Dinah Roe Kendall - Diocese of Canterbury · The newsletter of the Diocese of The magazine of the...
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The magazine of the Diocese of Canterbury FOR UP-TO-DATE NEWS AND EVENTS www.canterburydiocese.org Follow the Bishop of Dover and Diocese of Canterbury on Facebook and YouTube A well-known artist, with images of her work held in the Bridgeman Art Library in London, Paris, Berlin and New York and featuring in her book ‘Allegories of Heaven’, Dinah’s vibrant biblical scenes put Jesus in everyday settings and tell his story to everyone who sees them. Hannah Sewell met her in her home in Folkestone to find out about her paintings and why Matthew 13 v16-17 inspires her work. MEET THE PEOPLE Dinah Roe Kendall To the disciples Jesus said: “But you have God- blessed eyes – eyes that see! And God blessed ears – ears that hear! A lot of people, prophets and humble believers among them, would have given anything to see what you are seeing and to hear what you were hearing, but never had the chance.” Matt 13v16-17, ‘e Message.’ Do you think art has an important role to play in introducing Jesus to people? Yes, very. I think it can be quite powerful because anybody can read it and understand it. It’s my way of talking to people; I’m telling a story! I hope they might see the little text I put in the corner and look it up and read it aſterwards; as Jesus said in Matthew 13 “at’s why I tell stories: to create readiness, to nudge the people toward receptive insight”. at’s why I paint! For you, has art always been connected to your faith? When I was at the Slade art school, they set us a summer holiday picture to do, based on e Sermon on the Mount. at was my first Biblical painting, and that was when I really found what I wanted to do. My faith is very valuable, and very central to everything I do. e first time I met my husband, Nigel, was when he posed as Jesus for one of my paintings. I was in a café in Bakewell one morning and some fellows came in and said to me ‘why don’t you come to the Sheep Dog trials?’ ey were unknown to me so I declined but explained ‘I’ve got a painting to do and I need a model.’ A voice popped up saying ‘I’ll do it!’ at was how I first met my husband. Were you brought up as a Christian? No. It was when I was at the Slade that I was busy searching for an answer, not knowing that I was really searching for Jesus. I went to hear an old friend in the Albert Hall explaining how he came to faith in Jesus. When an opportunity was given I stood up and made a ‘business deal’ with the Lord – ‘I want to follow you.’ ree months later I went with my husband to see one of his patients being baptised in a Baptist church in the East End of London. Just before the service we asked the Baptist minister ‘Can we be baptised as well?’ – ‘Yes, of course you can’. It was a full immersion baptism and it was so fulfilling and beautiful. at was when I fully knew what it was to love Him and to know that He loves me too, truly forgives me and fills me with the Holy Spirit. How do you formulate one of your paintings? In the course of my daily readings, a particular subject or ‘picture’ takes my attention, I go back and read it again and again, follow any references etc. until I’ve thoroughly digested it. en I can start putting down thoughts and ideas in a rough state. For instance for my painting of the crucifixion, I read Isaiah 52 and 53 until it got me crying, then Luke 23, over and over and over. How did you become an artist? My father always wanted me to be an artist and encouraged my drawing. We have a strong family history of artistic involvement. He always wanted me to go to the Slade, but when he died in 1943 I went as a Red Cross Nurse for my War Service. With an ex-service grant I went to the Sheffield Art School, where one of my teachers urged me to go to London. So with a portfolio I went to London to the Royal College and the Chelsea with no success. Aſter much hesitation I went to the Slade, at the last moment before getting on the train. ey took my folio and showed me into a Life-drawing class. It was wonderful! ey leſt me in there for three hours and then I returned home. Ten days later I received a letter saying, ‘Come at once’ and I did! Did you take time out of painting to bring up the family? I’ve had five children – four boys and one daughter. I had them all in five years, but bringing up the family took fiſteen years out of any possibility of painting. Also, one of our sons was killed in a car accident at the age of seventeen and we still miss him so much, though it was over forty years ago. When we first lived in Cyprus on military service, we had a shooting at our home in Limassol – mercifully no one was killed, but I was so angry that I raced to the dining room window, flung it open and shouted out angry words only to find it utterly silent on the street outside! We had just finished our tea on the veranda and Nigel had taken the three young children to the bath – the three shots just missed the soldier who was staying with us. What has been the best bit in your career as an artist? I think my exhibition in the Chapel of Doncaster Prison. e prisoners were very interested and during the month of the exhibition I oſten went over to talk to them and that was lovely. ey asked me all sorts of questions and got quite involved with the paintings. My ‘Good Samaritan’ painting interested them particularly for the Samaritan is black and the injured man white - that spoke to them quite strongly, because of the mix among the prisoners. e prison’s governor bought the painting, and used it when giving lectures about the prison mix of backgrounds, oſten to the police. What’s your favourite of all your paintings? Probably the painting of the Ascension: He has ascended, but he’s coming back! I keep saying to Him, don’t delay much longer, Lord, just come back quickly! I’ve seen that you once said that your painting has got ‘more exciting’ as you’ve got older - is that still true? Oh I think so. As I continue to read the Bible, I get so incredibly involved and many of the stories and situations are so exciting, when you read yourself and even more so when you read together with others of like mind. Finally, what are your plans for Christmas? We usually visit one of our sons’ homes in Sheffield – he has one son and three daughters – at present one grandson also! Christmas is spent there, then we travel to London, where we have three homes to visit with children, grandchildren and great-grandchildren. One of the families attends an excellent north- London church, which we always enjoy attending. ere are also four grandchildren’s homes to visit, so it becomes a busy London trip! Christmas becomes a very happy time of seeing them all. I love the midnight service at Christmas and find it very special. We do especially enjoy the gathering together that happens at Christmas. Also, most of the boys are remarkably good cooks! Dinah’s work will feature in the Diocesan Novena, ‘Pocket Prayers’ from May 15th - 23rd 2015.
Transcript of Dinah Roe Kendall - Diocese of Canterbury · The newsletter of the Diocese of The magazine of the...
The magazine of the Diocese of CanterburyThe newsletter of the Diocese of Canterbury
FOR UP-TO-DATE NEWS AND EVENTS www.canterburydiocese.orgFollow the bishop of dover and diocese of canterbury on Facebook and Youtube
a well-known artist, with images of her work held in the bridgeman art Library in London, paris, berlin and new York and featuring in her book ‘allegories of heaven’, dinah’s vibrant biblical scenes put Jesus in everyday settings and tell his story to everyone who sees them.
hannah Sewell met her in her home in Folkestone to find out about her paintings and why matthew 13 v16-17 inspires her work.
MEET THE PEOPLE
Dinah Roe Kendall
To the disciples Jesus said: “But you have God-blessed eyes – eyes that see! And God blessed ears – ears that hear! A lot of people, prophets and humble believers among them, would have given anything to see what you are seeing and to hear what you were hearing, but never had the chance.” Matt 13v16-17, ‘The Message.’Do you think art has an important role to play in introducing Jesus to people? Yes, very. I think it can be quite powerful because anybody can read it and understand it. It’s my way of talking to people; I’m telling a story! I hope they might see the little text I put in the corner and look it up and read it afterwards; as Jesus said in Matthew 13 “That’s why I tell stories: to create readiness, to nudge the people toward receptive insight”. That’s why I paint! For you, has art always been connected to your faith? When I was at the Slade art school, they set us a summer holiday picture to do, based on The Sermon on the Mount. That was my first Biblical painting, and that was when I really found what I wanted to do. My faith is very valuable, and very central to everything I do. The first time I met my husband, Nigel, was when he posed as Jesus for one of my paintings. I was in a café in Bakewell one morning and some fellows came in and said to me ‘why don’t you come to the Sheep Dog trials?’ They were unknown to me so I declined but explained ‘I’ve got a painting to do and I need a model.’ A voice popped up saying ‘I’ll do it!’ That was how I first met my husband.Were you brought up as a Christian? No. It was when I was at the Slade that I was busy searching for an answer, not knowing that I was really searching for Jesus. I went to hear an old friend in the Albert Hall explaining how he came to faith in Jesus. When an opportunity was given I stood up and made a ‘business deal’ with the Lord – ‘I want to follow you.’ Three months later I went with my husband to see one of his patients being baptised in a Baptist church in the East End of London. Just before the service we asked the Baptist minister ‘Can we be baptised as well?’ – ‘Yes, of course you can’. It was a full immersion baptism and it was so fulfilling and beautiful. That was when I fully
knew what it was to love Him and to know that He loves me too, truly forgives me and fills me with the Holy Spirit.
How do you formulate one of your paintings? In the course of my daily readings, a particular subject or ‘picture’ takes my attention, I go back and read it again and again, follow any references etc. until I’ve thoroughly digested it. Then I can start putting down thoughts and ideas in a rough state. For instance for my painting of the crucifixion, I read Isaiah 52 and 53 until it got me crying, then Luke 23, over and over and over.
How did you become an artist? My father always wanted me to be an artist and encouraged my drawing. We have a strong family history of artistic involvement. He always wanted me to go to the Slade, but when he died in 1943 I went as a Red Cross Nurse for my War Service. With an ex-service grant I went to the Sheffield Art School, where one of my teachers urged me to go to London. So with a portfolio I went to London to the Royal College and the Chelsea with no success. After much hesitation I went to the Slade, at the last moment before getting on the train. They took my folio and showed me into a Life-drawing class. It was wonderful! They left me in there for three hours and then I returned home. Ten days later I received a letter saying, ‘Come at once’ and I did!
Did you take time out of painting to bring up the family? I’ve had five children – four boys and one daughter. I had them all in five years, but bringing up the family took fifteen years out of any possibility of painting. Also, one of our sons was killed in a car accident at the age of seventeen and we still miss him so much, though it was over forty years ago.
When we first lived in Cyprus on military service, we had a shooting at our home in Limassol – mercifully no one was killed, but I was so angry that I raced to the dining room window, flung it open and shouted out angry words only to find it utterly silent on the street outside! We had just finished our tea on the veranda and Nigel had taken the three young children to the bath – the three shots just missed the soldier who was staying with us.
What has been the best bit in your career as an artist? I think my exhibition in the Chapel of Doncaster Prison. The prisoners were very interested and during the month of the exhibition I often went over to talk to them and that was lovely. They asked me all sorts of questions and got quite involved with the paintings. My ‘Good Samaritan’ painting interested them particularly for the Samaritan is black and the injured man white - that spoke to them quite strongly, because of the mix among the prisoners. The prison’s governor bought the painting, and used it when giving lectures about the prison mix of backgrounds, often to the police.
What’s your favourite of all your paintings? Probably the painting of the Ascension: He has ascended, but he’s coming back! I keep saying to Him, don’t delay much longer, Lord, just come back quickly!
I’ve seen that you once said that your painting has got ‘more exciting’ as you’ve got older - is that still true? Oh I think so. As I continue to read the Bible, I get so incredibly involved and many of the stories and situations are so exciting, when you read yourself and even more so when you read together with others of like mind.
Finally, what are your plans for Christmas? We usually visit one of our sons’ homes in Sheffield – he has one son and three daughters – at present one grandson also! Christmas is spent there, then we travel to London, where we have three homes to visit with children, grandchildren and great-grandchildren. One of the families attends an excellent north-London church, which we always enjoy attending. There are also four grandchildren’s homes to visit, so it becomes a busy London trip! Christmas becomes a very happy time of seeing them all. I love the midnight service at Christmas and find it very special. We do especially enjoy the gathering together that happens at Christmas. Also, most of the boys are remarkably good cooks!
Dinah’s work will feature in the Diocesan Novena, ‘Pocket Prayers’ from May 15th - 23rd 2015.
