees and shrubs. Hints of repeated man-made objects such as telegraph poles and gates are used to convey great—or even infinite—distance.
A variety of abstract motifs are often included: their skillful integration with the paintings reflects the influence of Tunnard's earlier training in design. Some of this can be seen in the gallery above, but as much as for any artist, Tunnard's works benefit from being seen in the original. Then the viewer can appreciate the full range of effects of colour, texture and frequently also lines incised to a gesso underlayer, a technique used to convey depth and distance.
Tunnard chose oil as the medium for his largest works, but many of his most effective smaller ones (typically 33 x 55 cm) combine gouache with a considerable variety of other media within the one painting. Although this enhances the finished work, it also makes modern-day conservation a more difficult job.
The images in the gallery above are available as Limited Edition Prints from Henry Dyson Fine Arts. Contact Henry Dyson for further details.