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584:(1977); Blond Fine Art, London (1978); Worthing Art Gallery (1979); the Museum of Modern Art, Oxford (1981). In addition the exhibition 'A Singular Vision: Drawings and Paintings by Bernard Meninsky' toured to Liverpool, Leeds, Sheffield, London and Kingston upon Thames in 2001. Nora Meninsky bequeathed her collection of her husband's work to the Contemporary Art Society to distribute to regional galleries in the UK and beyond. Seventy-five of his works are in UK public collections, including those of the Arts Council, the
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537:, whose 'L'Allegro' and 'Il Penseroso' Meninsky was commissioned to illustrate by the publisher Alan Wingate. Taylor summarises the work of this period thus: 'Meninsky's rich-tone landscapes … were peopled with mothers and children, family groups travelling (several canvases … inspired by the New Testament story of the Flight into Egypt), pilgrims with staff in hand, shepherds without flocks and heavy-limbed women resting.'
493:. Through Marsh, Meninsky met Churchill, who in the years following World War II would occasionally drop into Meninsky's studio for lessons. Another important patron in the late 1930s was Lord Glenconner, who greatly admired Meninsky's work. As well as befriending the Meninskys, he offered practical financial help by setting up a £100 a year allowance for Meninsky.
608:, by John Russell Taylor was published by Redcliffe Press, Bristol. Nora Meninsky bequeathed collections of photographs, letters, documents, sketchbooks, exhibition catalogues and writings to the Tate archive – some of which have been digitised. The Imperial War Museum holds letters relating to Meninsky's commissions as a war artist.
560:. The magazine enthused, 'Using a palette which owes something to the Fauves, and through them to the Expressionists, he has created a world of classical dignity and plastic form.' However, despite these positive events, his mental health had deteriorated in the previous five years, and he died by suicide on 12 February 1950.
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an extreme form of hypochondria, thinking – falsely – that he had throat cancer. Later he felt that his eyesight was failing and that he would become blind. He was admitted to a private clinic for 'Functional
Nervous Disorders' – but worried that he would be unable to keep up the payments. Later, at the
402:
The burden placed on artists such as
Meninsky struggling to support children was immense. It was difficult to sell work in the post-war economic recession. Meninsky had pledged to repay his Slade loan from the JEAS, which now amounted to £80. He was, however, not in a position to do so, and his offer
329:
In the first few months of his son’s life, Meninsky created a portfolio of 28 ‘mother and child’ drawings in a variety of media, and the subject became a regular theme throughout
Meninsky's career. When he was elected to the London Group in 1919, he exhibited an oil painting on this subject at their
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Meninsky visited his son Philip from time to time, sometimes with a female companion. He saw David, in
Liverpool, less frequently. Meninsky's biographer John Russell Taylor writes that 'as a man and so as a teacher, Meninsky was moody and unpredictable. Often he could be jovial and enthusiastic, but
664:
In the UK census for 1901 and 1911 the family are called
Meninsky, and this is the name that Bernard's parents, Isaac and Annie, used when applying for UK citizenship in June 1915 – ref: 'Naturalisation Certificates and Declarations, 1870–1916', Ancestry.com. In the 1901 census Bernard is shortened
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in 1951, and a number of retrospective shows have been staged since, by, among others, the Adams
Gallery (1958); the Crestine Gallery, Edinburgh (1965); the Boydell Gallery, Liverpool (1966); the Tib Lane Gallery, Manchester (1972); the Belgrave Gallery, London (1976); the Annexe Gallery, Wimbledon
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That
Meninsky and Nora were both 'strong-willed and sometimes stubborn' contributed to a situation in which the early years of their marriage were tempestuous. Meninsky's 'obsessive devotion' to his wife manifested itself in jealousies and accusations of infidelity. Meninsky was also suffering from
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In 1927 Meninsky had a large show of oil paintings, watercolours and drawings at the
Collectors Gallery in Manchester. And in November of that year his first wife, now 'Margaret Rendall', died. By the end of the year, Nora and Bernard Meninsky were married – they surprised their friends by marrying
150:
Although
Meninsky left school at the age of eleven, his talent for art was demonstrated by the sale of a drawing to a local comic postcard business. While working as an errand boy during the day, he attended free classes in art in the evenings, and these enabled him to gain a place at the Liverpool
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made me realise the unique opportunities which the theatre can give the painter to express himself on a vast scale in terms of colour or light and shade.' Meninsky's work of the 1930s and '40s is marked by a change of direction. Now his female figures take on a monumentality that owes something to
398:
In the mid-1920s
Meninsky arranged for his friend William Roberts to share his life class duties at the Central School, and in this capacity they worked together for the next 25 years. Meninsky's financial circumstances were similar to those of the Robertses. Referring back to these times, William
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In the spring of 1919 Meninsky's wife was pregnant again, and their second son, Philip, was born in November 1919. When Philip was barely six months old, Margaret Meninsky walked out on her husband and children. Meninsky acted swiftly to foster his children. David was placed with Meninsky's sister
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had survived capture by the Japanese, being forced to work on the Burma–Thailand Railway and internment in POW camps in Malaya and Thailand, where, undetected, he made drawings of camp life. As he approached 60, Meninsky was seen as something of an elder statesman. He was commissioned by the Arts
445:, he was treated with electro-shock treatment and classic Freudian psychoanalysis for 'agoraphobia, claustrophobia and general depression'. Meninsky responded well to the treatment, and by the mid-1930s he was able to return to teaching and had an exhibition of watercolours at Zwemmer's Gallery.
222:, also rejected the cubist work on display at the Grafton. While Bomberg and Roberts would go on to explore their own brand of 'English Cubism' in their immediate post-Slade years, Meninsky's work was less radical – though he had nevertheless 'been bowled over most completely by the greatness of
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Nevertheless, Meninsky's exhibiting career was on the up, and in 1926 he had two solo shows in London: of drawings at the Mayor Gallery and of watercolours at the Lefevre Gallery. It was also in this year that he met a young dancer, Nora Barczinsky (stage name Nora Edwards), who was then in the
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In the winter of 1922 Meninsky tried to put his personal troubles behind him by means of an extended caravan trip to the south of France with a friend, Stuart Edmonds. The stimulus of the Mediterranean light encouraged him to work more on landscape painting. Upon returning to London Meninsky
241:. The principal of the Central, F. V. Burridge, had been head of the Liverpool School of Art when Meninsky had been a prize-winning student there. Teaching would be a passion of Meninsky's, and his relationship with the Central School would be important to him throughout his life.
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Roberts's wife, Sarah (née Kramer), described the realities of being an artist's wife, 'living in poverty, from hand to mouth … Living in a room or rooms, sharing a lavatory, with a sink maybe on a landing … "People today can't imagine just how poor we were in those days."'
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to 'Barney' and he is listed as having been born in Liverpool. In the 1911 census, Bernard completes the census form and puts his nationality as 'Russian'. This is consistent with his own need to apply for UK nationalisation, which was granted on 1 July 1918 (
885:, 1990, p. 35, states that Meninsky signed up in 1914 and served till mid-1918, and various online sources refer to him fighting in Palestine; but the British Army Pension Records state that he did not serve overseas and that he was not called up until 1918.
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At Ancestry.co.uk, ‘England & Wales, Civil Registration Birth Index, 1916-2007’ shows Philip Meninsky's birth to have been registered in Fulham in last quarter of 1919; ‘England and Wales, Death Index, 1989-2021’ clarifies his birth date as 1 November
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With the outbreak of war in September 1939 the London art schools closed and, following stays with Nora's relatives in the winter of 1939/40, the Meninskys moved to Oxford, where they had a small circle of friends including Helen Darbishire, the artist
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and his wife Margaret, and William and Sarah Roberts, who had decamped to Oxford at the beginning of the war. Meninsky secured work at the Oxford City School of Art for himself and Roberts. In August 1942 Meninsky was approached by the
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Ancestry.co.uk, 'England & Wales, Civil Registration Marriage Index, 1916–2005', date last quarter of 1927. Their address is taken from John Russell Taylor, 1990 p. 62, which gives the marriage date as 21 December
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sometimes he could be cruelly dismimissive.' In 1923 Meninsky was elected to the New English Art Club, and he exhibited regularly with them as well as with the London Group. Although his ex-student and latterly friend
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April 1919 exhibition, and an exhibition of 'Maternity and Other Figure Subjects by Bernard Meninsky' was held at the Goupil Gallery, Regent Street, London, in May 1919, leading to the publication of
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Katie in Liverpool, and Philip was placed with a retired nanny in Hertfordshire. Philip's placement was initially a six-month arrangement, but it lasted for the first 18 years of his life.
214:'s Second Post-Impressionist Exhibition opened at the Grafton Galleries, London, and was seen by the public as scandalous in its modernism. Meninsky's tutors at the Slade,
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In 1945 he returned to London and to teaching at the Central School. His work moved into what can be seen as a final phase that drew upon the visionary dream worlds of
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described his 'pervasive melancholy', Meninsky could also 'shine in company' and was a 'brilliant conversationalist', holding his own with intellectual friends such as
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326:. When it came to light that Meninsky was still on the BWMC contract, he was required to extend his involvement with the war artist scheme for a further period.
237:. Unfortunately he found Craig 'an unexpectedly hard and unreasonable task-master'. Returning to London a few months later, he began teaching life drawing at the
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Pauline Pauker, 'Sarah: An Anecdotal Memoir of Sarah Roberts, Wife, Model, Muse and Defender of William Roberts RA', William Roberts Society, 2012, pp. 10–11.
285:(BWMC), and was released from military duties for an initial four-month period from May 1918. He was discharged from military service in August 1918, due to
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Bernard Meninsky, Tate Archive 8225: Letter dated 31 March 1932 from Cassell Hospital for Functional Nervous Disorders, Swaylands House, Penshurst, Kent.
374:' aesthetic. Throughout the 1920s Meninsky worked in the familiar genres – still life, landscape, the nude – avoiding narrative and focusing on form.
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After the war ended, Meninsky resumed teaching at the Central School and also accepted Walter Sickert’s invitation to take over his life class at the
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In the first quarter of 1918 he married Margaret ('Peggy') O'Connor in Marylebone Register Office, and their son David was born later that year.
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Tate Gallery Archive 806/1/628–629, two letters from Bernard Meninsky to James Bolivar Manson of the Artists' Benevolent Society, 1935 and 1936.
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126:(25 July 1891–12 February 1950) was a British painter of figures and landscapes in oils, watercolour and gouache, a draughtsman and a teacher.
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In the summer of 1914 Meninsky's work was exhibited in the 'Jewish Section' of 'Twentieth-Century Art: A Review of Modern Movements' at the
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Ancestry.co.uk 'London, England, Electoral Registers, 1832–1965' records Meninsky sharing a studio at 18 Fitzroy Street, London, in 1921.
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to paint a watercolour connected to home-front activity for a fee of 30 guineas, and he later negotiated a further portrait commission.
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916:, is thought to be the work in the University of Leeds art collection and is reproduced in Sarah MacDougall and Rachel Stratton, eds.,
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School of Art. He studied there from 1906 to 1911, being financed by a succession of scholarships. He attended summer courses at the
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With financial support from the Liverpool Jewish community and the Jewish Educational Aid Society (JEAS), Meninsky studied at the
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in January 1918, and worked in a clerical capacity in the regiment. He applied to be a war artist under the scheme run by the
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deceasedonline.com shows the burial record for 'Margaret Olive Rendall', in Brookwood Cemetery, burial date 25 November 1927.
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Council to curate an exhibition, 'The Art of Drawing', in 1948, and a profile article on him appeared in the first issue of
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432:, St John's Wood. An exhibition of Meninsky's oil paintings at the St George's Gallery, London, in 1930 was well received.
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in London's West End. As evidenced by poems and love letters, the couple's 18-month courtship was passionate and romantic.
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The Tenth Exhibition of the London Group, 12 April–17 May 1919, the Mansard Gallery at Heals, London. This oil painting,
687:'He later recalled crying in misery in Paris because he missed his family so much' – John Russell Taylor, 1990, p. 16.
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143:, modern-day Ukraine, where his father was a tailor and the family were Yiddish-speaking Ukrainian Jews. They moved to
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immersed himself in his teaching and took an active organisational role in the London Group, which was now headed by
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wes included in the major exhibition of war art held at the National Gallery, London, in late 1919 and early 1920.
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Sarah MacDougall, 'The Early Years of The London Group, 1913–28', in Sarah MacDougall and Rachel Stratton, eds.,
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669:, 2 August 1918, p. 9122). His younger sisters, Katie and Sarah, are listed as having been born in Liverpool.
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John Russell Taylor, 1990, p. 10. The business was owned by the Appelbaum family – friends of the Meninskys.
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and Fry dominated the London Group shows of the 1920s, and to some extent Meninsky's work shares their '
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Ancestry.co.uk, 'UK, British Army World War I Pension Records 1914-1920’. John Russell Taylor in
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of paintings and drawings in compensation was rejected. The debt remained unpaid at his death.
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Picasso's neoclassical style. For three of the winter months of 1935/6 Meninsky travelled to
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and at least five other related works before the end of 1918, all of which are now in the
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Picasso's neoclassism of the 1920s was inspired by studying classical sculpture in Italy.
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318:– a portrait of Margaret Meninsky when she was pregnant with their second child, 1919
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Ancestry.co.uk, 'England & Wales, Civil Registration Marriage Index, 1916–2005'.
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457:, with the newly formed Markova–Dolin Company. Meninsky explained that 'the work of
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Ancestry.co.uk 'England & Wales, Civil Registration Birth Index, 1916–2007'.
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Tate Gallery Archive 8225, 'Letters from BM to Nora Edwards / Nora Meninsky'.
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when Bernard was six weeks old. The family name was apparently 'Menushkin'.
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Sarah MacDougall, 'The Early Years of The London Group, 1913–28', pp. 33–6.
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In 1935 an opportunity arose to design the sets and costume for a ballet,
271:– an organisation that he would be associated with throughout his career.
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Ancestry.co.uk 'UK, British Army World War I Pension Records 1914-1920’.
700:, University of Liverpool and the Contemporary Art Society, 2001, p. 24.
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Meninsky's finances became a little more secure in the pre-war 1930s.
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199:. Roberts would become a lifelong friend and later a colleague at the
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in London's East End. During World War I Meninsky exhibited with the
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There was much to celebrate at the end of the war – Meninsky's son
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in Spain, funded by a grant from the Artists' Benevolent Society.
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In 1913 Meninsky left the Slade to work as a 'pupil/teacher' for
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1258:"'Typescript entitled 'THE ART OF DRAWING by BERNARD MENINSKY
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A Singular Vision: Drawings and Paintings by Bernard Meninsky
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A Singular Vision: Drawings and Paintings by Bernard Meninsky
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Object Lessons: Central Saint Martins Art and Design Archive
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Bernard Meninsky, Tate Archive 8225: Letters from BM to NM.
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Mother and Child: Twenty-Eight Drawings by Bernard Meninsky
203:. Another important contact Meninsky made at this time was
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Uproar! The First 50 Years of the London Group 1913-63
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in London in 1912. His contemporaries there included
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A Meninsky memorial exhibition was organised by the
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The Arrival of a Leave Train, Victoria Station, 1918
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The Arrival of a Leave Train, Victoria Station, 1918
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The Arrival of a Leave Train, Victoria Station, 1918
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1260:, Bernard Meninsky, [1948] – Tate Archive"
1165:, 1935, quoted in John Russell Taylor, 1990, p.77.
334:by the publisher John Lane in the following year.
1394:Academics of the Central School of Art and Design
428:in a synagogue – and they moved to a new flat in
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267:, the Friday Club and, from November 1916, with
1374:British military personnel who died by suicide
726:, Merrell Holberton, London, 1997, pp. 64–107.
625:Special Collections, The University Library.
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1429:English people of Ukrainian-Jewish descent
277:Meninsky had enlisted as a private in the
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1319:75 artworks by or after Bernard Meninsky
1299:75 artworks by or after Bernard Meninsky
858:"War Artists Archive: Meninsky, Bernard"
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775:Anna Gruetzner Robins, 1997, pp. 139–44.
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801:"Friday Club | Artist Biographies"
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894:National Gallery, Dec. 1919–Feb. 1920.
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1233:John Russell Taylor, 1990, pp. 82–3.
1025:Philip Meninsky, 'My Father', p. 15.
1012:Fry's aesthetic is spelt out in his
1061:Monica Bohm-Duchen, 2001, pp. 24–7.
413:, pencil, ink and watercolour, 1928
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972:Philip Meninsky, 'My Father', in
744:John Russsell Taylor, 1990, p. 31.
655:, Redcliffe Press, 1990, pp. 9–10.
418:chorus of the successful operetta
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1384:20th-century English male artists
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1305:site. Retrieved 2 December 2013..
1289:John Russell Taylor, 1990, p. 85.
1244:"Meninsky, Philip (Oral history)"
1201:John Russell Taylor, 1990, p. 79.
1152:John Russell Taylor, 1990, p. 77.
1143:John Russell Taylor, 1990, p. 76.
1116:John Russell Taylor, 1990, p. 62.
1070:John Russell Taylor, 1990, p. 60.
1043:John Russell Taylor, 1990, p. 60.
1034:John Russell Taylor, 1990, p. 54.
985:John Russell Taylor, 1990, p. 57.
963:John Russell Taylor, 1990, p. 40.
766:John Russell Taylor, 1990, p. 33.
713:, Harper Perennial, 2005, p. 481.
547:, a lithograph with gouache, 1946
239:Central School of Arts and Crafts
201:Central School of Arts and Crafts
1107:John Russell Taylor, 1990, p.74.
735:John Russell Taylor, 1990, p.57.
449:New opportunities and approaches
171:Black-and-white reproduction of
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520:War Artists' Advisory Committee
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1339:8 artworks by Bernard Meninsky
903:Matthew Sturgis, 2005, p. 504.
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1389:20th-century English painters
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1409:Artists who died by suicide
594:National Gallery of Ireland
362:. The 'Bloomsbury artists'
159:in Paris for three months.
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753:Sylvia Backemeyer et al.,
602:Victoria and Albert Museum
533:and the pastoral poems of
372:English Post-Impressionist
163:The Slade School and after
573:Portrait of Nora Meninsky
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324:Westminster School of Art
233:at his theatre school in
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1379:Royal Fusiliers soldiers
181:Slade School of Fine Art
135:Early life and education
105:Slade School of Fine Art
1449:British modern painters
1404:Painters from Liverpool
817:, Lund Humphries, 2013.
722:Anna Gruetzner Robins,
261:Whitechapel Art Gallery
95:Liverpool School of Art
1399:Académie Julian alumni
1161:Souvenir programme to
786:"New English Art Club"
711:Walter Sickert: A Life
696:Monica Bohm-Duchen in
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545:Figures in a Landscape
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497:World War II and later
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289:. Meninsky completed
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210:In the autumn of 1912
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1424:English male painters
1183:Picasso's birthplace.
651:John Russell Taylor,
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173:Two Women and a Child
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139:Meninsky was born in
65:Chernigov Governorate
265:New English Art Club
153:Royal College of Art
1459:World War I artists
1434:English printmakers
1419:British war artists
1280:, 12 February 1949.
1278:Art News and Review
942:Westminster Gazette
862:Imperial War Museum
590:Imperial War Museum
558:Art News and Review
295:Imperial War Museum
231:Edward Gordon Craig
1454:Modern printmakers
1329:Modern British Art
1224:Published in 1946.
1212:"Bernard Meninsky"
627:"Bernard Meninsky"
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709:Matthew Sturgis,
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124:Bernard Meninsky
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867:23 November
535:John Milton
378:A new start
316:The Red Hat
245:World War I
216:Henry Tonks
1353:Categories
612:References
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421:Rose-Marie
347:Still Life
53:1891-07-28
930:The Times
515:Paul Nash
411:Ballerina
360:Roger Fry
212:Roger Fry
145:Liverpool
130:Biography
88:Education
976:, p. 15.
920:, p. 98.
235:Florence
117:Painting
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1341:at the
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459:Picasso
224:Cézanne
141:Konotop
61:Konotop
1323:Art UK
1303:Art UK
636:25 May
600:, the
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564:Legacy
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506:Flight
476:Malaga
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463:Derain
349:, 1921
175:, 1913
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1098:1927.
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455:David
1345:site
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