- Museum number
Churchyard; fence across part of foreground, near foreground at right a figure's head set within a circular niche, beyond at left and centre headstones and a sarcophagus. 1942
Brass rubbing, wax crayon, pen and ink, watercolour and bodycolour
- Production date
Height: 399 millimetres
Width: 528 millimetres
- Curator's comments
- Based on a visit to a country church with Thomas Kendrick, Director of the British Museum. Craxton was a close friend of Kendrick and Elizabeth Senior; another friend was Yvonne Hackenbroch.
The following label was written by Kim Sloan for Places of the Mind, 2017:
Graham Sutherland changed the way that many other artists looked at the landscape. Exempted from military service due to pleurisy, Craxton met him in London in 1941 and was soon following his advice, attending art classes at Goldsmiths and working with Lucien Freud. Instead of real portraits like Freud’s, Craxton’s compositions often feature a poet or shepherd, an Everyman projection of the ‘self’, as in Sutherland’s beloved Samuel Palmer prints. Craxton enjoyed archaeology from an early age and often visited churchyards with Thomas Kendrick, later Director of the British Museum.
See also F. Carey, 'Some Versions of Pastoral', in K. Sloan (ed.), Places of the Mind: british watercolour landscapes 1850-1950, (London, 2017), pp. 140-171.
I. Collins, John Craxton, (Farnham, Surrey, 2011), p. 32.
- Not on display
- Exhibition history
2017 23 Feb-27 Aug, London, BM, G90, Places of the Mind: British Landscape watercolours 1850-1950
- Acquisition date
- Prints and Drawings
- Registration number