Adrian Henri

Adrian Henri (10 April 1932 – 20 December 2000) was a British poet and painter best remembered as the founder of poetry-rock group The Liverpool Scene and as one of three poets in the best-selling anthology The Mersey Sound, along with Brian Patten and Roger McGough. The trio of Liverpool poets came to prominence in that city's Merseybeat zeitgeist of the 1960s and 1970s. Their accessible and performative style helped bring poetry to a wider popular audience beyond traditional literary circles. He was described by Edward Lucie-Smith in British Poetry since 1945 as the "theoretician" of the three. Henri's characterisation of popular culture in verse helped to widen the audience for poetry among 1960s British youth. He was influenced by the French Symbolist school of poetry and surrealist art.

Adrian Henri
Born	(1932-04-10)10 April 1932 Birkenhead, Cheshire, England
Died	20 December 2000(2000-12-20) (aged 68) Liverpool, England
Occupation	Poet and painter
Alma mater	King's College, Newcastle
Notable works	The Liverpool Scene; The Mersey Sound

Life and career

Front cover of the best-selling anthology The Mersey Sound, which featured Henri, with Roger McGough and Brian Patten

Adrian Henri's grandfather was a seaman from Mauritius who settled in Birkenhead, Cheshire, where Henri was born. In 1938, at the age of six, he moved to Rhyl in Wales. He studied art at King's College (now Newcastle University) and for a short time taught art at Preston Catholic College before going on to lecture in art at both Manchester and Liverpool Colleges of Art. He was closely associated with other artists of the area and the era including the Pop artist Neville Weston and the conceptual artist Keith Arnatt. In 1972 he won second prize for his painting Meat Painting II – In Memoriam Rene Magritte in the John Moores competition. He was president of the Merseyside Arts Association and Liverpool Academy of the Arts in the 1970s and was an honorary professor of the city's John Moores University.

Henri had a 10-year relationship with Carol Ann Duffy, who later became Poet Laureate of the United Kingdom. The pair met when she was 16, him 39 at the time, and lived together until 1982. Henri married once, to Joyce; the couple later separated. He had no children. For the last 15 years of his life his partner was Catherine Marcangeli. His career spanned everything from artist and poet to teacher, rock-and-roll performer, playwright and librettist. He could name among his friends John Lennon, George Melly, Allen Ginsberg, Willy Russell, John Willett and Paul McCartney. Unlike McGough and Patten, Henri turned his back on the trendier London scene, and chose to remain in Liverpool, saying there was nowhere he loved better.

His numerous publications include The Mersey Sound (Penguin, 1967), with McGough and Patten, a best-selling poetry anthology that brought all three of them to wider attention, Collected Poems, 1967–85 (Allison & Busby, 1986), Wish You Were Here (Jonathan Cape, 1990) and Not Fade Away (Bloodaxe Books, 1994).

hideous masked Breughel faces of old ladies in the crowd yellow masks of girls in curlers and headscarves smelling of factories Masks Masks Masks red masks purple masks pink masks

crushing surging carrying me along down the hill past the Philharmonic The Labour Exchange excited feet crushing the geraniums in St Luke's Gardens placards banners posters Keep Britain White End the War in Vietnam God Bless Our Pope

(The Entry of Christ into Liverpool, from Mersey Sound. Published by Rapp & Carroll 1967)

He was the leading light of a band, The Liverpool Scene, which released four LPs of poetry and music. Earlier, in 1955, he had played washboard in the skiffle group of King's College, Newcastle. He was a firm believer in live poetry reading, and read his poetry at many and varied venues as well as holding poetry workshops at schools and colleges. One of his last major poetry readings was at the launch of The Argotist magazine in 1996.

In 1986, Henri became the first President of the National Acrylic Painters' Association, a post he held until 1991, after which he became its first Fellow and Patron until his death in 2000.

He died in Liverpool, aged 68, having never properly recovered from a stroke that he had suffered two years previously. The night before his death, Liverpool City Council conferred on him the Freedom of the City in recognition of his contribution to Liverpool's cultural scene. He also received an honorary doctorate from the University of Liverpool.

He described his early philosophy as: "If you think you can do it and you want to do it—then do it."

In 2012 Adrian Henri: Total Artist was released. Total Artist concentrates on Henri's work from the 1960s and 1970s, as well as capturing some of the excitement and dynamics of the art scene in Britain during this time. Henri was at the centre of a distinctive yet highly connected counter-culture, providing an opportunity to consider his embrace of total art as a template for interdisciplinary art practice. Published by Occasional Papers, the Exhibition Research Centre, Liverpool John Moores University and Université Paris Diderot.

Visual Art

Alongside his literary work, Henri maintained an active career as a painter and visual artist. He studied at the University of Newcastle upon Tyne and later taught at Liverpool Art College, where he became associated with the city's experimental art and countercultural scene during the 1960s.

His paintings often incorporated elements of pop art, surrealism and collage, drawing on mass media imagery, advertising and popular culture in ways that paralleled his poetry and performance work.

One of Henri's best-known paintings is The Entry of Christ into Liverpool (1962–64), a large-scale work inspired by Belgian painter James Ensor's Christ's Entry Into Brussels in 1889. Combining portraits of friends, artists and cultural figures with references to popular advertising and political slogans, the painting reflected Henri's interest in surrealism, pop culture and urban spectacle. Henri described the work as both a homage to Ensor and a "visual diary" of Liverpool cultural life during the early 1960s, with figures continuously added, altered or removed over several years.

Happenings and Performance Art

Alongside his poetry and painting, Henri was associated with the emergence of performance poetry in Britain during the 1960s and 1970s. Influenced by American Beat poetry, jazz performance and surrealism, his readings frequently combined spoken word with live music, projected images and improvisation. Associated with Liverpool's broader countercultural and art-school environment, Henri helped move poetry readings beyond conventional literary settings toward collaborative performances incorporating elements of theatre, visual art and popular music. His interdisciplinary approach was later described as a form of "total art".

One of Henri's earliest happenings was ''City'' (1962), created with Roger McGough and artist John Gorman for the Merseyside Arts Festival in Liverpool. Described by Henri as one of the first happenings staged in England, the event combined poetry, assemblage, taped music, mime and environmental performance within an immersive setting influenced by the work of American artist Allan Kaprow.

Henri continued to develop multimedia performances with works such as ''Nightblues'' (1963), which combined live jazz, poetry, projected images and theatrical staging. The performance reflected Henri's interest in improvisation and the influence of Beat culture and jazz performance on British poetry during the period.

One of Henri's best-known happenings was ''Bomb'' (1964), staged at the Cavern Club in Liverpool. Structured as a simulated nuclear attack and four-minute warning, the event combined poetry readings, live rock music, theatrical performance, sound effects and audience participation within a deliberately chaotic environment.

In the early 1970s, Henri became involved with the Great Georges Project in Liverpool, a community-based arts initiative organised by Bill and Wendy Harpe in a working-class inner-city neighbourhood. The project combined environmental theatre, happenings and participatory public art with local social activities and political engagement. Henri devised ''Six Memorials'' (1971), described as a "Gift to the City" for Wendy Harpe, staged on the site of a demolished Liverpool chip shop in Falkner Street. The performance formed part of a wider series of urban interventions and ceremonial actions staged throughout Liverpool. The performance included satirical references to Cold War civil defence culture, projected apocalyptic imagery and staged explosions, concluding with performers dressed as "mutants" moving through the audience following a simulated nuclear blast.

Among Henri's later performance works was The Funeral of Adrian Henri, staged in Liverpool in collaboration with performance artist Rob Conybeare and saxophonist Lol Coxhill. Presented between Liverpool Pier Head and the Academy Gallery, the work drew on ceremonial and processional forms associated with happenings and participatory performance art. The performance reflected Henri's recurring interest in mock rituals, absurdist theatre and the blurring of boundaries between public event, theatrical action and visual art installation. His collaborations with artists associated with GASP (Games of Art for Spectator Participation) also connected his work to broader experimental performance networks active in Britain during the 1970s.

Henri's performances frequently incorporated recurring fictional and symbolic figures drawn from surrealism and absurdist theatre, particularly Père Ubu from Alfred Jarry's play Ubu Roi. The character became a recurring reference point in Henri's visual art and live performances, reflecting his interest in grotesque satire, parody and theatrical disruption. His happenings and public performances also included mock funerals and ceremonial actions that blended humour, improvisation and audience participation, combining elements of poetry reading, theatre and visual spectacle.

His group The Liverpool Scene combined poetry with rock and jazz instrumentation and has been cited as an early example of poetry-rock fusion in Britain.

The Liverpool Scene

The Liverpool Scene was a poetry band, formed around 1967, which included Adrian Henri, Andy Roberts, Mike Evans, Mike Hart (ex Liverpool Roadrunners), Percy Jones and Brian Dodson. Four LPs were issued with Henri's poetry heavily featured. The first one was produced by Liverpool DJ John Peel, who was then working on the pirate radio station Radio London. Despite his support, the album achieved little success: the following three were equally unsuccessful. Public performances by the band included a (financially unsuccessful) 1969 tour when they opened for Led Zeppelin. Henri was described in performance as "bouncing thunderously and at risk to audience and fellow performers, the stage vibrating out of rhythm beneath him." The Liverpool Scene disbanded in April 1970.

The albums were:

• The Incredible New Liverpool Scene
• The Amazing Adventures Of
• Bread on the Night
• St. Adrian & Co., Broadway and 3rd
• Heirloon (rarities and outtakes)

There were at least three "best of" albums and two non-LP singles, "Love Is"/"The Woo-Woo" and "Son, Son"/"Baby".

Bibliography

• Biggs, Bryan; Hudek, Antony; Marcangeli, Catherine. Adrian Henri: Total Artist. London: Occasional Papers, 2014.

See also

• Liverpool poets
• Peter Edwards

External links

• Interview with The Argotist Online
• Interview with Roger McGough about 40 years of the Mersey Poets
• Henri reads Death in the Suburbs (audio)
• Footage of Adrian Henri performing live with The Liverpool Scene
• Works at Whitford Fine Art
• National Portrait Gallery, London
• Adrian Henri website
• A film of The Liverpool Scene performing "Baby" at Victoria Park, London 1970