A major artist in a minor field: the wood engravings of Gwen Raverat

I suppose I've been aware of Gwen Raverat's wood engravings for most of my life, though without ever knowing how to pronounce her name: the final "t" is silent, so the correct pronunciation is more like Raverar. Her husband, the artist Jacques Raverat, was French, and Gwen and Jacques lived in Vence from 1920 until Jacques' early death from multiple sclerosis in 1925. It was in Provence that Gwen created what for me are her most perfect works, from a lifetime total of nearly 600 engraved woodblocks.

Frances Spalding, Gwen Ravert: Friends, Family & Affections

Cover design incorporating an oil self-portrait, c.1910-11

Gwen Raverat was born in Cambridge in 1885. Her eccentric family were part of the intellectual elite of Cambridge. Charles Darwin was her grandfather, and late in life she wrote a brilliant childhood memoir, Period Piece, which brings the family dramas of the Darwins to life. She would be an interesting person simply for her Darwin heritage, her close involvement in the Cambridge Neo-Pagans led by Rupert Brooke, and her tangential but intimate entwinement with the Bloomsbury Group, if she herself had never produced any original art. But she did, and it is art of such quality that Joanna Selborne in the monograph and catalogue raisonné Gwen Raverat: wood engraver describes her as "a major artist in a minor field".

Nightmare, or Cauchemar, or Flight

Woodcut, 1909

Gwen Raverat's work developed very quickly from her first woodcuts made while she was a student at the Slade in 1909, cut with a knife into softwood, along the grain. Even these are full of vitality, and one of the best is Nightmare, with its striking sense of existential angst and its strongly Expressionist aesthetic.

Sir Thomas Browne, state 1

Wood engraving, 1910

Within a year Gwen had moved from the woodcut to the wood engraving, made on the end grain of a boxwood block - the technique pioneered by her childhood hero, Thomas Bewick. She remained true to Bewick's small-scale perfection throughout her career, and she also shared his sly sense of humour. The  frontispiece she designed for Geoffrey Keynes's Bibliography of Sir Thomas Browne in 1910 is a brilliant piece of fun, with Death guiding the hand and mind of the author of Urn Burial. This impression is the first state of the engraving, before the artist filled in the blank background behind the figure of death with wood panelling, and altered the anachronistic sash window. I prefer the stark authority of this first state to the slightly cluttered feel of the second, finished state.

The Dead Christ

Woodcut, 1913

The Nativity

Wood engraving, 1916

As a Darwin, Gwen was raised a freethinker, but between 1912 and 1914 she went through an intensely religious phase. She and Jacques were friends and fellow-students of Stanley Spencer, and also friends with Eric Gill. Jacques dreamed of creating a temple to be decorated by the four of them, a project that never happened, though it came to a kind of fruition in Spencer's chapel at Burghclere. The Raverats and Gill also planned to publish an illustrated Gospels, a plan which fell apart over Gill's insistence on using the Catholic Bible. However the engraving The Dead Christ, engraved by Gwen after a drawing by Jacques, gives a flavour of what such a book would have been like. The resemblance to Eric Gill's work of the period is quite striking. Gwen's tender Nativity of three years later is less graphic and more intimate; the luminous sense of the play of light in the stable gives an indication of the impressionistic course that Gwen Raverat's art would take in the following years.

The Sleeping Beauty (La Belle au bois dormant)

Wood engraving, 1916

The Sleeping Beauty, from the same year, is one of Gwen Raverat's most attractive images; although the print was editioned in black-and-white, Gwen hand-coloured at least one copy, which can be seen on the website of the Raverat Archive here. All of the pieces illustrated in this post come from the Raverat Archive, by permission of the artist's grandson William Pryor, the author of the fascinating Virginia Woolf & the Raverats.

Olive Pickers

Wood engraving, 1922

Street by Moonlight, Vence, I

Wood engraving, 1922

Jeu de Boules, Vence, II

As I mentioned earlier, it is Gwen's Provençal engravings that speak most strongly to me, and all the rest of the images here come from that vivid period in Vence, where Gwen nursed the dying Jacques while also nourishing her own art.  The wood engravings Gwen made in Vence are among her loveliest; unfortunately the Provence climate played havoc with the woodblocks, so these exquisite works can never again be printed direct from the block.

La Place en Hiver

Wood engraving, 1923

La Place en Été

Wood engraving, 1923

Old Women, state 1

Wood engraving, 1924 

Gwen Raverat's long and influential career as a wood engraver was cut short by WWII. In her British Wood-Engraved Book Illustration 1904-1940, Joanna Selborne writes of Gwen Raverat, "Apart from Lucien Pissarro, she was virtually the only practitioner in the early days of the revival to apply the lessons of Impressionism and Post-Impressionism and to retain an interest in light effects throughout her work."

The Balcony, state 2

Wood engraving, 1926

In addition to the books above, I strongly recommend the biography by Frances Spalding, Gwen Raverat, a really compelling read.

Underexposed: Female Artists and the Medium of Print

Underexposed: Female Artists and the Medium of Print is an exhibition on a subject close to my heart, the importance of female printmakers, and the relative neglect their art still receives. Regular readers of this blog will remember my posts on artists such as Angèle Delasalle, Ghislaine de Menten de Horne, Käthe Kollwitz, Laura Malclès-Masereel, Lill Tschudi, Norbertine Bresslern-Roth, Terry Haass, Tirzah Garwood (Ravilious), and others. Underexposed will run from 16 May to 19 June at Studio 3 Gallery, University of Kent School of Arts, Canterbury, with an associated programme of free lectures. It has been curated by Frances Chiverton and Lynne Dickens, and you can find out more about it here. I would reproduce the beautiful poster for the show, but I can't work out how to do so. Among the many artists included are Alison Wilding, Anne Desmet, Barbara Hepworth, Berthe Morisot (about whom I have a post-in-the-making), Bridget Riley, Cornelia Parker, Elisabeth Frink, Leonora Carrington, Louise Bourgeois, Paula Rego, Rose Hilton, Sandra Blow, Sarah Lucas, Sonia Delaunay, and Tracey Emin.

Dorothea Tanning (1910-2012), La Marée 5

Etching with aquatint, 1970

Dorothea Tanning, Untitled (En chair et en or)

Lithograph, 1975

Joan Mitchell (1925-1992), Untitled (Fresh Air School)

Lithograph, 1972

Gwen Raverat (1885-1957), The River Darent

Wood engraving, 1931

Gwen Raverat, The River Ver

Wood engraving, 1931

I have just waved goodbye to the five prints I am lending to this exciting show. They show a very varied range of female art, from Dorothea Tanning's transgressively sexualised La Marée and Untitled (En chair et en or) to Gwen Raverat's idyllic views of the English rivers of the Darent (in Kent) and the Ver (in Hertfordshire), via Joan Mitchell's cool and collected spatial abstraction for Fresh Air School. I am very pleased that these prints will take their place on the walls of Studio 3 alongside such varied and interesting company. For anyone who can get there, there will be a lecture on Gwen Raverat and her wood engravings on Saturday 31 May from 14.00 to 16.00, given by her grandson William Pryor. Other lectures include Gill Saunders, Senior Curator of Prints at the V&A, on women printmakers, Paul Coldwell on the studio of Paula Rego, and Anita Klein on beauty in art.