Augustus john

The only answer to the question ‘What connects Brian Epstein, Frank Lloyd Wright, Portofino and Stevenage?’ is ‘Portmeirion’, a conceptualised village on the north Wales coast. You could call it a folly, except it is living, not dead; and it exerts a lasting fascination. Traditional modernists deplore its flamboyant historicism – ‘retro-kitsch whimsy’ – but Jan Morris, a neighbour, said that only prigs and bores are truly hostile. Portmeirion needs a lot of explaining, as Sarah Baylis does in this first independent study of an enchanting project. It is well-researched, but not an academic reference book nor a continuous narrative. Instead, it is an eclectic album of comment and recollection,

‘Dearest Gwen,’ writes Celia Paul, born 1959, to Gwen John, died 1939, ‘I know this letter to you is an artifice. I know you are dead and that I’m alive… But I do feel mysteriously connected to you.’ And well she might, because the parallels between the lives of the two painters are legion. To take the most obvious: both were students at the Slade, both had relationships with much older artists and both came to be seen, for a time at least, through the prism of their association with men. Gwen John was the older sister of the once more famous Augustus and model and lover of the French