GLYN MORGAN – in his own words

I have had two wonderful pieces of luck in my life. My father had grave doubts about my proposed career in Art: “You’re quite good with your hands”, he said hopefully. “You could be a mechanic.” However, when he found that I could become a teacher of Art, he gave his blessing to a course at Cardiff Art School, the Welsh having a great respect for education.

So at sixteen I had my first piece of luck – at Cardiff I was taught by Ceri Richards, a draughtsman of Picasso stature. To be taught drawing by him was an inspiring experience, and even now if I draw a hand it tries very hard to become a Ceri Richards hand.

Later, drawn by the lure of London, I went to Camberwell. There were no Picassos there (John Minton was the only teacher I respected) and I hated it. It will always be associated in my mind with the smell of boiled cabbage drenched in bicarbonate of soda.

My second piece of luck was meeting Cedric Morris in Pontypridd in 1943.
His summer school in Hadleigh was an enchanted haven for me, and I worked there whenever possible for the next 38 years until Cedric’s death. In my opinion he was one of the great colourists of the 20th century and I learned an enormous amount from him. I also learned that serious artists today are in the position of a resistance movement, up against the forces of what Cedric called “the fashion boys” and the obscenity that is the Turner Prize.

Morris’s baleful eye also fell on the critics. He saw them as parasites and, faithful follower that I was, I did too. I once saw a photo of three eminent art critics seated at a pub table and my gut reaction was “just one hand grenade and I’ve got all three”. Since then I have mellowed somewhat and I have got to know a critic who lives near me. I have found him very knowledgeable, hard working and definitely to be spared execution.

I also find that I agree with almost everything Brian Sewell writes, though I had to disagree with his estimation of Cedric Morris: “Whimsical, feeble.” Whimsical perhaps, but never feeble. If only the majority of critics would follow Sewell’s example and tear someone to pieces from time to time it would I think make for a healthier art world.

Personally I welcome criticism of my work. Even someone with no knowledge of painting can sometimes spot a flaw that I have not seen. You can stare at a picture for too long and miss some glaring fault. It is difficult, of course, if the whole picture is one hopeless mistake! So, painters, critics and public, don’t
be too polite. To the barricades!

Published: Easel Words The Jackdaw magazine July/August 2014.
Glyn Morgan, in his own words

Glyn Morgan born 16th July, 1926 Pontypridd – died Hadleigh, Suffolk 26th June, 2015.