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2014 International 05.04.2014 > 20.07.2014 Art Exhibitions 2014 International 04 Art Exhibitions 2014 International 05.04.2014 > 20.07.2014 Art Exhibitions 2014 Francis Bacon and Henry Moore 1 Terror & Beauty Art Gallery of Ontario In Francis Bacon and Henry Moore: Opposite page Terror and Beauty, the Art Gallery of Francis Bacon Ontario brings two giants of 20th Portrait of Isabel Rawsthorne century British art together in a major 1966, Oil on canvas exhibition of sculpture and paintings, 81 x 69 cm featuring over 60 works by the two Tate Modern, London highly influential artists as well as a © Estate of Francis Bacon / number of photographs and drawings SODRAC (2013) dating from the Second World War. 1 Henry Moore Although they were neither friends nor Helmet Head and Shoulders collaborators, painter Francis Bacon 1952, Bronze (1909-1992) and sculptor Henry Moore 19 x 20.5 x 15 cm (1898-1986) were contemporaries who Tate Modern, London shared an obsession with expressing © The Henry Moore Foundation. themes of suffering, struggle and All Rights Reserved, DACS / survival in relation to the human body. 2 SODRAC (2013) 2 Guest curated for the AGO by Dan Adler, Henry Moore associate professor of art history at York Reclining Figure Toronto University, ‘Francis Bacon and Henry 1951, Plaster cast, 228.5 cm (L) Moore: Terror and Beauty’ is the first Art Gallery of Ontario, Toronto Canadian exhibition of Bacon's work. Courtesy Craig Boyko, AGO © The Henry Moore Foundation. The presentation also includes never- All Rights Reserved, DACS / before-seen Moore artworks, from both SODRAC (2013) the AGO collection and elsewhere. 3 Loans for the exhibition have been Francis Bacon secured from several institutions Second Version of Triptych including MoMA, Tate Britain and the 1944, 1988, Oil and alkyds on Museum of Contemporary Art, canvas 3 Chicago. 198 x 147.5 cm (each panel) Tate Modern, London Both artists were focused, in different © Estate of Francis Bacon / ways, on representing the body in SODRAC (2013) various states of contortion, which 4 reflected their experiences of conflict Henry Moore and violence. Drawing on the artists' Falling Warrior own personal experiences and 1956-57, Bronze references, including the London Blitz, 65 x 154 x 85 cm the exhibition examines how Tate Modern, London confinement and angst fostered their © The Henry Moore Foundation. extraordinary creativity and unique All Rights Reserved, DACS / visions. 4 SODRAC (2013) www.ago.net International 05.04.2014 > 10.08.2014 Art Exhibitions 2014 Sam Fullbrook 1 Delicate Beauty Queensland Art Gallery One of Australia’s most influential post- Opposite page war painters, Sam Fullbrook (1922-2004) Ernestine Hill was a highly skilled colourist and 1970, Oil on canvas tonalist, often described as a painter’s Gift of the artist, 1972 painter. Admired by the public, critics 1 and artists alike, Fullbrook’s works are Nor’west Monsoon evocative and timeless. 1961 Oil on canvas Purchased 1961 2 Mermaid as Bride 1971, Oil on canvas on panel Gift of the Josephine Ulrick & Win Schubert Foundation for the Arts through the Queensland Art Gallery Foundation 2012 Donated through the Australian Government’s Cultural Gifts Program 3 Poincianas Brisbane 23 1971, Oil on canvas Purchased 1972 with the assistance of an Australian Government Grant through the Visual Arts Board of the Australia Council 4 Northwest Landscape with Aborigines 1955, Oil on canvas Gift of Mrs Anthea Wieneke, 5 1984 5 The Queensland Art Gallery holds a Mt Cooroy with Bunya significant group of works by the artist Pines and has built on these by borrowing 1966-67, Oil on canvas from public and private collections, Gift of J P Birrell, Lorant Kulley especially local collections, to mount and P Conn, 1967 this exhibition – the first since 1995 to offer a considered perspective on Sam All works Fullbrook’s work. Collection of Queensland Art Gallery, Gallery of Modern Art 4 www.qagoma.qld.gov.au International 11.04.2014 > 08.06.2014 Art Exhibitions 2014 Opposite page Interior wall mural 1 Ella Kruglyanskaya Girls on Break 2014, Acrylic on plywood 1 How To Work Together 2 Zip It Studio Voltaire Voltaire Studio Studio Voltaire presents a new 2014, Oil and oil stick on linen commission by Latvian-born, New 213.4 x 167.6 cm York-based Ella Kruglyanskaya, her first 3 solo show in a public gallery outside of Fruit Envy (Gatherers) the United States. 2014, Oil and oil stick on linen 213.4 x 167.6 cm Kruglyanskaya’s paintings vigorously 4 play with the female form, female The Conductor sexuality and social interaction. 2014, Oil and oil stick on linen Kruglyanskaya’s cartoon-like characters 198.1 x 152.4 cm are friends and ‘frienemies’ down at the 5 beach, out-and-about, running from a Singing Maids menacing presence: enforced neigh- 2014, Oil and oil stick on linen bours butting against each other in the 213.4 x 167.6 cm London tight space of the stretched canvas. 23 6 Bricklayers 2014, Oil and oil stick on linen 213.4 x 167.6 cm 7 Untitled (Wall Painting I) 2014, Ink on paper 60.5 x 43 cm 8 Prep Drawing for Girls on Break (right) 2014, Ink on paper 313 x 282 cm 456 These buxom women anticipate an like paintings running onto the gallery audience, exaggerating both voyeur- walls. The exhibition also includes ism and exhibitionism, confronting multiple preparatory works on paper. cultural tropes with bawdy humour. The façade of the gallery has been taken For her Studio Voltaire commission, over by two of Kruglyanskaya’s ample Ella Kruglyanskaya has worked on a females, leaning seductively on the production residency in the gallery, peaked roof of the building, taking a creating an interior wall-mural and cigarette break whilst their peers are at a series of large-scale oil paintings work inside the gallery. Ella’s use of deft, depicting women engaged in labour fluid brush strokes and an exuberant and work (grooming, brooming and palette make her paintings, and indeed 7 bricklaying), her exuberant and cartoon- her subjects, irresistible forces. 8 www.studiovoltaire.org International 11.04.2014 > 21.06.2014 Art Exhibitions 2014 Opposite page Eileen Agar British Surrealism Angel of Mercy 1934, Plaster with collage Unlocked and watercolour 1 Works from the Sherwin Collection © The Estate of Eileen Agar Abbot Hall ArtAbbot Gallery All works This exhibition comprises key British courtesy of surrealist works from the collection of The Sherwin Dr Jeffrey Sherwin, a GP by profession, Collection, who over more than 25 years built up Leeds, UK the largest collection of British surrealist and The art in the country. What is most remark- Bridgeman able about the collection is the diversity Art Library of styles and imagery. Surrealism has never had a single over-riding visual aesthetic, but has constantly reinven- ted its means of poetic expression. Although unified most strongly as an official movement in Britain in the 1930s and 40s, this show demonstrates that surrealism continues, to infect the work of modern and contemporary artists, from Desmond Morris and Conroy Maddox to Eduardo Paolozzi, John Davies and Damien Hirst. Kendal, Cumbria The exhibition starts with the earliest British surrealist works from the 1920s and early 30s, showing how the move- ment’s ideals were already manifesting themselves well before the Interna- tional Surrealist Exhibition of 1936. What with the Spanish Civil War and the outbreak of the Second World War the movement flourished, its imagery becoming more powerful and political. 2 1 Throughout the rest of the twentieth Dr Jeffrey Sherwin century, and continuing into the Photographed at his home twenty-first, the all-pervading influence in Leeds, 2008 of surrealism can be found everywhere. 2 Roland Penrose The last section of the exhibition will be Unsleeping Beauty crammed full of paintings, drawings 1946-47, Oil on canvas and constructions, reflecting Jeffrey 3 Sherwin’s intuitive ‘joined-up writing’ Desmond Morris approach to collecting, and represented There's No Time Like by a whole range of artists, including The Future Desmond Morris, John Welson and 1957, Oil on canvas Anthony Earnshaw. 3 © Desmond Morris www.abbothall.org.uk International 12.04.2014 > 03.05.2014 Art Exhibitions 2014 Sheila Fell RA FRSA 1 1931-1979 Castlegate House GalleryCastlegate 2 Born in 1931, Sheila Fell grew up in Aspatria, a typical West Cumbrian mining village. Whilst gaining a place at the Carlisle College of Art at 17, within two years she had obtained a place at Saint Martin’s School of Art in London. Here, she befriended Frank Auerbach, amongst others, and went on to teach at the Chelsea School of Art. 3 4 Sheila Fell held her first exhibition in the years that followed. This was to be Acclaimed by critics, collectors and her Opposite page 1955, courtesy of Beaux Arts in London. a friendship that lasted until Lowry’s peers, she began exhibiting at the Royal Village under Snow It was from this that she met L S Lowry, death in 1976. Indeed, he assisted her Academy in 1965, being elected an 1957, Oil on canvas Cockermouth, Cumbria who purchased a number of paintings financially to the tune of £3 per week associate member in 1969, and a fully 91.4 x 71 cm from this exhibition, and many more in for two of her early London years. blown member of the Academy in 1974. 1 Men carrying Corn I Sheila Fell died in 1979, aged just 48. 1964, Oil on canvas It is likely that she only painted some six 50.8 x 61 cm to seven hundred paintings during her 2 life, but what arguably makes them so Women by a Stile powerful is her almost unique ability 1956, Charcoal on paper to convey the emotion inherent in a 55.9 x 76.2 cm landscape; not just the landscape itself, 3 but the impact it has on you.
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