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Exhibition of Colour April 2019

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Exhibition of Colour April 2019 Sandra Blow Terry Frost Barbara Rae Bruce McLean Peter Blake The Soden Collection 80 Wyle Cop, Shrewsbury, Shropshire. Tel: 01743 34 14 00 Email: [email protected] www.thesodencollection.com Sandra Blow Sandra Blow RA (1925-2006) was one of the leading lights of the abstract art movement of the 1950s. Her works are often on a large scale and consist of abstract collages made up from cheap discarded materials such as sawdust, cut-out strips of old canvas, plaster and torn paper. The use of such materials is designed to create an expressive informality and promote a natural, organic feeling. Her works have a tactile as well as visual emphasis on surface, and her use of simple large geometric shapes lends a feeling of expansiveness and dynamism. Sandra Blow was born in London in 1925, the daughter of a Kent fruit farmer whose orchards supplied retailers in Covent Garden. She left school at 15 and in 1940 entered St Martin's School of Art. Shortly after the Second World War, Blow studied at the Royal Academy Schools, but in 1947 ventured further afield and lived in Italy for a year, where she met Alberto Burri, who was a significant influence on her work for the rest of her career. Despite her youth, Blow was at the forefront of the abstract art movement in Britain during the 1950s. Following her first painting sale, to Roland Penrose (a founder of the Institute of Contemporary Arts), Blow's career took off. Throughout the 1950s and early 1960s, she regularly exhibited with Gimpel Fils, the leading London gallery whose association with St Ives artists like Barbara Hepworth, Ben Nicholson and Peter Lanyon anticipated her move in 1957 to live for a year in a cottage at Zennor near St Ives. Blow was widely exhibited abroad throughout this time, establishing the international profile that her cosmopolitan outlook warranted. Participation in peripatetic displays of contemporary British art saw her work promulgated in Italy, Holland, Germany, the United States and later Australasia. Sandra Blow “Red Melange” Edition Size: 130 Image Size: 710 x 710mm Paper Size: 940 x 914mm Published: 2006 Red Melange signed limited edition silkscreen print by the late great Sandra Blow RA. Printed with 14 colours and 9 collage items. Sandra Blow “Canvas on Chrome” Edition Size: 125 Image Size: 710 x 710mm Paper Size: 935 x 915mm Published: 2003 Canvas on Chrome signed limited edition silkscreen print with collaged elements by late great abstract artist Sandra Blow RA. Blow's abstract composition creates a peaceful and uplifting feeling in the viewer, with her use of collage giving the artwork a very textural and tactile surface. 9 Colours with 2 collaged elements Sandra Blow “Brilliant Corner III” Edition Size: 125 Image Size: 650 x 655mm Paper Size: 910 x 875mm Published: 2003 Brilliant Corner III signed limited edition silkscreen print by abstract artist Sandra Blow. Silkscreen print with collage elements. Sir Terry Frost Sir Terry Frost RA (1915-2003) was a giant of British abstract Art. Born in Leamington Spa in 1915, Frost left school at the age of 14 and worked at Curry's Cycle shop and then Armstrong Whitworth in Coventry until the outbreak of war. He served in countries as diverse as Palestine and Greece, before being captured in 1941. Frost remained a prisoner until the end of the war, an experience that changed his outlook on life and introduced him to the possibilities of art. In prison camp in Bavaria Frost began to paint and draw, encouraged by young artist and fellow prisoner Adrian Heath. 'In prisoner-of-war camp I got tremendous spiritual experience, a more aware or heightened perception during starvation, and I honestly do not think that awakening has ever left me.’ On his return to Britain Frost moved to St. Ives in Cornwall, to be amongst the burgeoning artistic community there. Excluding brief stints in other locations, St. Ives and its local environs was where Frost lived and worked for the rest of his life. His work reflects the inspiration he found in the Cornish light, glittering seas and watery reflections. He attended the St. Ives School of Art before spending 1947-50 commuting to London in order to attend the Camberwell School of Art. His early work was figurative; it was influence of Victor Pasmore at Camberwell combined with that of Ben Nicholson that led Frost to paint his first abstract painting on 1949. Frost worked as Barbara Hepworth's assistant in 1951 and had his first solo exhibition at the Leicester Galleries in 1952. Frost taught at many institutions including the Bath Academy of Art (1952-4), Leeds University (who awarded him he was the Gregory Fellowship in 1954) and Reading University. In 1960 Frost had his first solo show in New York at the Barbara Schaefer Gallery, whilst there he met some of the leading American Abstract Expressionists, this experience encouraged him to start painting on a much larger scale. He was awarded the John Moore's Prize in 1965, elected to the Royal Academy in 1992 and knighted in 1998. A retrospective of his work was held at the Royal Academy in 2000. Frost's work reflects his gratitude and joie de vivre at having survived wartime incarceration; it is full of colour, light and the pleasure of existence 'a sense of delight in front of nature'. Frost took his inspiration from nature; the sun, moon, water, boats and the female form are recurring motifs abstracted into sensuous circles and curves. These shapes are often coloured in dramatic blues, reds, oranges, yellows and blacks. Frost believed that the interplay of colour and shape could realise an event or image more successfully than imitation. He combined strict formal discipline with great expressive freedom and a natural sureness of touch. Sir Terry Frost “Lizard Black II” Edition Size: 95 Image Size: 715 x 727mm Paper Size: 942 x 943mm Published: 2003 Lizard Black II signed limited edition silkscreen print by abstract master Sir Terry Frost. The striking contrast between black and bright yellow makes this piece really stand out. Frost combines his favoured motif of circles and semi-circles in a simple abstract collage design. Sir Terry Frost “Spanish Dreams” Edition Size: 100 Image Size: 320 x 600mm Paper Size: 786 x 496mm Published: 2003 One of abstract master Sir Terry Frost's most romantic and popular artworks, Spanish Dreams resonates with mediterranean heat and a sense of romance. Sir Terry Frost “Black Sun Dipper” Edition Size: 125 Image Size: 866 x 465mm Paper Size: 1058 x 642mm Published: 1997 A vibrant and colour-filled composition, Frost fills the entire paper surface with circles and semi-circles that are all slightly imperfect, giving the work a naive and personal feel. Sir Terry Frost “Lilac & Red Tolcarne” Edition Size: 75 Image Size: 870 x 490mm Paper Size: 1065 x 640mm Published: 1999 A vibrant and colour-filled composition, Frost fills the entire paper surface with circles and semi-circles that are all slightly imperfect, giving the work a naive and personal feel. Sir Terry Frost “Swirls” Original Monoprint Oil on Paper Paper Size: 290 x 280mm Circa. 1995 Sir Terry Frost “Yellow on Yellow” (Swirl) Original Monoprint Oil on Paper Paper Size: 280 x 280mm Circa. 1996 Sir Terry Frost “Upstaged” Original Collage on Paper Paper Size: 290 x 390mm Circa. 1987 Bruce McLean Bruce McLean is one of the major figures of contemporary British Art. Born in 1944 he studied at Glasgow School of Art (1961-63) and at St. Martin's in London (1963-66), where he was taught by Sir Anthony Caro, Phillip King, Bill Tucker, Isaac Witkin and Peter Atkins. The course was very rigourous and encouraged a questioning enquiry into the nature of sculpture past, present and future. McLean responded by making sculpture out of rubbish, water and other impermanent materials, and by using his own body to make action sculptures- and impersonate sculptures by others. Also produced were photographic works in which he often appeared. McLean lead the development of Conceptual art in Britain in the 1960s, often working outside in the urban and suburban landscape. Some of his works brilliantly sent up the solemnity of the art world and mocked established art forms. In 1972 he was given a one day retrospective at the Tate Gallery at the age of 27 (King for a Day). McLean’s work is in a permanent state of movement and invention; from the late 1960s his range of media has included painting, printmaking, sculpture, film, photography drawing and live work; in all of which humour, scepticism and wit are central. His work seeks to challenge the concept of ‘sculpture’ and indeed of ‘art’ by creating work that questions establishment thinking, materials and methods of display. After St. Martin's McLean went on to teach at numerous art schools including The Slade School of Fine Art, where he became Head of Graduate Painting (2002-2010). He has obtained international recognition for his paintings and prints, work with film, theatre and books. McLean’s bold and confident approach to printmaking proved influential to his contemporaries and also to a generation of younger artists. The making of prints and posters has been a central aspect of his work and continues to inform his sculptural investigations. His work is in private and public collections world-wide including the Tate Gallery, Arts Council of Great Britain, Victoria & Albert Museum, the National Museum of Modern Art, Edinburgh and the British Council. He has had numerous one man shows in Europe, North America, and Japan.
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