Myriam Burton in 1989. Image: Bradford ‘Target’.
The Bingley painter, Myriam Burton (1907-1997) gained international acclaim for her impressionistic work, including a Silver Medal from the Paris Salon. But success in her own home area eluded her until the last years of her life.
Myriam (originally named ‘Miriam’ at birth) grew up in the Lancaster area and showed an aptitude for art and crafts from an early age. After leaving school she attended Lancaster School of Art and on leaving pursued her interest in art up to the time of her marriage.
In the mid 1950s, after raising a family, Myriam attended a course at Leeds College of Art and began to paint again. By this time she and her family were living at Lady Lane, Bingley (see her painting of her home, ‘The Chalet’, below).
The Chalet, Lady Lane, Bingley. Image: in a private collection.
From the early 1960s onwards, Myriam began to paint prolifically and submitted her first work to the Royal Academy, where it was accepted and exhibited in a travelling exhibition. She also began to submit paintings to the Societe Des Artistes Francaises (Paris Salon). In 1970, after having her work accepted on four consecutive years, she was made an Associate of the Salon and was later awarded a Silver Medal by the Societe. In total her work was shown on six occasions by the Salon, receiving honourable mentions on every occasion. Her paintings were also shown on one occasion at the Contemporary European Painters’ Exhibition in New York, the Vichy and Clermont Ferrand Biennale, and at the Salon International de La Femme exhibition in Cannes.
In Britain, her paintings were shown on three occasions at Royal Academy Exhibitions and on twelve occasions at Royal Institute of Oil Painters shows. In 1967 she was awarded a Richmond Hill, London, international art competition prize for her work and in 1973 had a solo exhibition of 48 of her paintings at the Woodstock Gallery, London.
Woodland Scene. Image: in a private collection.
However, in Yorkshire Myriam’s paintings – even though she painted many local scenes – were often overlooked. She was a member of the Bradford Art Club and had showed her work at their shows, but wider exhibition opportunities and success in the region eluded her. In 1982 she told the local newspaper that all three paintings she had submitted for the Bradford Open Exhibition had been rejected by the selectors. She said:
This kind of thing keeps on happening to me. On one occasion, a painting accepted by the Paris Salon was turned down for the Bradford Open exhibition. You have to have a sense of humour about it. After all, it all depends on the judges. (Bradford Telegraph & Argus 17/5/1982).
The art critic, John Hewitt, of the same newspaper, commenting at that time on the reasons for this, wrote:
The reason must lie in the fact that she paints the Dales landscapes as if they were in France. Surely, you feel, those beached boats should be in Normandy not Arnside; and her ‘Woodshed’ has more than a touch of the Van Goghs about it … Despite the carping, she remains a painter of power and flair who can make you revel in the deep blue of the sky and the warmth of the southern sun.
However, in the later stage of her life, Myriam’s work was finally recognised locally, including a solo exhibition at the Oak Tree Studio, Shipley, and a co-exhibition of her work at Cliffe Castle, Keighley in 1989. Her work is now found in many private collections in Britain and overseas, particularly France.
Still Life no. 2. Image: in a private collection.
A collection of Myriam Burton’s work on display at an auction in 2019.