British, 1909-1992, Dublin, Ireland
|(b Dublin, 28 Oct 1909; d Madrid, 28 April 1992). English painter. One of the most individual, powerful and disturbing artists of the period following World War II, he took the human figure as his subject at a time when art was dominated by abstract styles, and he was also one of the first to depict overtly homosexual themes. Though largely self-taught, he was widely read and of great independence of mind. His subject-matter and procedures of painting are too personal to be imitated with any real success by other artists, but in Britain and further afield he remains a towering example to those dedicated to the depiction of the human figure.|
British painter, printmaker and probably the most famous and controversial of the British contemporary artists. Without any formal training, this artist gained immediate recognition in 1945, after Laferve Gallery exhibited his Three Studies for Figures at the Base of a Crucifixion (Tate Gallery, London).
In the words of the Artist: ‘ (I try) to paint like Velasquez but with the texture of a hippopotamus skin. ‘ His artworks are characteristically painted with strong, jumbled brushwork normally depicting solitary or sad figures.
If your collector’s sense is telling you to choose a Francis Bacon, you’ve made a wise choice and you’re in the right place. His work is psychological and brooding with a deep sense of quiet emotion. The images aren’t for everyone, however, if you find them even remotely interesting, you will find that any of these pieces will give you a prized addition to your collection.
George Dyer Crouching, 1966
First edition lithograph by Bacon published in page 2 of DLM No. 162. In one of the most prominent paintings of his career George Dyer Crouching, 1966. Bacon depicts his friend and young lover kneeling on a ledge, minimising himself in a vulnerable way. His body language suggests that he may leap or fall forward, yet his distorted gaze advises contemplation.
Born 1867, Fontenay-aux-Roses, France; d. 1947, Le Cannet, France
Pierre Bonnard was born on October 3, 1867, in Fontenay-aux-Roses, France. From a banking family, he began law studies in Paris in 1887. That same year, Bonnard also attended the Académie Julian and in 1888 entered the Ecole des Beaux-Arts, where he met Ker-Xavier Roussel and Edouard Vuillard, who became his lifelong friends. Thus Bonnard gave up law to become an artist, and in 1889 he joined the group of young painters called the Nabis (the prophets), which was organized by Paul Sérusier and included Maurice Denis, Paul Ranson, Roussel, Vuillard and others. The Nabis were influenced by Paul Gauguin and Japanese prints, they experimented with colour, expressive line, and flat patterned surfaces. Emphasizing flat areas of colour and strong lines as against rounded form depicted in tones. Bonnard painted small interiors, nudes and café scenes as well as large decorative works, tapestries, and graphics.
In 1890 Bonnard shared a studio with Vuillard and Denis, and he began to make colour lithographs. The following year he met Henri de Toulouse-Lautrec. Bonnard exhibited with the Nabis until they disbanded in 1900, they remained very close friends though. He worked in a variety of mediums; for example, he frequently made posters and illustrations for La Revue blanche, and in 1895 he designed a stained-glass window for Louis Comfort Tiffany. His first solo show, at the Galerie Durand-Ruel in 1896, included paintings, posters, and lithographs.
1902 Daphnis et Chloé was published with 156 lithographs in black for the pastoral poem by Longus. Printed at the Imprimerie Nationale, Paris, and published by Ambroise Vollard, the lithographs were printed by Clot. Edition of 250 numbered folios, unbound.
In 1903 Bonnard participated in the first Salon d’Automne and in the Vienna Secession, and from 1906 he was represented by Galerie Bernheim-Jeune, Paris. He traveled abroad extensively and worked at various locations in Normandy, the Seine valley, and the south of France (he bought a villa in Le Cannet near Cannes in 1925), as well as in Paris.
From the end of the 1920’s until his death, Bonnard’s subject matter hardly varied. He painted still lives, self-portraits, his wife Marthe, seascapes, and views of his garden at Le Cannet, all with intense color. His subject was always private life and fragile intimacy in the bedroom, the dining room, the bathroom, and the garden, a life in which Bonnard was both voyeur and participant. He also used the image, clothed and nude, of his wife Marthe who never seemed to age over the decades that she posed for her husband. The Art Institute of Chicago mounted a major exhibition of the work of Bonnard and Vuillard in 1933, and the Museum of Modern Art, New York, organized Bonnard retrospectives in 1946 and 1964. Bonnard died on January 23, 1947, in Le Cannet, France.
Daphnis et Chloé by Pierre Bonnard
Daphnis et Chloé 1902, By Pierre Bonnard, Plate 24b, Lithograph ed. No 231/250, On Van Gelden Holland wove paper, bearing the watermark “Daphnis et Chloé”, Published by Auguste Clot.
Dame Elisabeth Frink (1930-1993)
Eisabeth Frink was born in 1930 in Thurlow, Suffolk, the daughter of Ralph, an officer in the 7th Dragoon Guards and of the renowned Indian Army cavalry regiment, Skinner’s Horse. From a very early age, Elisabeth developed a love and fascination with the outdoors. She was competent in riding and shooting and adored dogs – all of which were, at the time, considered male activities and attributes. It could be said that this fascination with masculinity would become a dominant feature of her art.
Having begun her education at a convent in Exmouth, Frink studied at Guildford and Chelsea schools of art between 1947 and 1953, where Bernard Meadows and Willi Soukop were her tutors. She herself went on to teach at Chelsea (1953-60) and St Martin’s School of Art (1955-7).
Frink achieved commercial success at a young age when, in 1952, Beaux Arts Gallery in London held her first major solo exhibition and the Tate Gallery purchased one work entitled ‘Bird’. This marked the beginning of a highly acclaimed career in which Frink earned a reputation as one of Britain’s most important post-war sculptors.
As such, she was awarded Honorary Doctorates by the University of Surrey (1977), Open University (1983), University of Warwick (1983), University of Cambridge (1988), University of Exeter (1988), University of Oxford (1989) and University of Keele (1989). In 1977 Frink was elected a member of the Royal Academy. Her achievements also earned her a CBE (1969) and in 1982 she was created a Dame of the British Empire.
Frink is well known for her monumental commissions of which there have been several. These include ‘Eagle’ installed at the JFK memorial in Dallas, Texas; ‘Warhorse’, on display at Chatsworth; and ‘Risen Christ’, for Liverpool Cathedral.
She also exhibited regularly, particularly at the Waddington Galleries and was an accomplished painter and etcher, illustrating Aesop’s Fables (1967), The Canterbury Tales (1971), and the Odyssey and Iliad (1974 – 1975).
Circe, The Odessey 1973/74 by Dame Elizabeth Frink
Circe, The Odyssey, 1973/74, By Dame Elizabeth Frink, Artists Proof, Lithograph on paper, Image: 254 x 166 mm, Signed lower right.