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Behind, three young men swayed in an extricable embrace, their countenances illuminated with sombre shining eyes. The absolute isolation of the Gypsies seemed to me the rarest and most unattainable thing in the world. The music, which surged and died away like some natural phenomenon, affected me strangely. Engrossed with the view of being on the road with the Gypsies, John nonetheless had to comply with a first stop in Genoa, a town he much disliked for what he deemed its bourgeois and overcultivated nature when he compared it with the genuine roughness of Marseilles.

A Romany Wedding On Yorkshire Moors (1937)

In the following couple of weeks, however, John came to love the country, especially the Tuscan landscape, and in Siena, Orvieto, Perugia, Sansepolcro, Florence and Padua he could see works by Lorenzetti, Perugino, Piero della Francesca, Botticelli and Giotto that laid a basis for the eccentric primitivism he developed once back in Provence. Romilly was then very young and it is not unlikely that a few, at least, of the images evoked may owe to the studies painted by his father as much as to childhood memories:.

A yellow cliff towering up above me: about half-way up it a woman, who consisted of three pyramids, one large and black, resting above its wide base, another white, not quite so large, inverted, and looking something like a top when it is spinning […].

Gypsies and the British Imagination, 1807-1930

I doubtless tired of craning my neck upwards. The next image is a vast expense of blue water […].

Our house, the Villa Ste Anne, stood some way from the village, at the top of the yellow cliff, which, by the way, was nothing but a steep bank five over six yards high. It looked out over the lagoon. On our side of the water were rocky grey hills, covered with a million smelling herbs and with plantations of pine trees. John R.

The total effect must have been both strange and beautiful.

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The clothes worn by my mother were quite unlike anything to be seen elsewhere; they were long and very flowing, and she wore a broad-brimmed black hat with an enormous ostrich feather. The technique appears to be, at its simplest, to make a pencil drawing on a small board covered with colourless priming, then the outlines are washed in with a generous brush loaded with pure and brilliant oil colour, the lines […] are those of any John drawing, subtly lapping and rounding the volume they conjure up, but they are obliterated by the oils, and the result for effect relies in the inscape of colour, on contrasting colour, and the broad simplified pattern.

Wintle , Forty-eight or fifty altogether, like the Gypsies who concurred in their conception, their destiny was to be scattered around the world after Quinn decided to get rid of his Johns to buy works by either his sister Gwen or by the French Post-Impressionists:. It would be difficult, if not impossible, to account for each and every one of these fifty little paintings, some on canvas but the most characteristic on panel. Since Percy More Turner [proprietor of The Independent Gallery, in London], on this side of the Atlantic, had a great deal to do with their disposal, many found their way into British private and public collections.

Others remained in America, or were carried across the border into Canada. Easton and Holroyd , Patches of pure red, blue and yellow build up the figures dressed in loose robes, pinafores and turbans, sitting or standing in a timeless landscape of earthy land, sapphire sea and green olive trees. Gestures are large, skies are clear. His models are languid and inactive […] they have cleared out and now possess the space and command the view. At the core of these decorative paintings, the motives of motherhood and femininity.

What is thus represented, according to her, is the universal loss of those closely knit communities, whether archaic and patriarchal or gypsy and exotic, disrupted forever by industrialisation and urbanization Tickner , Ideal groups of women and children are projected in an arcadia endowed with restorative qualities and thick with symbolist undertones. He ransacked the library at Aix; he reverently inspected the bones of the Egyptian saint at Saintes-Maries. A study for the central panel of the triptych pen, ink and wash on patched white paper is reproduced in Easton and Holroyd , ; it shows the figure of an old Gypsy man in broad-brimmed hat holding a stringed instrument and surrounded by the Maries and Sara.

But in spite of the dissemination of some works and of the damage done to it, the Provence of Gypsies stayed with John for his whole life, showing the impossible way of a utopian society but above all giving shape and power to his aethetic thought and achievement. Bloomsbury and France.

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Table of contents for Gypsies and the British imagination,

Art and Friends. Oxford: Oxford University Press. Easton, Malcolm, and Michael Holroyd. The Art of Augustus John. Greutzner, Robins Anna. Modern Art in Britain Helmreich, Anne, and Ysanne Holt.

Oxford Art Journal 33 1 : Holroyd, Michael. Augustus John. The New Biography. London: Vintage. Holt, Ysanne. British Artists and the Modernist Landscape. Aldershot: Ashgate.

:Gypsies and the British Imagination, 1807–1930

Jenkins, David F. Gwen John and Augustus John. London: Tate Publishing. John, Augustus. Autobiography , with an Introduction by Michael Holroyd. London: Jonathan Cape. John, Romilly. The Seventh Child.


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Lloyd-Morgan, Ceridwen. Aberystwyth: The National Library of Wales. Gypsies were both idealized and reviled by Victorian and early-twentieth-century Britons.

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Associated with primitive desires, lawlessness, cunning, and sexual excess, Gypsies were also objects of antiquarian, literary, and anthropological interest. As Nord demonstrates, British writers and artists drew on Gypsy characters and plots to redefine and reconstruct cultural and racial difference, national and personal identity, and the individual's relationship to social and sexual orthodoxies. Gypsies were long associated with pastoral conventions and, in the nineteenth century, came to stand in for the ancient British past.