My interest in Bouverie-Hoyton’s etchings grew from my study
of Samuel Palmer and the young artists studying at Goldsmiths College who
became interested in his work. Edward Bouverie- Hoyton was in the same etching
class as Paul Drury and Graham Sutherland. They remained friends throughout their lives. His early
Goldsmith’s work came under the spell of Palmer but he was also influenced by
the etchings of artists such as John Crome and John Sell Cotman of the Norwich School who were masters of the English watercolour medium.
Edward Bouverie-Hoyton, Trevignano 1927 |
Unlike the early etchings of Sutherland and Drury, Bouverie
Hoyton’s etched landscapes often leave large areas of sky as open areas of
space. This treatment of the sky gives many of the landscapes a cut out or
stage like quality and creates a sense of spatial ambiguity in the etchings.
Edward Bouverie-Hoyton, Virgil's Farm 1927
|
Edward Bouverie Hoyton, Morganhayes 1927 |
In the etching Morganhayes (1927), the carefully placed
decorative tree breaks up the open sky areas of the etching and in doing so
flattens the image. Bouverie-Hoyton is not so interested in producing etched
lanscapes where the size and thickness of marks produce a traditional sense of
distant space.
Edward Bouverie Hoyton, Plover's Barrow |
In Plovers Barrow the foreground areas are
drawn in minute detail and the low view-point allows the middle ground forms
to end where the blank expanse of sky begins.
Edward Bouverie-Hoyton, Sleechwood 1935
|
Edward Bouverie Hoyton was awarded the Prix de Rome in 1926. He
went on to become a lecturer at Leeds College (1934), eventually becoming the
Principal of the Penzance School of Art (1941-65). Unfortunately there is little
information written on the work of Bouverie-Hoyton. I hope in the future that
will be readdressed.
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