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Albums containing "contemporary" |
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Items containing "contemporary" |
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From Album: Brooker William
White Bottles ...
KEYWORDS: Available
6
White Bottles with Black Tin
1966
oil on canvas
36 x 40 in / 91.4 x 101.6 cm
signed & dated lower right
Provenance
Arthur Tooth & Sons Ltd, London
Exhibited
William Brooker – An Exhibition of Recent Paintings, Arthur Tooth
& Sons Ltd, London, 29 March – 22 April 1967, no. 7 (illustrated)
William Brooker Paintings 1952-1968, Arthur Tooth & Sons Ltd,
London, 6 – 24 February 1968, no. 4 (illustrated)
Norfolk contemporary Art Society Exhibition, Castle Museum,
Norwich, October 1981, no. 9
Matching descriptions:
6
White Bottles with Black Tin
1966
oil on canvas
36 x 40 in / 91.4 x 101.6 cm
signed & dated lower right
Provenance
Arthur Tooth & Sons Ltd, London
Exhibited
William Brooker – An Exhibition of Recent Paintings, Arthur Tooth
& Sons Ltd, London, 29 March – 22 April 1967, no. 7 (illustrated)
William Brooker Paintings 1952-1968, Arthur Tooth & Sons Ltd,
London, 6 – 24 February 1968, no. 4 (illustrated)
Norfolk contemporary Art Society Exhibition, Castle Museum,
Norwich, October 1981, no. 9
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From Album: Wells John
Matching descriptions:
1. Coastline – Scilly Isles c.1940
Watercolour on paper
Studio stamped
Traces of inscription verso
51/2 x 9 ins 14 x 22.75 cms
Wells took up the post of doctor on the Scilly Isles in 1936. He
continued to paint in his spare time following evening classes at St
Martin’s School of Art and his initial meeting with Ben and Winifred
Nicholson and Christopher Wood in Feock, Cornwall in 1928. He
read widely, subscribing to contemporary magazines such as Axis
and Horizon, and his work of this period suggests an affinity with
the biomorphic forms of Surrealism which he used in depictions
of his marine environment. These two studies, never previously
exhibited, explore the organic contours of his island existence.
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From Album: Wells John
Matching descriptions:
2. Sea & Rocks – Scilly Isles c.1940
Watercolour on paper
Studio stamped
51/2 x 9 ins 14 x 22.75 cms
Wells took up the post of doctor on the Scilly Isles in 1936. He
continued to paint in his spare time following evening classes at St
Martin’s School of Art and his initial meeting with Ben and Winifred
Nicholson and Christopher Wood in Feock, Cornwall in 1928. He
read widely, subscribing to contemporary magazines such as Axis
and Horizon, and his work of this period suggests an affinity with
the biomorphic forms of Surrealism which he used in depictions
of his marine environment. These two studies, never previously
exhibited, explore the organic contours of his island existence.
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From Album: Wells John
Matching descriptions:
6. Untitled c.1944
Gouache & pencil on paper
7 1/8 x 9 1/2 ins 18 x 24 cms
During his visits to Carbis Bay Wells used to undertake long coastal
walks with Naum Gabo, during which Gabo collected pebbles or
bones and talked of their affinity with the constructive process.
Gabo’s sojourn in Cornwall appears to have confirmed a new
tendency to allow these natural sources into his work, perhaps
brought on by the state of the war and the means to which science
was being put in it. Wells responded to this romantically inspired
modernism through his own interest in natural phenomena and by
developing his own formal vocabulary to include a triangular ellipse
or pebble form. By presenting multiple aspects of a similar form
within the same picture and by drawing interior radiating lines to
define space, these works reference the contemporary crystal
drawings of Barbara Hepworth, an example of which Wells owned.
The use of areas of strong primary colour to indicate an interior
space in Variationsalso recalls the jewel like intensity of colour
used by Hepworth in her S culpture with Colour Deep Blue & Red,
1940 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
Matching descriptions:
7. Variations 1944
Pen, ink, pencil & tempera on board
Signed, numbered 73 / 3 & inscribed verso
7 x 10 ins 17.75 x 25.5 cms
Exhibited: Plymouth City Art Gallery, Mackenzie, Mitchell, Wells,1975, no. 40
Newlyn Orion Gallery, Penzance, 1975, no. 1
During his visits to Carbis Bay Wells used to undertake long coastal
walks with Naum Gabo, during which Gabo collected pebbles or
bones and talked of their affinity with the constructive process.
Gabo’s sojourn in Cornwall appears to have confirmed a new
tendency to allow these natural sources into his work, perhaps
brought on by the state of the war and the means to which science
was being put in it. Wells responded to this romantically inspired
modernism through his own interest in natural phenomena and by
developing his own formal vocabulary to include a triangular ellipse
or pebble form. By presenting multiple aspects of a similar form
within the same picture and by drawing interior radiating lines to
define space, these works reference the contemporary crystal
drawings of Barbara Hepworth, an example of which Wells owned.
The use of areas of strong primary colour to indicate an interior
space in Variationsalso recalls the jewel like intensity of colour
used by Hepworth in her S culpture with Colour Deep Blue & Red,
1940 in the Tate collection.
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