ABSTRACT
Until the nineteenth century, British art was often characterised by regional varia tion; artists first became known in their locality and more widespread recognition may have followed. In these days of world markets and global economies, words such as local, provincial and indigenous have become tarnished. As horizons widen, contemporary artists compete within the international arena and it has become diffi cult to distinguish between works produced in N ew York, London or Sydney. John Elwyn’s paintings, however, are the product of his immense knowledge of the coun tryside and experience of living in Wales. His paintings of its landscape and people developed clearly within the British landscape tradition, but are observed from a peculiarly Welsh perspective. In that respect he proudly described himself as an ‘indigenous’ artist. When he left Cardiganshire in 1938 in search of training, employment and recognition there was neither the cultural nor economic climate in Wales to support practising artists. Although John Elwyn lived in Hampshire for almost fifty years, Wales remained his spiritual home. This passion for the homeland is not uncommon amongst Welsh ex-patriots, and the nation has long since paid tribute to this phenomenon in the popular expression gorau Cymro, Cymro oddi cartre (the best Welshman is the Welshman away from home).
