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David Gommon (1913–1987) - A Life Immersed in Landscape and Light

David Gommon, born in Battersea, South London, in 1913, was an artist whose life became deeply interwoven with the landscapes he so passionately depicted. His journey began humbly, with enrollment at Battersea Polytechnic and Clapham School of Art at the age of sixteen – formative steps that laid the groundwork for a career dedicated to capturing the essence of the British countryside. A pivotal moment arrived early in his artistic development when he encountered Lucy Carrington Wertheim, an influential art collector who recognized Gommon’s talent and became his patron. This support, providing a regular stipend of £2 per week, allowed the young artist to fully immerse himself in his craft, a freedom that proved invaluable as he began to forge his unique path. Wertheim's patronage wasn't merely financial; it opened doors to a vibrant artistic circle, introducing Gommon to figures like Margot Fonteyn and Robert Helpmann, both of whom became subjects for his portraits during their time at Sadler’s Wells. This early exposure to the performing arts undoubtedly influenced his sensitivity to form and movement, qualities that would later manifest in his evocative landscapes.

Early Visions and a Developing Style

Gommon’s initial artistic explorations centered on the landscapes of England and Wales, seeking not simply to replicate their visual appearance but to distill their emotional core. He absorbed the techniques, their understanding of light and shadow, and their ability to imbue their works with a sense of timelessness. Inspired by the Old Masters, he developed a distinctive style that blended realism with a lyrical quality – paintings grounded in observation yet imbued with a sense of poetic beauty. His first one-man show, facilitated by Wertheim at her Burlington Gardens gallery, garnered positive critical attention, signaling the arrival of a promising new voice in British art. During this time he met many other patrons of the arts and he painted the young dancers Margot Fonteyn and Robert Helpmann at Saddlers Wells. He was part of the ‘20s Group’ supported by Lucy Wertheim that included Christopher Wood, Barbara Hepworth, Roger Hilton, Robert Medley, Phelan Gibb, David Burton, Humphrey Slater and Victor Pasmore – an environment brimming with experimentation and collaborative spirit. His early work demonstrated a remarkable ability to convey wonderment and delight in nature – a characteristic that would define his artistic legacy.

A Temporary Pause Amidst Wartime Service

In 1938 Gommon made the surprising decision to temporarily cease painting altogether. This wasn’t a rejection of art, but rather a shift in focus driven by circumstance and a desire for stability. He secured a teaching position at Northampton Grammar School where he would spend decades nurturing young artistic minds. During this period he continued to engage with creativity through his teaching, utilizing reproductions of masterworks to illustrate lessons and designing sets for the school’s theatrical productions. It was also during this time that he began creating portraits of students, including a notable likeness of actor/artist Jonathan Adams. He supplemented his income in the 1960s by delivering WEA Lectures on Art for a number of years, sharing his passion and knowledge with a wider audience. His dedication to capturing the essence of the British landscape – a strong element in his work – remained a constant throughout his life.

Resumption of Artistic Practice and Later Recognition

Following the Second World War Gommon resumed painting after the war, finding renewed inspiration in the landscapes surrounding his home in Northamptonshire and revisiting the coastal scenes of Dorset that had captivated him as a young man. His wartime experience was shaped by a spinal curvature which prevented military service; instead he served with the London Auxiliary Fire Service. The post-war years saw Gommon’s style mature, becoming bolder and more expressive, his use of color increasingly vibrant. He looked, too, at how Gommon’s art – notable for its subtle but audacious colourism – was enriched by his love and appreciation of poetry (including works by John Clare, W.B. Yeats and T.S. Eliot) and friendship with figures such as the poet–artist David Jones. His final major commission – two large murals for St. Crispin’s Hospital in Northampton – stands as a testament to his belief in art's power to uplift and heal. These works weren’t merely decorative; they were intended to create a sense of calm and hope within the hospital environment, reflecting Gommon’s deep-seated humanism. A positive review from Ian Mayes following his 1975 exhibition at St Catharine’s College, Cambridge, eloquently captured the essence of Gommon's work, praising its “sense of joy in life”.

Influence and Legacy

David Gommon’s artistic sensibilities were profoundly shaped by his early exposure to the Old Masters during visits to art galleries in the Netherlands. He absorbed their techniques, their understanding of light and shadow, and their ability to imbue their works with a sense of timelessness. He was also influenced by the neo-romantic movement, which emphasized emotion, imagination, and a deep connection to nature. His paintings continue to resonate with viewers today, offering a glimpse into a world seen through the eyes of an artist deeply attuned to the rhythms and harmonies of nature. Gommon’s contribution to British art is remembered for its quiet dedication, unwavering passion, and a profound connection to the natural world – a testament to the enduring beauty of art and its ability to enrich our lives.