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rich in colour and energy, and then, simultaneously, bolder and simpler, reflecting her enjoyment of life and living. "In my paintings I want to express the joy and importance of colour, texture, energy and vibrancy, with an awareness of space and construction. A celebration of life – taking risks so creating the unexpected." (Barns-Graham, October 2001) This outlook is perfectly expressed in the extraordinary collection of screen prints that she made with the Graal Press of
Edinburgh, between 1999 and 2003.
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arrived in
Cornwall, her pictures were exploratory and even tentative as she began to develop her own method and visual language. The influence of St Ives then began to take hold as local shapes and colours became apparent - the Cornish rocks, landscape and buildings. Perhaps the most significant innovation at this time derived from the ideas of
196:. Barns-Graham's parents were second cousins. As a child she showed very early signs of creative ability. It was at school that Wilhelmina decided that she wanted to be an artist after one of her paintings was chosen to be displayed on the wall there; she stated later in life that "painting chose me, not I it".
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From the late 1980s until her death, Barns-Graham's paintings became increasingly free; an expression of life and free flowing brushwork not seen since the late 1950s. Working mainly on paper (there are relatively few canvases from this period) the images evolved to become, initially, highly complex,
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Through the course of her life
Wilhelmina Barns-Graham's work generally lay on the divide between abstract and representational, typically drawing on inspirations from landscape. From as early as the age of eight Barns-Graham had been creating abstract shapes with coloured chalks. From 1940, when she
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were studying, and three years in London (1960–1963), she lived and worked in St Ives. From 1960, on inheriting a house outside St
Andrews from her aunt Mary Niesh (who had been a support to her throughout her art college years), she split her time between summers in Cornwall and winters in Scotland.
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so Barns-Graham and the other modern artists decided to exhibit their work separately in the crypt area of the New
Gallery, calling themselves the Crypt Group. The use of the crypt as an exhibition space caught on and was used again a number of times to exhibit the work of the young modernist members
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protect her reputation, to advance the knowledge of her life and work, to create an archive of key works of art and papers, and, in a cause close to her heart, to support and inspire art and art history students through offering grants and bursaries to those in selected art college and universities.
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Nonetheless there is evidence to suggest that many images did stem from observations of the world around her. This is seen in a series of ice paintings in the late 1970s and then in a body of work that explores the hidden energies of sea and wind, composed of multiple wave-like lines drawn in the
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In the early 1960s, reflecting the turmoil in her personal life, Barns-Graham adopted a severe geometrical form of abstraction as a way of taking a fresh approach to her painting. Combined with an intuitive sense of colour and design, the work often has more vitality than is immediately apparent.
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Glacier in
Switzerland, reflect the idea of looking at things in a total view, not only from the outside but from all points, including inside. In 1952 her studies of local forms became more planar and two dimensional. From the mid-1950s Barns-Graham developed a more expressionist and free form
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Wilhelmina Barns-Graham died in St
Andrews on 26 January 2004. She is buried by the western wall of the Eastern Cemetery, not far from the cathedral. She bequeathed her entire estate to The Barns-Graham Charitable Trust, which she had established in 1987. The aims of the trust are to foster and
301:'s 117th Exhibition in 1943. The 1940s were an active time for the St Ives Society of Artists who received a number of invitations to send exhibitions and groups of works to galleries in the UK and abroad, Barns-Graham's work was always included in these as the Society's secretary,
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increased, of which Barns-Graham was one, their works were often shown in the darkly lit font area of the New
Gallery of the Mariners' Church which gave them the nickname 'The Artists Around the Font'. There was deemed to be hostility from the more traditional artists of the
286:. Her paintings at the time were heavily influenced by the Cornish landscapes and the St Ives harbour. During 1940 and 1941 Barns-Graham contributed to the war effort by volunteering in a factory making camouflage nets however using the rough materials gave her
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After her education Barns-Graham made study trips to Paris, London and St Tropez before moving to St Ives, Cornwall in 1940 at the suggestion of the
Edinburgh College of Art's Principal Hubert Wellington. Barns-Graham moved near to where a group of
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where, after some dispute with her father, and six months at the
Edinburgh College of Domestic Science, she enrolled in 1931. During her time at College Barns-Graham was taught by tutors including portrait painter David Alison and painter
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Squares tumble and circles flow across voids. Colour and movement come together and it is at this point in her work that St Ives perhaps exerts the least influence; rather, this approach more likely reflects an interest in the work of
493:, when St Ives had ceased to be a pivotal centre of modernism, Barns-Graham's work and importance as an artist was sidelined, in part by an art-historical consensus that she had been only as a minor member of the
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premises. In 1951 Barns-Graham's work was also included in international exhibitions such as the Biennale de Peinture de France, where Barns-Graham was one of only eight British artists invited to contribute.
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in Switzerland. This was a pivotal moment in her artistic career, inspiring Barns-Graham to embark on a series of glacier paintings that she would revisit for decades to come.
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who visited Barns-Graham's studio in St Ives and was excited by her work. Barns-Graham would later have her first one-person exhibition in London at Redfern in 1952.
804:
A Genealogical and Heraldic History of the Landed Gentry of Great Britain, thirteenth edition, ed. A. Winton Thorpe, The Burke Publishing Company Ltd, 1921, p. 765
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192:, Scotland- and his wife Wilhelmina Menzies, daughter of Charles Bayne Meldrum, whose family of minor Scottish gentry owned the estates of Dura and Balmungo,
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282:. After two weeks in St Ives, Barns-Graham acquired her first studio, directly below the Porthmeor Gallery which was the administrative headquarters of the
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paintings of 1980 are the culmination of many ideas from the previous fifteen years - the poetic movement in these works revealing a more relaxed view.
176:, Fife, on 8 June 1912, daughter of Allan Barns-Graham, head of a Scottish landed gentry family- he owned estates named Lymekilns and Cambuslang in
571:- defining forms in terms of space rather than mass. Barns-Graham's series of glacier pictures that started in 1949, inspired by her walks on the
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297:. Whilst establishing herself in St Ives, Barns-Graham also continued to send work back to Scotland for major exhibitions held there such as the
683:, Penzance; City Art Gallery, Edinburgh; Perth Museum and Art Gallery; Crawford Art Centre, St Andrews and Maclaurin Art Gallery, Ayr, 1989-1990
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In the same year she married the young author and aspiring poet, and later noted architect, David Lewis; the marriage was annulled in 1960.
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who was exciting UK artists at this time, in embracing new possibilities offered by the optical effects of a more formulaic abstraction.
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of the St Ives Society of Artists. Barns-Graham was included in two Crypt Group exhibitions. In the second, during August 1947, with
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in 2001, the same year that saw the publication of the first major monograph on her life and work, written by Lynne Green —
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Barns-Graham's first opportunity to exhibit in London came when her work was included in a group exhibition of six at the
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In 1942 Barns-Graham became a member of the Newlyn Society of Artists, in which she exhibited with every year, and the
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by Ann Gunn (also a Lund Humphries publication). Her work is found in several major public collections in Britain.
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550:. In the same year, a plaque was unveiled by the Wilhelmina Barns-Graham Trust at Barns-Graham's birthplace, in
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Barns-Graham's work was also increasingly being included in London exhibitions such as the Leicester Galleries
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769:, Scottish Gallery, Edinburgh; W. Barns-Graham at 90: A tribute from Art First, Art First, London, 2002
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1324:"‘A Sudden Glimpse to Deeper Things’ Review: A Great British Artist’s Legacy Is Thawed and Reexamined"
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Barns-Graham travelled extensively in the 1950s, often with her husband David Lewis. She visited the
397:, this was her largest sale she had made so far and the following year the work was also included in
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700:, Exeter; Dundee Art Galleries & Museum, Dundee and Wakefield Art Gallery, Wakefield, 1992-1993
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497:. In old age, however, she received belated recognition. She received honorary doctorates from the
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forcing her to take a break from College. Barns-Graham finally graduated with her diploma in 1936.
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258:. This was a pivotal moment in her life. On one of her first evenings there she met the sculptor
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1344:"St Andrews art lovers join David Bowie in celebrating 'Willie' Barns-Graham's unique talent"
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exhibition opened in June 1949 with huge success and 2755 paying visitors coming to see it.
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In May 1949, Barns-Graham was invited to accompany the Brotherton family on a trip to the
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1026:"Wilhelmina Barns-Graham, Radiant and versatile artist active in St Ives and Scotland"
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in the 1980s and 1990s provided rich stimulus for Barns-Graham's artistic practice.
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End of the Glacier: Poems in conversation with the work of Wilhelmina Barns-Graham
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Barns-Graham's work is now owned by a number of public collections including the
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exhibition catalogue, City Art Centre Edinburgh/Fleming Collection London, 2012
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Wilhelmina Barns-Graham, 1912-2004: A tribute - Recent Paintings and New Prints
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The Crawford Centre, St Andrews and Henry Rothschild Exhibition, Germany, 1982
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in 1949, becoming one of the founding members of a new breakaway group named
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who made an immediate and lasting impression on her she then went on to meet
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Scorpio Series 3, No.9 1997, in the Wilhelmina Barns-Graham Trust collection
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1223:(2 ed.). Farnham, Surrey: Lund Humphries. pp. 146–160, 170–172.
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Crawford Art Centre, St Andrews and The Royal Cornwall Museum, Truro, 1992
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Richard Demarco Gallery, Edinburgh and The Bear Lane Gallery, Oxford 1968
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so she had to give up the work, instead knitting string vests and socks.
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Universities in 2003. In 1999 she was elected an honorary member of the
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The grave of Wilhelmina Barns-Graham, Eastern Cemetery, St Andrews
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The Prints of Wilhelmina Barns-Graham : a complete catalogue
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A Discipline of the Mind. The Drawings of Wilhelmina Barns-Graham
1277:(2 ed.). Farnham, Surrey: Lund Humphries. pp. 325–327.
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148:(8 June 1912 – 26 January 2004) was one of the foremost British
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965:(2 ed.). Farnham, Surrey: Lund Humphries. pp. 48–52.
940:(2 ed.). Farnham, Surrey: Lund Humphries. pp. 39–40.
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Sheviock Gallery, Cornwall and Park Square Gallery, Leeds, 1970
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After a few years of tension, Barns-Graham eventually left the
213:, her friends there included the influential Scottish painters
1473:, exhibition catalogue, Crawford Arts Centre, St Andrews 1992
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After the war the number of young modern artists joining the
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Wilhelmina Barns-Graham: Movement and Light Imag(in)ing Time
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Wilhelmina Barns-Graham: Movement and Light Imag(in)ing Time
1173:(2 ed.). Farnham, Surrey: Lund Humphries. p. 106.
1148:(2 ed.). Farnham, Surrey: Lund Humphries. p. 94.
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Art First, London; The New Millenium Gallery, St Ives, 1997
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Art First, London; and The Wolf at the Door, Penzance, 1994
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The Prints of Wilhelmina Barns-Graham: a complete catalogue
529:(Lund Humphries). This publication was followed in 2007 by
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1123:(2 ed.). Farnham, Surry: Lund Humphries. p. 92.
1249:"Wilhelmina Barns-Graham - the artist inspired by nature"
990:(1 ed.). Bristol: Sansom & Company. p. 18.
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The McGeary Gallery, Brussels and Art First, London, 1999
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915:(1 ed.). Bristol: Sansom and Company. p. 15.
1459:, exhibition catalogue, Edinburgh City Art Centre 1989
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Wilhelmina Barns-Graham - a Scottish artist in St Ives
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Elemental Energies: the Art of Wilhelmina Barns-Graham
1299:"Heriot-Watt University Edinburgh: Honorary Graduates"
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Scottish Gallery, Edinburgh, 1956. 1959, 1960 and 1981
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Wilhelmina Barns-Graham, known as Willie, was born in
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1431:, exhibition catalogue, Trinity Hall, Cambridge 2007
1403:, exhibition catalogue, Sherborne House, Dorset 2007
357:. This was due to the introduction and support of
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745:Wilhelmina Barns-Graham - Painting as Celebration
446:. With the exception of a short teaching term at
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1505:515 artworks by or after Wilhelmina Barns-Graham
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1597:Commanders of the Order of the British Empire
1198:. Bristol: Sansom & Company. p. 67.
628:Downing Gallery, St Ives, 1947, 1949 and 1954
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737:, Exeter University; Art First, London and
728:Wilhelmina Barns-Graham: An Enduring Image,
501:in 1992 and later from the universities of
1095:"Wilhelmina Barns-Graham: An appreciation"
31:
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661:LYC Museum and Art Gallery, Cumbria, 1981
637:Roland, Browse and Delbanco, London, 1954
567:, who was interested in the principle of
450:(1956–1957), where fellow St Ives artist
1424:, Tate St Ives exhibition catalogue 2005
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673:Ancrum Gallery, Roxburghshire, 1988/1990
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409:and the inaugural exhibition at the new
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37:Barns-Graham at No. 1 Porthmeor Studio,
1483:Wilhelmina Barns-Graham, Peter Davies,
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739:Scottish National Gallery of Modern Art
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1457:W.Barns-Graham Retrospective 1940-1989
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576:attitude following journeys to Spain.
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1247:Yvette Huddleston (18 January 2019).
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1490:Wilhelmina Barns-Graham - Obituary,
1466:, Wilhelmina Barns-Graham Trust 2023
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767:W. Barns-Graham: A Celebration at 90
1577:20th-century Scottish women artists
1093:Alisdair Steven (2 February 2004).
890:. Phaidon Press. 2019. p. 48.
830:"Obituary: Wilhelmina Barns-Graham"
747:, Crawford Art Centre, St Andrews;
679:Retrospective exhibition, touring:
670:Gillian Jason Gallery, London, 1987
652:Marjorie Parr Gallery, London, 1971
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527:W.Barns-Graham : A Studio Life
204:After school she set her sights on
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1587:Academics of Leeds Arts University
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1342:Alexander, Michael (9 June 2024).
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667:The Piers Art Centre, Orkney, 1984
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655:Wills Lane Gallery, St Ives, 1976
643:City Art Gallery, Wakefield, 1957
557:
546:, a documentary film directed by
543:A Sudden Glimpse to Deeper Things
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1024:Douglas Hall (29 January 2004).
658:The New Art Centre, London, 1978
389:In 1950 Barns-Graham's painting
250:, including her College friend,
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1572:20th-century Scottish painters
1436:W.Barns-Graham - A Studio Life
1275:W. Barns-Graham: A Studio Life
1221:W. Barns-Graham: A Studio Life
1171:W. Barns-Graham: A Studio Life
1146:W. Barns-Graham: A Studio Life
1121:W. Barns-Graham: A Studio Life
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963:W. Barns-Graham: A Studio Life
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938:W. Barns-Graham: A studio Life
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866:. Lund Humphries. p. 12.
864:W. Barns-Graham: A Studio Life
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676:Scottish Gallery, London, 1989
519:Royal Scottish Watercolourists
411:Institute of Contemporary Arts
305:, thought highly of her work.
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1627:British women watercolourists
1515:Wilhelmina Barns-Graham Trust
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605:Arts Council of Great Britain
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698:Royal Albert Memorial Museum
540:In 2024 she was profiled in
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95:Eastern cemetery, St Andrews
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1632:20th-century women painters
1410:, Sansom & Company 2020
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407:Artists of Fame and Promise
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617:Victoria and Albert Museum
489:In the second half of the
366:St Ives Society of Artists
310:St Ives Society of Artists
295:St Ives Society of Artists
284:St Ives Society of Artists
86:St Andrews, Fife, Scotland
1582:British abstract painters
1520:Works at the Tate Gallery
1494:, London, 28 January 2004
1487:, London, 28 January 2004
1194:Button, Virginia (2020).
986:Button, Virginia (2020).
911:Button, Virginia (2020).
775:, Art First, London, 2004
454:, and future studio-mate
403:Contemporary British Art.
274:, as well as the painter
188:, and Carbeth Guthrie in
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1612:Scottish watercolourists
786:List of St. Ives artists
499:University of St Andrews
468:Contemporary Art Society
246:artists had settled, at
206:Edinburgh College of Art
104:Edinburgh College of Art
1617:Scottish women painters
1471:W.Barns-Graham Drawings
1408:Wilhelmina Barns-Graham
1196:Wilhelmina Barns-Graham
988:Wilhelmina Barns-Graham
913:Wilhelmina Barns-Graham
709:Art First, London, 1995
694:Abbott Hall Art Gallery
462:Further travels to the
370:Penwith Society of Arts
254:, and Mellis's husband
154:Penwith Society of Arts
143:Wilhelmina Barns-Graham
25:Wilhelmina Barns-Graham
16:British abstract artist
1607:People from St Andrews
1469:Professor Martin Kemp
1375:. Tate St Ives. 2005.
515:Royal Scottish Academy
299:Royal Scottish Academy
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1452:, Lund Humphries 2007
1394:Selected bibliography
1273:Green, Lynne (2011).
1219:Green, Lynne (2011).
1169:Green, Lynne (2011).
1144:Green, Lynne (2011).
1119:Green, Lynne (2011).
1065:Green, Lynne (2001).
961:Green, Lynne (2011).
936:Green, Lynne (2011).
862:Lynne, Green (2001).
753:Royal Cornwall Museum
735:W Barns-Graham Prints
731:Tate Gallery, St Ives
474:in the 1960s; and to
418:Later artistic career
393:was purchased by the
237:Early artistic career
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763:, Kingston upon Hull
749:Aberdeen Art Gallery
690:W Barns-Graham at 80
521:. She was awarded a
1350:. Evening Telegraph
888:Great Women Artists
704:Drawings 1945-1960,
448:Leeds School of Art
381:Grindelwald Glacier
350:, and Adrian Ryan.
1253:The Yorkshire Post
1069:. Lund Humphries.
761:Ferens Art Gallery
757:Graves Art Gallery
681:Newlyn Art Gallery
211:William MacTaggart
170:
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1399:Geoffrey Bertram
1284:978-1-84822-095-9
1230:978-1-84822-095-9
1205:978-1-911408-64-2
1180:978-1-84822-095-9
1155:978-1-84822-095-9
1130:978-1-84822-095-9
997:978-1-911408-64-2
972:978-1-84822-095-9
947:978-1-84822-095-9
922:978-1-911408-64-2
836:. 28 January 2004
634:, London, 1949/52
491:twentieth-century
278:and the sculptor
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395:British Council
374:Penwith Society
355:Redfern Gallery
252:Margaret Mellis
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223:Margaret Mellis
215:Robert MacBryde
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132:Linear Abstract
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1499:External links
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1428:
1427:Mel Gooding
1421:
1420:Mel Gooding
1414:
1413:Mel Gooding
1407:
1400:
1372:
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1347:
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488:
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421:
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399:Herbert Read
390:
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372:. The first
363:
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332:Guido Morris
328:Peter Lanyon
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203:
186:Renfrewshire
171:
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136:Tate Gallery
131:
81:(2004-01-26)
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1567:2004 deaths
1562:1912 births
1348:The Courier
1322:Guy Lodge,
741:, 1999-2000
718:, 1996-1997
573:Grindelwald
569:stereometry
511:Heriot Watt
472:Netherlands
452:Terry Frost
320:Sven Berlin
178:Lanarkshire
57:8 June 1912
1556:Categories
1478:Obituaries
792:References
696:, Kendal;
588:manner of
552:St Andrews
470:- and the
340:Kit Barker
324:John Wells
288:dermatitis
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160:Early life
110:Occupation
61:St Andrews
53:1912-06-08
1492:The Times
1448:Ann Gunn
1401:Evolution
590:Paul Klee
565:Naum Gabo
505:in 2000,
484:Barcelona
480:Lanzarote
280:Naum Gabo
244:modernist
200:Education
194:Fifeshire
100:Education
1546:Cornwall
780:See also
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517:and the
503:Plymouth
401:'s book
231:pleurisy
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134:, 1958,
69:Scotland
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315:Society
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1532:Portal
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476:Orkney
438:, and
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440:Spain
432:Italy
428:Paris
1511:site
1377:ISBN
1356:2024
1310:2016
1279:ISBN
1260:2019
1225:ISBN
1200:ISBN
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1106:2019
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967:ISBN
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892:ISBN
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842:2019
434:and
270:and
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47:Born
41:1947
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464:USA
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