DOCSLIB.ORG

Press Release Craigie Aitchison 29 March-12 May 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Press Release Craigie Aitchison 29 March-12 May 2012 Craigie Aitchison (1926 – 2009) 29 March – 12 May 2012 As the official representative to The Estate of Craigie Aitchison, Timothy Taylor Gallery is delighted to announce a memorial retrospective exhibition celebrating the life and work of Craigie Aitchison RA. In a career spanning over 5 decades, Aitchison was known and admired for the Mediterranean intensity of his palette, his flat, almost two-dimensional forms and his simple icon-like compositions. His distinctive subject matter consists of still lifes, landscapes, portraits, nudes, Bedlington terriers and sheep, as well as crucifixions, all rendered in vibrant, luminous colour, invoking both the early Italian Renaissance as well as the British visionary tradition. This is the first exhibition of Aitchisonʼs paintings in London since his death in 2009. The works in the show, a few of which have not been exhibited for many years, have been selected by Terry Danziger Miles, executor to The Estate of Craigie Aitchison. Compassion, humility and poetry are the unifying features in all of Aitchisonʼs pared- down works; few artists have been able to express feelings of tenderness, longing and pathos so successfully. As John McEwan has written, “Aitchison was one of the subtlest, most original and purist artistic spirits of his time”. Crucifixion I, 1991, is a masterful example of how Aitchison combined religious subject matter with a modern sensibility. Stark simplicity is the key: the large canvas is boldly divided into two vivid sections – a blood red sky and a brown ground create Rothkoesque tones. The pale and stylised Christ figure, recalling the elegance of the early Italian primitives, both dissects and unites these sections, while a golden thread links the crucifix with a heaven like single beam of light. Amongst this richness of colour, Aitchison inserts a subtle note of blue in the form of a bird, symbolising the Holy Ghost, which hovers close the dying Christ. Other favourite themes explored in the exhibition include Aitchisonʼs attachment to still lifes composed of humble objects: souvenirs, knick knacks and ornaments. These unloved and sometimes broken objects are often suffused with a hint of melancholy – such as the solitary figure in Beirut Figurine, 2006, which stands against a hauntingly delicate washed blue wall. In Washing Line at Sunset, 2004, the hanging socks, trousers and other elements take on an existential and even elegiac quality. Meanwhile, Aitchisonʼs landscapes, such as Isle of Arran from the Mainland, 2008, have a starkly expressive quality that perfectly captures the awe felt by the artist faced with a majestic natural world. Craigie Aitchison was born in Edinburgh in 1926. He became active on the bohemian London art scene in the 1950s and studied at the Slade School of Art alongside Michael Andrews, Victor Willing, Myles Murphy and Euan Uglow. Aitchisonʼs first solo exhibition was held in 1959 at the Beaux Art Gallery, owned by legenadary art dealer Helen Lassore (coincidentally, this site in Bruton Place was Timothy Taylor Galleryʼs first space). He exhibited extensively throughout his career and in 1988 was elected a Royal Academician. In 1994, Aitchison won the inaugural Jerwood Painting Prize and was awarded a CBE for his contribution to British Art in 1999. A major retrospective of Aitchisonʼs work was held at the Royal Academy in 2003. Cragie Aitchison died in London in 2009 at the age of 83. 15 Carlos Place London W1K 2EX Telephone 020 7409 3344 Facsimile 020 7409 1316 Open Mon-Fri 10-6pm Sat 10-2pm For further information please contact Carla Borel - [email protected] In January 2012, Bloomsbury auctions held a highly successful sale of Aitchisonʼs effects including many of the studio objects which featured in his paintings. This summer 2012, The Craigie Aitchison Memorial Window, based on one of Aitchisonʼs crucifixion paintings will be unveiled by the Bishop of London at St Mary the Boltons in Chelsea. The window features handblown glass from Glasshutte Lamberts in Bavaria and has been fabricated by Neil Phillips of Pugin, Hardman and Powell. Note to editors: Terry Danziger Miles is an executor to the Estate of Craigie Aitchsion and is a partner at Timothy Taylor Gallery. Danziger Miles began his career in the art world in 1960 at Marlborough Gallery in London where he worked with artists such as Francis Bacon, Lucian Freud and Frank Auerbach. Craigie Aitchison RA Craigie Aitchison RA Washing Line at Sunset, 2004 Beirut Figurine, 2006 Oil on canvas Oil on canvas 18 x 14 in. / 45.8 x 35.6 cm 9.8 x 7.9 in. / 25 x 20 cm Craigie Aitchison RA Craigie Aitchison RA Crucifixion I, 1991 Girl in Field with River, 1953 Oil on canvas Oil on canvas 80 x 73 1/2 in. / 203 x 187 cm 56 x 44 in. / 142 x 112 cm 15 Carlos Place London W1K 2EX Telephone 020 7409 3344 Facsimile 020 7409 1316 Open Mon-Fri 10-6pm Sat 10-2pm For further information please contact Carla Borel - [email protected] .
Load more

Recommended publications
  • Studio International Magazine: Tales from Peter Townsend’S Editorial Papers 1965-1975
    Studio International magazine: Tales from Peter Townsend’s editorial papers 1965-1975 Joanna Melvin 49015858 2013 Declaration of authorship I, Joanna Melvin certify that the worK presented in this thesis is my own. Where information has been derived from other sources, I confirm that this is indicated in the thesis. i Tales from Studio International Magazine: Peter Townsend’s editorial papers, 1965-1975 When Peter Townsend was appointed editor of Studio International in November 1965 it was the longest running British art magazine, founded 1893 as The Studio by Charles Holme with editor Gleeson White. Townsend’s predecessor, GS Whittet adopted the additional International in 1964, devised to stimulate advertising. The change facilitated Townsend’s reinvention of the radical policies of its founder as a magazine for artists with an international outlooK. His decision to appoint an International Advisory Committee as well as a London based Advisory Board show this commitment. Townsend’s editorial in January 1966 declares the magazine’s aim, ‘not to ape’ its ancestor, but ‘rediscover its liveliness.’ He emphasised magazine’s geographical position, poised between Europe and the US, susceptible to the influences of both and wholly committed to neither, it would be alert to what the artists themselves wanted. Townsend’s policy pioneered the magazine’s presentation of new experimental practices and art-for-the-page as well as the magazine as an alternative exhibition site and specially designed artist’s covers. The thesis gives centre stage to a British perspective on international and transatlantic dialogues from 1965-1975, presenting case studies to show the importance of the magazine’s influence achieved through Townsend’s policy of devolving responsibility to artists and Key assistant editors, Charles Harrison, John McEwen, and contributing editor Barbara Reise.
    [Show full text]
  • The Making of Paula Rego's 'The Nursery Rhymes'
    The making of Paula Rego’s ‘The Nursery Rhymes’ Abstract This article looks at the series of etchings and aquatints entitled The Nursery Rhymes that Paula Rego made in 1989 in collaboration with printer Professor Paul Coldwell. Whilst she had already had some printmaking experience, The Nursery Rhymes constituted her first major engagement with printmaking. The article considers the circumstances under which the prints were made, both in terms of her personal circumstances and her professional standing, and examines their reception and continuing popularity. It also gives personal insights and commentary on the series, looking at both her iconography and her connection to a wide range of graphic work. It does so from the author’s unique perspective as the printer and collaborator in the project and offers insights into the working relationship between artist and printer. The making of Paula Rego’s ‘The Nursery Rhymes’ Paul Coldwell Paula Rego has always identified with the least, not the mighty, taken the child’s eye view, and counted herself among the commonplace and the disregarded, by the side of the beast, not the beauty… Her sympathy with naiveté, her love of its double character, its weakness and its force, has led her to Nursery Rhymes as a new source for her imagery. (Warner 1989) Paula Rego was born in Lisbon in 1935 and attended the Slade School of Art in London between 1952–56 where she met her husband, the painter Victor Willing. In 1957 she returned to live in Portugal with her three children, living between London and Portugal for a few years before finally settling in London in 1976.
    [Show full text]
  • A Evolução Pictórica Na Obra De Paula Rego Décadas De 60, 70 E
    A Evolução Pictórica na Obra de Paula Rego Soares de OliveiraSoares Décadas de 60, 70 e 80 Ana Sofia Dissertação de Mestrado em História da Arte da História Mestrado de em Dissertação Ana Sofia Soares de Oliveira Dissertação de Mestrado em História da Arte Área de Especialização em História da Arte Contemporânea - Rego 80 80 Décadas de 60, 70 e 60, e 70 Décadas de – A Evolução Pictórica na dePaula Obrana Evolução Pictórica A Janeiro, 2014 Janeiro 2014 Janeiro Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em História da Arte Contemporânea, realizada sob orientação científica da Professora Doutora Sandra Leandro e co-orientação do Professor Doutor José Custódio Vieira da Silva. Dedicatória Esta dissertação é dedicada a todos os amigos e familiares que me apoiaram incondicionalmente, em especial ao meu pai, Emílio e à minha mãe, Maria Augusta, que se dedica diariamente à pintura desde 2005. Dedico também este trabalho ao meu marido, pintor e professor de artes visuais, Marco Rodrigues e aos nossos dois filhos, Diogo e Simão. AGRADECIMENTOS Agradeço à orientadora, Professora Sandra Leandro por todo o apoio prestado e por me ter incentivado a manter a persistência necessária. Agradeço também ao meu pai, Emílio Oliveira, por me ter posto em contacto com Rui-Mário Gonçalves. Agradeço especialmente a Rui-Mário Gonçalves por me receber e prestar algumas informações fundamentais. Por fim agradeço ao meu marido, Marco Rodrigues, por me ter ajudado na revisão e formatação final do trabalho. A EVOLUÇÃO
    [Show full text]
  • Willing, Victor CV 10 10 19
    Marlborough VICTOR WILLING 1928 — Born in Alexandria, Egypt 1988 — Died in London, United Kingdom Education 1949-54 — Slade School of Fine Art, London, United Kingdom Selected Solo Exhibitions 2019-20 — Victor Willing: Visions, Hastings Contemporary, Hastings, United Kingdom 2010-11 — Retrospective Exhibition, Casa das Historias Paula Rego, Cascais, Portugal 2008-9 — Victor Willing: Revelations, Discoveries, Communications, Pallant House Gallery, Chichester, United Kingdom 2000 — Victor Willing, Marlborough Fine Arts, London, United Kingdom 1987 — Victor Willing: Heads, Karsten Schubert Gallery, London, United Kingdom 1986 — Victor Willing: Paintings, Bernard Jacobson Gallery, New York & Los Angeles, United States 1985 — Victor Willing: Drawings, Hobson Gallery, Cambridge, United Kingdom Victor Willing, Whitechapel Art Gallery, London, United Kingdom 1984 — Victor Willing: Recent Work, Bernard Jacobson Gallery, London, United Kingdom Victor Willing: Paintings Since 1978, Kettle’s Yard Gallery, Cambridge, United Kingdom 1983 — Paintings by Victor Willing, Serpentine Gallery, London, United Kingdom Marlborough Victor Willing: Recent Paintings, Bernard Jacobson Gallery, London, United Kingdom 1982 — Victor Willing: Drawings and Paintings, Bernard Jacobson Gallery, London, United Kingdom 1980 — Paintings by Victor Willing, House Gallery, London, United Kingdom 1978 — Paintings by Victor Willing, Air Gallery, London, United Kingdom 1955 — Paintings by Victor Willing, Hanover Gallery, London, United Kingdom Selected Group Exhibitions 1986 —
    [Show full text]
  • Paula Rego-Printmaker by Professor Paul Coldwell © the Dreams
    Paula Rego-Printmaker By Professor Paul Coldwell © The dreams, however could not help me over my feeling of disorientation. On the contrary, I had lived as if under constant inner pressure. At times this became so strong that I suspected there was some psychic disturbance in myself. Therefore I twice went over all the details of my entire life, with particular attention to childhood memories; for I thought there might be something in my past, which I could not see and which might possibly be the cause of the disturbance. But this retrospection led to nothing but a fresh acknowledgement of my own ignorance. Thereupon I said to myself, "Since I know nothing at all, I shall simply do whatever occurs to me." Thus I consciously submitted myself to the impulses of the unconscious. Memories, Dreams, Reflections. C.G.Jung Paula Rego is one of the most celebrated and , I would suggest, problematic artists currently working in Britain. She has continually renewed her practice, which has included the cut, paste and painted collages of the 1950s and 60s, the animal pictures of the 80s which developed into the more grounded grand compositions, the large pastels through to the present obsessive fixation with working directly from the observed experience, in order to delve into her imagination. While many contemporary artists, especially women, have embraced new media and processes to discover a personal visual language, Rego has steadfastly engaged herself within the complexities of traditional practice, seeking to take on the challenge of painting. Parallel to this, she has produced a profound body of work as a printmaker, the subject of this retrospective, in which once again she works within established modes of practice, in her case predominantly intaglio and more recently lithography.
    [Show full text]
  • Be Inspired to Paint Finished Watercolours from Initial Sketches
    WATERCOLOURS • ACRYLICS • OILS • PASTELS & MORE! www.painters-online.co.uk February 2020 £4.80 THE PRACTICAL MAGAZINEartist FOR ARTISTS BY ARTISTS – SINCE 1931 Win A digital painting bundle worth £1,700! See page 23 Be inspired to paint nished watercolours from initial sketches Plus OIL PORTRAITS PASTELS ACRYLICS � Advice on how to store your watercolours � Try new digital painting techniques � Develop your sketching skills � Try new colour combinations in watercolour for powerful results 02> What to look for & how Capture a frosty morning Discover how realism can to paint ears sunrise step by step bring your subject to life 9 770004 387193 artist PAINTING HOLIDAY 10 to18 October 2020 Paint in MoroccoEssaouira Adebanji Alade with Adebanji Alade VPROI ADEBANJI ALADE is vice president of the Royal Institute of Oil Painters and ‘artist in residence’ for the BBC’s One Show. Adebanji is known for bringing a lively sketchy feel to his paintings, and his work is inspired by atmosphere, people and the mood created by a particular light. He was winner of Pinto Rapido in 2013. Adebanji has chosen Essaouira for his painting holiday, because it is full of colour and sun, and has a buzz in the air. ssaouira is a place where your senses are and miles of wind-swept exposed to exotic colours and exquisite sandy beaches, as well as Earchitecture. It offers an intoxicating sea fortifi cations, dramatic mix of exotic Arab architecture and rocky seascapes and a Mediterranean-style white-washed houses thriving traditional fi shing with blue shutters, a working fi shing harbour harbour.
    [Show full text]
  • Whitechapel Gallery Name an Exhibition
    Whitechapel Gallery Name an Exhibition 1901 Modern Pictures by Living Artists: Pre-Raphaelites and Older English Masters – Burne-Jones, Constable, Hogarth, Raeburn, Rubens – Dominic Palfreyman Chinese Life and Art Scottish Artists – Bone, Landseer, Mactaggart, Muirhead, Whistler 1902 Cornish School- Forbes, Stokes Japanese Exhibition Children's Work: Tower Hamlets Schools 1903 Artists in the British Isles at the Beginning of the Century – Fry, Legros, Tonks, Watts Poster Exhibition: British, European, Chinese and Japanese Shipping 1904 Scholars' Work from Board Schools in Bethnal Green, Stepney and Poplar Dutch Art – Hals, de Koninck, Metsu, Rembrandt, van Ruisdael, Amateurs and Arts Students Indian Empire 1905 LCC Children's Work from Board Schools in Bethnal Green, Stepney, Poplar British Art 50 Years Ago – Hunt, Millais, Rossetti, Ruskin, Turner Photography – Chesterton, Pike, Reid, Selfe, Wastell 1906 Georgian England Country in Town Jewish Art and Antiquities 1907 Old Masters: XVII and XVIII Century French and Contemporary British Painting and Sculpture – Boucher, Le Brun, Chardin, Claude, David, Grenze, Poussin Country in Town Animals in Art 1908 Contemporary British Artists: Collection of Copies of Masterpieces – Gainsborough, Holroyd, Latour, Stevens, Teniers Country in Town Muhammaden Art and Life (in Turkey, Persia, Egypt, Morocco and India) 1909 Stepney Children’s Pageant Tuberculosis Flower Paintings and Old Rare Herbals Historical and Pageant 1910 Society of Essex Artists Students Attending London Technical, Art and Evening
    [Show full text]
  • Straw Poll FINAL Copyless Pt Views
    Straw poll: Painting is fluid but is it porous? Liz Rideal … the inventor of painting, according to the poets, was Narcissus… What is painting but the act of embracing by means of art the surface of the pool?1 Alberti, De Pictura, 1435 Thoughts towards writing this paper address my concerns about a society that appears increasingly to be predicated on issues surrounding accountabil- ity. I was conscious too, of wanting to investigate perceptions of what has now become acceptable vocabulary, that of the newspeak of 'art practice' and 'art research'. The discussion divides into four unequal parts. I introduce attitudes towards art and making art as expressed in quotations taken from artists’ writings. An historical overview of the discipline of Painting within the Slade School of Fine Art, and where we stand now, as we paint ‘on our island’ embedded within University College London’s Faculty of Arts and Humanities. I report the results of a discreet research project: a straw poll of colleagues in undergraduate painting, stating their thoughts about the teaching of painting. Finally, conclusions drawn from the jigsaw of information. [For the conference, this paper will be delivered against a projected back- drop featuring a selection of roughly chronological images relating to the history and people connected to the Slade over the past 150 years.] The texts written by artists have been selected to reveal the position of art as an un-exact science that requires exacting discipline, dedication and an open mind in order to create art works. Art that can communicates ideas, emotions and instincts in a way that reflects an aesthetic balance of intellect and cre- ativity.
    [Show full text]
  • The British Art Show
    The British Art Show The British Art Show is a high profile touring exhibition celebrating the vitality and inventiveness of recent British art. It is presented every five years in different cities across the UK. The British Art Show is organised by the Hayward Gallery as a cornerstone of its touring programme. BRITISH ART SHOW 1 (1979) Venues: Mappin Art Gallery, Sheffield 1 December 1979 - 27 January 1980 Laing Art Gallery, Newcastle upon Tyne 15 February - 23 March 1980 and Hatton Gallery, University of Newcastle Arnolfini Gallery, Bristol 18 April - 24 May 1980 and Royal West of England Academy in conjunction with City Museum and Art Gallery Total Attendance: 77,000 Curator: William Packer Artists: _ 112 John Abbott Kenneth Draper Albert Irvin Andrew Mylius John Selway Ivor Abrahams John Edwards Allen Jones Janet Nathan Harry Snook Norman Adams Anthony Eyton Wynn Jones Martin Naylor Norman Stevens Michael Andrews Brian Fielding Jake Kempsall Paul Neagu Brian Thompson Martin Ball Lucian Freud Michael Kenny Victor Newsome David Tindle John Bellany Terry Frost Dave King Ken Oliver Euan Uglow Adrian Berg Hamish Fulton Phillip King Brian Peacock Michael Upton Stephenie Bergman Lloyd Gibson Leon Kossoff Michael Peel John Walker Elizabeth Michael Ginsborg Edwina Leapman Heins Dieter Margaret Walker Blackadder Derrick Greaves Terry Lee Pietsch David Walker Frank Bowling Alan Green John Loker Nick Pope Barker Stephen Buckley Anthony Green Richard Long Lawrence Preece Karl Weschke Jeffery Camp Jon Groom Michael Lyons William Pye Anthony Whishaw
    [Show full text]
  • Download Publication
    Arts Council () F ( ; R B R I TA [ N Thirty-eighth annua l report and accounts 1982/83 Thirty-eighth Annual Report and Accounts 198 3 ISSN 0066-813 3 Published by the Arts Council of Great Britai n 105 Piccadilly, London W1V OA U Designed by Duncan Firth Printed by Watmoughs Limited, Idle, Bradford ; and London The Arts Council of Great Britain, as a publicl y The objects for which the Arts Council of Great Britai n accountable body, publishes an Annual Report t o is established are : provide Parliament and the general public with a n 1 To develop and improve the knowledge , overview of the year's work and to record all grant s understanding and practice of the arts ; and guarantees offered in support of the arts . 2 To increase the accessibility of the arts to the publi c A description of the highlights of the Council's wor k throughout Great Britain ; and discussion of its policies appear in the newspape r and Arts in Action which is published in conjunction wit h this Report and can be obtained, free of charge, fro m 3 To co-operate with government departments, loca l the Arts Council Shop, 8 Long Acre, London WC2 an d authorities and other bodies to achieve thes e arts outlets throughout the country . objects . Contents 6 CHAIRMAN'S INTRODUCTIO N 7 SECRETARY-GENERAL'S PREFACE 11 REPORTS FROM THE DEPARTMENT S 16 SCOTLAN D 17 WALES 18 COUNCIL 19 MEMBERSHIP OF COUNCIL AND STAF F 20 ADVISORY PANELS AND COMMITTEE S 24 STAF F 25 ANNUAL ACCOUNTS Funds, Exhibitions, Schemes and Awards 5 Chairman's Introduction The strongest convictio n the year in the various arts .
    [Show full text]
  • The Art Criticism of David Sylvester James Finch Word Count
    The Art Criticism of David Sylvester James Finch Word Count: 99,908 A Thesis Submitted in Partial Fulfilment of the Requirements of the University of Kent for the Degree of Doctor of Philosophy Department of the History and Philosophy of Art, the University of Kent, Canterbury September 2016 2 © Copyright James Finch, 2016. All rights reserved. 3 Abstract The English art critic and curator David Sylvester (1924-2001) played a significant role in the formation of taste in Britain during the second half of the twentieth century. Through his writing, curating and other work Sylvester did much to shape the reputations of, and discourse around, important twentieth century artists including Francis Bacon, Alberto Giacometti, Henry Moore and René Magritte. At the same time his career is of significant sociohistorical interest. On a personal level it shows how a schoolboy expelled at the age of fifteen with no qualifications went on to become a CBE, a Commandeur dans l'Ordre des Arts et des Lettres and the first critic to receive a Leone d’Oro at the Venice Biennale, assembling a personal collection of artworks worth millions of pounds in the process. In terms of the history of post-war art more broadly, meanwhile, Sylvester’s criticism provides a way of understanding developments in British art and its relation to those in Paris and New York during the 1950s and 1960s. This thesis provides the first survey of Sylvester’s entire output as an art critic across different media and genres, and makes a case for him as a commentator of comparable significance to Roger Fry, Herbert Read, and other British critics who have already received significant scholarly attention.
    [Show full text]
  • A Century of Painting Life 5
    ART HISTORY REVEALED Dr. Laurence Shafe This course is an eclectic wander through art history. It consists of twenty two-hour talks starting in September 2018 and the topics are largely taken from exhibitions held in London during 2018. The aim is not to provide a guide to the exhibition but to use it as a starting point to discuss the topics raised and to show the major art works. An exhibition often contains 100 to 200 art works but in each two-hour talk I will focus on the 20 to 30 major works and I will often add works not shown in the exhibition to illustrate a point. References and Copyright • The talks are given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • The notes are based on information found on the public websites of Wikipedia, Tate, National Gallery, Oxford Dictionary of National Biography, Khan Academy and the Art Story. • If a talk uses information from specific books, websites or articles these are referenced at the beginning of each talk and in the ‘References’ section of the relevant page. The talks that are based on an exhibition use the booklets and book associated with the exhibition. • Where possible images and information are taken from Wikipedia under 1 an Attribution-Share Alike Creative Commons License. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 ART HISTORY REVEALED 1. Impressionism in London 1.
    [Show full text]