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Beinhaltet den Namen: Tirzah Garwood

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Gebräuchlichste Namensform
Garwood, Tirzah
Rechtmäßiger Name
Garwood, Eileen Lucy
Geburtstag
1908-04-11
Todestag
1951-03-27
Begräbnisort
Copford, England
Geschlecht
female
Nationalität
England
Geburtsort
Gillingham, Kent, England
Sterbeort
Colchester, England
Wohnorte
Hampstead, London, England, UK
Great Bardfield, Essex, England, UK
Castle Hedingham, Essex, England, UK
Ausbildung
West Hill School, Eastbourne (1920-1924)
Eastbourne School of Art (1925)
Central School of Art
Berufe
artist
wood engraver
autobiographer
Beziehungen
Ravilious, Eric (husband|1930-1942)
Ravilious, John (son)
Ravilious, James (son)
Ullmann, Anne (daughter)
Kurzbiographie
Eileen Lucy "Tirzah" Garwood was born in Gillingham, Kent, England. Her parents, Lt. Colonel Frederick Scott Garwood and Ella Corry, moved the family frequently for her father's postings with the Royal Engineers. Her siblings gave her the nickname "Tirzah" in childhood. She was educated at West Hill School in Eastbourne and then attended the Eastbourne School of Art and studied at the Central School of Art in London. Tirzah’s early wood-engravings were exhibited at the 8th Annual Exhibition of the Society of Wood-Engravers in 1927. The following year, she received her first commission, illustrating Granville Bantock's oratorio The Pilgrim's Progress. In 1930, she married Eric Ravilious, one of her teachers at the Eastbourne School of Art, with whom she would have three children. They moved to rural Essex, where together they they painted a mural in the tearoom at the Midland Hotel in Morecambe. Among the places they lived were Castle Hedingham near Great Bardfield. In 1941, Tirzah was diagnosed with breast cancer, and had a mastectomy in March 1942. Shortly before her surgery, her husband, now a war artist, was posted to Iceland, but his plane went missing over the North Atlantic and vanished without a trace.
In 1944, Tirzah moved with her children to Boydells Farm, near Wethersfield, Essex. She resumed her career as an artist, painting in oils and making collage models of structures such as schools and cottages. She remarried to Henry Swanzy, a radio producer, in 1946 and the family moved to Hampstead, London. She was again diagnosed with cancer in 1948, and died in 1951, just short of her 43rd birthday. Tirzah wrote her autobiography in 1942 while recovering from her mastectomy. It was originally intended only for her family, but eventually the book, entitled Long Live Great Bardfield, was edited by her daughter Anne Ullmann and published in 2012.

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I’ll be honest, I didn’t know the name Tirzah Garwood (though I certainly recognised her work) until Persephone books brought out this title last year. I had vaguely heard the name Eric Ravilious but couldn’t have told you anything about him, nor had I heard of the Great Bardfield artists colony. However, if you haven’t heard the name Tirzah Garwood, and you’re a Persephone fan, who has been enjoying the Persephone Quarterlies and now Biannually, you will, as I did, recognise her work. Many of the illustrations used in the Persephone magazine over several years are from the work of Tirzah Garwood. How fitting that they are now publishing her autobiography.

So, with the Christmas holidays giving me plenty of reading time – I settled in with this almost five-hundred-page autobiography and entered into the bohemian world of Tirzah Garwood and Eric Ravilious.

Born into a family of five children, Tirzah (born Eileen Lucy – Tirzah was a nickname) and her siblings were obliged to move around quite a bit with their parents. Living in Glasgow, Croydon and Eastbourne Tirzah seems to have been surrounded by a lively, loving family who supported her artistic abilities.

When she was eighteen, Tirzah went to art college in Eastbourne, where she was taught by Eric Ravilious. Over the next few years, Tirzah produced dozens of remarkable woodcuts, many of which were highly praised and displayed at the Society of wood engravers. The work she has left behind her, is I think beautiful, so intricate, yet so bold.

“I had sent some of my wood engravings to the exhibition of the Society of Wood Engravers and they had been liked by the committee of which Eric was a member and The Times had given them a kind mention; this more than anything convinced my parents that they ought to let me go, though they thought my subjects hideous and the Mr Ravilious was perverting a nice girl who used to draw fairies and flowers into a stranger who rounded on them and did drawings that were only too clearly caricatures of themselves.”

All of these wood engravings were completed before she was just twenty-two years old. When she was twenty-two she married Eric Ravilious, another wood engraver, book illustrator and water colourist. Early in their marriage, the Ravilious’ went to live in Great Bardfield – a village in Essex, where a number of Ravilious’s artist friends and associates either lived or frequently visited. I really could have done with an index to help with the all the names of artists, friends and lovers. I ended up doing a lot of googling and in the beginning, struggled to remember who everyone was.

Sadly, from this point Tirzah’s time was taken up with domestic matters, and although she did help Eric with some of his artistic projects (a now lost mural in a Morecombe hotel for one) Tirzah’s own art took a back seat. Being married certainly didn’t stop either Eric or Tirzah from having other love affairs, all of which seemed perfectly normal to the people around them in Great Bardfield.

In 1935 Tirzah had the first of her three children (the youngest of whom has edited this autobiography and written the preface). Those years before the Second World War, were busy for Tirzah, as she struggled with a doomed love affair with another Great Bardfield artist, and cared for her children. Despite their involvement with other people, both Eric and Tirzah were generally devoted as a couple, in their own way. It was unconventional, but it seemed to work for them. During this time Tirzah spent some time designing marbled papers which she found herself able to sell.

Eric decided to volunteer as a war artist, and so in the early years of the war was away quite a lot. Tirzah was diagnosed and operated on for breast cancer – and it was following her recovery that she began to write her autobiography in the evenings while the children were asleep. Yet, it seems that art was never far from her mind.

‘I hope, dear reader, that you may be one of my descendants, but I have only three children, my grandfather had six and as I write a German aeroplane has circled round above my head taking photographs of the damage that yesterday’s raiders have done, reminding me that there is no certainty of our survival. If you are not one of my descendants then all I ask of you is that you love the country as I do, and when you come into a room, discreetly observe its pictures and its furnishings, and sympathise with painters and craftsmen.’

Tirzah emerges as a warm, modest woman, she had a lot to deal with – especially with her health, but her writing was obviously cathartic. Her writing style is particularly engaging and provides a compelling record of an extraordinary, colourful group of artists. Long Live Great Bardfield is a fabulous autobiography, well written and hugely compelling.
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Heaven-Ali | Jan 7, 2018 |

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