FROM DESTRUCTION TO ABSTRACTION BRITISH ART IN THE 1940S AND 1950S

PINK VINE PERGOLA

PINK VINE PERGOLA

1948 Graham Sutherland (1903 − 1980)

Sutherland made his first visit to the South of France in 1947, and from then on spent part of each year there, buying a house at Menton in 1955. The landscape and vegetation, together with the bright Mediterranean sun, changed Sutherland’s palette to one of brilliant colour – pinks, yellows and blues. The palm palisades and vine pergolas replaced the spiky thorns of the previous decade.

 

  • Accession Number P46
  • Dimensions 50.8 X 64.8 CM
  • Media OIL ON CANVAS

Glossary

  • Landscape

    Landscape is one of the principle genres of Western art. In early paintings the landscape was a backdrop for the composition, but in the late 17th Century the appreciation of nature for its own sake began with the French and Dutch painters (from whom the term derived). Their treatment of the landscape differed: the French tried to evoke the classical landscape of ancient Greece and Rome in a highly stylised and artificial manner; the Dutch tried to paint the surrounding fields, woods and plains in a more realistic way. As a genre, landscape grew increasing popular, and by the 19th Century had moved away from a classical rendition to a more realistic view of the natural world. Two of the greatest British landscape artists of that time were John Constable and JMW Turner, whose works can be seen in the Tate collection (www.tate.org.uk). There can be no doubt that the evolution of landscape painting played a decisive role in the development of Modernism, culminating in the work of the Impressionists and Post-Impressionists . Since then its demise has often been predicted and with the rise of abstraction, landscape painting was thought to have degenerated into an amateur pursuit. However, landscape persisted in some form into high abstraction, and has been a recurrent a theme in most of the significant tendencies of the 20th Century. Now manifest in many media, landscape no longer addresses solely the depiction of topography, but encompasses issues of social, environmental and political concern.

Theme

Past exhibitions

LA GRAND ATELIER DU MIDI

  • 2013
    • France, Aix-En-Provence, Le Musée Granet

GRAHAM SUTHERLAND

  • 2009
    • UK, Paddock Wood, Mascalls Gallery

FROM DESTRUCTION TO ABSTRACTION BRITISH ART IN THE 1940S AND 1950S

  • 2008
    • Syria, Damascus, University Of Damascus

GRAHAM SUTHERLAND LANDSCAPES, WAR SCENES, PORTRAITS 1924-1950

  • 2005
    • UK, Nottingham, Djanogly Art Gallery
  • 2003
    • UK, London, Dulwich Picture Gallery

SUTHERLAND UNE RETROSPECTIVE

  • 1998
    • France, Antibes, Picasso Museum

LE MYTHE MEDITERRANEEN (USED AS POSTER - DETAIL)

  • 1997
    • France, Nice, Musee Matisse

1918-1958 LA COTE D'AZUR ET LA MODERNITE

  • 1997
    • France, Nice, Musee Matisse

LE MYTHE MEDITERRANEEN

  • 1997
    • France, Nice, Musee Matisse

CONTEMPORARY BRITISH PAINTING 1900-1962

  • 1964
    • Romania, Palace Of Culture
    • Romania, Bucharest, National Gallery
    • Slovakia, Bratislava, Mirbach Palace & Palffy Palace
    • Czechoslovakia, Prague, ULUV Exhibition Hall
  • 1963
    • Hungary, Budapest, Ernst Museum

JELENKORI BRIT FESTESZET

  • 1963
    • Hungary, Budapest, Ernst Museum

CONTEMPORARY BRITISH PAINTING

  • 1959
    • Mauritius, Mauritius
  • 1958
    • South Africa, Port Elizabeth, King George VI Art Gallery
    • Dar Es Salaam
    • Rhodesia, Ndola
    • Uganda, Kampala, British Council Office - Kampala
  • 1957
    • Kenya, Mombassa, Mombassa
    • Kenya, Nairobi, National Gallery And Museum
    • Zanzibar
    • Blantyre-Limbe
    • Moshi

INTERNATIONAL CONTEMPORARY ART EXHIBITION

  • 1953
    • India, New Delhi, All India Arts And Crafts Society

ARTISTES ANGLAIS CONTEMPORAINS

  • 1952
    • France, Macon, Musee Municipal

CONTEMPORARY BRITISH ARTISTS

  • 1952
    • France, France
    • Malta, Malta
    • British West Indies
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