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Although the artist preferred his portraits of people to his landscapes, they are not always admired, for it may be that his painterly skills were better suited to the depiction of sky, sea and mountain than to reproducing the features of the great and the good, however distinguished.

But some of his women and children have an attractive poignancy and tenderness, while his studies of old country people are done with honesty and sympathy; a selection of them is to be found in his book Portraits (1996). Almost as if to escape the confines of what he knew he could do, in 1968, with the help of a Winston Churchill Fellowship, he spent several months in Patagonia, where a hundred years before some 160 Welsh people, fleeing religious, linguistic and political persecution at home, had settled in the salt-dry valley of the Chubut and in the foothills of the Andes, and where several thousand of their descendants are bilingual in Welsh and Spanish to this day.

A brief visit to Venice in 1979 again suggested the direction in which his work might have developed if only he had not felt so committed to his native North Wales. He published two volumes of autobiography: Across the Straits (1973), which describes his boyhood and youth, and its sequel A Wider Sky (1991), which he dedicated to Lord Anglesey.

A superb raconteur, he wrote with panache about the people and places he had known, often movingly and always with wit and compassion.

Kyffin Williams never tired of painting his native land, or at least those upland parts of it he knew and loved - he rarely ventured into the urban south and never attempted to tackle the industrial landscape of Glamorgan, that other stereotype of modern Welsh painting. "I have been extraordinarily lucky," he wrote in the 1971 symposium Artists in Wales, "to have been born and reared in such a lovely landscape among people with whom I have so great an affinity." He was born in Llangefni, Anglesey's market town, in 1918, the younger son of a bank manager and into a family who, on both the spear and the distaff side, had for generations served the Anglican Church as rectors and vicars in the county.

He gave up teaching altogether in 1973 and returned to Anglesey, where he found a small cottage on the shore of the Menai Straits which was renovated for him at the expense of the Marquess of Anglesey, thereafter his patron and friend, and from which there were splendid views of the mountains of Eryri.The touring caravan and campsite at pentre offers a ideal setting if you want peace and quiet and a time to relax.Llanfair caereinion is just a mile away with lovely places to eat including three pubs a wine bar and a cafe. Youu could also take a ride into welshpool on the Welshpool and Llanfair light railway ,enjoy the shops and a canal trip. When you have enjoyed the surrounding sites you can relax at your base in Pentre penarth and take a leisurely walk over the fields of this 50 acre farm,favouring the expansive views."It had an incredible effect on me," he said, "because up until then, rather stupidly, I had felt that painting was more or less reproducing the world without getting to any greater depths." His first and only job was teaching art at Highgate School in London, albeit on a part-time basis, for by now he was set on becoming a professional painter.Living in a dreary room in Bisham Gardens, he managed to survive on soup and kippers cooked by a sympathetic landlady, a Miss Mary Josling, a blind woman who took in lame dogs like him.

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