Tristram Hillier regularly sought inspiration in Spain and Portugal
This section features five paintings of Spain and Portugal created between 1947-62 – click through the gallery below to explore
Hillier first visited Spain in 1935 and after the war he returned there, and to Portugal, as often as he could. He was powerfully affected by their landscapes, architecture and way of life.
He made preparatory sketches and took photographs during his long summer visits. Then he worked at home in Somerset to complete his paintings. Hillier’s intensely-observed style demanded meticulous focus and care.
He had a strict daily routine in the studio and disliked being disturbed by friends or family. A life of creative solitude was underpinned by his Catholic faith and an almost spiritual devotion to painting.
Photograph and sketches from Hillier’s travels, c. 1950s 
Postcard of Alcañiz’s town square, c. 1950s
Southampton City Art Gallery
© The Estate of Tristram Hillier / Bridgeman Images
Oil on canvas, 25 x 29 cm
The architecture of Spain and Portugal appears repeatedly in Hillier’s paintings. His depictions of churches and town squares are characterised by bright sun, long shadows and dream-like stillness. Chapel of the Misericordia dates from one of his first post-war visits to Portugal and is set in the ancient city of Viseu. He later wrote, ‘I have done a painting of the Baroque facade of the Misericordia which has nearly sent me blind, but it is rather a “tour de force” of detail.’
The architecture of Spain and Portugal appears repeatedly in Hillier’s paintings. His depictions of churches and town squares are characterised by bright sun, long shadows and dream-like stillness.
Chapel of the Misericordia dates from one of Hilliers first post-war visits to Portugal and is set in the ancient city of Viseu. Hillier was interested in the Baroque architecture of Viseu. He owned several photographic reproductions of the chapel and it is likely that these were utilised when producing this painting.
Hillier later wrote, ‘I have done a painting of the Baroque facade of the Misericordia which has nearly sent me blind, but it is rather a “tour de force” of detail.’
Southampton City Art Gallery
© The Estate of Tristram Hillier / Bridgeman Images
Oil on canvas, 22.9 x 28.2 cm
Portuguese Farmhouse depicts a rural farmhouse under bright summer sun. The composition is dominated by the building’s elaborate doorway and its vividly-coloured door. As in many of Hillier’s paintings human presence is suggested by an assortment of utilitarian objects – a jug, fabric, a rake and a basket.
Portuguese Farmhouse depicts a rural farmhouse under bright summer sun. The composition is dominated by the building’s elaborate doorway and its vividly-coloured door.
As in many of Hillier’s paintings human presence is suggested by an assortment of utilitarian objects – a jug, fabric, a rake and a basket.
Private collection
© The Estate of Tristram Hillier / Bridgeman Images
Oil on canvas, 67 x 86 cm
This painting is very unusual among Hillier’s works in depicting an animated human scene. On the railway platform a newspaper seller reaches up to the passengers. Others are evidently begging for alms. Those on the crowded train, who are framed in three windows like pictures in a gallery, represent a wide range of human types, from the child to the priest. The painting seems to speak of humanity’s rich complexity, but also of each person’s distinct and solitary fate.
Andalusian Journey is very unusual among Hillier’s works in depicting an animated human scene. The painting seems to speak of humanity’s rich complexity, but also of each person’s distinct and solitary fate.
Those travelling on the crowded train, who are framed in three windows like pictures in a gallery, represent a wide range of human types, from the child to the priest.
On the railway platform a newspaper seller reaches up to the passengers. Others are evidently begging for alms.
Private collection
© The Estate of Tristram Hillier/Bridgeman Images
Oil on board, 43 x 53 cm
Villaescusa de Haro is a village in east central Spain. It is typical of the isolated small places where Hillier often found subjects for his art. His painting is an essay in the effects of light. Deep shadows and the dark form of the village church are starkly contrasted with a cloudless sky and sunlight reflected from the road and the whitewashed walls. The donkey and the solitary human figure scarcely disturb the stillness.
Villaescusa de Haro is a village in east central Spain. It is typical of the rurally isolated small places where Hillier often found subjects for his art.
This painting is an essay in the effects of light. Deep shadows and the dark form of the village church are starkly contrasted with a cloudless sky and sunlight reflected from the road and the whitewashed walls. The donkey and the solitary human figure scarcely disturb the stillness.
Collection of Alyson Charles courtesy of the Chris Beetles Gallery
© The Estate of Tristram Hillier/Bridgeman Images
Oil on board, 63 x 76 cm
Hillier first visited the small fishing port of Peniche during an early visit to Portugal in 1947. It became a favourite subject for his paintings. He found constant inspiration in the coastal landscape and described in his letters ‘the blinding radiance of the sand’.
Hillier first visited the small fishing port of Peniche during an early visit to Portugal in 1947. It became a favourite subject for his paintings.
He found constant inspiration in the coastal landscape and described in his letters ‘the blinding radiance of the sand’.
Presented by the Trustees of the Chantrey Bequest, 1962. Tate, London
© The Estate of Tristram Hillier/Bridgeman Images
Oil on canvas, 70 x 80 cm
Alcañiz is a town in north-eastern Spain. In this picture Hillier transforms the busy Plaza de España into an extraordinary starkly-lit place. It is deserted of people but for the tiny doll-like figure of the priest. The painting echoes the style of Giorgio de Chirico (1888–1978) and is one of Hillier’s most ambitious renderings of architectural space. Jenny Pery called it ‘a world forsaken by men, teetering in the balance between the light of redemption and the darkness of annihilation.’
Alcañiz is a town in north-eastern Spain. In this picture Hillier transforms the busy Plaza de España (shown here in the postcard which he would have used as a reference image) into an extraordinary starkly-lit place. It is deserted of people but for the tiny doll-like figure of the priest.
The painting echoes the style of Giorgio de Chirico (1888–1978) and is one of Hillier’s most ambitious renderings of architectural space. Jenny Pery called it ‘a world forsaken by men, teetering in the balance between the light of redemption and the darkness of annihilation.’
Gallery
This exhibition was supported by
