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Albums containing "abstract" |
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Items containing "abstract" |
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From Album: Hitchens, Ivon 1893-1979
Cineraria Composition
KEYWORDS: Sold
Cineraria Composition 1934 Signed & dated lower left Estate stamp verso Oil on canvas 25 x 32 1/2 in : 63 x 83 cm
Here Hitchens focuses on the central plant-pot of Spring Mood no 3 and takes reductive abstraction a stage further than in the earlier painting. 1934-7 were
the years in which he pushed his experiments in abstraction as far as they would ever go, culminating in Coronation 1937 (Tate Coll).
It is worth recalling that 1934 was the year of Ben Nicholson’s first white reliefs, and that the following years up to the outbreak of war were for him too the period of furthest abstraction, but that even in Nicholson’s work pure abstraction at no time wholly ousted figuration.
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From Album: Hitchens, Ivon 1893-1979
Boat and Foliage
KEYWORDS: sold
Boat and Foliage in Five Chords no 3 1970 Signed & dated lower left signed dated & inscribed on stretcher label Oil on canvas 24 x 64 in : 61 x 163 cm
The challenge Hitchens set himself in this series was to reconcile the vertical eye-movement which he ‘orchestrated’ in five colour ‘chords’, with the more sweeping horizontal ‘rhythms’. When talking about his work, he was apt to use such musical analogies, which is natural if one wishes, as he did, to emphasize the abstract, constructive aspects of a painting, rather than the representational. In the first version the five vertical chords divide the painting into strongly contrasting sections of colour-shapes. This third version is much looser, with vertical and horizontal movement in perfect counterpoint, as intended.
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From Album: Wells, John
Matching descriptions: 5. Untitled c.1942
Pencil & gouache on paper
9 1/2 x 13 ins 23.5 x 33 cms
Wells found a receptive audience for his new abstract work with
the fighter pilots stationed on the Scilly Isles during the war, who
saw in the grace and poise of his work an analogy to their own
relationship to the land and sea whilst in flight. This encouraged
Wells to make explicit references to his immediate surroundings in
his work, comparing his heightened awareness of the fragile ring of
islands to the shapes that he placed together within his collages.
The frequent journeys made on his doctor’s rounds, from island to
island, brought about an intimacy with the sea and his boat so that
much of his subsequent imagery can be seen as referencing boat
and sail like forms. Wells introduced areas of flat constructive
colour into his work from early 1942 having acquired several tubes
of gouache the previous autumn.
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From Album: Wells, John
Matching descriptions: 17
Village 1948
Oil & pencil on canvas laid on board
Signed, dated, numbered 87/ 17, studio stamped & inscribed verso
11 x 15 1/4 ins 27.5 x 38.5 cms
Wells worked as an assistant to Barbara Hepworth from 1949-51,
notably on her series of monumental figurative sculptures of the
period including Cosdon Head, 1949 in the Birmingham City Art
Gallery Collection These works combined Hepworth’s interest in
pure abstraction with her figure drawings of the preceding few years.
Many of her works involved two figures presented together, either
the same figure for different viewpoints or entwined in some way.
Wells at this time developed an interest in incorporating heads and
figures within landscape forms as symbolic of man’s interaction with
nature. This rare linear study is also related to a series of etchings
made at this time.
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From Album: Wells, John
Matching descriptions: 18
Figures 1950
Pen, ink & watercolour on paper
Studio stamp & figure drawing verso
7 x 7 ins 18 x 18 cms
Wells worked as an assistant to Barbara Hepworth from 1949-51,
notably on her series of monumental figurative sculptures of the
period including Cosdon Head, 1949 in the Birmingham City Art
Gallery Collection These works combined Hepworth’s interest in
pure abstraction with her figure drawings of the preceding few years.
Many of her works involved two figures presented together, either
the same figure for different viewpoints or entwined in some way.
Wells at this time developed an interest in incorporating heads and
figures within landscape forms as symbolic of man’s interaction with
nature. This rare linear study is also related to a series of etchings
made at this time.
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