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Albums containing "St.Ives" |
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Items containing "St.Ives" |
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From Album: Spencer Stanley
KEYWORDS:
SIR STANLEY SPENCER RA
1891 - 1959
Cottage at St.Ives Back Street West 1938
Oil on canvas
24 x 30 ins 61 x 76 cms
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| Exhibited: |
J Leger & Sons, London,1938
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| Literature: |
Keith Bell, Stanley Spencer Catalogue Raisonne,
Phaidon, London, 1992, no 239, illus |
Matching descriptions:
SIR STANLEY SPENCER RA
1891 - 1959
Cottage at St.Ives Back Street West 1938
Oil on canvas
24 x 30 ins 61 x 76 cms
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| Exhibited: |
J Leger & Sons, London,1938
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| Literature: |
Keith Bell, Stanley Spencer Catalogue Raisonne,
Phaidon, London, 1992, no 239, illus |
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From Album: Wells John
Matching descriptions:
3. Collage 1941
Pencil, watercolour & paper collage on card
Signed, studio stamped & dated verso
121/2 x 151/2 ins 31.5 x 39 cms
Wells visited Ben Nicholson and Barbara Hepworth at Carbis Bay
near St.Ives in the spring of 1940 where he was introduced to Naum
Gabo. He was deeply impressed by Gabo’s constructivist ideas and
immediately fashioned a three dimensional response that Gabo
later described to Nicholson as ‘the perfect first effort in spatial
construction’. The present example is an important example of
Wells exploring tension and balance in space through the use of a
series of collaged geometric shapes interconnected within a linear
structure and with the central area of radiating lines.
The coloured concentric circles in each shape were created
with a small brass turntable, a device used by Wells’ father to make
microscope slides, and feature in Wells’ sole surviving relief
construction of the period in the Tate collection.
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From Album: Wells John
Matching descriptions:
4. Boat c.1942
Gouache & collage on paper
mounted on board
73/4 x 117/8 ins 19.5 x 30 cms
Wells visited Ben Nicholson and Barbara Hepworth at Carbis Bay
near St.Ives in the spring of 1940 where he was introduced to Naum
Gabo. He was deeply impressed by Gabo’s constructivist ideas and
immediately fashioned a three dimensional response that Gabo
later described to Nicholson as ‘the perfect first effort in spatial
construction’. The present example is an important example of
Wells exploring tension and balance in space through the use of a
series of collaged geometric shapes interconnected within a linear
structure and with the central area of radiating lines.
The coloured concentric circles in each shape were created
with a small brass turntable, a device used by Wells’ father to make
microscope slides, and feature in Wells’ sole surviving relief
construction of the period in the Tate collection.
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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
Three Circles in Squares 1967
Oil on wood construction
Signed, dated, numbered 67/ 2 & inscribed verso
32 x 26 ins 82 x 66.5 cms
Exhibited: Penwith Gallery, St.Ives, 1967
Edinburgh Festival, 1967
Sheviock Gallery, 1970
Penwith Society, 1970
Matching descriptions:
32
Three Circles in Squares 1967
Oil on wood construction
Signed, dated, numbered 67/ 2 & inscribed verso
32 x 26 ins 82 x 66.5 cms
Exhibited:
Penwith Gallery, St.Ives, 1967
Edinburgh Festival, 1967
Sheviock Gallery, 1970
Penwith Society, 1970
By 1967 Wells had arrived at a position of the utmost simplicity of
forms and means of expression, reducing the image to a few
repeated shapes and combined colours. In this work, a rare relief,
the proportion of the circles to the squares remains consistent but
each is treated in a different colour to create an undefined and
ambiguous spatial sense. The interior of the middle sized square is
painted with a pure cobalt blue whilst the larger square is applied
with a mixture of cobalt blue and white. Following its extended
exhibition history, Wells repainted a number of sections in 1972.
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From Album: Wynter Bryan 1915-1975
16. IMOOS No 5 1972-73
KEYWORDS: available Bryan Wynter
16. IMOOS No 5 1972-73
Gouache on card, wire, concave mirror & light set within
a painted wooden box
Size: h. 22 ˝ ins 57 cms
w. 20 ins 51 cms
d. 25 ˝ ins 65 cms
Exhibited
Waddington Galleries, London, 1974
Penwith Galleries, St.Ives, 1976
University of Essex, 1988
Tate, St.Ives, 1994
Tate, St.Ives, Retrospective, 2001
Matching descriptions:
Gouache on card, wire, concave mirror & light set within
a painted wooden box
Size: h. 22 ˝ ins 57 cms
w. 20 ins 51 cms
d. 25 ˝ ins 65 cms
Exhibited
Waddington Galleries, London, 1974
Penwith Galleries, St.Ives, 1976
University of Essex, 1988
Tate, St.Ives, 1994
Tate, St.Ives, Retrospective, 2001
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From Album: Wells, John
Matching descriptions:
12
Pageant 1947-8
Oil on board
Signed, numbered 85/ 8 & inscribed verso
9 x 11 3/4 ins 23 x 30 cms
Exhibited:
Lefevre Gallery, London, 1946, no. 41
Crypt Group, St.Ives, 1946, no. 47
Newlyn Orion Gallery, Penzance, 1985
This painting is a reworking of the earlier painting, Nuclear Dance
dated 1945. From the backboard it would appear that Nuclear
Dance was originally the other way up so that the composition read
with a straight horizon line towards the lower quarter of the board.
Typical keel like forms and thrusting chevrons topped with balancing
triangles, when read in this way, are suggestive of a musical notation
almost gently rocking across the composition. Pageant, created over
the top of Nuclear Dance three years later, inverts the image and
stacks the forms on a series of points topped with acute angled
shapes akin to flags or pennants, that create a more staccato
rhythm.
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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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