Welcome to YOUR paintings

 The morning session of CDFAS was slightly delayed this month because of a problem with computer technology. Ironically, however, the subsequent lecture demonstrated how this very technology has opened up access to the huge range of art works that are held in public ownership. The audience was made aware of the work of the Public Catalogue Foundation which has revolutionised how our national heritage of paintings is recorded. Our speaker, Amanda Herries, drew on her own experience to explain that traditional catalogues had been cumbersome and unfathomable to the uninitiated. Advances in computer technology have afforded opportunities to make any catalogue immediately available and to provide full colour quality images of the art works that are held on behalf of the nation; sometimes in the most unexpected places.

The initiative itself was a fortunate by-product of a university interview.  Fred Hohler was accompanying his daughter to a Cambridge interview when he decided to visit the Fitzwilliam Museum. He was deeply disappointed by resources available to guide the visitor through the treasures held by the Museum. This was the beginning of the project to find and record all paintings in public ownership. However because of financial constraints at present only oil paintings are being located and catalogued.  It was decided that all paintings are to be included; irrespective of quality, significance or even state of preservation.  This ambitious task does not receive government support and consequently the PCF is constantly seeking funds for this important work.

The original intention was to produce full colour catalogues that are organised according to region. However this strategy proved to be prohibitively expensive because of printing costs. Several of these impressive documents were available to be viewed. It was observed that these beautifully presented catalogues would be wonderful presents for those with attachments to a specific area. Indeed there was talk of fundraising to ensure that Cumbria should be represented.  Each catalogue has a co-ordinator. Our speaker fulfils this role in the Border region. We were given an entertaining account of how she gained access to paintings that were stored in unexpected and inaccessible places. It is this drive to rediscover ‘hidden’ works in unconventional locations that makes the project so fascinating. Paintings are not only held in galleries but in work places, council offices and schools. The audience was especially entertained by a lively and life affirming representation of dinner ladies and a delightful, if specialist, collection of people playing bagpipes.

The collection of information and photographic images has been time consuming and meticulous. Care has been taken to ensure that high quality photographs are taken of each example, even if this involves perching precariously in a manner that would alarm anyone concerned with health and safety considerations. Unfortunately the works held in Cumbria have not yet been fully catalogued. However our speaker demonstrated information that was held on interesting oil paintings in our own region.  

Recently the BBC became involved with the work of the PCF and the fruits of the research can be viewed via a link from the BBC web site. I must admit that I have been distracted from writing this report to test out the efficiency and accessibility of the resource.  Be warned it could become addictive.

The next meeting of CDFAS will be held at Hundith Hill Hotel, Lorton Vale on Thursday  15^th  March. The lecture for March is entitled Angelica Kauffman : An artist in 18^th century England. There is an ideal opportunity to take advantage of the work of the PCF by viewing the examples of the work of the artist that are available on the website. The morning talk takes 10.45 and an afternoon session at 2.00pm. Visitors will be warmly welcomed

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