Ken Pople - Stanley Spencer (Text Only)

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Stanley Spencer (1891 – 1959) has recently been recognised by a wide general public, as well as by art historians, as probably the greatest English painter of the twentieth century.His strange and thrilling settings of biblical and semi-biblical scenes, his grippingly realist portraits, his intense English landscapes, hang in pride of place in our national collections and fetch ever-escalating prices at auction. Although there have been many books about Spencer, Pople's biography is the first to give a thoroughly convincing and coherent account of the life and psyche of the man who produced these extraordinary pictures. Pople has not only had the co-operation of Spencer's daughters and remaining friends' he has had unrestricted access to the artist's letters, diaries and other writings, and has spent ten years unravelling the familiar but so often impenetrable mysteries we see on the canvas. His analysis demonstrates that there never was as artist for whom life and art were so much of a piece, and that without understanding Spencer's doings and circumstances, we have no hope of understanding his paintings.

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Percy had been posted for his staff-officer training to Trinity College, Cambridge, where Florence’s husband was a don. Stanley was still hoping to arrange for Gilbert to join him, but, as he gently pointed out to the Raverats, the army did not extend itself unduly in the interests of private soldiers. Even Florence was complaining that his letters did not contain much news, to which Stanley replied with some asperity that it was not a fault in him, for nothing was happening. However, he had one piece of good news. Henry Lamb had arrived in Salonika as a medical officer with a Field Ambulance and ‘according to the place where he says he is, I must be quite near him’.

Stanley was, he decided, a ‘different me’ again at Todorova, a more reflective, inward-turning ‘me’: ‘As far as Nature went, I felt on such a personal footing with it, and it had all seemed to have something to do with my individual self, that I forgot the war and the army, and continued to some degree my Cookham life, namely a feeling of integration with my surroundings.’ 6The Burghclere frieze is obviously intended to convey something of Stanley’s summer calm and waiting, of men ‘forgetting the war and the army’. The figures, in the timeless way of all soldiers, occupy the empty hours by being given something to do. On the left of the picture a line of men pick away at a torrent bed, dislodging the brown and white pebbles of the limestone landscape in order to make a mosaic of regimental badges – the RAMC and Royal Berkshire badges are there – as well as a Red Cross air identity circle. In the river-bed, in the rock pools where Stanley swam when it flooded, more pebbles are collected, used no doubt in the army game of housey-housey played by the little group of men in the centre; it is a form of bingo, and the only gambling game then permitted in the army. Below them a pair of pack mules passes along the watercourse. The figure scrubbing his summer shorts forms a link with the man washing his shirt in the opposite frieze. On the right, an open-shirted orderly, his identity discs dangling about his neck, idly throws a stone at something in the stream. All are dressed in summer kit. These are the days, if not of wine, at least of army tea and roses. For Stanley they celebrate another ‘emergence’ into his precious world of spiritual peace and creativity, his world of harmony, of ‘my integration with my surroundings’.

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