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Pioneers of an Era

The exhibition Pioneers of an Era was held at the National Museum and Gallery of Trinidad and Tobago in June of 2004, and celebrated the work of several elders in the Trinidad and Tobago artistic landscape; men in their 70s and 80s who have contributed to the shape of our aesthetic sense of ourselves. The following annotated excerpts are from the catalogue and appear with the kind permission of the National Museum and Gallery of Trinidad and Tobago.

KENRICK CALLENDER

KENRICK CALLENDER’S flair for art became evident from schooldays at San Fernando Methodist School. Callender was once considered to be a prolific painter in South Trinidad, and his paintings are rare today. His art is largely representational with emphasis on human figures, but he also explored the world of impressionism. Colours and shape and their “mix” fascinate him. He specializes in watercolours as well as works on small canvases. His favourite subjects are of people, and he has an affinity for warm colours which results in a delicate quality to the work.

Callender took part in a commercial art course, and made excursions into watercolour paintings at a correspondence school. All of this assisted him in arousing his interest in painting, and encouraged him to develop his talent. He followed this by taking painting lessons with Brother Fergus Griffin of Presentation College, San Fernando, who conducted classes on behalf of the Southern Art Society. As a long-standing member of this Society, he served on its Management Committee, and he is also a regular participant in its exhibitions. Callender regularly participates in exhibitions put on by the Trinidad Art Society in Port-of-Spain. Two of his pieces form part of the permanent display at the National Museum & Art Gallery, Port-of-Spain. He has exhibited with artists from other countries in high-profile events such as the Sao Paulo Biennale in Brazil.

EDWARD DAVIDSON

WORKING WITH STUDIO 66 for the past three years, Edward Davidson, an 80-year-old retiree, is a life-long artist and cultural communicator. Davidson was an impresario and MC for many years. As a Trinidadian, his heritage shows the diversity of our culture—his mother Grenadian and his father Colombian. He experienced the Middle East and Italy in World War II, and on his return to Trinidad became a successful Million Dollar Round Table insurance agent, automotive sales manager and more. As a roving Master of Ceremonies throughout Trinidad, Davidson discovered and encouraged several artists to excel in their chosen field, most notably Calypso Rose in the early 1960s. It was only after retirement that he found time to take up his brushes and paint. His artwork came from his heart and soul and brought to life his honesty: the very characteristic to which he owes success as an insurance agent. The subjects of Davidson’s artwork are often landscapes, seascapes, cloud forms, and the movement of waves.

HOLLY GAYADEEN

BORN IN 1930, HOLLY GAYADEEN received his early education in both Tunapuna and Port-of-Spain. He demonstrated his interest in painting and drawing and participated in many art and craft competitions. In 1949, having completed his secondary education, he was appointed as a primary school teacher, and six years later trained at the Government Teachers’ College. Within the two-year course of studies, he excelled in philosophy, principles and practice of education and visual arts and crafts. Having become a trained and qualified teacher within the period of four years, he was promoted to the post of Art Officer in the then Ministry of Education and Culture, Division of Culture, which focused on the development of art at all levels of the national community. From 1960 to 1962, Ayden pursued studies in teacher training at the University of Bristol, England, in the Institute of Education. He also attended the Royal West of England College of Art, where he studied philosophy and methodology of art education, visual and graphic arts. Having returned to Trinidad, he continued to serve in the Division of Culture with greater emphasis on the educational aspect of the visual arts. In 1974 he graduated with a Bachelor of Fine Arts Degree from California College of Arts and Crafts, USA. In 1980, he was selected to pursue further post-graduate studies for a Diploma in Education in the area of Education Administration at the Faculty of Education, U.W.I., at St. Augustine. Apart from academic pursuits, he participated in many art exhibitions over the years, solo and joint, international and local.

MARCELIO HOVELL

MARCELIO HOVELL A.K.A “BOBOY”, lives in Montevideo Village, Toco, where he was born on the 17th July 1924 to Ogedo Lawrence and Mary Hovell, both agricultural workers. Marcelio’s father died when was a young boy and he was raised by his stepmother Veronica La Rose. He attended school in Grande Rivière where his drawing ability was noticed and commended. He later moved to St. Ann’s in 1936 with his stepmother. Having completed his early schooling at the age of fifteen years, he proceeded to occupy himself as a sign-painter/decorator. In 1948, he saw an exhibition of Boscoe Holder at Fernandes Building and he began tentatively to paint. In the 1950s, he joined the Trinidad Art Society and attended drawing/painting classes given by Carlisle Chang, Pierre Lelong, and John Harrison of the British Council. He works mainly in oils and watercolours, and draws in pencil or pen and ink. He professes a love for colours such as lemon yellow, rose pink, hints of blues, yellows, and lilacs. The primary school he attended carries one of his works entitled “Love Ye One Another”.

FERDINAND ROMILLY

FERDINAND ROMILLY was born on the 14th of July 1919 in Mayo, South Trinidad. A self-taught artist who started in his teens, Romilly later moved to San Fernando, where he lived for many years and enjoyed his job as a painter and sign-writer at Trinidad Leasehold Limited, Pointe-a-Pierre. Some years later he moved to Port-of-Spain with his young family, and continued to work as a freelance sign-writer and artist. His interest grew in both local and foreign politics also in the welfare of humanity. Even though he disliked colonialism and foreign interference in local affairs he was a royalist and an admirer of the Queen of England, as a result of this admiration many poems were composed by him and sent to Buckingham Palace, from which he received acknowledgements and appreciation. At age 84 Romilly was still a very eloquent, well-spoken man. He bluntly refused to apply for old age pension, stating that once he can earn a livelihood by the craft he knew and loved he will not become a burden on the state. He was proud and arrogant in his own right. Gold was his favorite color, worn with white, and he believed that he was a descendent of African Royalty. When he became ill he never complained; he checked himself into the Port-of-Spain General Hospital, where he later died. Ferdinand Romilly was one of the best-known sign-painters in Port-of-Spain. His paintings were never sold; instead they were donated to charitable organizations, which may also explain why they were rarely seen at exhibitions. Romilly’s use of magical realism in his landscape and his decorative flair also helped made him into a superb calligraphist, a prolific writer and poet.

LEO WARNER

LEO WARNER HAS HAD MANY INCARNATIONS – cabinetmaker, draughtsman and builder, as well as a pioneer of the Trinidad and Tobago version of the Alexander Ragtime Band and captain of Commandos Steelband (1940s). He organized the first Carnival Costume Exhibition at the Harbour Scheme on Wrightson Road, Port-of-Spain, and was the Carnival costume designer for Desperadoes. He was also a pioneer of the Independent Credit Union, an early member of the Art Society and Branch Secretary of SWWTU. Sculptor and painter; mas maker; art and craft teacher – in a word - trailblazer.

Warner is also the builder of the ‘John Dende’ sculpture in front of the Laventille Complex (Despers) and is credited with building the first wire-nosed fancy sailor in the 50s and 60s. He was a member of the first panel of judges of skills in national Carnival competitions and continued judging for twenty (20) years until he become a member of the Spiritual Baptist Faith of which he later became a Bishop.

Warner had his first one-man show of his works in 1976 and then in 1977 at the National Museum. In 1997 and 1998 ‘Spiritual Dimension’ and ‘Symbolism’ were presented at City Hall, Port of Spain and at the Financial Complex respectively. In 2002, A Tribute to Leo Warner was presented at the National Museum and Art Gallery with the collaboration of Studio 66 Art Support Community. That year he was also honoured by the Port-of Spain City Corporation and an initiative was launched by Studio 66 Art Support Community to make his home a public shrine and heritage building. In 2003, Warner staged another exhibition – “Revelations” at Gallery 1.2.3.4. which featured many of his new sculptural pieces. “Often we may see his works ecstatic as well as tormented visualizations, halos I thought that can only touch us...” says LeRoy Clarke of Leo Warner’s work (2003)... “The sombre applications in technique bare a biblical mood in his landscapes that are remote and disturbing, tranquil-like depictions of spiritual possessions...”

Photography: The National Museum & Art Gallery

Original Catalogue:

Design & Layout: Paria Publishing Company Ltd
Printing: Caribbean Paper & Printed Products (1993) Ltd
Edited by Vel A. Lewis and Eleen Brown:
Published by the National Museum & Art Gallery of Trinidad and Tobago

The National Museum & Art Gallery of Trinidad and Tobago
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