Artist Tirzah Garwood’s autobiography Long Live Great Bardfield, republished by Persephone Books in 2016 more than 60 years after her death with a new introduction by her daughter Anne Ullmann and illustrated with photographs and engravings, is a weighty and satisfying read. Born in 1908 and brought up in an upper-middle-class family in genteel Eastbourne, it’s a glimpse into a different time, when middle-class women’s main role was to marry well.
Often snobbish in her descriptions of those she meets, and strange and apparently naïve in some of the ways she looked at the world – for example, Garwood was keen to have children in order to stop the monthly inconveniences of menstruation – at other times Garwood writes about sex and relationships with a surprising frankness, even going as far as to liken the birth of her third child to orgasm. She also writes honestly and maturely about her husband, Eric Ravilious’ love affairs. The book is made poignant not just by Ravilious’ loss in a plane over Iceland in 1942, but by Garwood’s documentation of operations for recurrent breast cancer, from which she eventually died at the age of 43, leaving behind three young children.
Though Garwood writes little about her practice as an artist in her own right – she was too busy being a wife, mother and lover – her autobiography places her at the heart of an artistic circle that included the Great Bardfield group of artists in Essex, as well as the friendship group based around Peggy Angus’ country cottage the Furlongs in East Sussex.
Ullman makes a brief reference at the end to her mother’s contributions to Pictures for Schools towards the end of her life; she took up painting and collaging, creating 3D works in boxes inspired by houses in Essex villages. These works were popular at Pictures for Schools, and the 1952 exhibition paid tribute to her with a special display of her work.
To buy Long Live Great Bardfield visit www.persephonebooks.co.uk/long-live-great-bardfield.html.