Harry Phelan Gibb (1870-1948) stands as a fascinating, if somewhat overlooked, figure in the narrative of early 20th-century modern art. A British painter and ceramicist, Gibb immersed himself in the vibrant artistic currents of his time, particularly during his extended stay in Paris. His life and work offer a compelling insight into the cross-cultural exchanges that defined modernism, and his connections with some of the era's leading artists underscore his position within the avant-garde, even if his name does not resonate as loudly today as those of his more famous contemporaries.
Early Life and Artistic Formation
Born in Alnwick, Northumberland, England, in 1870, Harry Phelan Gibb embarked on his artistic journey with a broad European education. His formative years saw him study in various artistic centers, absorbing a range of influences. He began his training in Great Britain, likely in Newcastle and Edinburgh, before venturing to the continent. His studies took him to Antwerp, Belgium, a city with a rich artistic heritage, particularly known for its Baroque masters like Peter Paul Rubens, but also a place where contemporary art movements were taking hold.
Gibb further honed his skills in Munich, Germany, which at the time was another significant hub for artistic innovation, particularly associated with movements like Jugendstil (the German equivalent of Art Nouveau) and the burgeoning expressionist tendencies. This diverse educational background provided Gibb with a solid technical foundation and exposed him to the shifting tides of European art, moving away from strict academicism towards more personal and experimental forms of expression. This period of learning and travel was crucial in shaping his artistic outlook, preparing him for the revolutionary environment he would later encounter in Paris.
The Parisian Crucible: Montparnasse and the Avant-Garde
The true crucible for Gibb’s artistic development was Paris, where he eventually settled and established a studio, living there for approximately 25 years. Arriving in the French capital during the early 1900s, he found himself at the epicenter of the art world, a melting pot of creativity and radical new ideas. This was the era of the "School of Paris," a term describing the incredible concentration of artists, both French and foreign-born, who flocked to the city, particularly to neighborhoods like Montmartre and later Montparnasse.
It was in this dynamic milieu that Gibb forged significant relationships with some of the most groundbreaking artists of the 20th century. He became a known figure among the avant-garde, counting luminaries such as Pablo Picasso, the Spanish co-founder of Cubism, and Henri Matisse, the leading figure of Fauvism, among his acquaintances. He also associated with Juan Gris, another key Cubist painter, and the influential American writer and art patron Gertrude Stein. Stein, whose salon was a legendary meeting place for artists and intellectuals, reportedly held Gibb in high regard, even predicting that alongside Juan Gris, Gibb would be one of the two contemporary painters whose significance would be recognized after her death. This anecdote, whether apocryphal or not, speaks to the esteem in which he was held by perceptive members of the Parisian art scene.
Gibb's active participation in this world is evidenced by his exhibitions. He showed his work at the prestigious Salon d'Automne, an annual exhibition that was instrumental in launching Fauvism in 1905 and showcasing Cubism. By 1909, Gibb had become a Sociétaire (member) of the Salon d'Automne, a mark of recognition and acceptance within the Parisian art establishment, albeit its more progressive wing. His work was also featured alongside that of Matisse, Picasso, and the Dadaist Man Ray in a 1911 Salon exhibition, further cementing his place among the moderns.
Artistic Style: Post-Impressionism and the Pursuit of Modernity
Harry Phelan Gibb’s artistic style is primarily characterized as Post-Impressionist, with a strong leaning towards the structural and color-centric concerns that defined this broad movement. The most profound influence on his work was undoubtedly Paul Cézanne. Cézanne’s revolutionary approach to form, his method of constructing images through planes of color, and his desire to "make of Impressionism something solid and durable, like the art of the museums," resonated deeply with many artists seeking a new pictorial language, Gibb included.
This Cézannian influence is evident in Gibb’s handling of landscape and still life, where he sought to capture underlying structures and a sense of permanence rather than fleeting atmospheric effects. Works like Dartmoor Farm (1931) and Still Life (1932), created later in his career, still bear the hallmarks of Cézanne's impact, showcasing a concern for solid composition and a thoughtful application of color to define form.
Gibb was also known for his bold and sometimes "primitive" use of color, a characteristic that aligned him with the Fauvist sensibility, even if he wasn't strictly a Fauve painter like Matisse, André Derain, or Maurice de Vlaminck. His palette could be vibrant and expressive, used not just for descriptive purposes but to convey emotion and to build the pictorial space. This sensitivity to color was a key aspect of his modernism and would later be a significant point of transmission to artists he influenced.
His subject matter often included landscapes, still lifes, and nudes. Works such as Six Nudes in a Landscape (1915) and Bathers demonstrate his engagement with the human form, often placed within natural settings, a theme explored by many modernists from Cézanne (with his numerous Bather compositions) to Matisse and Picasso. These works likely combined his structural concerns with his expressive use of color. Another notable piece, Still Life with Bowls of Vases of Flowers (1930), would have allowed him to explore form, color, and composition in a controlled setting, a genre beloved by Cézanne and many Post-Impressionists like Vincent van Gogh and Paul Gauguin.
International Recognition: The Armory Show
A significant moment in Gibb’s career, and a testament to his standing as a modern artist, was his inclusion in the 1913 Armory Show in New York City. Officially titled the International Exhibition of Modern Art, the Armory Show was a landmark event that introduced American audiences to European avant-garde art on a large scale. It was a controversial but transformative exhibition, featuring works by European artists such as Marcel Duchamp (whose Nude Descending a Staircase, No. 2 caused a particular sensation), Constantin Brâncuși, Wassily Kandinsky, Francis Picabia, as well as Picasso, Matisse, Cézanne, and Gauguin.
For Harry Phelan Gibb to be among the artists selected for this pivotal exhibition indicates that his work was recognized as part of the modernist vanguard. It placed him in the company of those who were actively redefining the very nature of art. This participation underscores that Gibb was not merely a provincial artist but one whose work was considered relevant on an international stage, contributing to the broader dialogue of modernism.
Challenges and a Return to Britain
The outbreak of the First World War in 1914 marked a turning point for many artists, and Gibb was no exception. The vibrant international community in Paris was disrupted, and Gibb eventually returned to Great Britain. The post-war period and the 1920s proved to be a challenging time for his career. The artistic landscape was shifting, and perhaps outside the stimulating environment of Paris, or due to changing tastes, his work did not find the same level of consistent recognition it once had.
There's also a curious incident mentioned where a planned exhibition of his work in 1914 was reportedly cancelled due to objections from a Catholic priest, possibly due to the perceived radicalism or the nature of his nudes. The works were apparently not shown publicly until 1930. This highlights the resistance that modern art often faced from more conservative elements of society.
Despite these setbacks, Gibb continued to paint, often traveling throughout Britain and France in search of subject matter and inspiration. His dedication to his artistic vision remained, even if the spotlight had temporarily dimmed.
Rediscovery and the Wertheim Gallery
A significant revival in Harry Phelan Gibb’s career occurred in the 1930s, largely thanks to the efforts of the art dealer Lucy Wertheim. Wertheim was a passionate supporter of modern British art and opened her gallery in London with the aim of promoting contemporary artists, particularly those she felt were underappreciated. She "rediscovered" Gibb and became a champion of his work, organizing several exhibitions for him at the Wertheim Gallery.
These exhibitions helped to bring Gibb back into public view and restore his market position to some extent. Being shown in a gallery dedicated to modern art, alongside other contemporary British artists, reaffirmed his relevance. Wertheim's support was crucial during a period when many artists struggled due to economic depression and the looming threat of another war. Her belief in his talent provided him with a platform and much-needed encouragement. This period saw the creation of works like Dartmoor Farm and Still Life, indicating his continued artistic activity and development.
The Influence on Emily Carr
One of the most notable aspects of Harry Phelan Gibb’s legacy is his influence on the Canadian artist Emily Carr. Carr, a pioneering figure in Canadian modern art, traveled to France in 1910 to further her art studies. She spent time studying with Gibb, and this encounter proved to be transformative for her.
Gibb introduced Carr to the expressive use of color and the principles of Post-Impressionism and Fauvism. He encouraged her to move beyond the more traditional, muted palette she had been using and to embrace a bolder, more vibrant approach to painting. Under his tutelage, Carr learned about dynamic compositions and the emotional power of color. She later wrote about how Gibb taught her about the "new art," emphasizing rhythm, bold brushwork, and a direct, emotional response to the subject.
Upon her return to Canada, Carr applied these lessons to her depictions of the landscapes and Indigenous cultures of British Columbia. Works like her Autumn in France (1911) directly reflect Gibb's influence, and this new, powerful style became a hallmark of her mature work, making her one of Canada's most important and beloved artists. Gibb's role as a mentor to Carr is a significant, if indirect, contribution to the development of modern art in Canada. Other artists Carr encountered in France who also shaped her included Frances Hodgkins.
Contemporaries and the Artistic Milieu Revisited
To fully appreciate Gibb's position, it's worth reiterating the constellation of artists around him. In Paris, he was not merely an observer but an active participant in a scene that included:
Pablo Picasso and Georges Braque: Together, they were forging Cubism, deconstructing form and revolutionizing pictorial space.
Henri Matisse: Leading the Fauves with their explosive use of non-naturalistic color.
Juan Gris: Developing a more systematic and analytical approach to Cubism.
Paul Cézanne: Though he died in 1906, his retrospective at the 1907 Salon d'Automne was a monumental event, profoundly influencing Gibb and many others.
Gertrude Stein: Her patronage and intellectual engagement were vital for many avant-garde artists.
Amedeo Modigliani: Another expatriate artist in Paris, known for his distinctive portraits and nudes.
Fernand Léger: Who developed his own robust, "tubist" brand of Cubism.
Robert Delaunay and Sonia Delaunay: Pioneers of Orphism, focusing on pure color and dynamic abstraction.
While Gibb may not have reached the same towering heights of fame as Picasso or Matisse, his association with these figures and his absorption of their innovative ideas demonstrate his engagement with the cutting edge of art. He was part of the conversation, contributing his own interpretations of modernism.
Legacy: An Unsung Hero of Modernism
Harry Phelan Gibb passed away in 1948. While he may be considered one of the "unsung heroes" of British and European modernism, his contributions are undeniable. His work embodies the spirit of artistic exploration that characterized the early 20th century. He bravely embraced new forms of expression, absorbing the lessons of Post-Impressionism, particularly from Cézanne, and developing a personal style marked by strong color and structural integrity.
His participation in key exhibitions like the Salon d'Automne and the Armory Show, his friendships with leading avant-garde figures, and his influential role as a teacher to Emily Carr all attest to his significance. Though perhaps overshadowed by more radical innovators or those with more effective self-promotion, Gibb's dedication to his modern vision resulted in a body of work that is increasingly being re-evaluated and appreciated.
His story is a reminder that the history of art is not just made up of a few famous names, but is a rich tapestry woven from the contributions of many dedicated individuals. Harry Phelan Gibb was one such artist, a brave and modern painter whose work forms a valuable part of our permanent cultural heritage, offering a bridge between British art traditions and the revolutionary movements centered in Paris. His journey reflects the internationalism of modern art and the enduring quest for new ways to see and represent the world. The renewed interest in his work ensures that his unique voice continues to be heard.
