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Mae’r wefan hon yn newydd a dal yn cael ei datblygu.
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Mrs. Frances Byng Stamper (left) and her sister Miss Caroline Byng Lucas were important supporters of the visual arts in Wales in the 1930s. Morris's portraits are known for their unflinching scrutiny of character. Not surprisingly the sisters were said to be unhappy with this unflattering portrait. When Morris exhibited the painting in 1979 he called it 'The English Upper Classes'.

MORRIS, Cedric
<p>Mrs. Frances Byng Stamper (left) and her sister Miss Caroline Byng Lucas were important supporters of the visual arts in Wales in the 1930s. Morris's portraits are known for their unflinching scrutiny of character. Not surprisingly the sisters were said to be unhappy with this unflattering portrait. When Morris exhibited the painting in 1979 he called it 'The English Upper Classes'.</p>
Delwedd: © Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru
 Chwyddo

Mrs. Frances Byng Stamper (left) and her sister Miss Caroline Byng Lucas were important supporters of the visual arts in Wales in the 1930s. Morris's portraits are known for their unflinching scrutiny of character. Not surprisingly the sisters were said to be unhappy with this unflattering portrait. When Morris exhibited the painting in 1979 he called it 'The English Upper Classes'.


Mae'r wefan hon yn tynnu ar ddata casgliadau hŷn. Rydyn ni'n cydnabod y gall peth o'r wybodaeth fod wedi dyddio neu'n gwahaniaethu, ac yn gweithio i ddiweddaru ein cofnodion. Os oes gennych gwestiwn neu sylw ar ddarn o gelf, cysylltwch â ni.

Datganiad hawlfraint wedi'i ddarparu gan Amgueddfa Cymru

Manylion


Collection

Amgueddfa Cymru

Rhif yr Eitem

NMW A 29292

Creu/Cynhyrchu

MORRIS, Cedric
1889-1982
Rôl: Artist
Cyfnod: 1935

Derbyniad

Purchase - ass. of DWT, Knapping Fund, Silver Society (incl. Jean Thomas bequest), 20/12/2007

Mesuriadau

h(cm) frame:89
h(cm)
w(cm) frame:76.5
w(cm)
Dyfnder (cm): 5.5
Uchder (cm): 76
Lled (cm): 63.5

Techneg

Oil on canvas
Techniques (fine art)
Art dept - fine
Fine Art - painting

Lleoliad

on loan out

Caiff Casgliadau Arlein ei ddiweddaru yn rheolaidd, ond gwnewch yn si’r bod eitem yn dal i gael ei arddangos cyn ymweld yn arbennig.

Mwy

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Rhannu


Mwy fel hyn


Amgueddfa Cymru
[No title]
COHEN, Harold
(1983)
© Harold Cohen/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
COHEN, Harold
(1983)
© Harold Cohen/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
PIPER, John
© Ystâd Piper/DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
COHEN, Harold
© Harold Cohen/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
COHEN, Harold
(1983)
© Harold Cohen/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
BONINGTON, Richard Parkes
(19th century (early))
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
WHISTLER, James Abbot McNeill
© Amgueddfa Cymru
Amgueddfa Cymru
[No title]
JOHN, Gwen
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
(1945)
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
HOWARD-JONES, Ray
(1974)
© Nicola Howard-Jones/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
STRANG, Ian
(1939)
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
STRANG, Ian
(1938)
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
I fyny bo'r nod
BAINES, Glyn
(2017)
© Glyn Baines/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
JOHN, Augustus
© Ystâd Augustus John. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
PRENDERGAST, Peter
(1967)
© Ystâd Peter Prendergast. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
SUTHERLAND, Graham Vivian
(1950 ca)
© Ystâd Graham Sutherland/Amgueddfa Cymru
Amgueddfa Cymru
<p>Information provided by the estate of Ronald Moody:</p> <p>'By the time he finished Self-Portrait 2 in June 1937, the artist was utterly dedicated to wood and had virtually abandoned bronze. He therefore decided to try another version and, within a month, produced this mask in elm. The difference between the two versions is remarkable, even though they are almost identical in concept. The earlier, though life-size, gives the impression of being much smaller, and the smooth stylisation of the material seems to add impassivity and sombreness to the whole. The second is more expansive, both in size and feeling, and the grain of the wood subtly underlines the contour of the face, giving it animation and character. Greatly encouraged by this, Moody eagerly turned to wood for future portraits and for the next nine years used nothing else. </p> <p>On 4.1.39, it was shipped from Paris to the Harmon Foundation in New York, for inclusion in exhibitions in America, where it was shownas A Mask. It remained in the Foundation's custody throughout the war and for some time afterwards.</p> <p>On 2.3.49, the artist wrote to Marie Seton listing the works he wished her to bring back to England. Amongst these was: "Another mask, wood, based on my head (about life size)".'</p>
MOODY, Ronald Clive
(1937)
© The Ronald Moody Trust/Amgueddfa Cymru
Amgueddfa Cymru
[No title]
WILSON, Richard HASTINGS, Thomas
Trwy ganiatâd Amgueddfa Cymru
Amgueddfa Cymru
[No title]
GASTINEAU, Henry
(1829)
Trwy ganiatâd Amgueddfa Cymru

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