Mary Stainbank
Mary Agnes Stainbank (1899–1996) was a South African sculptor.
Early life
Stainbank born in 1899 on the farm Coedmore in Bellair, Durban, Colony of Natal. She was educated at St. Anne's Diocesan College at Hilton, Colony of Natal.[1] She trained at the Durban School of Art from 1916 to 1921 under John Adams and Alfred Martin, and from 1922 to 1924 at the Royal College of Art, London, under William Rothenstein and Frederick John Wilcoxson. She was awarded a Royal College scholarship in 1925 and studied bronze casting at an engineering firm in London.
Working life
On her return to South Africa in 1926 she established a sculpture studio – Ezayo - on the Coedmore estate where, between 1926 and 1940, she produced her finest work. she was influenced by Eric Gill and Jacob Epstein.[2]
Though credited with introducing a modern school of sculpture to South Africa during her early career, she was often criticized for her use of avant-garde images.[3] Her choice of African subject matter and her use of sharp, angular forms and distortion of limbs to depict her subjects shocked the largely conservative viewers of the time, who were used to the romantic-realist style of South African artists.[4] As a result, her sculptures did not appeal to the buying public of the day. Many of her freestanding sculptures were shown during the 1930s at exhibitions organized by the Natal Society of Artists.
After service in a military drawing office during World War II she was appointed as head of the sculpture department at the Durban School of Art, where she lectured until 1957.
Though her work did not sell, she continued to create sculptures, which were housed in her studio at Coedmore. In the 1980s, a large body of these works went on display at the Old Parliament Buildings in Pietermartzburg. This collection was subsequently transferred to the Voortrekker/Msunduzi Museum in Pietermaritzburg. With the restructuring of that museum, the work was returned to the Stainbank family.
Mary Stainbank Memorial Gallery
The Stainbank collection is generally regarded as the largest body of work by a single artist in South Africa to have remained intact. The collection is housed at the Mary Stainbank Memorial Gallery at Coedmore, the original Stainbank family estate, where the family settled in the 1880s.[5][6]
Works
During her career, Stainbank produced many portraits of the people who lived on the Coedmore estate as well as architectural commissions that she received. These include decorations on buildings, in Durban, such as the Children's Hospital at Addington Beach and the government offices in the CBD.
Her many public sculptures in Durban include the Flower Sellers; her really fun gargoyle-like figures on the old Receiver of Revenue building; the pediments and ceramics at the old Addington Children's Hospital and the bronze sculpture of John Ross standing on Durban's Victoria Embankment. The reredos in the church of All Saints Maidstone was done by Stainbank. She designed the Springbok trophy for the South African Polo Association.[7] She produced the architectural decorations for the Port Elizabeth Magistrates' Court.[2]
Notes and references
- "Mary Agnes Stainbank". South African History Online. Retrieved 17 May 2015.
- HSRC 2000, p. 184.
- Hillebrand 1987.
- Afọlayan 2004, p. 134.
- Mpofu, Mbali (9 December 2013). "Stainbank gallery opens to plaudits". Southlands Sun. Retrieved 17 May 2015.
- Harber 2013.
- Laffaye 2015, p. 354.
- Mary Stainbank: Retrospective Exhibition. Durban Arts Association. 1988. ISBN 978-0-620-13028-8.
- Laffaye, Horace A. (2015). The Polo Encyclopedia (2nd ed.). McFarland. ISBN 978-0-7864-9577-1.
- Webb, Mary (1985). Precious Stone: The Life and Works of Mary Stainbank. Knox. ISBN 978-0-620-08664-6.
- Hillebrand, Melanie (1987). "Mary Stainbank: Sculptress of Natal" (PDF). Natalia. The Natal Society Foundation. 17. Retrieved 17 May 2015.
- Leigh, V. (1998). Mary Stainbank Collection of Sculpture.
- HSRC (2000). Women Marching Into the 21st Century: Wathint' Abafazi, Wathint' Imbokodo. HSRC Press. ISBN 978-0-7969-1966-3.
- Afọlayan, Funso S. (2004). Culture and Customs of South Africa. Greenwood. ISBN 978-0-313-32018-7.
- Rankin, Elizabeth Deane; Dell, Elizabeth; Julia, Meintjes (1989). Images of wood: aspects of the history of sculpture in 20th-century South Africa. Johannesburg Art Gallery. ISBN 978-0-620-13867-3.
- Liebenberg-Barkhuizen, Estelle (2002). "Mary Stainbank and popular culture : images of the "i[n]digene"". South African Journal of Art History. 17. hdl:2263/15086.
- Arnold, Marion I.; Schmahmann, Brenda (2005). Between Union and Liberation: Women Artists in South Africa 1910-1994 (PDF). Ashgate. ISBN 978-0-7546-3240-5.
- Liebenberg, E (1996), Representing "the Other": some thoughts on Mary Stainbank's iconography, Pietermaritzburg: Unpublished paper, Conference of the South African Association of Art Historians
- Van Eeden, Jeanne (1998). "Irma Stern's first exhibition in Pretoria, 1933". South African Journal of Art History. 13. hdl:2263/14624.
- Harber, Rodney (5 June 2013), Heritage Report : Proposed Mary Stainbank Memorial Art Gallery (PDF), Harber and Associates, retrieved 17 May 2015