I
Two sets of graves
and two blue plaques
are markers of an Essex-based
artistic hub. A sculpting
wife and husband plus
a parson’s daughter; artists
creating for churches and
public spaces, art created
in Broomfield for sharing
elsewhere. Great art has
always sprung from the life
of the people, and does not
belong to any one period
of time or group of people.
The contribution of women
to art is just as valuable
as that of men, said Holt.
Their examples proved it.
From studios in Broomfield,
sculpture and stained glass
was sent to cities and churches
around the world, while
Broomfield Parish Church
was a centre for commissions;
as also for burials and
commemorations of the
artists involved. Here, in
Essex, work from Broomfield
went to Aldborough Hatch,
Basildon, Bradfield,
Chelmsford, Clacton-on-Sea,
Downham, Halstead,
Hornchurch, Nevendon,
Tendring and Stock.
What work! How blessed
are those who create
so freely with vision
and joy!
II
In 1941, on leave from service
as a Voluntary Aid Detachment
Red Cross nurse, Rosemary
Rutherford and her brother,
Alton, begin a fresco – a buon
fresco – the only true fresco
in this country. Their theme
of ‘Christ Stilling the Storm’,
a reflection of their faith
and spirituality, a means
to giving hope during the
frightening turmoil of
war. Inside the round
tower of St Mary’s Broomfield
they began by chipping old plaster
from the wall and burying it,
after dark, in the churchyard.
Four layers of lime mortar were
built up on the rounded cobble
wall, the thin top coat made bright
with powdered white marble,
the image painted – like the
pieces of a jigsaw puzzle – while
this top layer was still wet.
A bomb dropped in the
churchyard in 1943
destroying the stained-glass
windows and Rosemary
was asked for new designs.
The bishop visited to see
the bomb damage and,
seeing the fresco asked
whether a faculty
had been granted.
“Hitler didn’t get a faculty
before he did this lot!”
was the reply the Vicar,
Rosemary’s father, gave.
A faculty was granted.
Training in London
before making four
windows at Broomfield
led her to a new career
and more than 40 newly
designed church windows
across her lifetime. Three
single lights at Broomfield
show Christ giving, receiving
and serving. His hand is
raised in blessing over
the resurrected Lazarus.
His hands are cupped
to receive water from
the woman of Samaria.
His hands are lowered
to wash disciples’ feet.
The Resurrection East
Window has a central
risen Christ, hand raised
to bless. Various
resurrection scenes
surround. Above, are
symbols of the Four
Evangelists and the
Chi-Rho between an
Alpha and Omega.
How blessed are those
who create so freely
with vision and joy!
III
In 1949, two sculptors join
the Broomfield community,
a husband and wife,
Thomas Bayliss Huxley-Jones
and Gwynneth Holt.
Their ethos being, that great
art springs from the life of
the people, and does not
belong to any one people
or time. Yet, the only good
tradition is that which builds
on the best of the past.
Huxley-Jones is inspired by
the joy of life, a mother
and child, a Christ who
emanates light. He works
in new materials, including
fibreglass, while Holt is
Britain’s foremost ivory
carver; her graceful, stylised
vision most wonderfully
realised in her ‘Annunciation’,
where the Virgin Mary raises
her palms to God, with Gabriel
depicted beneath her feet.
They collaborate together
on a lively, insightful bust
of Reverend Rutherford,
Rosemary’s father. Thomas
dies in ’68, just after his
final commission, a Christ
figure in Basildon. 10 feet
high, this fibreglass figure
stands over the entrance to
St Martin of Tours, hands
outstretched towards the town
in service of the people,
an invitation of welcome
for all to enter, all to come.
An art that springs from
the people, yet does not
belong to any one people.
How blessed are those
who create so freely
with vision and joy!
.
Jonathan Evens
.