Biography - Keith Cunningham

The story of Keith Cunningham is unlike that of any other artist of post-war Britain. Extremely talented, admired by critics and colleagues and animated by a rare passion for painting, he chose to leave everything behind on the brink of international fame. His creativity paralleled only by his desire for privacy, which bordered on secrecy, Cunningham tirelessly produced paintings and drawings for decades, showing them only to a few carefully selected individuals. Many mysteries of Cunningham and his life remain today unresolved. Yet, the sheer visual power of his artworks is suggestive of a man whose inner world was vividly rich, lyrical and thoughtful. Not much is known about Cunningham’s life before he moved to London. His reticence to discuss his childhood was, perhaps, a clue to the complicated relationship he had with his family. All he chose to share was that he was born in Sydney in 1929, and that he had a brother and a sister. He was sent to good schools, yet he was unhappy at home. He had a troubled relationship with his father, who was unpredictable and could become violent during their frequent arguments. Already at a young age, Cunningham was aware of his talent and fervently animated by a constant urge to express himself artistically.

It was for this reason that he left school at 15, bringing his drawings to the advertising department of David Jones, one of Sydney’s largest retailers. Despite having no traditional training, they recognised his energy and drive, and for the next few years he honed his abilities by preparing commercial artworks. Such a practical environment, in which designs often had to be ready at a very short notice, made his process professional and efficient, an approach that he maintained for the rest of his career. While David Jones was an excellent technical training ground for the young Cunningham, it also allowed him to develop further as an artist. The renowned Australian designer Gordon Andrews (1914 - 2001) worked as a consultant for the advertising department, and soon took the young, ambitious Cunningham under his wing. Andrews lent him books on design, including one on the Bauhaus whose content made a particularly strong impression and influenced the course of his career as graphic artist. He also encouraged him to take evening classes at the East Sydney Technical College, which constituted his first academic approach to art. Reading all the design books he could get his hands on and working part-time as Andrew’s assistant, Cunningham was a quick learner and eager to make progress as an artist.

Cunningham soon realised he needed a proper artistic education in order to advance creatively, feeling that Australia was too provincial for him. He dreamed of moving to the United States, and to participate to the fervent post-war artistic experiments of which he had been reading. He was set to take a boat to Chicago to study under Moholy-Nagy at what then was the Institute of Design (now part of the Illinois Institute of Technology), when Andrews persuaded him to move to London instead. The Central School of Art and Design (now Central St Martin’s) was a cutting-edge institution, and despite having been ravaged by the war, London was an exciting place for graphic designers. Additionally, preparations for the Festival of Britain of 1951, which Andrews himself was set to work on, were already underway. Finally convinced, in 1948 Cunningham obtained a letter of recommendation for the London branch of David Jones and set sail to England, having to work his passage on the ship as a waiter. If his employers were hoping he would receive an education in London and swiftly come back home, they were sorely mistaken. He would never return to Australia.

Beginnings

The story of Keith Cunningham is unlike that of any other artist of post-war Britain. Extremely talented, admired by critics and colleagues and animated by a rare passion for painting, he chose to leave everything behind on the brink of international fame. His creativity paralleled only by his desire for privacy, which bordered on secrecy, Cunningham tirelessly produced paintings and drawings for decades, showing them only to a few carefully selected individuals. Many mysteries of Cunningham and his life remain today unresolved. Yet, the sheer visual power of his artworks is suggestive of a man whose inner world was vividly rich, lyrical and thoughtful. Not much is known about Cunningham’s life before he moved to London. His reticence to discuss his childhood was, perhaps, a clue to the complicated relationship he had with his family. All he chose to share was that he was born in Sydney in 1929, and that he had a brother and a sister. He was sent to good schools, yet he was unhappy at home. He had a troubled relationship with his father, who was unpredictable and could become violent during their frequent arguments. Already at a young age, Cunningham was aware of his talent and fervently animated by a constant urge to express himself artistically.

It was for this reason that he left school at 15, bringing his drawings to the advertising department of David Jones, one of Sydney’s largest retailers. Despite having no traditional training, they recognised his energy and drive, and for the next few years he honed his abilities by preparing commercial artworks. Such a practical environment, in which designs often had to be ready at a very short notice, made his process professional and efficient, an approach that he maintained for the rest of his career. While David Jones was an excellent technical training ground for the young Cunningham, it also allowed him to develop further as an artist. The renowned Australian designer Gordon Andrews (1914 - 2001) worked as a consultant for the advertising department, and soon took the young, ambitious Cunningham under his wing. Andrews lent him books on design, including one on the Bauhaus whose content made a particularly strong impression and influenced the course of his career as graphic artist. He also encouraged him to take evening classes at the East Sydney Technical College, which constituted his first academic approach to art. Reading all the design books he could get his hands on and working part-time as Andrew’s assistant, Cunningham was a quick learner and eager to make progress as an artist.

Cunningham soon realised he needed a proper artistic education in order to advance creatively, feeling that Australia was too provincial for him. He dreamed of moving to the United States, and to participate to the fervent post-war artistic experiments of which he had been reading. He was set to take a boat to Chicago to study under Moholy-Nagy at what then was the Institute of Design (now part of the Illinois Institute of Technology), when Andrews persuaded him to move to London instead. The Central School of Art and Design (now Central St Martin’s) was a cutting-edge institution, and despite having been ravaged by the war, London was an exciting place for graphic designers. Additionally, preparations for the Festival of Britain of 1951, which Andrews himself was set to work on, were already underway. Finally convinced, in 1948 Cunningham obtained a letter of recommendation for the London branch of David Jones and set sail to England, having to work his passage on the ship as a waiter. If his employers were hoping he would receive an education in London and swiftly come back home, they were sorely mistaken. He would never return to Australia.

Once he arrived to London, Cunningham had to quickly make his move. He didn’t know anyone, and his savings would not last long. He made his way to the David Jones office in Regent Street, equipped with his presentation letter and hoping that they would arrange a place at the Central School for him. All he obtained, however, was a map to the school and a wish of good luck.

But Cunningham had gone too far to let the disappointment set him back. The next day, he showed up at the reception of the Central School. When asked if he had an appointment, he simply presented his portfolio and asked to see the director. In an incredible stroke of luck, or perhaps because the receptionists took pity of him, he was introduced to Jesse Collins, who was head of the Department of Graphic Design. He decided to interview him there and then, discussing his designs in the corridor. Cunningham showed him some work he had carried out for David Jones in Australia, whose professionalism must have greatly impressed Collins. Immediately aware of his immense potential and appreciating his unrelenting spirit, he offered him a place on the spot.

It was because of his previous professional experience in commercial design which landed him a place at Central, however, that Cunningham remained dissatisfied with the school’s requirements. Used to work quickly and to produce new designs at very short notice, he grew bored and restless within the academic environment. Unusually for that time, he wanted to use all the facilities available to him, undertaking etching, sculpting, graphic design and painting and producing a prodigious amount of work. In 1949 he entered and won the prestigious London Transport Poster Competition, which gave him a certain amount of popularity in the design scene. The following year he met Bobby Hillson, who was at the time a fashion design student at St Martin’s and was to become his wife. Working as a dishwasher in a restaurant to support himself, Cunningham’s first months in London were incredibly busy.

But things were just getting started. In 1950 Andrews himself arrived in London from Australia to work as a consultant for the prestigious Design Research Unit in collaboration with the celebrated designer and architect Sir Misha Black. In need of an assistant, Andrews once again turned to Cunningham, who was eager to accept this opportunity and put his studies at Central on hold.

This was an exciting time to be an artist. A celebration of British industry, arts and science, the Festival of Britain was an event of previously unseen proportions, offering endless opportunities for young and innovative designers. Cunningham was closely involved with the preparations, assisting Andrews for more than a year and socialising with the buzzing London creative community. Handsome, charming and bright, with a unique wit and a magnetic personality, he was soon welcomed within the circles of young emerging artists and designers.

This was a busy, productive period for Cunningham. He created a mural for the Science Museum, in celebration for the opening of a new wing holding the Exhibition of Science. The following year he graduated from the Central School with a dissertation on architecture. A successful graphic designer of growing popularity now married and father of a young son, however, Cunningham remained restless. He kept longing to move from design to painting, a lifelong passion he felt he did not pursue with enough intensity. ‘I want to paint, and I’ve always wanted to paint’, he confessed his wife. Determined to fulfil this dream, Cunningham went to see the designer and teacher Abram Games, with whom he had worked on the Festival of Britain, in order to apply for a place at the Royal College of Art despite having produced no paintings yet. Games sent him to Rodrigo Moynihan (1910 – 1990), then the head of the Painting Department, who asked him to present him a few canvases in order to assess his application. Shortly after, Cunningham brought a few paintings to Moynihan, who was so impressed that he offered him not only a place in the Painting Department but also a study bursary.

In London

Once he arrived to London, Cunningham had to quickly make his move. He didn’t know anyone, and his savings would not last long. He made his way to the David Jones office in Regent Street, equipped with his presentation letter and hoping that they would arrange a place at the Central School for him. All he obtained, however, was a map to the school and a wish of good luck.

But Cunningham had gone too far to let the disappointment set him back. The next day, he showed up at the reception of the Central School. When asked if he had an appointment, he simply presented his portfolio and asked to see the director. In an incredible stroke of luck, or perhaps because the receptionists took pity of him, he was introduced to Jesse Collins, who was head of the Department of Graphic Design. He decided to interview him there and then, discussing his designs in the corridor. Cunningham showed him some work he had carried out for David Jones in Australia, whose professionalism must have greatly impressed Collins. Immediately aware of his immense potential and appreciating his unrelenting spirit, he offered him a place on the spot.

It was because of his previous professional experience in commercial design which landed him a place at Central, however, that Cunningham remained dissatisfied with the school’s requirements. Used to work quickly and to produce new designs at very short notice, he grew bored and restless within the academic environment. Unusually for that time, he wanted to use all the facilities available to him, undertaking etching, sculpting, graphic design and painting and producing a prodigious amount of work. In 1949 he entered and won the prestigious London Transport Poster Competition, which gave him a certain amount of popularity in the design scene. The following year he met Bobby Hillson, who was at the time a fashion design student at St Martin’s and was to become his wife. Working as a dishwasher in a restaurant to support himself, Cunningham’s first months in London were incredibly busy.

But things were just getting started. In 1950 Andrews himself arrived in London from Australia to work as a consultant for the prestigious Design Research Unit in collaboration with the celebrated designer and architect Sir Misha Black. In need of an assistant, Andrews once again turned to Cunningham, who was eager to accept this opportunity and put his studies at Central on hold.

This was an exciting time to be an artist. A celebration of British industry, arts and science, the Festival of Britain was an event of previously unseen proportions, offering endless opportunities for young and innovative designers. Cunningham was closely involved with the preparations, assisting Andrews for more than a year and socialising with the buzzing London creative community. Handsome, charming and bright, with a unique wit and a magnetic personality, he was soon welcomed within the circles of young emerging artists and designers.

This was a busy, productive period for Cunningham. He created a mural for the Science Museum, in celebration for the opening of a new wing holding the Exhibition of Science. The following year he graduated from the Central School with a dissertation on architecture. A successful graphic designer of growing popularity now married and father of a young son, however, Cunningham remained restless. He kept longing to move from design to painting, a lifelong passion he felt he did not pursue with enough intensity. ‘I want to paint, and I’ve always wanted to paint’, he confessed his wife. Determined to fulfil this dream, Cunningham went to see the designer and teacher Abram Games, with whom he had worked on the Festival of Britain, in order to apply for a place at the Royal College of Art despite having produced no paintings yet. Games sent him to Rodrigo Moynihan (1910 – 1990), then the head of the Painting Department, who asked him to present him a few canvases in order to assess his application. Shortly after, Cunningham brought a few paintings to Moynihan, who was so impressed that he offered him not only a place in the Painting Department but also a study bursary.

At The Royal College Of Art

Cunningham worked hard in his years at the RCA. Described by the renowned painter and teacher John Minton (1917 – 1957) as ‘one of the most gifted painters to have worked at the Royal College’, he worked alongside people such as Leon Kossoff, Jo Tilson, Frank Auerbach and David Methuen-Campbell, and studied under the likes of Roger de Grey, Carel Weight, Colin Hayes and Robert Buhler, who profoundly admired his talent and originality.

Cunningham’s paintings of the RCA period, populated by animals, skulls and distorted human figures, are suggestive of such intense atmosphere of creativity. Dark, powerful and haunting, characterised by a sombre palette and a dense, sculptural brushwork, his canvases responded to Cunningham’s own energy and fermenting intensity, soon attracting the praise of his teachers as well as his peers. While the 1952-1955 paintings recall the contemporary experiments of Bacon and Auerbach, they remain personal and original, a projection of Cunningham’s complex inner world. Despite gaining increasing respect on the London art scene, however, Cunningham was never fond of exhibiting and selling his work. Perhaps, he considered his paintings as extensions of his own mind, which he guarded with vigilance against any perceived intrusion.

In 1955 Cunningham graduated with an ARCA First Class Diploma in painting and was awarded both a travelling and a continuation scholarship, a particularly rare occurrence at the RCA. Thanks to this funding he was able to arrange a fruitful trip to Spain, where he got acquainted with masters such as Goya, Velázquez, Jusepe de Ribera, Bartolomé Esteban Murillo and Francesco de Zurbarán. Such encounters with early modern Spanish works resurface in Cunningham’s paintings, which echo their distorted forms, intense colours and intangible spirituality. In his later drawings, additionally, certain scenes of Christian inspiration seem to directly reference the baroque religious imagery of such painters.

On The Road To Fame

Upon Cunningham’s return to London in September 1955, he participated to an RCA student exhibition of fine art at the Victoria and Albert Museum, to which he presented his ‘Blue Boy’. The exhibition must have been a success, since he was later awarded a maintenance grant by Robin Darwin, who was then the principal of the Royal College. In a letter from the RCA, Cunningham was encouraged to concentrate on his painting in his final year, and praised for his ability, determination and commitment as a painter. In 1956, still technically a student at the RCA, he applied for a part-time position as lecturer Drawing and Printing at the London College of Printing, which he held for around 40 years.

This string of successes perhaps encouraged Cunningham to exhibit his works more often. After all, London was quickly becoming an international hub for avant-garde artists, in which American and European influences would meet and combine. This period was one of rising fame for him: in 1957 he submitted a painting to the Royal Academy summer exhibition and was invited by the gallerist Helen Lessore to join a show at the Beaux Art Gallery, which was at the time one of the most renowned private galleries in London.

The following year he was invited to submit his work to the prestigious ‘London Group’, an association of modernist artists whose goal was to escape the restrictive standards of the Royal Academy. Cunningham exhibited his paintings with the ‘London Group’ for two consecutive years, in which occasions his canvases were singled out by high-profile critics for their ‘the rough paint and almost gruesomely suggestive presence’. The art collector and celebrated photographer Elsbeth Juda was one of Cunningham’s most vocal admirers and had his paintings circulate worldwide.

In 1960, Cunningham had to move from his large studio in Battersea to a smaller one on Redcliff Road, located in a building owned by Cunningham’s close friend and fellow artist Methuen-Campbell. From this moment onwards, he ceased to paint in oil and reduced the scale of his paintings, over time focusing more and more on watercolours and ink drawings.

However, Cunningham was still an active member of the London art world. In 1964, he was invited by the treasurer of the ‘London Group’ to apply for a full membership. Remarkably and without ever explaining his choice, Cunningham declined. Perhaps he was intimidated by the complex politics of the art world, or possibly he believed his painting style was becoming dated, out of touch with the minimalist, conceptual experiments of the 1960s. Whatever the reason, this refusal signalled the beginning of Cunningham’s avoidance of the public art scene. While he was included in a large Brazilian group exhibition of British painters in 1966 with the help of Elsbeth Juda, and had one of his paintings acquired by the North West Art Trust of Northern Ireland in the following year, by 1967 he entirely stopped to publicly show his work and refused to submit his canvases to any exhibition offered.

This did not mean he chose to abandon art altogether. He kept producing watercolours and was drawing constantly, obsessively sketching small portraits of commuters on the bus and illustrating with quick, nervous lines the urban scenes of everyday life. His studio, however, which he visited practically every day, remained firmly closed to outsiders. His paintings, neatly stacked in his house facing the wall, were kept hidden, amassed in his flat’s spare room, as were his vast collections of drawings and watercolours. Cunningham presented a selection of graphic designs at a handful of exhibitions between the 1970s and 1980s, and during this time he also worked as a graphic designer for the publisher Peter Owen, producing impressive hard back book covers. A number of these were shown at the 2004 Barbican exhibition ‘Communicate: British Independent Graphic Design since the Sixties’ and were acquired posthumously by the University of Brighton Design Archives.

After retiring from the public scene, Cunningham conducted a quiet, unvaried life, accumulating over the years a massive collection of paintings, watercolours, ink and pencil drawings and even three-dimensional paper compositions. His works, just like many details of his personal life, remained undisclosed until his passing on December 4, 2014, at the age of 85.

The Later Years

In 1960, Cunningham had to move from his large studio in Battersea to a smaller one on Redcliff Road, located in a building owned by Cunningham’s close friend and fellow artist Methuen-Campbell. From this moment onwards, he ceased to paint in oil and reduced the scale of his paintings, over time focusing more and more on watercolours and ink drawings.

However, Cunningham was still an active member of the London art world. In 1964, he was invited by the treasurer of the ‘London Group’ to apply for a full membership. Remarkably and without ever explaining his choice, Cunningham declined. Perhaps he was intimidated by the complex politics of the art world, or possibly he believed his painting style was becoming dated, out of touch with the minimalist, conceptual experiments of the 1960s. Whatever the reason, this refusal signalled the beginning of Cunningham’s avoidance of the public art scene. While he was included in a large Brazilian group exhibition of British painters in 1966 with the help of Elsbeth Juda, and had one of his paintings acquired by the North West Art Trust of Northern Ireland in the following year, by 1967 he entirely stopped to publicly show his work and refused to submit his canvases to any exhibition offered.

This did not mean he chose to abandon art altogether. He kept producing watercolours and was drawing constantly, obsessively sketching small portraits of commuters on the bus and illustrating with quick, nervous lines the urban scenes of everyday life. His studio, however, which he visited practically every day, remained firmly closed to outsiders. His paintings, neatly stacked in his house facing the wall, were kept hidden, amassed in his flat’s spare room, as were his vast collections of drawings and watercolours. Cunningham presented a selection of graphic designs at a handful of exhibitions between the 1970s and 1980s, and during this time he also worked as a graphic designer for the publisher Peter Owen, producing impressive hard back book covers. A number of these were shown at the 2004 Barbican exhibition ‘Communicate: British Independent Graphic Design since the Sixties’ and were acquired posthumously by the University of Brighton Design Archives.

After retiring from the public scene, Cunningham conducted a quiet, unvaried life, accumulating over the years a massive collection of paintings, watercolours, ink and pencil drawings and even three-dimensional paper compositions. His works, just like many details of his personal life, remained undisclosed until his passing on December 4, 2014, at the age of 85.

New Beginnings

His fame, however, has been once more slowly growing. His widow Bobby Hillson, the fashion illustrator-designer and creator-director of the fashion MA Fashion course at St Martin’s, organised a successful exhibition of his paintings at Hoxton Gallery in London in collaboration with curator Stephen Rothholz and designer Mike Dempsey. An exhibition at Damien Hirst’s Newport Street Gallery in London was organised in 2022, showing 70 works and exploring his role in the London art scene of the 1950s. The following year saw the publication of an illustrated catalogue of his paintings.

This signalled a resurging interest in Cunningham and his oeuvre, which is now considered by some critics as just as significant as that of his contemporaries Auerbach, Kossoff and Tilson. If Cunningham was a stubbornly guarded, secretive person, his paintings and drawings remain incredibly emotive. They are telling, today, of an artist whose expressive visual vocabulary remained preoccupied with creative integrity, of a man who was, eventually, entirely consumed by an inexorable urge to create.