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National Collections

George Trevelyan was elder statesman of the New Age movement.

The sitter was the artist's great-uncle and the portrait was inspired by a very early
feature in the landscape of Parker's memory, a legendary Trevelyan family house
party to mark George's retirement in 1972, also attended by the artists Mary Fedden
and Julian Trevelyan (pictured above right with Parker as a boy that weekend).

The 10 years of self-styled apprenticeship leading up to the painting's 
execution began as Neo-Expressionism dominated what Parker knew of the
art world in the mid '80s and a New Yorker bought early Camberwell
figures when the artist was 18
. To find some context for the isolated figure
he moved to Spain, where Shchukin's Matisses at the Reina Sofia showed the
revolutionary effect of light on a painter who travels south.
Parker began painting outdoors in the Spanish landscape and
then indoors when a student at Newcastle Polytechnic
. Parker's first
important solo show (Dibujos-Havana 1991) explored where interior
and exterior meet, in the paradoxical world of Cuba at the end
of the Cold War.)

Following Parker's return from Cuba, graduation and subsequent
establishment of his own studio in Wimbledon, he received his first
commission from the National Trust Foundation for Art to paint his
grandmother, Northumbrian piper Patricia Jennings (1915-2013,
above centre), who
lived at Wallington until 2011, always
encouraging the artist
to paint there, with originality of thought and
freedom of action.

Three more portraits hang at Wallington in Northumberland, which
was the first country house and entire estate to be 'settled on' the
National Trust in the 1940's. This decision was made by JP's great
grandfather Sir Charles Trevelyan (1870-1958, pictured left)
whose socialist era resonated for me in Cuba.
Geoffrey (right)
became the 5th baronet of Wallington but it was Patricia who lived
there and presented an uncompromising family link.

Below left: 'Twelve Tribes' from Durham University