Ivon Hitchens, Pallant House Gallery, Chichester

I’ve been meaning for a while now to write about a lovely, focused exhibition I saw at the Pallant House Gallery in Chichester last week. I’d never been to the gallery before, and unfortunately I didn’t have enough time to explore its permanent collection, which is based around modern and contemporary British art – I’m looking forward to exploring that the next time I go.

So many important creative people of the twentieth century, including members of the Bloomsbury Group, the poet Edward Thomas and visual artists like Eric Ravilious, seem to have been drawn to spend time in Sussex at some point in their lives, so it makes sense that this Sussex gallery represents some of the most important artistic developments of the last century. While Ivon Hitchens (who I hadn’t heard of before seeing the show) isn’t someone who rewrote the rulebook of modern art, his work shows a talent for noticing and capturing the remarkable detail within the big picture, the abstract patterns he experimented with in his early career continuing playing a major part in the landscapes he is primarily known for today.

The Celadon Bowl (1936)

Some of my favourite of his works were early ones like The Celadon Bowl (1936), in the way that it delicately treads the line between abstraction and figuration, the scrubby brushstrokes of the teal and khaki squares in the backdrop adding texture to the plain white canvas. In a sketchbook annotation, he wrote “don’t try to find a picture. Find a place you like and discover the picture in that”, which is true of every setting he painted, interior and exterior.

Woman playing the piano, c.(1942)

He left London during the war, and lived in a caravan called Greenleaves with his wife and their baby, set in a forest clearing. Living in the heart of the countryside clearly gave Hitchens more than enough subject matter for his art, and he set about painting the landscape, not focusing on grand vistas, but on his favourite spots that he visited repeatedly, capturing the view in different seasons and at times of day.

I love the Sussex countryside and have enjoyed walking on the South Downs, in the woods and by the rivers that Hitchens lived alongside, and so I may be biased, but I found his landscapes very evocative and able to capture the magic of the place. Perhaps there’s something in the water that makes it special.

Winter Walk, no.3 (1948)

Winter Walk no.3 (1948), really captured me. The earthy brown and scratchy red tones, mixed with the evergreen of the avenue of pine trees towards the right of the picture perfectly sum up the colours of winter which are beautiful too, in their muted way.

The theme of the exhibition, how artists use their works as an exploration of their surroundings and of place more generally, was underpinned by the audio element of Simon Roberts’ Inscapes exhibition, which were dotted throughout Hitchens show. Roberts is an artist-photographer whose work focuses on identity and people’s connections with the landscape around them, and as part of the exhibition was invited to revisit the settings that so fascinated Hitchens. His soundscapes of the countryside (cattle lowing, brooks babbling, branches creaking in the wind) brought Hitchens’ landscapes to life in new ways, and the pairing of the two artists’ work brought out the best in both of them.