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Albums containing "landscape" |
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Items containing "landscape" |
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From Album: Minton John
KEYWORDS:
Available
JOHN MINTON RBA, LG
1917 - 1957
Road to the Sea 1943
Watercolour, gouache, pen & ink on paper
Signed & dated top left
20 x 24 ins 51 x 61 cms
Verso:Neo Romantic landscape
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Exhibited: |
Alex Reid & Lefevre, London, 1944 Arts Council, John Minton , 1958, no.37
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Matching descriptions:
JOHN MINTON RBA, LG
1917 - 1957
Road to the Sea 1943
Watercolour, gouache, pen & ink on paper
Signed & dated top left
20 x 24 ins 51 x 61 cms
Verso:Neo Romantic landscape
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Exhibited: |
Alex Reid & Lefevre, London, 1944 Arts Council, John Minton , 1958, no.37
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From Album: Wells John
Matching descriptions: 20
Untitled c.1953
Oil on canvas
Studio stamp verso
9 3/4 x 16 1/4 ins 25 x 41 cms
Following the upright compositions suggestive of soaring air currents
and gliding bird flight of the preceding few years, Wells began a
series of landscape format paintings in the mid 1950s that included
Vista1955 (Exh. Tate St. Ives, 1998, no. 38) which was awarded the
Arts Critics Prize in 1957. These presented a patchwork of geometric
shapes, spread out across the composition in a manner suggestive of
an ancient field marking system in a landscape as seen from the air,
and often containing a skewed sense of perspective evoking a bird’s
eye view in motion. This work even incorporates a shaped canvas
to further disrupt the picture plane and enhance the feeling of
disorientation
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From Album: Wells John
KEYWORDS: Available
landscape 1956
Oil on canvas
Signed, dated & studio stamped verso
10 x 16 ins 25.5 x 41 cms
Matching descriptions: 21
landscape 1956
Oil on canvas
Signed, dated & studio stamped verso
10 x 16 ins 25.5 x 41 cms
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From Album: Wells John
Matching descriptions: 24
Study c.1959
Oil on card
Studio stamp verso
3 1/4 x 15 1/2 ins 8 x 39 cms
As he worked towards his first solo exhibition for the Waddington
Galleries in 1960, Wells introduced a larger scale to his paintings, up
to 24 x 58 ins for landscape Evocation1959, by far the largest work
he had produced. These were generally characterised by a looser
more gestural technique that perhaps both indicate Wells’ awareness
of the contemporary work of his colleagues in St Ives and the
influence of his dealer urging him to make larger, more significant
statements. Many of these paintings possess an elongated horizontal
format, encouraging a linear narrative reading across the composition
and attempting to capture the enormity of the experience of
landscape within a single picture. The change in scale and technique
brought with it uncertainties that led Wells to make, for the first
time, provisional studies for the larger paintings, having abandoned
his technique of scoring the backboard with lines based on systems
of proportion such as the Golden Section. The urgency of
production brought about by the deadline of the Waddington
exhibition is evident in these loosely painted small scale studies.
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From Album: Wells John
Matching descriptions: 25
Landscript c.1959
Oil on board
Studio stamp verso
3 1/2 x 28 ins 9 x 71 cms
As he worked towards his first solo exhibition for the Waddington
Galleries in 1960, Wells introduced a larger scale to his paintings, up
to 24 x 58 ins for landscape Evocation1959, by far the largest work
he had produced. These were generally characterised by a looser
more gestural technique that perhaps both indicate Wells’ awareness
of the contemporary work of his colleagues in St Ives and the
influence of his dealer urging him to make larger, more significant
statements. Many of these paintings possess an elongated horizontal
format, encouraging a linear narrative reading across the composition
and attempting to capture the enormity of the experience of
landscape within a single picture. The change in scale and technique
brought with it uncertainties that led Wells to make, for the first
time, provisional studies for the larger paintings, having abandoned
his technique of scoring the backboard with lines based on systems
of proportion such as the Golden Section. The urgency of
production brought about by the deadline of the Waddington
exhibition is evident in these loosely painted small scale studies.
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From Album: Wells John
KEYWORDS: Available
Study for landscape Elements c.1960
Oil on board laid on board
Indistinctly inscribed & studio stamped verso
2 1/2 x 5 ins 6.5 x 12.8 cms
Matching descriptions: 27
Study for landscape Elements c.1960
Oil on board laid on board
Indistinctly inscribed & studio stamped verso
2 1/2 x 5 ins 6.5 x 12.8 cms
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From Album: Wynter Bryan 1915-1975
4. Frozen landscape circa 1951
KEYWORDS: available Bryan Wynter
4. Frozen landscape circa 1951
BW 05
Oil on muslin laid on board
Size: 24 x 36 ins
61 x 91.5 cms
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From Album: Hitchens, Ivon 1893-1979
Statue in Courtyard
KEYWORDS: Available
Statue in Courtyard circa 1959 Oil on canvas 33 x 60 in : 84 x 152 cm
A sculpted female torso in a studio interior was the subject of a painting shown
at Hitchens’ first solo exhibition in 1925. Fifty years later the presence of a statue in a landscape painting, lending it an extra dimension and mystery, still appealed to the artist (eg. A Sibylline Courtyard 1974 in the Courtauld Institute collection).
There is certainly an extra dimension of mystery in the present painting, since
the statue depicted in it is in fact based on a living model, while the river and buildings in the left half seem to be drawn from the imagination.
Laying aside the probably unanswerable question of sources, let us accept the painting for what it is: a complex and powerful composition which, somewhat against the odds, imposes itself on the imagination.
Both halves of the picture provide a welcome reminder of the too easily overlooked element of drawing in Hitchens’ work. On the left we get a rare glimpse of the detailed structure, or armature, that underlies the sweeping brushstrokes and patches of colour in most of his works; on the right an
example of his fluent and vital figure drawing, which can be seen in the many
ink or charcoal studies he made in preparation for his large mural paintings
in the 1950s and early ‘60s.
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From Album: Hitchens, Ivon 1893-1979
Foliage by Water no 3
KEYWORDS: Available
Foliage by Water no 3 1962 Signed lower right signed dated & inscribed on stretcher label Oil on canvas 17 1/2 x 58 1/4 in : 44 x 148 cm
Exhibited Tate Gallery Retrospective 1963 no 152
This painting and six others of the same subject were shown together at the
Tate retrospective of Hitchens’ work in 1963. They hung in the last room and
one wonders how many visitors, having already seen one hundred and fifty exhibits, will have had the patience and stamina to compare and contrast
these latest masterworks. Yet here was a rare opportunity to study Hitchens’ method, appreciate his aims, and marvel at his inventiveness.
Of the entire series of twelve paintings no 3 is the most daringly economical. The two competing focuses of interest are the sweeping arc on the left and the partially obscured blue diamond on the right. But even as one contemplates these simple geometries, the flat screens of colour, superimposed on one another, create space and recession: the arc becomes a tree-bordered
shoreline; in the background rises the barrier of a forest plantation; and above are the pale blue, thinly clouded skies of spring. A smaller arc, over the blue diamond, echoes the larger and sets up a rhythm. By such seemingly simple gestures Hitchens recreates his experience of a particular landscape while at the same time constructing an independently satisfying pattern on the canvas. Holding the two in equilibrium is Hitchens’ magical secret and the secret of
the painting’s perennial freshness and mystery.
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From Album: Hitchens, Ivon 1893-1979
Spring Mood no.3
KEYWORDS: Ivon Hitchens
sold
1 Spring Mood no 3 1933 Estate stamp verso Oil on canvas 28 x 40 in : 71 x 102 cm
Almost every painting in this exhibition is one of several versions or variations on a theme, whether it be still life or landscape. Hitchens’ interest was not so much in the subject itself as in the pictorial opportunities it offered. It was therefore natural that he should want to explore the different aspects of the subject in a series of paintings.
The subject of Spring Mood no 3 is a group of plants and flowers in pots and vases placed on a table in the artist’s Hampstead studio, with a view out of the window to distant rooftops. This is one of at least three treatments of the theme. (There are, in addition, two exquisite miniature versions, each measuring 6 x 7 ins, painted in the following year, 1934.) In Spring Mood nos 1 & 3 Hitchens is concerned with the bare bones of the composition: rhythm, line and colour-shape, while in no 2 he exploits contrasts of pattern and detail.
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From Album: Wells, John
Matching descriptions: 13
Homage to Naum Gabo 1948
Oil on canvas
Signed, dated, numbered 73 / 2 & inscribed verso
16 x 20 ins 40.5 x 51 cms
Exhibited:
Penwith Society, St Ives, 1973
Plymouth City Art Gallery, Mackenzie, Mitchell, Wells 1975, no 44
Tate St. Ives Retrospective,1998, no. 25
The title Homage to Naum Gaboappears to be Wells’ later
addition to this work which is listed as Painting 1948 (Gaboid)on the
artist’s card index system. Following Gabo’s departure from
St. Ives to travel to America in November 1946, Wells and Lanyon,
the two artists owing the most to his instruction and advice, formed
a close friendship, working through and discussing ideas together.
Throughout the late 1940s Wells continued to make and exhibit
three-dimensional constructions whilst his painted work developed
a more plastic sculptural quality. This composition is one of Wells’
most ambitious creations, combining a sense of lateral motion and
recessional depth for the fractured form that also alludes to the
material quality of Perspex, with radiating lines inscribed into the surface.
The use of the dense green as a textured background may refer
back to Gabo’s first paintings made in St. Ives, which used similar
tones, but it also helps place the object against an organic, natural
environment as if we are glimpsing some elemental force within the
landscape.
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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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From Album: Wells, John
Matching descriptions: 22
Figures in landscape c. 1954
Oil on canvas
10 x 18 1/2 ins 25.5 x 47 cms
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From Album: Wells, John
Matching descriptions: 23
Untitled 1957-8
Oil on board
Signed, dated & inscribed verso
23 1/2 x 16 ins 60 x 40.75 cms
During the late 1950s Wells began a series of paintings exploring
sensations of landscape through weathered textures and colours,
dispensing with references to perspectival space and horizon lines.
He often developed textured backboards for his paintings over long
periods of time, sometimes years, placing them outside for the
elements to work on them. These heavily textured paintings derived
from his cliff studies in which he explored the rock faces as
evidence of the passing geological time. They evoke sensations of
the underlying structure of the landscape beneath its surface
appearance.
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From Album: Wells, John
Matching descriptions: 26
landscape Study c.1959
Oil on board
Studio stamp verso
4 x 6 ins 0 x 15.5 cms
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From Album: Wells, John
Matching descriptions: 28
Composition Variation 1 1963
Oil on board
Signed, dated, numbered 67/ 12, studio stamped & inscribed verso
48 3/8 x 18 1/8 ins 123.5 x 46.5 cms
Exhibited: Waddington Galleries, London, 1964, no. 14
Following the commercial success of his more loosely handled landscape
evocations at the 1960 Waddington exhibition, Wells appears to have become
dissatisfied with the lack of structure and coherence in the larger work. He
wrote to Ben Nicholson in January 1961, ‘You may have heard I had a show at
Waddingtons in September last. It seems to have gone quite well. I wish I
could say the same of the work since then. I have produced virtually nothing
and feel as if I never will. I know a show is upsetting but three months is too
long – in fact pathological.’ He eventually turned to his love of geometry and
systems of proportion and musical structure as a means of support. The first
paintings produced in this new austere hard edge style date from later that
year. The present example is an essay in tonal and structural harmony and
recaptures some of the purity of his earliest constructivist work.
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From Album: Sutherland, Graham 1903-1980
landscape wiht Palm 1948
KEYWORDS: Sold
Graham Sutherland 1903-1980
landscape wiht Palm 1948
Signed and dated
Watercolur, gouache and crayon on paper
Size 15 x 19 1/2 ins
Provenance: A.Brandt
Exhibited: James Kirkman 1981
Literatur: D. Cooper The Work of G. Sutherland
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