by Christine Trevett
Part One: Coming to South Wales
“When the train finally pulled into Merthyr, I felt I’d come home”
(Arthur Giardelli to Meic Stephens)
There were, a few years ago, still people of very mature years around Merthyr Tydfil who remembered Arthur Giardelli as a teacher of music and language in Cyfarthfa Castle secondary school. One or two I met did not know that he was also (or especially) an artist, and a significant one in the history of 20th century art in Wales. They knew him only as a Cyfarthfa teacher. In 1940 he had arrived in Merthyr with his school as an evacuee teacher, coming from Folkestone. It was the start of a remarkable story for the man who made Wales his home and who had loved Wales ever since family holidays in Pembrokeshire in his teenage years.
Arthur Giardelli was a Londoner, son of an English mother and an Italian father, a father who had become determinedly ‘English’ and had abandoned things ‘continental’. His son Arthur was highly intelligent and talented. He studied modern languages at Oxford and in parallel did some study at Ruskin School of Art. He was also passionate about music and would use his viola and piano playing skills (and those of his first wife Phillis, a very talented pianist) to good effect in due course. Unlike his father’s indifference, Arthur became steeped in knowledge of the European scene and of avant garde art. Above all he was a good communicator and widely read, a man who wanted to see the arts appreciated by everyone and accessible to all. Art in Wales would gain from that passion.
In 1940 his wartime pupils from Folkestone’s Harvey Grammar School shared Cyfarthfa Castle school with the local classes on a ‘split day’ basis. Arthur Giardelli soon found himself unemployed, though, a married man with two young children, sacked by Folkestone Education Authority. This was due to being a pacifist and an admirer of Gandhi and now declaring himself a conscientious objector (C.O.). Fortunately the Dowlais Educational Settlement was on his doorstep and it had been involved in adult education and social care since 1929. Giardelli had been volunteering there. Its Warden, the sculptor and Londoner John Dennithorne was a Quaker, pacifist and fellow admirer of Gandhi. With the agreement of the Settlement’s Quaker committee he took the Giardelli family into Trewern House (the Settlement base), provided a maintenance grant while the result of the teacher’s Tribunal appearance was pending and employed him as a teacher. In Merthyr Central Library, in one of the boxes housing the John Dennithorne papers is a copy of the letter Dennithorne wrote on April 10th 1941, to the the Chairman of the Appeals Tribunal at Cardiff. He was advocating Giardelli’s unconditional exemption from service because he was valuable as an educator and on other fronts. Through the Settlement, for example, he had oversight of a newly-formed mixed-sex social club for young factory workers; he led members of Settlement classes in a new allotment scheme in which produce would also be shared with the elderly, infirm and those feeling the loss of their gardening menfolk who were now away at war. As he reported himself, Arthur Giardelli was also a part time fireman. Interestingly, in his letter John Dennithorne made no reference to Giardelli as an artist, for that was not how he was known at the time.
Arthur was exempted from war service. It would be some time before he regained a teaching post, in Cyfarthfa school where he taught music, languages and English. At the time there were objections to the Education Committee from people who felt someone who had been a C.O. should not be given such employment.
Through the war years Giardelli with his wife provided very regular classical music recitals and recital lectures at The Armoury, Dowlais (advertised in the Merthyr Express, free entry but contributions welcome to defray expenses), and with Mervyn Fry (another Settlement employee) provided recorded music sessions, lectures about musicians, painters and the interrelation of music, painting and literature, while John Dennithorne the Warden gave scheduled lectures on the theory and practice of sculpture. It was all part of the morale building activity which the government wanted to see. Significantly during the war Arthur Giardelli also worked with CEMA (Council for the Encouragement of Music and the Arts), the forerunner of the Arts Council. It sent art exhibitions and theatrical performances around the country at this time, including to Merthyr and Dowlais, with very well known artists and performers. Among the artists exhibiting were Cedric Morris, who was already part of the story of the Dowlais/Merthyr art scene in other ways, and he had encouraged Giardelli.
In 1940 Dowlais must have seemed an unpromising place for an evacuee but there, Giardelli said, he had encountered ‘a whole mixed body of people’, not just evacuated teachers and Merthyr’s middle and professional classes but miners who gathered to view art, ‘people of all classes’, as he recalled in an interview included in Derek Shiel’s 2001 published study of him (Arthur Giardelli: Paintings, Constructions, Relief Sculptures, Bridgend: Seren). In Dowlais, though, his own art work and move to a professional artist’s life had been encouraged.
To be continued…..