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RODERIC BARRETT
(1920-2000)

 

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WOOD ENGRAVINGS

   

Two Farmworkers


Engraving for War Poem (Two Men, One Sleeping)


Man in Trees


Man and Plant


King Herod and the Cock


The Painter


Figures (The Good Samaritan)


Family of Chairs


Family House


King and Candle

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Fallen Chair

Journey

Chairs and Men

Deserted House with Two Jeering Characters
 

 

Anyone who had the privilege of knowing Roderic Barrett will be astonished to learn that, on our first meeting, I did not notice him. The conditions, of course, were far from ideal: we met under glaring lights, a television camera was recording every movement and a sound recorder every sound. But I did not notice these things either. My whole attention - and this again you will understand - was held by his work, which I had not seen before. Such work! I am inexpressibly grateful for the Exhibition and its fine accompanying book that enable me once more to grapple with its mysterious complexity. I had never before encountered art of such loneliness, sadness, strength and yet such certain hope. (Why did he paint these things unless he knew, at some unconscious level, that there was meaning that is humanly inaccessible?). When finally, I got my breath back and turned to the artist dourly beside me, I found a unique concordance of spirit between what Roderic painted and what Roderic was. I cannot remember if I used the words above when I began to speak to him about his work, as the programme required, but I do remember that I had only to use a description for Roderic to deny it. I am told that the interview was extremely funny, especially as we were both quite oblivious of humour, and intent only on having our say. His say was naturally more authoritive than mine, but I think he would have contradicted me on sheer principle, not to be awkward but to remain private. I came to love his letters, that always left me both enlightened and querying.

His short treatise on the art of painting (The Artist at Work) seemed to me a luninous thing, and artists who have seen it agree, but the publishers to whom I recommended it could not see its virtues. And 'virtues' is, I am sure, the right word. Roderic was a man of profound integrity, and it is what so distinguished his beautiful, dramatic and haunting work. I wish he were here to contradict me! When I thin k back (though I can imagine Roderic's reaction) I feel the word for what he was and what he created is 'noble'

Sister Wendy Beckett 2003

 

RODERIC BARRETT

 
1920
Born in Colchester, Essex.
1947-68
Central School of Art and Design, London
1957-58
Guest instructor by invitation Philips Exeter Academy, New Hampshire, USA
1968-96
Tutor: Royal Academy Schools, Burlington House, Piccadilly
1982-2000
President of Colchester Art Society

 

ONE-MAN EXHIBITIONS

 

1947, 63
King Street Gallery, Cambridge
1954, 56
Beaux Arts Gallery, London
1957

Lamont Gallery, Exeter, N.H., USA
Shore Gallery, Boston, USA

1962, 73, 84
The Minories, Colchester
1964
Holland Park Gallery, London
1966, 67, 70
Alwin Gallery, London
1971, 75
Oxford Gallery, Oxford
1974
The Castle Museum, Norwich
1974, 84
Harlow Gallery
1975

University of Southampton
University of Warwick

1976

University of Keele

1976, 78, 80
Thackary Gallery, London
1987

Christchurch Mansion, Ipswich

1988
Phoenix Gallery, Suffolk
1990
Beecroft Art Gallery, Westcliff-on-Sea
1993

Chappel Galleries

1995

European House of Parliament, Strasbourg (organised and sponsored by Chappel Galleries, also sponsored by Essex County Council)

1996

Concourse Gallery, The Barbican, London

1997
The Minories, Colchester, Retrospective
1999
The Minories, New Work
2000
Chappel Galleries, Essex 80th Anniversary
2002
Memorial Exhibition, University Gallery, University of Essex
2003
Chappel Galleries, Essex - Memorial Exhibition
2004
The Millinery Works Gallery, London - ‘A ‘Noble’ Essex Man’
2006
Chappel Galleries, Essex – ‘ Roderic Barrett and His Students’
2008
Cartwright Hall Art Gallery, Lister Park, Bradford

 

COLLECTIONS

Victoria and Albert Museum
Lamont Gallery, New Hampshire, USA
Universities of Essex and Southampton
Beecroft Art Gallery, Westcliff-on-Sea
Chelmsford and Essex Museum
Ipswich Borough Council Museums and Galleries
Epping Forest District Museum, Waltham Abbey
Private collectors in: The United Kingdom, USA, Eire, France, Italy, Switzerland
Ashmolean Museum, Oxford (2004)
Colchester Borough Council (2007)

MIXED EXHIBITIONS

London Group; Wildenstein’s; Roland Browse & Delbanco; Epping Forest District Museum, Waltham Abbey; Phoenic Gallery; Piccadilly Gallery; Mercury Gallery; Royal Academy; Manchester AG; Nottingham AG; Bristol AG; Bath Festival; Brussels; Nancy; Nice; Zurich; Portagruaro; Llubliana, Yugoslavia; USA: Boston Arts Festival; Worcester Museum Mass; Pittsburgh AG; Princeton; Connecticut; New York; Chappel Galleries, Essex; ‘Eat Drink and Be Merry’ English Heritage, Norfolk Museums Service, York Civic Trust touring exhibition: Fairfax House, York; Kenwood House, London; Assembly House, Norwich (year 2000)

 

PUBLICATIONS

 

1985
BBC The Domesday Project features “Curtain Call”. Cat No 2
1992
‘Art and the Sacred’ by Sister Wendy Beckett, published by Random features “Players”
1996

‘Roderic Barrett: A Retrospective’ published by Firstsite

2003

‘Roderic Barrett’ by David Buckman, published by Chappel Galleries

 
 
 
 
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