Gladys Reynell

Australian painter, potter and printmaker, Gladys Reynell was born in Adelaide in 1881. In 1912, along with fellow South Australian artist Margaret Preston, Reynell travelled to Europe to extend her artistic knowledge, whilst also creating important connections with artists from around the world. While in Paris, the pair absorbed principles of French Post-Impressionism and later moved to London, spending extended periods of time in Ireland.

During 1914 and 1915 Reynell embraced Post-Impressionism which included the boldly coloured paintings of simplified forms. While in Ireland Reynell chose to concentrate on painting scenes of rural life and in England the picturesque buildings of the Cotswold’s.

Gladys Reynell, born Glenelg, South Australia 4 September 1881, died Melbourne 16 November 1956, *Cotswold farmyard*, 1916, oil on composition board, 38.5 x 46.0 cm; d'Avergne Boxall Bequest Fund 2005, Art Gallery of South Australia, Adelaide, © estate of Gladys Reynell.

Reynell, along with Preston, enrolled in pottery lessons in late 1916 at London’s Camberwell School of Arts. Both artists took to pottery readily and by early 1917 were receiving private lessons at their Battersea studio in London where they had installed a portable second-hand wheel. They learnt all facets of pottery skills and this knowledge was put to practical use during World War I, when both artists accepted positions at Seale-Hayne Neurological Military Hospital, teaching craft to shell-shocked soldiers as part of their rehabilitation. [1]

Reynell’s pottery illustrates the influence of England’s pre-industrial earthenware pottery traditions where imperfections were celebrated. Emu beaker, which is decorated with emus using the sgraffito technique, dates to January 1917 and is probably one of the first pieces made by her in London.

[1] J. Thompson, South Australian Ceramics 1900-1950, The Art Gallery of South Australia, 1983, p. 28

Gladys Reynell, born Glenelg, South Australia 4 September 1881, died Melbourne 16 November 1956, *Emu beaker*, 1917, London, earthenware with sgraffito decoration, 10.0 x 8.7 cm (diam.); South Australian Government Grant assisted by the Crafts Board of the Australia Council 1980, Art Gallery of South Australia, Adelaide, © Art Gallery of South Australia.

Emu beaker shares a tradition with the ceramics produced by the Omega Workshops in London (1913-19). Under the direction of Roger Fry, the style promoted was one of handmade simple forms, allowing the visibility of the maker’s hand. Here, the sgraffito technique – scratching an image through a coloured slip to reveal the body of the pot beneath – is used to bold effect. In place of scenes or designs based on English life and flora, Reynell has etched the iconic silhouette of the emu, a distinctly Australian image. Sgraffito was also an extension of her skills in printmaking whilst designing in the round in a strong graphic manner. Here simplified form, repeated rhythmic patterns and colour contrasts and harmonies were privileged over representational imagery.

Gladys Reynell, born Glenelg, South Australia 4 September 1881, died Melbourne 16 November 1956, *Platypuses*, c.1934-38, Curdie Vale, Victoria, linocut printed in black on brown paper, 11.9 x 9.9 cm; South Australian Government Grant 1969, Art Gallery of South Australia, Adelaide, © estate of Gladys Reynell.

Reynell realised that her future lay in pottery and, upon her return to Australia in 1919, she established the Reynella Pottery on the family property, south of Adelaide. She found and used local clays, built and fired her own kilns, and threw robust forms in a bold modernist style, modelled on European folk pottery and fused with local themes.

See more works of art by Reynell in the collection

One theory to emerge from the 19th century craft movement was that handmade items must look obviously handmade, that visible imperfections were proof of its authenticity in a time where machines could produce almost anything. Look closely at works of art in AGSA’s collection (including works by Reynell).
- Where can you identify the hand of the maker?
- What marks have been uniquely made by the artist?
- Compare these observations to either an object or work of art that has utilised machine technology in its making.
- Make a list of pros and cons for human made versus machine made.
Look at the ceramic work by Glenn Barkley, Judith Pungarta Inkamala, Alfred Lowe and Angela Valamanesh. Compare these artists work to that of Reynell. What do you notice that is similar or different about these artists’ works? You might like to consider:
- What type of clay are they made from?
- Were they made in Australia?
- Are they hand-built, thrown on a wheel or cast?
- What are the vessels about? How many of these works depict or are responding a landscape?
  If Reynell was alive today, which artist’s work do you think she would most like to have in her home? Give a reason for your answer.
What is the difference between an artist or designer and a craftsperson? Which title best describes Gladys Reynell?

Identify and photograph all the things in your home that are made of clay. Tiles, crockery, plant pots, sinks, vases, etc. You might be surprised just how many things around your home have been fired in a kiln.

Reynell enjoyed creating quick studies of animals and birds in her sketchbooks. Using pencil, brush ink or watercolour create quick studies of your own. These could include wildlife in your neighbourhood or family pets.

Gladys Reynell, born Glenelg, South Australia 4 September 1881, died Melbourne 16 November 1956, *Studies of geese*, 1919-26, Reynella, South Australia, ink & pencil on card, 23.2 x 15.9 cm (sheet); Ellen Christensen Bequest Fund 2004, Art Gallery of South Australia, Adelaide, © estate of Gladys Reynell.

Gladys Reynell, born Glenelg, South Australia 4 September 1881, died Melbourne 16 November 1956, *Study of a sleeping dog*, 1914-18, Britain, ink on card, 15.6 x 22.9 cm (sheet); Ellen Christensen Bequest Fund 2004, Art Gallery of South Australia, Adelaide, © estate of Gladys Reynell.

Sgraffito is a process whereby the design is revealed by cutting back through the slip into the body of the pot. Create your own vessel and decorate with designs taken from native flora and fauna. You might like to use the sketches from your quick studies you completed in the activity above. If you do not have access to clay, you could create a lino relief print or make a collagraph print using cardboard (thick box cardboard) and PVA glue. Take a relief print from your collagraph plate using bold colours.

Look at Reynell’s experimental sketches. Using coloured paper, cut out geometric and organic shapes. Use these to experiment with pattern, colour and shape to create a design for a functional object such as a tea-pot, vessel or even fabric and wallpaper.