Financial support from his father initially freed Bevan from the necessity of earning a living and during his twenties he enjoyed a comfortable life indulging his two passions, painting and hunting. At the end of 1891 in the company of another artist, Joseph Crawhall (1861–1913), he travelled to Spain and then on to Tangier, Morocco, where he did not complete much work but principally enjoyed the fox hunting and racing season, acting as Master of the Hunt in 1892. From 1893–4 he returned to Pont-Aven, during which time he met both Gauguin and Renoir, and became interested in lithography. On his return to England he lived a solitary existence on an isolated farmhouse at Hawkridge, Exmoor. For the next three years he divided his time between painting and hunting, combining the two in oils, watercolours or lithographs of agricultural landscapes and hunting scenes. In July 1897 he met and fell in love with a Polish painter, Stanislawa de Karlowska, at a friend’s wedding in Jersey. After a brief but frequent correspondence,1 conducted in French, their only common language, Bevan made the journey to Poland and the two were married in Warsaw in December. They returned to Bevan’s parents’ house, Horsgate, in Cuckfield in Sussex (fig.3), where their first child, Edith Halina, ‘Halszka’, was born in December 1898. A son, Robert Alexander, ‘Bobby’, followed in March 1901.
In 1900, Bevan and his family moved to a large house at 14 Adamson Road, in the Swiss Cottage area of London. Although he abandoned the paintings and lithographs of hunting scenes and never hunted again after his marriage, he still drew inspiration for subjects for painting from the countryside. He formed the habit of spending the summer on a painting trip in various rural locations such as a cottage called St Ives in Kingston near Lewes, Sussex (fig.4), or in Russian Poland with his wife’s family. His work at this time reflected his first-hand experience with recent French art during his travels on the continent. Oil paintings and watercolours of agricultural scenes of the South Downs or Poland provided motifs with which to explore his concerns with the effects of light and the use of colour. Philip Hendy (later Director of the National Gallery) claimed that Bevan was the first Englishman to use pure colour in the twentieth century and was the ‘real pioneer’ of the modern English school.2 Some indication of the progressive nature of Bevan’s early paintings can be gauged by the newspaper reviews of his first solo exhibition held at the Baillie Gallery in 1905. Bevan’s show, which featured recent Polish work, appeared five years before Roger Fry’s first post-impressionist exhibition, when the most avant-garde paintings seen in London would have been those of Claude Monet and the impressionists. The critics were unprepared for Bevan’s application of neo- and post-impressionist principles. They vilified his use of ‘violent’ and ‘garish’ colour ‘which has an evil habit of losing control over itself’,3 calling it ‘uncompromising’ and ‘French impressionism gone to the bad’.4
Robert Polhill Bevan (5 August 1865 – 8 July 1925) was a British painter, draughtsman and lithographer. He was a founding member of the Camden Town Group, the London Group, and the Cumberland Market Group.
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