Late one evening
a few years ago the talk got round to famous artists' epitaphs, and someone
asked Patrick Caulfield what he would put on his gravestone. "DEAD, of
course." Well put. Characteristically so. But very much not the last word
on Caulfield, who has died of cancer aged 69.
William Feaver, The
Guardian, 03 Oct 2005
I
took these pictures of the artist Patrick Caulfield’s celebrated gravestone in Highgate cemetery back
in 2013, six years ago. (I can hardly believe so much time has passed – tempus really does fugit when you are the
wrong side of 50. I’ll be dead myself before I know it if I don’t pay more
attention.....) I had forgotten about the photos until I was reading
Martin Gayford’s excellent “Modernists & Mavericks”, a riveting history of the
post war British art scene that features Bacon, Freud, Hockney and a whole load
of other artists, including Patrick Caulfield, that he dubs the London Painters. Caulfield designed his own grave stone and took the unusual step of mentioning on it that he was dead. He is now remembered almost as much for this bit of iconoclasm as for a lifetime's work as a painter.
Caulfield
was born in 1936 in South Acton; you had to be specific he always said because “Acton
has got very different areas. South Acton, where I was born, was known as
‘Bagwash City’, because, as you walked along the streets where I was born, you
smell the smell of damp laundry.” (A bagwash was a primitive laundry service,
often offered from domestic premises, that was common before the idea of the
launderette was imported from the United States in the 1950’s). Apart from
laundry Caulfield’s only other early memory of Acton was being stung by a bee “That
really sticks in my...I mean, it sticks in my mind, well it stuck in my arm or
wherever at that time. But it seemed very, God! very serious to me at the time.
I mean, because, this was my first association with nature I suppose, stung by
the bee....” He never recovered from that early encounter with the natural
world – his entire adult oeuvre was dedicated to the figurative painting,
carried out in as un-naturalistic manner as possible, of manmade objects in
manmade settings. When he left Acton Secondary Modern at the age of 15 he
worked in the design studio of Crosse & Blackwell (Andy Warhol’s dream
job?) and at the age of 17 he joined the RAF (he would have been called up for
National Service anyway). When he left the air force he studied first at the Chelsea
School of Art and then at the Royal College of Art when David Hockney was a
fellow student. He was a commercially and critically successful artist, not
perhaps so successful as Bacon, Freud and Hockney, but successful enough to be
able to afford a path side plot in Highgate close to Malcolm McLaren and Jeremy
Beadle (and Hercules Bellville).
Caulfield photographed by Malcom Cooper in 1966 (courtesy of the National Portrait Gallery) |
Patrick Caulfield
died on September 29 last year at the age of 69 and was buried a few days later
at Highgate Cemetery. He was a convivial and generous man – both qualities are
radiantly manifest in his art – and he and his widow Janet Nathan had arranged
his funeral as an exuberant and joyful send-off.
As a large
gathering of mourners assembled at the graveside, on one of the cemetery’s
broader avenues, a jazz trio played some of the painter’s favourite tunes. Fine
weather contributed to the bittersweet mood, bathing the scene in bright but
already fading autumnal sunlight – an end-of-the-day light, which filtered
through the trees in a way that might have pleased even Caulfield, who did not
care much for the great outdoors. He was a man of few words, as he demonstrated
in his monosyllabic choice of epitaph: ‘Dead’. The word will be carved into his
headstone, in lettering of his own design.
Andrew
Graham-Dixon (Obituary in the Daily Telegraph)
His
last painting, completed less than a fortnight before he died, was a tribute to
his long standing partner and wife Janet Natham, Braque Curtain. According to
the Tate, where the painting is now held, it “depicts a series of interlocking domestic
spaces devoid of people and natural light. The patterned curtain of the title,
was adapted from the wallpaper in the room depicted in Georges Braque’s The
Duet 1937. This curtain and a lamp provide the painting’s focus as a place
formed by artificial light. The painting plays with the casting of light and
shade, notably in the doubled rendering of the lamp, asking which of these
intersecting images is the lamp and which its shadow?”
Braque Curtain by Patrick Caulfield |
So that is the story behind that headstone, I have a photo of it as well
ReplyDeleteThanks for that
It's hard to miss when you are at Highgate….
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