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{{short description|British painter}}

{{Use dmy dates|date=September 2020}}
{{Use British English|date=October 2011}}
{{Infobox artist
| name = Robert Bevan
| image = robert-polhill-bevan.jpg
| image_size = 140px
| caption = Robert Bevan c. 1915
| birth_name = Robert Polhill Bevan
| birth_date = 5 August 1865
| birth_place = [[Hove]], England
| death_date = 8 July 1925
| death_place = London, England
| known_for = Painting
| training = [[Arthur Ernest Pearce]],<ref name="ReferenceA">Rohan McKenzie and descendants of A E Pearce, Family history notes</ref> [[Westminster School of Art]], [[Académie Julian]]
| movement = [[Camden Town Group]], [[London Group]], [[Cumberland Market Group]]
| notable_works = ''The Cabyard, Night''; ''Dunn's Cottage''
| patrons =
| awards =
}}

'''Robert Polhill Bevan''' (5 August 1865 – 8 July 1925) was a British painter, [[drawing|draughtsman]] and [[lithographer]] who was married to the Polish-born artist [[Stanisława de Karłowska]]. He was a founding member of the [[Camden Town Group]], the [[London Group]], and the [[Cumberland Market Group]].
[[File:Blue plaque for Robert Bevan in Hove..JPG|thumb|Blue plaque for Robert Bevan in Hove]]

==Early life==
He was born in Brunswick Square, [[Hove]], near [[Brighton]], the fourth of six children of [[Richard Alexander Bevan]] (1834–1918), a banker, and Laura Maria Polhill.<ref>Robert Bevan (1965). ''Robert Bevan: A Memoir by his Son.'' London, Studio Vista. p. 8.</ref> The Bevans had been a [[Quaker]] family with long associations with [[Barclays Bank]]. They were descended from [[Silvanus Bevan]] the Plough Court [[apothecary]] and [[Robert Barclay]] the Quaker Apologist.<ref>John Yeates (2007). ''NW1. The Camden Town Artists. A social history.'' Somerset, Heale Gallery. p. 22.</ref> The family, who could trace direct descent from [[Iestyn ap Gwrgant]],<ref>Thomas Nicholas. ''History and Antiquities of [[Glamorgan]]''.</ref> had left Wales in the 17th century and settled in London.

His first teacher of drawing was [[Arthur Ernest Pearce]],<ref name="ReferenceA"/> who later became head designer to [[Royal Doulton]] potteries. In 1888 he studied art under Fred Brown at the [[Westminster School of Art]] before moving to the [[Académie Julian]] in [[Paris]]. Amongst his fellow students were [[Paul Sérusier]], [[Pierre Bonnard]], [[Édouard Vuillard]] and [[Maurice Denis]]. Bevan made his first visit to [[Brittany]] with a fellow student [[Eric Forbes-Robertson]] in 1890 and stayed at the Villa Julia, in [[Pont-Aven]]. He made a second visit in the autumn of the following year before travelling to Morocco by way of [[Madrid]] to study [[Velasquez]] and [[Francisco Goya|Goya]] at first hand. He appears to have done more [[fox-hunting]] in [[Tangier]] than drawing in the company of the artists [[Joseph Crawhall III|Joseph Crawhall]] and [[George Denholm Armour]] and was Master of the [[Tangier Hunt]] in his second season.
[[File:Breton-Churchyard.jpg|thumb|left|''Breton Churchyard'', c. 1893]]
Bevan returned to Brittany in 1893. There is no evidence that he had ever met [[Van Gogh]] but it is obvious in the swirling trees and landscape of his Breton drawings that he knew his work. It is known that he was friendly with [[Paul Gauguin]], who gave him several prints. Bevan also received encouragement from [[Renoir]], particularly in his drawing of horses. Although not evident in the few paintings that survive from this period it is in his drawings, early prints, and two surviving wax panels that the obvious influence of [[Pont-Aven]] [[synthetism]] can be seen.

On his return to England in 1894 Bevan went to live on [[Exmoor]] where he was able to combine painting with hunting.

==Married life==
[[File:Mother-and-Child.jpg|thumb|''Breton Mother and Child'', c. 1894]]
In the summer of 1897 Bevan met the Polish painter [[Stanisława de Karłowska]] at the wedding of Polish art student Janina Flamm with [[Eric Forbes-Robertson]] in Jersey. At the end of the year Bevan and de Karłowska married in Warsaw. Her father had extensive land in central [[Poland]] and for the remainder of their married life they would make long summer visits there.

In 1900 the Bevans settled in London at 14 Adamson Road, [[Swiss Cottage]]. Their first child, Edith Halina (Mrs Charles Baty), had been born in December 1898 and their second, [[R.A. Bevan|Robert Alexander]], in March 1901.

The summers of 1901, 1903 and 1904 were spent in Poland and it was here that some of his most colourful work was produced. The influence of Gauguin was a key role in Bevan's development, helping him to discover the pure colour which led him to a premature [[Fauvism]] in 1904. His ''Courtyard''<ref>Reproduced on page 70 of Frances Stenlake (2008). ''Robert Bevan from Gauguin to Camden Town.'' London, Unicorn Press.</ref> of that year has been described as "one of the first exercises in the expressive use of pure colour in this century".<ref>Richard Dorment, Weekend Telegraph. "Edwardian Encounters". Saturday, 9 January 1988. p.XI.</ref> Bevan's early experiments in colour can also be seen in his ''The Mill Pool'' which recalls the ''Talisman'' picture that [[Paul Sérusier|Sérusier]] painted to Gauguin's instructions and was described as being "quite different in colour and really rather superior".<ref>Norbert Lynton, The Guardian. "Home and Away". Wednesday 25 May 1966.</ref> However his first one-man exhibition in 1905, which contained probably the most radical paintings by a British artist at that time, was not a commercial success and was hardly noticed by the critics.<ref name="ReferenceB">Oxford Dictionary of National Biography "Robert Polhill Bevan"</ref> "Bevan evidently lost confidence in the direction it pointed and never again produced so outstanding a painting of this type. Sir [[Philip Hendy]], in his preface to the 1961 Bevan retrospective exhibition at [[Colnaghi's]], commented that Bevan was perhaps the first Englishman to use pure colour in the 20th Century. He was certainly far in advance of his Camden Town colleagues in this respect."<ref>Christie's. ''The Painters of Camden Town 1905–1920.'' 1988. p. 48</ref>

Bevan's second exhibition, in 1908, of largely Sussex scenes included the first of his paintings in the [[divisionism|divisionist]] or [[pointillist]] style of which the best examples are ''Ploughing on the Downs'' ([[Aberdeen Art Gallery]]) and ''The Turn-Rice Plough'' ([[Yale Center for British Art]]).

In the same year Bevan submitted five works to the first [[Allied Artists' Association]] in London's [[Albert Hall]]—a non-juried, subscription show founded by [[Frank Rutter]] to promote progressive artists and based on the French [[Salon des Indépendants]].<ref name=groveaaa>"Allied Artists' Association (A.A.A.)", [[Grove Dictionary of Art|Grove Art Online]], retrieved from [http://www.oxfordartonline.com/subscriber/article/grove/art/T001911?q=frank+rutter&source=oao_gao&source=oao_t118&source=oao_t234&source=oao_t4&search=quick&pos=5&_start=1#firsthit Oxford Art Online] (subscription site), 8 August 2008.</ref><ref name=robins>Sickert, Richard Walter; Robins, Anna Gruetzner. ''Walter Sickert: The Complete Writings on Art'', p. xxxi, Oxford University Press, 2003. {{ISBN|0-19-926169-5}}, {{ISBN|978-0-19-926169-7}}. Retrieved from [https://books.google.com/books?id=9MO_OO_G4BsC&pg=PR2&source=gbs_selected_pages&cad=0_1&sig=ACfU3U2idUfP8ODuBsE2tbu3wg2PrHjTOQ#PPR31,M1 Google Books].</ref> ([[Wassily Kandinsky]] showed in England for the first time at the second exhibition in 1909.)<ref name=glew>Glew, Adrian. [http://www.tate.org.uk/tateetc/issue7/kandinsky.htm "Every work of art is the child of its time"] {{webarchive|url=https://web.archive.org/web/20080815163729/http://www.tate.org.uk/tateetc/issue7/kandinsky.htm |date=15 August 2008 }}, ''[[Tate Etc.]]'', issue 7, Summer 2006. Retrieved 8 August 2008.</ref>

Having worked largely in isolation since returning from [[Pont-Aven]], Bevan's paintings were noticed by [[Harold Gilman]] and [[Spencer Gore (artist)|Spencer Gore]] and he was invited to join [[Walter Sickert]]'s [[Fitzroy Street Group]]. It was Sickert who encouraged him to "paint what really interests you and look around and see the beauty of everyday things".<ref>John Yeates, NW1. The Camden Town Artists. A social history. Somerset, Heale Gallery. 2007. p98.</ref> Thus began a series of paintings recording the decline of the [[hansom cab|horse cab]] trade, for example ''The Cab Horse'' ([[Tate]] gallery).

==Camden Town Group==
[[File:Bevan-Horse-Sale.jpg|thumb|''Horse Sale at the Barbican'', 1912]]
In May 1911 the decision was made to form a new exhibiting society from the ranks of Fitzroy Street and so the [[Camden Town Group]] was founded. The end of that year saw Bevan moving away from the portrayal of the cab yards to the London horse sales at [[Tattersalls]], Aldridges, the Barbican, and Wards (see ''Horse Sale at the Barbican'', [[Tate Gallery]] and ''Under the Hammer'', [[Walker Art Gallery]], [[Liverpool]]).

The Camden Town Group was short-lived. After three financially unsuccessful exhibitions Arthur Clifton, who ran the Carfax Gallery, declined to hold any more. However he still continued to back individual members and Bevan had his third one-man show there in 1913.<ref>Frances Stenlake, Robert Bevan from Gauguin to Camden Town. London, Unicorn Press. 2008. p. 109.</ref>

[[File:Bevan-Cabyard.jpg|thumb|left|''The Cabyard, Night'', 1910]]
In 1913, ''The Cabyard, Night'', the only painting by Bevan acquired for a public collection during his lifetime, was bought by the [[Contemporary Art Society]] on [[Frank Rutter]]'s recommendation that they should obtain it for the nation before a more discerning collector bought it.<ref>[http://www.virtualmuseum.info/art/ag_20th/bevan.asp "Art catalogue: Robert Bevan (1865-1925)"], Brighton and Hove Museums. Retrieved 8 August 2008.</ref>

William Marchant, of the Goupil Gallery, offered his larger premises on condition that the Group was expanded and that it changed its name.<ref>John Yeates, NW1. The Camden Town Artists. A social history. Somerset, Heale Gallery. 2007. p. 145.</ref>
This resulted in the formation of the [[London Group]] in the autumn of 1913. [[Harold Gilman]] was elected president, [[J.B. Manson]] secretary and Bevan treasurer.

From April 1914 until September 1915 Bevan rented a studio in [[Cumberland Market]], London's hay and straw market in [[Camden Town]]. It was here that the [[Cumberland Market Group]] consisting of Bevan, Gilman, [[Charles Ginner]] and [[John Nash (artist)|John Nash]] held Saturday afternoon 'at homes'. The four exhibited at the Goupil Gallery in May 1915 and were later joined by [[Edward McKnight Kauffer]] and [[C. R. W. Nevinson|C.R.W. Nevinson]].

==Last years==
[[File:Mare-and-Foal.jpg|thumb|''Mare and Foal'', 1917]]
Bevan spent most of his summers painting. Until the [[First World War]] this was usually at family homes in Poland or [[Sussex]]. However, at about this time, he was first invited down to the [[Blackdown Hills National Landscape|Blackdown Hills]] on the [[Devon]]-[[Somerset]] border as a guest of landowner and amateur artist Harold Harrison. Until the end of his life Bevan continued to paint in the [[Bolham, Devon|Bolham]] valley and nearby [[Luppitt]] his angular style sitting well with the strong patterning of the landscape.

His London street scenes, which were largely in the area of [[St John's Wood]] and [[Belsize Park]], were generally more favourably reviewed than his landscapes.<ref>Frances Stenlake, Robert Bevan from Gauguin to Camden Town. London, Unicorn Press. 2008. p. 148.</ref>

After a break of nearly twenty years Bevan returned to [[lithography]]. Whilst his earlier prints recall landscapes by [[Van Gogh]] the later works are more in the nature of tone translations of oil paintings. "In either instance they are technically superb and notable additions to English lithography of the period."<ref>J. Wood Palmer, Introduction to Arts Council exhibition 1956</ref>

In 1922 he was elected to the [[New English Art Club]].

Bevan died on 8 July 1925, following an operation for stomach cancer.

==Legacy==
[[File:The Horsemart.jpg|thumb|''The Horse Mart (Barbican No. 2)'', 1921. Lithograph.]]
Despite memorial shows in 1926 and an Arts Council exhibition in 1956, his unique contribution to British art was not widely recognized until 1965, the centenary of his birth.<ref name="ReferenceB"/> In that year the artist's son published his memoir and organised a series of exhibitions.

Bevan's modesty and reticence and his "almost complete inability to put himself forward"<ref>Frances Stenlake, Robert Bevan from Gauguin to Camden Town. London, Unicorn Press. 2008. p. 181</ref> ensured that most of his works were unsold and a considerable number were left to his wife on his death. Stanislawa Bevan left her estate equally between her son [[R. A. Bevan]] and daughter Mrs Charles Baty.<ref>Stanislawa Bevan: Will dated 3 October 1949.</ref> In 1961 they presented the [[Ashmolean Museum]], [[Oxford]] with The Bevan Gift in honour of their parents' work. As well as a number of paintings, drawings and lithographs this included the 27 surviving Bevan sketchbooks. Further works were added subsequently.

He was one of nine out of the 17-strong Camden Town Group to be shown in a major retrospective of the group at [[Tate Britain]] in London in 2008.<ref>Lambirth, Andrew. [http://www.spectator.co.uk/archive/arts/540011/velvet-revolutionaries.thtml?SelectedIssueDate=8%20March%202008 "Velvet Revolutionaries"], ''[[The Spectator]]'', 5 March 2008. Retrieved 15 September 2008.</ref>

Works by Bevan can be found in many public collections in the United Kingdom. He is also represented in public collections in Australia; France; New Zealand; South Africa and the USA.

Robert Bevan was the great grandfather of the historian of architectural paint and colour, [[Patrick Baty]].

==Works on show==
An exhibition entitled ''A Countryman in Town: Robert Bevan and the Cumberland Market Group'' was held at the [[Southampton City Art Gallery]] from 26 September – 14 December 2008 and it moved to [[Abbot Hall Art Gallery]] from 13 January – 21 March 2009.

More works were seen in an exhibition held at [[Thomas Gainsborough|Gainsborough]]'s House, [[Sudbury, Suffolk|Sudbury]], in Suffolk from 4 October to 13 December 2008. The show was entitled ''From Sickert to Gertler: Modern British Art from [[Boxted, Essex|Boxted]] House''.

==Gallery==
<gallery widths="140px" heights="140px" perrow="4">
Image:Huntsman & Hounds.jpg|''Huntsman & Hounds'', 1898
Image:The Meet.jpg|''The Meet'', 1898
File:Huntsman_and_hounds.jpg|''Found'', 1898
Image:The Artist's Wife.jpg|''The Artist's Wife'', 1898
Image:Bevan-Culme.jpg|''Evening in the Culme Valley'', 1912
Image:Bevan-Two-Bridges.jpg|''Two Bridges'', c. 1912
Image:Bevan-Weigh-House.jpg|''The Weigh House, Cumberland Market'', c. 1914
Image:Bevan-Self-1914.jpg|''Self Portrait'', c. 1914
Image:The Feathered Hat.jpg|''The Feathered Hat'', 1915
Image:Bevan-Belsize-Park.jpg|''A Street Scene in Belsize Park'', 1917
Image:The Artist's Son.jpg|''The Artist's Son'', c. 1918
Image:A-Devon-Cottage.jpg|''A Devon Cottage'', c. 1920
Image:Mount Stephen.jpg|''Mount Stephen'', 1924
</gallery>

==Notes and references==
{{reflist|30em}}

==Bibliography==
* Robert Bevan, ''Robert Bevan: A Memoir by his Son''. London, Studio Vista. 1965.
* Graham Dry, ''Catalogue Raisonné of the Prints of Robert Bevan''. London, Maltzahn Gallery. 1968.
* Audrey Nona Gamble, ''A History of the Bevan Family''. London, Headley Brothers. 1923.
* Nicola Moorby, 'Robert Bevan 1865–1925', artist biography, February 2003, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), ''The Camden Town Group in Context'', Tate, May 2012, http://www.tate.org.uk/art/research-publications/camden-town-group/robert-bevan-r1105351
* Frances Stenlake, ''Robert Bevan from Gauguin to Camden Town''. London, Unicorn Press. 2008.
* Robert Upstone, ''Modern Painters: The Camden Town Group'' [exhibition catalogue, Tate Britain, London], 2008. {{ISBN|1-85437-781-7}}.
* J. Wood Palmer, 'A Time to Remember', in ''The London Magazine''; Vol 1 No 12. March 1962.
* John Yeates, ''NW1. The Camden Town Artists. A social history''. Somerset, Heale Gallery. 2007.

==External links==
*{{Art UK bio}}
* [http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=748&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio Biography at the Tate Gallery]
* [http://www.camdenschool.co.uk/camdenschool3.htm The Camden School - to download book]
* [http://www.bridgeman.co.uk/search/r_results.asp?artist=robert+bevan&sel_artist=Select+Artist&nationality=&title=&century=&location=&keywords=&image_no=&prefix=&drawer=&medium=&order=0&page=&view=2 Bridgeman Art Library]
* [http://www.rootsweb.com/~engbdf/polhillfamily.html Polhill Family History]
* [http://www.cuckfield.org/museum_bevan.php Cuckfield Museum]
* [https://www.facebook.com/pages/Robert-Polhill-Bevan/283189961776555 Facebook page]

===Selected works===
* ''Self Portrait'' (1913–14) [http://www.npg.org.uk/live/search/portrait.asp?search=sa&sText=bevan&LinkID=mp00409&rNo=0&role=art]
* ''Ploughing in Brittany'' (1893–94) [http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=970&searchid=11017&tabview=image]
* ''Breton Women outside Church'' (ca.1894) [http://wag.adlibsoft.com/detail.aspx?parentpriref=]
* ''The Well at Mydlow, Poland'' (1909)[http://collection.aucklandartgallery.govt.nz/collection/results.do?view=detail&db=object&id=3056]
* ''A Sale at Tattersall's'' (1911) [http://www.southampton.gov.uk/leisure/arts/sotonartgallery/search/view-artwork.asp?acc_num=11/1974]
* ''Horse Sale at the Barbican'' (1912) [http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=968&searchid=10317&tabview=image]
* ''Maples at Cuckfield'' (1914) [http://www.museumwales.ac.uk/en/art/online/?action=show_item&item=79]
* ''Queen's Road, St John's Wood'' (1918) [http://www.ashmolean.org/ash/objects/objectviews/WA1957.14.2.html]
* ''Showing at Tattersall's'' (ca.1919) [http://www.ashmolean.org/ash/objects/objectviews/WA1957.14.3.html]

{{Camden Town Group}}

{{Authority control (arts)}}

{{DEFAULTSORT:Bevan, Robert}}
[[Category:1865 births]]
[[Category:1925 deaths]]
[[Category:20th-century British painters]]
[[Category:Académie Julian alumni]]
[[Category:Alumni of the Westminster School of Art]]
[[Category:19th-century British painters]]
[[Category:20th-century British printmakers]]
[[Category:English male painters]]
[[Category:British modern painters]]
[[Category:English printmakers]]
[[Category:People from Hove]]
[[Category:Pont-Aven painters]]
[[Category:English people of Welsh descent]]
[[Category:Bevan family|Robert]]

Robert Bevan (artist) - Revision history

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