Stanley Spencer - ACE088.5

Countryside round the Chapel; VO explaining that, in 1932, Spencer’s marriage to Hilda Carline was coming to an end, and he "had forsaken that vision of the innocent me", painting landscapes to earn money. Photograph. A Self Portrait. Orchard; VO his thoughts on marriage; another Self Portrait. Apple Gatherers (1912-1913), an expression of a "presiding divinity". VO describes being in love; photograph of Hilda; Self Portrait (1923). A set of four photographs of Hilda; family photographs; sketch Portrait of Hilda (1931); Hilda With Hair Down (1931). Representations of Hilda in The Resurrection. A portrait of Patricia Preece. Self Portrait with Patricia Preece (1937). Separating Fighting Swans (c.1932-1933). Picture of Patricia at Cock Marsh. Hilda with Bluebells (1955). Seated Nude (Hilda) (1942). Family Group: Hilda, Unity and Dolls (1937). Hilda and I at Burghclere (1955). Domestic scenes including Taking off the Collar, and At the Chest of Drawers (1936). VO throughout, talking about the relationships. Washing line. Dustbins. Spencer VO talking about everything becoming part of some "inward harmony". Photograph. The Dustman (or the Lovers) (1934); VO describing the work: "There is the same mystery in these three objects [teapot, cabbage stalk, empty jam tin] as there is in the Trinity." Sunflower and Dog Worship (called here The Adoration of Dogs and Sunflowers) (1937); similar VO talking about "oneness" of people and flowers. VO talks about "erotic awakening. A painting of Heaven (c.1938). VO describes the painting and talks about it as having a "religious quality … though it was not easy for people to recognise it". Paintings from The Beatitudes of Love series (1937-1938) including: Contemplation and Desire (or Passion). Love among the Nations (1936); VO describes details, the emotions of those pictured, etc. Designs for a "chapel of peace" which "would house all these figure paintings". VO describes the ideas behind it.