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Edward Burra
No full textPresenter Keith Dewhurst gives basic biographical facts about Edward Burra, now living in Sussex, and describes the programme to follow. Edward Burra talking to Carole Smith about why he dislikes interviews. Burra’s garden. Burra in his garden. Burra at work on painting. Lefevre Gallery. Sir Frederick Ashton talking about Burra whom he’s known for many years. Sketch by Burra of women on street corner. Barbara Ker-Seymer, who went to art school with Burra, on the "sinister objects" in the detail of his work. Sketches of working class women. William Chappell on their belief that it was "common and vulgar" to talk about art. Sketches of parties, etc. Beatrice Dawson on Burra’s apparent "throwing away" of any seriousness. Sketch of theatre audience. Unidentified speaker quoting Burra as complaining that "They’ve asked me to talk about fart…" Burra showing some of his postcard collection. Burra leaving his house and going grocery shopping. Cooking sausages. Eating and drinking at cluttered table. Marriage à la mode. Burra’s response to Carole Smith’s questions about which of his own works he likes best. The Two Sisters (1929). Burra. Painting of café interior. Burra responding to Smith’s questions about his gallery going activities. Street scene. Burra on seldom hanging up any of his own paintings. Painting of sea-food restaurant.. Burra on leaving his paintings on the floor and in cupboards until people started to buy them. Minuit Chanson (1931). Barbara Ker-Seymer on an excursion to Toulon when Burra (unlike the rest, who chose rooms overlooking the harbour) took a dark room overlooking the tramway where he painted while the others went to the beach. Painting of diners. Mrs Anne Ritchie (the artist’s sister) explains how Burra would go away without telling anyone what he was doing. Harlem Scene. Anne Ritchie. Chile con Carne (1937). Burra playing a 1960s recording of Don’t Roll Those Bloodshot Eyes at Me. Painting of interior of dance hall. Burra on "being pried on". Painting of street scene. Burra’s response to questions about causes for anger and irritation. Paintings including Procession (1948), intercut with Burra on receiving a medal from the French government. Burra on what he talks about with his friends – rarely about art. Paintings of birds and an elephant intercut with Burra on going to London to see friends. Burra on railway station. In street with George Melly. Interior of "The Windsor Castle" club; drag artists "The Dumbells" (formerly "The Carbolic Sisters"). Burra and Melly. Painting of people round stove. Anne Ritchie talking about visiting her brother and caring for his vegetable garden. Painting of flowers. Ritchie on Burra’s liking for animals and the countryside. Painting of landscape. Burra says he likes living in the country. Painting of townscape. Burra on the encroachment of suburbia. Painting of petrol station. Burra thinks "the North" is better. Painting of landscape. Burra on views from arterial roads. An English Country Scene No.2 (1970). Burra on why he paints trucks. Painting of lorry on hill road. Burra’s brief response on truckdrivers. An English Country Scene No.2. Burra on truckdrivers. Painting of car crash. Burra on the subjects of his paintings. Painting of street scene. Burra on fending off interview questions, etc. The Lefevre Gallery. Gerald Corcoran, the unidentified man, Frederick Ashton, and Barbara Ker-Seymer on Burra’s character. Burra laughing about other people improving themselves by looking at pictures. Credits
Edward Burra - ACE035.4
No full textMrs Anne Ritchie (the artist’s sister) explains how Burra would go away without telling anyone what he was doing. Harlem Scene. Anne Ritchie. Chile con Carne (1937). Burra playing a 1960s recording of Don’t Roll Those Bloodshot Eyes at Me. Painting of interior of dance hall. Burra on "being pried on". Painting of street scene. Burra’s response to questions about causes for anger and irritation. Paintings including Procession (1948), intercut with Burra on receiving a medal from the French government. Burra on what he talks about with his friends – rarely about art. Paintings of birds and an elephant intercut with Burra on going to London to see friends. Burra on railway station. In street with George Melly. Interior of "The Windsor Castle" club; drag artists "The Dumbells" (formerly "The Carbolic Sisters"). Burra and Melly. Painting of people round stove
Edward Burra - ACE035.2
No full textPresenter Keith Dewhurst gives basic biographical facts about Edward Burra, now living in Sussex, and describes the programme to follow. Edward Burra talking to Carole Smith about why he dislikes interviews. Burra’s garden. Burra in his garden. Burra at work on painting. Lefevre Gallery. Sir Frederick Ashton talking about Burra whom he’s known for many years. Sketch by Burra of women on street corner. Barbara Ker-Seymer, who went to art school with Burra, on the "sinister objects" in the detail of his work. Sketches of working class women. William Chappell on their belief that it was "common and vulgar" to talk about art. Sketches of parties, etc. Beatrice Dawson on Burra’s apparent "throwing away" of any seriousness. Sketch of theatre audience. Unidentified speaker quoting Burra as complaining that "They’ve asked me to talk about fart…" Burra showing some of his postcard collection. Burra leaving his house and going grocery shopping. Cooking sausages. Eating and drinking at cluttered table
Edward Burra - ACE035.5
No full textAnne Ritchie talking about visiting her brother and caring for his vegetable garden. Painting of flowers. Ritchie on Burra’s liking for animals and the countryside. Painting of landscape. Burra says he likes living in the country. Painting of townscape. Burra on the encroachment of suburbia. Painting of petrol station. Burra thinks "the North" is better. Painting of landscape. Burra on views from arterial roads. An English Country Scene No.2 (1970). Burra on why he paints trucks. Painting of lorry on hill road. Burra’s brief response on truckdrivers. An English Country Scene No.2. Burra on truckdrivers. Painting of car crash. Burra on the subjects of his paintings. Painting of street scene. Burra on fending off interview questions, etc. The Lefevre Gallery. Gerald Corcoran, the unidentified man, Frederick Ashton, and Barbara Ker-Seymer on Burra’s character. Burra laughing about other people improving themselves by looking at pictures. Credits
Edward Burra - ACE035.3
No full textMarriage à la mode. Burra’s response to Carole Smith’s questions about which of his own works he likes best. The Two Sisters (1929). Burra. Painting of café interior. Burra responding to Smith’s questions about his gallery going activities. Street scene. Burra on seldom hanging up any of his own paintings. Painting of sea-food restaurant.. Burra on leaving his paintings on the floor and in cupboards until people started to buy them. Minuit Chanson (1931). Barbara Ker-Seymer on an excursion to Toulon when Burra (unlike the rest, who chose rooms overlooking the harbour) took a dark room overlooking the tramway where he painted while the others went to the beach. Painting of diners
The Burra Interview - ACE117.2
No full textCredits. Caption: "On two consecutive Tuesdays in April 1972, Edward Burra was interviewed during the making of the Arts Council sponsored film on the artist and his work. The intention was to obtain statements that could be taken out of context for inclusion in the film, but Edward Burra had other ideas about the way the interview should be conducted. The resulting dialogue presents a unique portrait of an artist who had never previously been filmed. "The film consists of all the interview material assembled in chronological order, un-edited and with only a few fragments of technically faulty footage cut out." 17th April, 1972: Edward Burra talks about science fiction and fantasy fiction. Says he’d bored. Would rather be painting. Loses connection with older paintings. Probably likes some more than others but doesn’t know which. Doesn’t remember when he painted things. Currently likes painting landscapes – but might not. Doesn’t have anything to say about his landscapes with trucks. Doesn’t want to talk about certain things as he doesn’t want to offend people. Talks about visiting galleries: sometimes looks at his own paintings but sometimes doesn’t as he already knows them. Frames make pictures look different. Used to talk about films, rarely about paintings. Talks with friends about books, the theatre, how terrible actors are, very little about art. He claims to know very few artists. Prefers the country to the town. Visits London occasionally to see friends. Slate for end of take
The Burra Interview
No full textCredits. Caption: "On two consecutive Tuesdays in April 1972, Edward Burra was interviewed during the making of the Arts Council sponsored film on the artist and his work. The intention was to obtain statements that could be taken out of context for inclusion in the film, but Edward Burra had other ideas about the way the interview should be conducted. The resulting dialogue presents a unique portrait of an artist who had never previously been filmed. "The film consists of all the interview material assembled in chronological order, un-edited and with only a few fragments of technically faulty footage cut out." 17th April, 1972: Edward Burra talks about science fiction and fantasy fiction. Says he’d bored. Would rather be painting. Loses connection with older paintings. Probably likes some more than others but doesn’t know which. Doesn’t remember when he painted things. Currently likes painting landscapes – but might not. Doesn’t have anything to say about his landscapes with trucks. Doesn’t want to talk about certain things as he doesn’t want to offend people. Talks about visiting galleries: sometimes looks at his own paintings but sometimes doesn’t as he already knows them. Frames make pictures look different. Used to talk about films, rarely about paintings. Talks with friends about books, the theatre, how terrible actors are, very little about art. He claims to know very few artists. Prefers the country to the town. Visits London occasionally to see friends. Slate for end of take.Burra laughs at the idea that people will improve themselves by looking at his pictures. Pressed by interviewer, he repeats that he doesn’t really like talking about art. Adds that papers sometimes write nonsense about him. But it doesn’t matter what people say. Nothing matters. Hardly ever hangs up his paintings. Used to leave them lying about and put them in cupboards. Now people buy them. Used to draw on both sides of the paper; one was framed so that it could be turned over. Two for one, a bargain. Says he’s sometimes misquoted but can’t think of examples. Why get angry with people? Doesn’t like formality such as having to hire a morning coat to go to Paris to receive a medal; didn’t go. Some artists like being asked about their work, but Burra thinks it’s bad to pry. Countryside has changed, particularly along main roads – too many gnomes and carriage lamps. Better in the North. Likes Yorkshire as it’s "nice and bare". Likes views of big arterial roads. Likes gangster pictures and films with Pola Negri and Gloria Swanson which he has seen again at the National Film Theatre. Does his own shopping. Likes Mexico and the United States. While he was there he’d drink, read books, visits people. Paints straight onto paper, though used to do drawings. Stayed with friends in Florence. Very crowded there. Did a painting of the Zona Industriale. Writes letters; likes getting some letters but not others. Has a old suitcase instead of a filing system. Doesn’t have a view on the rightness or wrongness of making films about people. It’s all right if people go to see them. Journalists usually get everything a teeny bit wrong. He never tells anybody anything so they just make it up. Doesn’t really matter. Doesn’t know if he will go to see his exhibition at the Tate. Has no serious friends – only thought of fashions and Vogue and going to the cinema
The Burra Interview - ACE117.3
No full textBurra laughs at the idea that people will improve themselves by looking at his pictures. Pressed by interviewer, he repeats that he doesn’t really like talking about art. Adds that papers sometimes write nonsense about him. But it doesn’t matter what people say. Nothing matters. Hardly ever hangs up his paintings. Used to leave them lying about and put them in cupboards. Now people buy them. Used to draw on both sides of the paper; one was framed so that it could be turned over. Two for one, a bargain. Says he’s sometimes misquoted but can’t think of examples. Why get angry with people? Doesn’t like formality such as having to hire a morning coat to go to Paris to receive a medal; didn’t go. Some artists like being asked about their work, but Burra thinks it’s bad to pry. Countryside has changed, particularly along main roads – too many gnomes and carriage lamps. Better in the North. Likes Yorkshire as it’s "nice and bare". Likes views of big arterial roads. Likes gangster pictures and films with Pola Negri and Gloria Swanson which he has seen again at the National Film Theatre. Does his own shopping. Likes Mexico and the United States. While he was there he’d drink, read books, visits people. Paints straight onto paper, though used to do drawings. Stayed with friends in Florence. Very crowded there. Did a painting of the Zona Industriale. Writes letters; likes getting some letters but not others. Has a old suitcase instead of a filing system. Doesn’t have a view on the rightness or wrongness of making films about people. It’s all right if people go to see them. Journalists usually get everything a teeny bit wrong. He never tells anybody anything so they just make it up. Doesn’t really matter. Doesn’t know if he will go to see his exhibition at the Tate. Has no serious friends – only thought of fashions and Vogue and going to the cinema
Burra tied by house
No full textBurra tied by house; photo by Sebastian Rodriguezhttps://digitalcommons.acu.edu/coc_missions_photos/1602/thumbnail.jp
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