{{Short description|British Modernist stained glass artist}} {{Infobox artist | honorific_prefix = | name = Keith New | honorific_suffix = | image = | image_size = | alt = | caption = | native_name = | native_name_lang = | birth_name = | birth_date = 3 September 1925<ref name="Glasser"/> | birth_place = London | baptised = | death_date = 14 February 2012<ref name="Glasser"/> | death_place = | resting_place = | resting_place_coordinates = | nationality = | education = | alma_mater = Sutton and Cheam School of Art, Royal College of Art<ref name="ArtUK"/> | known_for = | notable_works = Coventry Cathedral | style = | movement = British modernist in stained glass | spouse = | partner = | children = | parents = | father = | mother = | relatives = | family = | awards = | elected = | patrons = | memorials = | website = | module = }} '''Keith New''' (3 September 1925 – 14 February 2012) was a stained glass artist and craftsman during his early career and a well-regarded teacher and landscape painter in later life.<ref name="Glasser">{{cite journal |last1=Glasser |first1=Joyce |last2=Benyon |first2=Caroline |title=Obituary: Keith New 1925-2012 |journal=The Journal of Stained Glass |date=2012 |volume=XXXVI |page=210-212}}</ref><ref name="Times">{{cite news |title=Keith New |url=https://www.thetimes.com/travel/destinations/uk-travel/england/london-travel/keith-new-pt2pgzls3kt |access-date=7 January 2023 |work=The Sunday Times |date=March 24, 2012 |language=en}}</ref> After studying at the Royal College of Art (RCA)<ref name="ArtUK"/> New returned there, heading the RCA Stained Glass Department from 1955-1958. He served as Head of Art & Design at the Central School of Art from 1957-1964. He was Head of Foundation Studies at Kingston School of Art (later Kingston Polytechnic) from 1968-1991.<ref name="Glasser"/><ref name="Brooks"/> In 1965 New became a Brother of the Art Workers Guild.<ref name="Brooks"/>
New is considered a pioneering British modernist in the art of stained glass and is associated with major architectural projects of the 1950s and 1960s. New worked on a design team for Sir Basil Spence’s Coventry Cathedral with Lawrence Lee and Geoffrey Clarke in which he designed three nave windows for the cathedral.<ref name="Coulter"/> He explored new techniques for working with leaded and painted glass, including glass appliqué using epoxy resins, and glass mosaic.<ref name="Wyard"/><ref name="Campbell"/><ref name="Coulter"/> As a stained glass artist, he completed at least 34 executed commissions for churches, schools and public buildings, some of which are now lost.<ref name="Coulter">{{cite book |last1=Coulter |first1=Diana |last2=Smith |first2=Robert |title=Keith New : British modernist in stained glass |date=2018 |publisher=Sansom |location=Bristol |isbn=9781911408215}}</ref><ref name="Wyard">{{cite web |last1=Wyard |first1=Chris |title=Review: Diana Coulter IHBC 'Zen and the stained glass art of Keith New' |url=https://www.bsmgp.org.uk/wp-content/uploads/2018/11/2017-autumn-lecture-Keith-New.pdf |website=British Society of Master Glass Painters |access-date=7 January 2023}}</ref>
==Viewable windows== New’s stained glass includes:
* Three nave windows in Sir Basil Spence’s Coventry Cathedral (1953–62)<ref>{{Cite book |title=The stained glass of Coventry Cathedral: its making and meaning |publisher=The Friends of Coventry Cathedral |year=2014 |pages=1–50}}</ref> * East window at Sam Scorer’s St John the Baptist Church on the Ermine estate in Lincoln (1962)<ref name="Hatherley">{{cite book |last1=Hatherley |first1=Owen |title=A new kind of bleak : journeys through urban Britain |date=2013 |publisher=Verso |location=London, New York |isbn=978-1844678570 |page=227 |edition=Second rev. |url=https://engineeringwithrajdocsupporter.files.wordpress.com/2015/05/owen-hatherley-a-new-kind-of-bleak_-journeys-through-urban-britain-verso-books-2012.pdf}}</ref><ref name="Geograph">{{cite web |title=Geograph:: St.John the Baptist's church, Ermine,... © Richard Croft |url=https://www.geograph.org.uk/photo/93723 |website=www.geograph.org.uk |access-date=7 January 2023}}</ref><ref name="Diana"/> * Re-mounting fragments of mainly 19th-century glass for Sir Denys Lasdun’s Royal College of Physicians (1963)<ref>{{Cite book |last=Moore |first=Rowan |title=Anatomy of a building |date=2014 |isbn=978-1-4087-0622-0 |location=London |oclc=894574952}}</ref> * Glass appliqué in Robert Matthew’s Commonwealth Institute (1964), now the Design Museum<ref>{{Cite book |last=Wilson |first=Tom |title=The story of the Design Museum |date=2016 |others=Design Museum |isbn=978-0-7148-7253-7 |location=London |oclc=953600219}}</ref>
Other windows by New:
* thumb|Holy Spirit, east window, south choir aisle, Bristol Cathedral 1964Bristol Cathedral (1964)<ref>{{Cite book |last=Smith |first=M. Q. |title=The stained glass of Bristol Cathedral |date=1983 |publisher=Redcliffe |others=G. Kelsey |isbn=0-905459-71-7 |location=Bristol |oclc=12308509}}</ref> * Wesley Methodist Church, Cambridge (also 1964)<ref>{{cite web |title=Keith New's Stained Glass Window - Wesley Methodist Church |url=https://www.wesleycam.org.uk/keithnewsstainedglasswindow.htm |website=Wesley Methodist Church, Cambridge |access-date=7 January 2023}}</ref><ref name="Diana"/> * University of Glasgow Memorial Chapel, University of Glasgow (1966)<ref name="Glasgow">{{cite book |title=Glasgow's stained glass: colour and light |date=2014 |publisher=Glasgow City Heritage Trust |url=https://glasgowheritage.org.uk/wp-content/uploads/GCHT-leaflet-V5-copy.pdf}}</ref><ref>{{cite web |title=University of Glasgow :: Story :: Memorial Chapel |url=https://www.universitystory.gla.ac.uk/building/?id=84 |website=The University of Glasgow Story |access-date=7 January 2023}}</ref>
There are designs in:
* St James the Less Church in Bethnal Green (1959)<ref name="Diana">{{cite book |last1=Coulter |first1=Diana |title=In glass thy story (Symposium, 8/9 September 2017, Robinson College, Cambridge) |chapter=Keith New – Using colour and form to advertise God |date=2017 |url=https://static1.squarespace.com/static/59ba9f2aa803bb442375d69c/t/5a29200524a6942a95bf1a7f/1512644615022/Keith+New_Using+Colour+and+Form.pdf |access-date=7 January 2023 |archive-date=7 January 2023 |archive-url=https://web.archive.org/web/20230107190408/https://static1.squarespace.com/static/59ba9f2aa803bb442375d69c/t/5a29200524a6942a95bf1a7f/1512644615022/Keith+New_Using+Colour+and+Form.pdf |url-status=dead }}</ref> * Wren’s City of London church, St Nicholas Cole Abbey (1961)<ref name="Cole">{{cite web |title=St Nicholas Cole Abbey |url=http://www.simonknott.co.uk/citychurches/050/church.htm |website=LONDON city churches |access-date=7 January 2023}}</ref><ref name="C20">{{cite web |title=Keith New: Master colourist and modernist |url=https://secure.c20society.org.uk/Default.aspx?tabid=62&EventId=572 |website=C20 Twentieth Century Society |access-date=7 January 2023}}</ref> * Reigate Heath church, Window design for a tin tabernacle showing “The Seven Gifts of the Holy Spirit” (1970)<ref name="Diana"/> * St Mary’s Church, South Ruislip, showing "Seven Joys and Sorrows of our Lady: the five sorrowful and five glorious mysteries"<ref name="Cherry">{{cite book |last1=Cherry |first1=Bridget |last2=Pevsner |first2=Nikolaus |title=London 3: North West |date=1 January 2002 |publisher=Yale University Press |isbn=978-0-300-09652-1 |url=https://books.google.com/books?id=AuvCfuvUy-0C&pg=PA347 |language=en}}</ref><ref name="Diana"/>
In Norwich Cathedral, in a Millennium scheme for the north transept in 2000 by John Hayward but incorporating surviving pieces of New’s work, removed from St Stephen Walbrook Church, City of London (originally 1960–61).<ref name="Norwich">{{cite web |title=Keith New (1926–2012) {{!}} Vidimus |url=https://www.vidimus.org/blogs/news/keith-new-1926-2012/ |website=Vidimus |access-date=7 January 2023}}</ref><ref>{{cite web |title=Norwich Cathedral stained glass North Transept level 3 window 2 |url=https://www.norwich-heritage.co.uk/cathedrals/Anglican_Cathedral/ntn_l3_2_window_general.html |website=www.norwich-heritage.co.uk |access-date=7 January 2023}}</ref><ref name="Diana"/>
== Beginnings == Keith New was born in London. His birth date is variously given, as 3 September 1925<ref name="Glasser"/> and frequently as 1926.<ref>{{cite book |last1=Byrne |first1=Matthew |title=The Treasures of English Churches: Witnesses to the History of a Nation |date=13 May 2021 |publisher=Bloomsbury Publishing |isbn=978-1-78442-488-6 |url=https://books.google.com/books?id=rH4PEAAAQBAJ&pg=PT309 |language=en}}</ref> New displayed early talents for drawing and graphic design. He attended Sutton and Cheam School of Art from 1942–1945.<ref name="ArtUK"/> There he met his future wife, Yvonne Byrom,<ref name="Glasser"/> who he married in 1953.<ref name="Norwich"/>
New gained a scholarship to the Royal College of Art (RCA) but deferred entry until 1948 after completion of his National Service with the Royal Air Force (RAF), during which he used his free time to develop his love of landscape drawing and painting.<ref name="Campbell">{{cite journal |last1=Campbell |first1=Louise |title=Book reviews 'Keith New' by Diana Coulter and Robert Smith |journal=Art & Christianity |date=2018 |volume=95 |page=18}}</ref><ref name="Coulter"/>
New studied with the stained glass department of the Royal College of Art from 1948–53.<ref name="ArtUK"/> He started in Graphic Design at the RCA, but at the end of one term switched to stained glass, run by Lawrence Lee from 1948. Encouraged by Lee and alongside fellow student Geoffrey Clarke, New flourished, becoming a star student. Both New and Clarke pushed the boundaries of stained glass design and execution; according to New, both “were committed modernists”.<ref name="Fuller">{{Cite book |last=Baden Fuller |first=Kate |title=Contemporary stained glass artists : a selection of artists worldwide |date=2006 |publisher=A. & C. Black |isbn=978-0-7136-5428-8 |location=London |oclc=62307784}}</ref> His dynamism brought him to the attention of John Betjeman, Basil Spence and John Piper.<ref name="Coulter"/> In 1951 one of New's designs was included in a show at South Bank, London as part of the Festival of Britain, gathering considerable attention.<ref name="Wyard"/> In his final year at the Royal College of Art, Keith won a scholarship to work for a year with Steuben and the Corning Glass Works in Corning, New York.<ref name="Times"/><ref name="ArtUK">{{cite web |title=New, Keith, 1926–2012 |url=https://artuk.org/discover/artists/new-keith-19262012 |website=Art UK |access-date=7 January 2023 |language=en}}</ref>
thumb|The Holy Spirit, Reigate Heath Church, Surrey (1970) When the RCA secured the commission for the ten nave windows at Coventry Cathedral, New left Corning and returned to the RCA to execute the green windows, representing youth, as well as one of the multi-coloured windows. Space was made available within the Victoria and Albert Museum (V&A) for their design and execution as each was 70 feet or 21.3 metres high. Each artist could only work on their designs for two days a week. The first six windows to be completed were exhibited at the V&A in 1956, exciting visitors to anticipate the completed building.<ref name="Campbell"/><ref name="Coulter"/><ref>{{Cite book |title=Windows for Coventry: the ten stained glass windows for the nave of Coventry Cathedral |publisher=The Royal College of Art |year=1956 |location=London |pages=4–10}}</ref> New supplemented his work on this significant commission with part-time teaching at the College and developing a growing portfolio of other projects, including two panels for Buckler’s Mead School in Yeovil<ref>{{cite web |title=Keith New Stained Glass, Bucklers Mead Academy, Yeovil, Somerset |url=http://www.holywellglass.com/work/keith-new/ |website=Holy Well Glass |access-date=8 January 2023}}</ref><ref name="Diana"/><ref name="Wyard"/> and a nave window for Holy Trinity Church in Coleford (both 1957).<ref>{{cite web |title=Holy Trinity Church, Coleford, Somerset |url=https://www.visitstainedglass.uk/location/holy-trinity-church-coleford-somerset |website=Visit Stained Glass |access-date=8 January 2023 |language=en}}</ref>
== The busy artist craftsman == In 1958 New took up a fellowship at Digswell House in Hertfordshire, an exciting initiative created by the educator Henry Morris, which brought together artists and craftsmen, typically at the beginning of their careers. The artists rented accommodation and used studio space to develop new techniques and work on commissions. It was certainly while there that New, inspired by the second stained glass fellow, Tom Fairs, explored the potential of glass appliqué. This technique used cement and epoxy resins in lieu of lead and the finished product could be more subtle than dalle de verre, often referred to as slab glass, a format which New is only known to have used once in a lost exhibition panel. For less wealthy parishes or for schools, glass appliqué was a more affordable option than painted and stained leaded glass. Few of New’s glass appliqué projects survive, due to the failure of the epoxy resins, which research has subsequently shown to be sensitive to ultraviolet rays.<ref name="Diana"/><ref name="Coulter"/><ref name="Neiswander">{{cite book |last1=Neiswander |first1=Judith |last2=Swash |first2=Caroline |title=Stained & Art Glass -- A Unique History of Glass Design & Making |date=2005 |publisher=The Intelligent Layman Publishers |location=London}}</ref><ref>{{cite book |last1=Branch |first1=WEA Hatfield |title=Hatfield and Its People: Part 12: The Twentieth Century |date=2014 |publisher=Hatfield Local History Society |isbn=978-0-9928416-2-1 |url=https://books.google.com/books?id=aGQ2DwAAQBAJ&pg=PA24 |language=en}}</ref>
Between 1958 and 1963 alongside the experimental projects, New worked on several important painted and stained leaded glass designs, including the clerestory windows at St Mary’s Church in South Ruislip (1958),<ref name="Cherry"/> Bethnal Green,<ref name="Diana"/> St Nicolas Cole Abbey<ref name="Cole"/> and St John the Baptist in Ermine.<ref name="Hatherley"/> Both Bethnal Green and Ermine achieved their effect through use of coloured and flashed glass. South Ruislip continues the heavy symbolism New employed in his Coventry designs, while Bethnal Green and Ermine are abstract.<ref name="Diana"/> In St Nicholas Cole Abbey, New’s brilliance at figurative depiction is most evident. thumb|St Martin (Detail), Baptistery, All Hallows by the Tower, London (1964) In 1963, New moved into his own home in Wimbledon, designed for him and his family by Sam Scorer. Here he originally had a double-height studio and used his own kiln for some projects, e.g., the Royal College of Physicians, Wesley Methodist Church<ref name="Diana"/> and All Hallows by the Tower<ref name="C20"/> (1964). There followed an intensely creative three years that included:
* All Saints Church in Branston Lincolnshire (1964-65)<ref name="Jackson">{{cite web |last1=Jackson |first1=Jennifer |title=History |url=https://www.branstonhistorygroup.org.uk/download/36-brief-history-extracts/the-church |website=All Saints Church, Branston |access-date=8 January 2023}}</ref><ref>{{cite web |title=Geograph:: East Window, All Saints' church,... © Julian P Guffogg cc-by-sa/2.0 |url=https://www.geograph.org.uk/photo/4798924 |website=www.geograph.org.uk |access-date=8 January 2023}}</ref> * Our Lady of Zion Girls' School in Highgate (1965), now La Sainte Union Catholic School<ref>{{cite web |title=La Sainte Union Catholic School |url=https://programme.openhouse.org.uk/listings/10598 |website=Openhouse.org.uk |access-date=8 January 2023}}</ref> * Sheffield Cathedral, lantern in glass appliqué (1965-66, now lost)<ref>{{cite web |title=Keith New by Diana Coulter and Robert Smith |url=https://www.churchtimes.co.uk/articles/2018/18-may/books-arts/book-reviews/keith-new-by-diana-coulter-and-robert-smith |website=Church Times |access-date=8 January 2023}}</ref><ref name="Comerford">{{cite web |last1=Comerford |first1=Patrick |title=Sheffield Cathedral: a former parish church tells the long story of England's fifth city |url=https://www.patrickcomerford.com/2022/08/sheffield-cathedral-former-parish.html |website=PATRICK COMERFORD: an online journal on Anglicanism, theology, spirituality, history, architecture, travel, poetry, beach walks ... and more |access-date=8 January 2023}}</ref> * University of Glasgow Memorial Chapel (Gilmorehill Glasgow University Chapel).<ref>{{cite web |title=Gilmorehill Glasgow University Chapel - Glasgow, Strathclyde - Places of Worship in Scotland {{!}} SCHR |url=http://www.scottishchurches.org.uk/sites/site/id/5412/name/Gilmorehill+Glasgow+University+Chapel+Glasgow+Strathclyde |website=Scottish Churches |access-date=8 January 2023}}</ref>
For larger windows, such as Bristol Cathedral, New required a bigger studio, so he rented space at The Glass House, the Fulham base of Lowndes and Drury.<ref name="Brooks">{{cite journal |last1=Brooks |first1=Alan |last2=Cormack |first2=Peter |title=The Artists of the Glass House |journal=Journal of Stained Glass |date=January 1, 2017 |volume=41 |page=35}}</ref>
== Change of direction == A number of circumstances stimulated New to change direction at the end of the 1960s. A key driver was the challenge of maintaining momentum as a one-man band, no matter how skilled and inspiring his approach.<ref name="Coulter"/> Allied to this was the slowing down of commissions for an expensive art form; architects were beginning to use glass in their buildings in different ways. Where French artists, like Fernand Léger and Henri Matisse, had influenced the great flowering of immediate post-war British stained glass,<ref name="Britton">{{cite web |last1=Britton |first1=Karla Cavarra |title=Pavement, Piety, and Prophetic Art – By Karla Cavarra Britton |url=https://themarginaliareview.com/pavement-piety-and-prophetic-art-by-karla-cavarra-britton/ |website=The Marginalia Review of Books |access-date=8 January 2023 |date=21 July 2015}}</ref><ref>{{cite journal |last1=Linder-Gaillard |first1=Inge |title=Architecture et arts sacres de 1945 a nos jours by Christine Blanchet and Pierre Verot |journal=Art and Christianity |date=2020 |volume=101 |issue=Spring |page=16}}</ref> by the late 1960s it was German artists, such as Johannes Schreiter and Ludwig Schaffrath,<ref>{{cite journal |last1=Coombs |first1=Debora |title=An overview: British stained glass |journal=Stained Glass: Quarterly of the Stained Glass Association of America |date=March 1, 1995 |volume=90 |issue=Spring |pages=17–31}}</ref> as well as advances in glass manufacture that led the way.<ref>{{cite web |title=Glass basics: - How the float glass process has revolutionised the glass industry - GW News |url=https://www.gw-news.eu/manufacturing/glass-basics-how-float-glass-process-has-revolutionised-glass-industry |website=www.gw-news.eu |access-date=8 January 2023 |language=en-gw |date=5 February 2021}}</ref>
Robin Darwin, the Rector of the RCA, supported the role of stained glass in the early 1950s, was responsive to the changing enthusiasms of the 1960s art and design world.<ref>{{cite news |title=Seize the sans serif |url=https://www.eyemagazine.com/feature/article/seize-the-sans-serif |access-date=8 January 2023 |work=Eye Magazine |issue=16 |volume=4 |date=1995 |language=en}}</ref> But in 1968, the stained glass department was closed, becoming "Light Transmission and Projection".<ref>{{cite news |title=Geoffrey Clarke - obituary |url=https://www.telegraph.co.uk/news/obituaries/11223942/Geoffrey-Clarke-obituary.html |access-date=8 January 2023 |work=The Telegraph |date=11 November 2014}}</ref>
By then New had found his way to the Kingston School of Art as a teacher and the Head of Foundation Studies.<ref name="Glasser"/><ref name="Brooks"/><ref>{{cite web |last1=May 11 |first1=wpdev01 / |title=Foundation 1970 |url=https://www.archiveksa.org/foundation-1970/ |website=Archive Kingston School of Art |access-date=8 January 2023}}</ref> At the same time New returned to landscape painting, primarily using acrylics and pastels which he made himself. The paintings he created were quite often large and for the most part displayed calming views, rarely featuring human figures, if at all, and predominantly in shades of green and blue.<ref name="Coulter"/> Some of these canvases can be found in public spaces, including the Ingram Collection.<ref>{{cite news |title=New, Keith, 1926–2012 {{!}} Art UK |url=https://artuk.org/discover/artists/new-keith-19262012 |work=artuk.org |language=en}}</ref><ref>{{cite web |title=Art UK {{!}} Search Search |url=https://artuk.org/search/search/search/keyword:keith-new--referrer:global-search |website=artuk.org |access-date=8 January 2023 |language=en}}</ref>
In addition to his works in glass and his paintings, New created jacket designs for books published by Michael Joseph, and designed sets and costumes for ballets such as ''Reflection'', put on by John Cranko at the Sadler's Wells Ballet School.<ref>{{cite web |title=New, Keith, 1926–2012 |url=https://artuk.org/discover/artists/new-keith-19262012 |website=Art UK |access-date=8 January 2023 |language=en}}</ref>
Keith New died 14 February 2012. The Service of thanksgiving for his life was held in St Mark’s Church, Wimbledon, site of his last glass commission, a nave window, constructed in 1968–9 for designers Humphreys and Hurst.<ref name="Glasser"/>
== References ==
{{reflist}} {{British and Irish stained glass}} {{DEFAULTSORT:New, Keith}} Category:1926 births Category:2012 deaths Category:Coventry Cathedral Category:Alumni of the Royal College of Art Category:British stained glass artists and manufacturers
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