Blond Girl 1985 by Lucian Freud
Lucian Freud
Lucian Freud was born in Germany in 1922. He moved with his Jewish parents to England in 1933 to escape the rise of Nazism. His grandfather is Sigmund Freud. Lucian Freud is regarded as one of the leading figurative artists of this century.
Lucian Freud's etchings parallel the power of his paintings, but in them he reduces the images to its essential elements. Craig Hartley writes "Lucian Freud's scrupulous analysis - without prurience, sentiment or prejudice - supposes a moral force. His etchings turn candour into an uncomfortable truth".
Like most artist, Lucian Freud came to etching as a draughtsman. Lucian Freud's first etching; Lucian Freud, print, signed 'The Bird' was made during a stay in Paris in 1946. Followed by; Lucian Freud, print, signed 'Chelsea Bun'. Both these plates have the innocent awkwardness of experiment with a new medium, but it is typical of Lucian Freud that this is turned to curious effect.
The following year after a trip to Aix-en-Provence Lucian Freud produced a much more assured piece of etching; Lucian Freud, print, signed 'Girl with Fig-Leaf'. Lucian Freud's wife Kitty is shown simply holding up a fig leaf; but the effect of the print is more powerful than can be conveyed by a plain description of its subject matter. The intensity of the gaze of her single visible eye makes the absence of the other eye disturbing. The longer we look at the image the more suggestive is the suspicion that the fig leaf is not just obscuring her face, it is replacing it.
The masterpiece among these early prints is; Lucian Freud, print, signed 'Ill in Paris'. 'Ill in Paris' retains many of the strengths of 'Girl with a fig-leaf'. But deploys them to different, more subtle, effect. As with 'Girl with a fig-leaf, the confinement of the plate-edge produces a tension, but this time it also reproduces the sense of the confined view experienced by the figure in the bed. One eye is almost pressed shut against the pillow; the other eye takes in the rose and sees it vividly. Is the rose important to her? Presumably; but we cannot look beyond the plate edge for more information. We are confined, just as she is.
Lucian Freud's early work is often associated with surrealism. It wasn't until 1950s that he began to paint portraits, often nudes, to the complete exclusion of anything else. Looking at them we are often startled not only by the candour with which they scrutinise the human form, but by the physical impact of flesh realised as paint.
Lucian Freud did not etch again for thirty four years. Focusing instead on his paintings. It was not until the 1970's that he again made drawings for their own sake.
Lucian Freud was born in Germany in 1922. He moved with his Jewish parents to England in 1933 to escape the rise of Nazism. His grandfather is Sigmund Freud. Lucian Freud is regarded as one of the leading figurative artists of this century.
Lucian Freud's etchings parallel the power of his paintings, but in them he reduces the images to its essential elements. Craig Hartley writes "Lucian Freud's scrupulous analysis - without prurience, sentiment or prejudice - supposes a moral force. His etchings turn candour into an uncomfortable truth".
Like most artist, Lucian Freud came to etching as a draughtsman. Lucian Freud's first etching; Lucian Freud, print, signed 'The Bird' was made during a stay in Paris in 1946. Followed by; Lucian Freud, print, signed 'Chelsea Bun'. Both these plates have the innocent awkwardness of experiment with a new medium, but it is typical of Lucian Freud that this is turned to curious effect.
The following year after a trip to Aix-en-Provence Lucian Freud produced a much more assured piece of etching; Lucian Freud, print, signed 'Girl with Fig-Leaf'. Lucian Freud's wife Kitty is shown simply holding up a fig leaf; but the effect of the print is more powerful than can be conveyed by a plain description of its subject matter. The intensity of the gaze of her single visible eye makes the absence of the other eye disturbing. The longer we look at the image the more suggestive is the suspicion that the fig leaf is not just obscuring her face, it is replacing it.
The masterpiece among these early prints is; Lucian Freud, print, signed 'Ill in Paris'. 'Ill in Paris' retains many of the strengths of 'Girl with a fig-leaf'. But deploys them to different, more subtle, effect. As with 'Girl with a fig-leaf, the confinement of the plate-edge produces a tension, but this time it also reproduces the sense of the confined view experienced by the figure in the bed. One eye is almost pressed shut against the pillow; the other eye takes in the rose and sees it vividly. Is the rose important to her? Presumably; but we cannot look beyond the plate edge for more information. We are confined, just as she is.
Lucian Freud's early work is often associated with surrealism. It wasn't until 1950s that he began to paint portraits, often nudes, to the complete exclusion of anything else. Looking at them we are often startled not only by the candour with which they scrutinise the human form, but by the physical impact of flesh realised as paint.
Lucian Freud did not etch again for thirty four years. Focusing instead on his paintings. It was not until the 1970's that he again made drawings for their own sake.
Lucian Freud's portraits often depict only the sitter. The enclosed composition and cropping of the subject is depicted in; Lucian Freud, print, signed 'Head on a Pillow' and Lucian Freud, print, signed 'Head and Shoulders'. In this second etching it is also worth noting, in the treatment of the shoulder, the survival of the manner of shading around the edge of a contour which was used earlier for the bars in Lucian Freud, print, signed 'The Bird' and for the thorns on the rose in Lucian Freud, print, signed 'Ill in Paris'.
In Lucian Freud's large- scale etchings of naked people Lucian Freud has chosen to exclude considerably more than in their related paintings. Lucian Freud, print, signed 'Blond Girl' and Lucian Freud, print, signed 'Girl holding her foot', mirrors the pose of the original painting, but the sofa on which the girl is seating as been removed. In; Lucian Freud, print, signed 'Man Posing', the etching was finish before the related painting, 'Painter and Model'. The etching shows much of the same detail as the corresponding area of the painting, but from a slightly closer, higher, view-point.
Lucian Freud's subjects are often the people in his life. To quote Lucian Freud; "The subject matter is autobiographical; it's all to do with hope and memory and sensuality and involvement, really".
Man Posing 1985 by Lucian Freud
Lucian Freud's subject matter is often the human form and it is the candour with which he revels it that it gives his work such a powerful and disturbing quality; Lucian Freud, print, signed 'Girl Sitting'. Lucian Freud, print, signed 'Man Resting'. And Lucian Freud, print, signed 'Man Posing'. Lucian Freud, print, signed 'Man Posing', 1988-99.
Reclining Mother and Child with Blue Background 1982 by Henry Moore
Henry Moore
Henry Moore; radical, experimental and avant-garde is famous throughout the world for his distinctive public sculptures. In Britain his undulating reclining forms have become part of the landscape. Born into a working class family in Leeds, Henry Moore went on to become one of Britain's most famous artists.
Winning scholarships to both Leeds school of Art and then the Royal College of Art in London, Henry Moore rebelled against his teachers' traditional views of sculpture, instead taking inspiration from the primitive art and sculpture and studying the ethnographic collections he found at the Victoria and Albert Museum and the British Museum. In 1924 on winning yet another scholarship Henry Moore was able to travel to Northern Italy to study the great works of Michelangelo and other Old Masters. Taking in Paris along the way, Henry Moore came upon a plaster cast of a Toltec-Maya sculptural form in the Louvre called the 'Chac Mool'. This reclining figure was to have a profound effect upon Henry Moore's work, becoming the primary motif of his work.
Henry Moore pioneered carving directly from materials, evolving his signature abstract forms derived from the human body; such as the reclining figure, mother and child, abstract compositions and drawings of wartime London. Henry Moore's works are situated in the turbulent ebb and flow of twentieth-century history, sometimes uncovering a dark and erotically charged dimension. The trauma of war, the advent of psychoanalysis, new ideas of sexuality, primitive art and surrealism all had an influence on Henry Moore's work.
Henry Moore was an expert draughtsman and printmaker. On his return to the Royal College of Art as a teacher in 1931 Henry Moore began experimenting with graphic mediums. Henry Moore began by cutting his first and only pair of woodcuts: 'Figure Sculptures' and 'Reclining Nude' during this time. However, they were not editioned and published until 1966. Other prints from the 1930's were started but never finished; including 'Spanish Prisoner'. It was the height of the Spanish Civil War at this time and Henry Moore wanted to draw the public's attention to the plight of the political prisoners.
1950 saw Henry Moore hit his stride in terms of printmaking, discovering the medium of lithography his sculptural images came alive on the paper. Fine examples being: Lithograph print, 'Family Group', edition of 50, signed lower right in pencil Moore - The same name given to Henry Moore's first large-scale public sculpture. Lithograph print, 'Seated Figure', edition of 50, signed lower right in pencil Moore. Lithograph print, 'Standing Figures', edition of 50, signed lower right in pencil Moore. Lithograph print, 'Standing and Reclining Figures', edition of 50, signed lower right in pencil Moore. Lithograph print, 'Seated Figures', edition of 200, signed lower right in pencil Moore. Lithograph print, 'Six Reclining Figures', edition of 60, signed lower right in pencil Moore. Lithograph print, 'Studies for Sculpture on Blue Grey Background', edition of 60, signed lower right in pencil Moore. Lithograph print, 'Eight Reclining Figures', edition of 300, signed lower right in pencil Moore. Lithograph print, 'Thirteen Standing Figures', edition of 150, signed lower right in pencil Moore. And lithograph print 'Seventeen reclining Figures' 1963, edition of 75, signed lower right in pencil Moore.
Henry Moore's love of printmaking continued into the 1960's with such expertly executed works such as: Lithograph print 'Seventeen Reclining Figures with Architectural Background', edition of 75, signed lower right in pencil Moore. And Lithograph print 'Six Reclining Figures Black', edition of 50, signed lower right in pencil Moore. In this Lithograph print, each figure looks to be carved directly from charcoaled wood, so life like to his sculpture in fact that if you were to touch an image on the paper you might check your finger tips to see if they are blackened!
Henry Moore; radical, experimental and avant-garde is famous throughout the world for his distinctive public sculptures. In Britain his undulating reclining forms have become part of the landscape. Born into a working class family in Leeds, Henry Moore went on to become one of Britain's most famous artists.
Winning scholarships to both Leeds school of Art and then the Royal College of Art in London, Henry Moore rebelled against his teachers' traditional views of sculpture, instead taking inspiration from the primitive art and sculpture and studying the ethnographic collections he found at the Victoria and Albert Museum and the British Museum. In 1924 on winning yet another scholarship Henry Moore was able to travel to Northern Italy to study the great works of Michelangelo and other Old Masters. Taking in Paris along the way, Henry Moore came upon a plaster cast of a Toltec-Maya sculptural form in the Louvre called the 'Chac Mool'. This reclining figure was to have a profound effect upon Henry Moore's work, becoming the primary motif of his work.
Henry Moore pioneered carving directly from materials, evolving his signature abstract forms derived from the human body; such as the reclining figure, mother and child, abstract compositions and drawings of wartime London. Henry Moore's works are situated in the turbulent ebb and flow of twentieth-century history, sometimes uncovering a dark and erotically charged dimension. The trauma of war, the advent of psychoanalysis, new ideas of sexuality, primitive art and surrealism all had an influence on Henry Moore's work.
Henry Moore was an expert draughtsman and printmaker. On his return to the Royal College of Art as a teacher in 1931 Henry Moore began experimenting with graphic mediums. Henry Moore began by cutting his first and only pair of woodcuts: 'Figure Sculptures' and 'Reclining Nude' during this time. However, they were not editioned and published until 1966. Other prints from the 1930's were started but never finished; including 'Spanish Prisoner'. It was the height of the Spanish Civil War at this time and Henry Moore wanted to draw the public's attention to the plight of the political prisoners.
1950 saw Henry Moore hit his stride in terms of printmaking, discovering the medium of lithography his sculptural images came alive on the paper. Fine examples being: Lithograph print, 'Family Group', edition of 50, signed lower right in pencil Moore - The same name given to Henry Moore's first large-scale public sculpture. Lithograph print, 'Seated Figure', edition of 50, signed lower right in pencil Moore. Lithograph print, 'Standing Figures', edition of 50, signed lower right in pencil Moore. Lithograph print, 'Standing and Reclining Figures', edition of 50, signed lower right in pencil Moore. Lithograph print, 'Seated Figures', edition of 200, signed lower right in pencil Moore. Lithograph print, 'Six Reclining Figures', edition of 60, signed lower right in pencil Moore. Lithograph print, 'Studies for Sculpture on Blue Grey Background', edition of 60, signed lower right in pencil Moore. Lithograph print, 'Eight Reclining Figures', edition of 300, signed lower right in pencil Moore. Lithograph print, 'Thirteen Standing Figures', edition of 150, signed lower right in pencil Moore. And lithograph print 'Seventeen reclining Figures' 1963, edition of 75, signed lower right in pencil Moore.
Henry Moore's love of printmaking continued into the 1960's with such expertly executed works such as: Lithograph print 'Seventeen Reclining Figures with Architectural Background', edition of 75, signed lower right in pencil Moore. And Lithograph print 'Six Reclining Figures Black', edition of 50, signed lower right in pencil Moore. In this Lithograph print, each figure looks to be carved directly from charcoaled wood, so life like to his sculpture in fact that if you were to touch an image on the paper you might check your finger tips to see if they are blackened!
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Heads, Figures and Ideas 1898-1986 by Henry Moore
Sublimate by Antony Gormley
Antony Gormley
Antony Gormley is both an excellent sculptor and draughtsman. Antony Gormley studied archaeology, anthropology and art history at Trinity College, Cambridge (1968-71) and Buddhist meditation in India and Sri Lanka (1971-4), experiences that profoundly inform his work. Influenced by the ideals of Indian sculpture as much as by those of modernism, Antony Gormley's sculptures use the human form to explore man's existence in and relation to the world. Also explored in his etchings and lithographs; Antony Gormley, print, signed 'Sublimate'. Antony Gormley, print, signed 'Space'. Antony Gormley, print, signed 'Bodies in Space (white). Antony Gormley, print, signed 'Bodies in Space (black). Antony Gormley, print, signed 'Energy'. Antony Gormley, print, signed 'Untitled 2001'. Antony Gormley, print, signed 'Domain'. Antony Gormley, print, signed 'Feeling Material'.
Antony Gormley is primarily known for the lead figures cast from his own body. Antony Gormley's belief that the spiritual and physical selves are inseparable is reflected in works such as; 'Land, Sea and Air' (1982). Three figures, crouching, kneeling and standing, were placed on the seashore, embodying the process of Buddhist spiritual awareness. The work also referred to the earthly condition of the body and man's relationship with his surroundings. These concerns are further reflected in Antony Gormley's full use of installation space, with sculptures suspended from ceiling and walls. Many works were made specifically for natural environments, most controversially Angel of the North (h. 20 m, wingspan 54 m; 1998), which towers over the M1 motorway in Gateshead, England.
Antony Gormley mounted his first one-man exhibition in 1981, at the Serpentine gallery and had further exhibitions there. In 2001 The Serpentine gallery Published lithograph; Antony Gormley, print, signed 'Sexual Field Asexual Field'.
Antony Gormley is both an excellent sculptor and draughtsman. Antony Gormley studied archaeology, anthropology and art history at Trinity College, Cambridge (1968-71) and Buddhist meditation in India and Sri Lanka (1971-4), experiences that profoundly inform his work. Influenced by the ideals of Indian sculpture as much as by those of modernism, Antony Gormley's sculptures use the human form to explore man's existence in and relation to the world. Also explored in his etchings and lithographs; Antony Gormley, print, signed 'Sublimate'. Antony Gormley, print, signed 'Space'. Antony Gormley, print, signed 'Bodies in Space (white). Antony Gormley, print, signed 'Bodies in Space (black). Antony Gormley, print, signed 'Energy'. Antony Gormley, print, signed 'Untitled 2001'. Antony Gormley, print, signed 'Domain'. Antony Gormley, print, signed 'Feeling Material'.
Antony Gormley is primarily known for the lead figures cast from his own body. Antony Gormley's belief that the spiritual and physical selves are inseparable is reflected in works such as; 'Land, Sea and Air' (1982). Three figures, crouching, kneeling and standing, were placed on the seashore, embodying the process of Buddhist spiritual awareness. The work also referred to the earthly condition of the body and man's relationship with his surroundings. These concerns are further reflected in Antony Gormley's full use of installation space, with sculptures suspended from ceiling and walls. Many works were made specifically for natural environments, most controversially Angel of the North (h. 20 m, wingspan 54 m; 1998), which towers over the M1 motorway in Gateshead, England.
Antony Gormley mounted his first one-man exhibition in 1981, at the Serpentine gallery and had further exhibitions there. In 2001 The Serpentine gallery Published lithograph; Antony Gormley, print, signed 'Sexual Field Asexual Field'.
Bodies in Space (Black) by Antony Gormley
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