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Emmy Bridgwater Artworks

English Surrealist Painter and Poet

Emmy Bridgwater Photo
Movement: Surrealism

Born: November 10, 1906 - Birmingham, United Kingdom

Died: March 13, 1999 - Solihull, United Kingdom

Artworks by Emmy Bridgwater

The below artworks are the most important by Emmy Bridgwater - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Stark Encounter (C. 1940)

In this quick and automatic pen and ink drawing, Bridgwater includes one of her most typical motifs, the hybrid bird-woman. As in similar works, Stark Encounter shows figures in a state of metamorphosis against an empty backdrop. Robert Melville described Bridgwater's works as depicting "the saddening, half-seen 'presences' encountered by the artist on her journey through the labyrinths of good and evil [...] although they are dreamlike in their ambiguity they are realistic documents from a region of phantasmal hopes and murky desires where few stay to observe and fewer still remain clear-sighted." Furthermore, Jeremy Jenkinson says of her work "Her paintings, drawings and poems are places of organic fusion and painful gestation. No concession whatever is made to 'artistic good taste', whether classical or not. There is only instinct, and a primitive feeling for the metamorphoses at the origin of life; strange sequences of birds, eggs, eyes, little girls, open tombs, larvae and lianas in nondescript landscapes."

The bird motif is also extensively investigated by Remedios Varo, Leonora Carrington, and Edith Rimmington. Furthermore, even outside the powerful women's circle within this movement, Max Ernst was famous for depicting himself with birdlike features and for revealing his alter ego, Loplop, to be half man, and half bird. Indeed, the bird, throughout the Surrealist movement, signifies a desire for flight and freedom, but at the same time confirms (with a regretful tinge of melancholy) that humans are earth bound. The motif of the bird does many things; it also links the majestic heavens with daily existence, and suggests a time linkage between the ancient of days and those of now. Interestingly though, in this work by Bridgwater it appears that the female in the image is not metamorphosing voluntarily into a bird, but is instead being abducted and forced in some way to comply. Sadly, there is always a sense in the work of Bridgwater that freedom comes at a price, that she is writhing in struggle as her own transformation takes place.

Night Work is About to Commence (1940-1943)

In this painting, a black raven is the main character in a surreal landscape that is born of a marriage between inorganic and mechanical objects united in a large bathtub, or basin. Here a draped towel or sheet of fabric hangs over the edge upon which the bird is perched. There is the strong sense of the original Surrealist principle of creating unusual juxtapositions and uniting otherwise disparate objects in this work, much like the chance meeting of "sewing machine and an umbrella on a dissecting table" as stated in Breton's first manifesto (1924). Here we appear to have the sways and set-up of theatre meeting some sort of threatening spiked hammer. The overall message is one of looming threat combined with artifice.

The bathtub as a revealing and recurring motif in art, has been, and goes on to be repeated by other influential artists, in particular Frida Kahlo. The watery chamber is noted as a place where unconscious musing may rise to the surface, and as such the bathtub becomes a literal metaphor for human depth of emotion. As Bridgwater titles her painting, Night Work is About to Commence, it infers that the complex subconscious processes roused in the bathtub are anticipated to continue and be further enhanced during sleep. In technique and brushstroke, the work exemplifies the spontaneous, urgent, and rapidly painted quality of Bridgwater's paintings. Her rough, visible, and slightly frenzied brushstrokes reveal a searching, anxious, and seemingly agitated state of mind. The overall somber mood of the painting may indeed echo what was in fact a national state of depression brought on by the destruction and sadness associated with living in wartime Britain at the time.

Untitled (C. 1940s)

In this drawing, we see Bridgwater's use of the automatist technique. There is little attempt to consciously control the movement of the hand, and the artist instead allows the subconscious to gain control. The same sense of violence, rapture, and sexuality, are all themes that Bridgwater shares with prolific French Surrealist artist André Masson. Masson's work has been described as "tortured and sensuous", and such would equally well describe this drawing by Bridgwater. Indeed, as limbs bend and elongate in this drawing, it is particularly similar to Masson's 1939 picture, The Genius of the Species.

The drawing also strongly recalls the experiments and automatic drawings of the artist/scientist couple, Grace Pailthorpe and Rueben Mednikoff. Mednikoff was a poet and a painter, and Pailthorpe, a surgeon who started to try and help female delinquents to resolve inner conflict by revealing subconscious desires through art. Pailthorpe's paintings similarly depict writhing limbs and globular breast like forms. She insisted throughout her career that attempting to make visible subconscious musings was a therapy, and ultimately, the only way to deal with past experiences as well as to move forward and better understand life.

Necessary Bandages (C. 1942)

In this painting, an ambiguous, wistful, and mummified fleshy face dominates the frame. The eyes gaze drowsily to the lower right with Bridgwater's overarching signature sense of sadness penetrating the picture. At the edge of the canvas, a portion of a malicious-looking (even reptilian) male face can be seen, smoking a cigarette from which smoke floats upwards. Indeed, the painting was made shortly after Bridgwater's lover, Toni del Renzio, left her for another woman. Thus the work speaks of the conflict and pains of love, a similar theme to Eileen Agar's most famous sculptures, Angel of Anarchy (1939). Agar made an actual sculptural 3D version of this painting, but whilst Bridgwater created a painted head wrapped in bandages, Agar used fabric pieces to entirely cover a plaster portrait - a head of her lover, Joseph Bard.

Whilst Agar's work was intended as a portrait of Bard, Bridgwater's work was intended to be a self-portrait. The painting expresses the artist's raw sense of agony and betrayal. Through rough brushstrokes she paints pain and angst directly onto the canvas, whilst at the same time distancing her work from the more polished, smooth, and completed appearance of work by many male Surrealist artists. Indeed, the American architect and renowned urban planner, Andres Duany writes of Necessary Bandages, "The conception is simply brutal, because it is brutally simple. Raw spatulas of paint bandaged across a battered face. Only the eyes remain, one in pain and the other in bewilderment. Never does the formalism of Picasso's disparate eyes so disclose the soul within. Only a woman, and a courageous one, would expose such vulnerability to the public gaze. It is a deeply feminine achievement." Furthermore, as may be said of Angel of Anarchy, the same could be deduced of Necessary Bandages, that both works reveal the important notion that the only way to really "see" is to reflect inwards.

The Fountain (1945)

In this painting, an androgynous humanoid figure stares penetratingly out at the viewer. The figure emerges from the ground, perched at the top of a cliff and combines with the watery landscape to become part of the river flowing, as well as a literal 'fountain' as the title suggests. Behind the mysterious torso is a three-pronged, organic-looking outgrowth. This seems to form the essential part of the natural waterfall, but also serves to remind the viewer of Bridgwater's long-standing interest in wings.

Whilst previously depicting lots of birds in her work, this image combines instead the human and the insect. In doing so an interesting parallel is established between this painting and that of The Decoy (1948) by Bridgwater's friend and colleague, Edith Rimmington. In The Decoy, Rimmington depicts a hand with skin peeling away and lots of butterflies at various states of metamorphosis. Bridgwater shares Rimmington's ongoing fascination for such natural processes which were, indeed popular with many Surrealists, with some having read the research of the French intellectual Roger Caillois on the subject of mimicry. Overall, The Fountain conveys a sense of loneliness and longing, as well as an understanding that no human power can stop rivers flowing or fissures forming in the earth. The human presence is little more than one part of many which combine to form the natural cycle of life, death, and regeneration.

Leda and the Swan (1950)

In this work, the background is dominated by curving, swirling fields of inky black and powder soft blue. Arching black lines at the top of the frame are overlaid by horizontal swipes of grey, and overall there is an impression of a cold and misty landscape. At the centre of the image, an unrecognizable organic form appears to grow in a palette of green and peach. The elongated, ovoid, almost phallic central form has what appears to be a flower growing out of its right side, as well as a leafy protrusion growing out downward from below. These combined elements seem to indicate a hybrid male-female form (a common and repeated motif of the Surrealists), while the swirling sense of movement given by the black and blue backdrop indicates that the central figure is undergoing a state of metamorphosis.

As the work's title reveals, Bridgwater presents her own version of the moment when Zeus, disguised as a swan, seduces (and in some accounts, rapes) the mortal woman Leda. This scene has been depicted by many artists throughout history, including but not limited to, Correggio, Michelangelo, and Leonardo Da Vinci, in order to illustrate unfair and forced consumption and dominance over a woman. Interestingly, Bridgwater's version differs significantly from these earlier, more eroticized versions. Here, both Leda and the swan lose their individual identities, and instead swirl and merge together, along with their organic surroundings to become more plant and celestial-like rather than resembling a human and an animal/deity.

The work also bears striking resemblance to the drawings by Nadja, reproduced throughout the book with the same name written by André Breton following his short relationship and subsequent intense fascination with a mentally imbalanced, artistic young woman. There is one particular drawing of a flower, called The Lovers Flower that has particular similarities to the central bloom in Leda and the Swan. The interesting point to be made here - beyond the combination of opposite elements in order to create union - is that the drawings by Nadja act as an accompaniment to Breton's text. In many ways, Bridgwater's body of work is supportive, rather than integral to the legacy of the Surrealist movement. It reveals, although there are a relatively small number of prolific and famous "Surrealists", that there were also a great many artists without whom the more well known would not have flourished. Furthermore, these countless marginal figures show just how wide spread and far reaching the influence of Surrealism was. As the book, Nadja, was first published in 1928 it is possible, and indeed likely that Bridgwater got hold of a copy and was directly inspired by this iconic text.


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