- Salvador Dali (1904-1989)
- Sam Cartman
- Sandra Blow
- Sarah Purvey
- Simeon Stafford
- Simon Rowley
- Sir Anish Kapoor CBE RA (b.1954)
- Sir Howard Hodgkin CH CBE (1932-2017)
- Sir Jacob Epstein (1880-1959)
- Sir Kyffin Williams
- Sir Peter Blake RA
- Sir Terry Frost (1915-2003)
- Sir William Nicholson (1872-1949)
- Steve Slimm
- Tony Latham
- Tracey Emin (b.1963)
- Vicki Norman
- Victor Pasmore (1908-1998)
- Wilf Roberts
- William Gear (1915-1997)
- William Scott (1913-1989)
- William Selwyn
- Yves Brayer (1907-1990)
Salvador Dali (1904-1989)Salvador Dali is popularly known as Dali. He is hugely popular around the world for creating a new genre in art – surrealism. Dali is known for his strange, right in the eye bizarre images. Dali got strongly influenced by thoughts, ideas and artworks of the Renaissance period. Dali was eccentric by nature and he drew attention of his critics who remained mostly irritated by his weird antics and outrageous behaviour and public actions. Dali was passionate about style, statement making and luxury. There have been several films, sculptures and photography exhibitions carried pout by Dali in collaboration with other artists. Dali was an excellent draftsman who produced skilled technical drawings. Dali gave many art lectures around Europe. But his fame was greatly popular in the USA. Dali’s most famous paintings include “The Metamorphosis of Narcissus”, “Landscape Near Figueras”, “Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening” and “The Great Masturbator” which are some of his greatest symbolic art representations. Besides painting Dali indulged in writing and produced some great literary works like “The Secret Life of Salvador Dalí”, “Diary of a Genius” and “Oui: The Paranoid-Critical Revolution”. Dali created great many lithographs, etchings and graphic arts. Dali was a self proclaimed genius who is referred for his paintings even in the modern times.
Sam CartmanOriginally from Shropshire in England, I now live and work in Glasgow and respond in paint to the Scottish Landscape.
Although the inspiration for my work often comes from visiting singular architectural structures in specific rural places, I primarily use these buildings to provide myself with a structure or form to paint within. Any illusions to representing a particular place masks what I am really interested in, which is to figuratively paint an abstract picture.
The structures I at first capture in drawings serve as a basis for my involvement with the paint and from then on, my interaction with the paint takes over.
I exhibit in both Scotland and England.
‘There is a poetic sparseness to Cartman’s paintings of wide open spaces, in the skies or the sculpted buildings which look as if they have been there for all time. His paintings are like memories: fixed and definite in our mind’s eye but not perfect and all the better for the instinctive use of paint and the tools he applies it with’ Jan Patience, The Glasgow Herald
Sandra Blow“I have had an inner compulsion to paint since I was fifteen, and I’m very aware of being free. I feel ready to spring off: I feel an upsurge, like a bird. And I’ll paint until I drop.’’
Sandra Blow was born in London and studied at St. Martin’s School of Art, London, The Royal Academy Painting School, and the Accademia di Belle Arti, Rome. Between 1960–75, she was a visiting Tutor to the Painting School of the Royal College of Art, amongst her students, R B Kitaij and, David Hockney, her “golden boy”.
Since 1951, she had numerous solo shows – including Tate St Ives and, most recently, at the Tate Britain (2005), and featured in many group exhibitions. Her works are in many public collections, including, The Tate Gallery, London, The Museum of Modern Art, New York, Victoria and Albert Museum, London, Walker Art Gallery, Liverpool, and Leeds City Art Gallery.
She was elected Royal Academician in 1978, and Honorary Fellow of the Royal College of Art in 1983. In 1994 she moved from her studio in Chelsea to St. Ives, Cornwall where she lived and worked.
Her contribution to the development of post-modernist painting in postwar Britain is undisputed; the monograph, ‘Sandra Blow’ by Michael Bird (published by Lund Humphries), celebrates her life and achievements.
Curator of Swindon Museum & Art Gallery: Sophie Cummings
"Sarah Purvey’creates powerful, sculptural ceramics which combine monumentality and subtlety to unique effect. Her explorations of form, tonality and the possibilities of clay resolve themselves in large, engaging and instinctive vessels.
Swindon Museum and Art Gallery is delighted to have recently acquired ‘Witnessed’ to join our permanent collection of modern British art.
This work encapsulates Purvey’s increasingly confident use of mark making to create ceramics which nod strongly towards Purvey’s drawing practice. It also shows her ability to create vessels with commanding gallery presence and a subtlety that invites multiple viewings." December 2016.
Sarah Purvey has had solo exhibitions in St Ives, Amsterdam and Bath and has shown widely in group exhibitions including New York and London. Purvey's work featured in the Threadneedle Prize Exhibition 2012, The Society of Women Artists at the Mall Galleries London and The Bath Society of Artists at the Victoria Art Gallery, Bath. Her work is represented by galleries both nationally and internationally.
Purvey completed an MA in ceramics at Bath Spa University in 2009 having completed her BA twenty years previously in 1991.
Drawing allows me to speak in my own language whether it's on paper or clay. I draw from whats around me pulling on emotional and physical connections to time and landscape.
Drawing for me is all about that moment, that connection, that place that just allows me to be.
2009 MA Ceramics, Bath School of Art and Design, Bath Spa University
1991 BA Ceramics, Bath College of Higher Education
1988 BTec Ceramics, Plymouth College of Art and Design
Swindon Museum and Art Gallery
Corsham Court, Bath Spa University
Private collections in USA, Japan & Europe
2018 First Prize Award, Baby Forest
2017 First Prize Award, Corsham Open Exhibition
2010, First Prize Award, Corsham Pound Arts Open
Simeon StaffordSimeon Stafford was born in Dukinfield (a small northern town bordering the Pennines) in 1956. He relocated to Cornwall in 1996. At the of age of 14 he met L.S Lowry who encouraged him to paint. Lowry became a family friend and remains a constant source of inspiration to him.
Stafford's work is not 'heavy,' we see no dark overcast days, political content or deep soul searching angst. He says 'we have enough that in the world of news today.' No, Stafford's world of pictorial imagery is a world of humour and fun, an essence of spontaneity that is joyfully translated to the viewer. Simeon Stafford is an observer of life, his paintings are crammed full of incidents and accidents, bustling scenes of human interaction, a happy dialogue of work and play. If his paintings are studied you will discover figures re-occurring, skipping Ruby with pig-tails, Eric and his tractor, Dot, the little girl cart-wheeling across the canvas (his aunt as a child) sometimes a man with red stripy trousers marching through a crowd, leading a small boy by the hand, (the artist with his son). These figures are bought to life and become characters' to look out for. Locations become a fusion of the artist's actual environment, subtly mixed with snippets of landmarks from his past, creating his distinctive style.
Simeon Stafford's subjects include docks and their workers, holiday seaside scenes and streets crammed with children playing. There is a nostalgic echo to these paintings that each and every one of us can identify with, an essence that captures the excitement and expectation, of any old day seen through a child's eyes.
Simeon has had exhibitions throughout the country and has had paintings in the Royal Academy Summer Show. His work is in numerous private collections including Her Majesty The Queen and Tony Blair.
Simon RowleySimon Rowley studied Fine Art at Reading University and the Slade School of Fine Art (MA). He has been awarded with an Arts and Humanities Research Council Award and has most recently been shortlisted for the Royal Academy Summer Exhibition 2019.
His monochromatic work centres on areas of transition between civilisation and isolation; places of political discourse, departure and return. These large-scale abstractions begin with drawings that are made on location during lengthy pre-planned walks and subsequently taken to the studio for development alongside sketchbook notes.
Sir Howard Hodgkin CH CBE (1932-2017)In exploring the very nature of painting both as cultured language and sheer expression, Hodgkin disregards the classical polarities of abstraction and representation, past and present, canvas and frame. Assertive compressed gestures, sweeping complex textures, a lush palette, and the dynamic interchange of light and dark are all traits of his distinctive signature. With their maximalist gestures and saturated colors, his more intimately scaled paintings appear jewel-like, while larger works are opulent and theatrical. With incorporated frames and painted wooden supports, they operate as both objects and images. Embracing spontaneity and directness in equal measure to the processes of reflection and capitulation, it may take a year for Hodgkin to prepare to execute a single brushstroke. The seemingly casual, urgent quality of his paintings belies the fact that most of them have been worked on for two or three years. More than ever they convey the relationship between hand, eye, and memory that drives their process, visual structure, and emotional temperature.
Howard Hodgkin was born in 1932 in London, England. He attended the Camberwell School of Art, England, from 1949 to 1950, and Bath Academy of Art, England, from 1950 to 1954. His first retrospective was curated by Nicholas Serota at the Museum of Modern Art, Oxford, in 1976. Major museum exhibitions include “Paintings 1975–1995,” Metropolitan Museum of Art, New York (1995, traveled to the Modern Art Museum of Fort Worth, Texas; Kunstverein für die Reinlände und Westfalen, Germany; and Hayward Gallery, London, through 1996); Scottish National Gallery of Modern Art, Edinburgh (2002); Irish Museum of Modern Art, Dublin (2006, traveled to the Tate Britain, London; and Museo Nacional Centro de Arte Reina Sofía, Madrid, through 2007); “Paintings: 1992–2007,” Yale Center for British Art, New Haven (2007, traveled to the Fitzwilliam Museum, University of Cambridge, England); “Time and Place,” Modern Art Oxford, United Kingdom (2010, traveled to De Pont Museum of Contemporary Art, The Netherlands; and San Diego Museum of Art, California, through 2011); Fondation Bemberg, France (2013); “Made in Mumbai,” Curator’s Gallery at Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai (2016); and “Absent Friends,” National Portrait Gallery, London (2017). Hodgkin was knighted in 1992, awarded the Shakespeare Prize in Hamburg in 1997, and made a Companion of Honor in 2003.
Hodgkin died March 9, 2017 in London, England.
Sir Jacob Epstein (1880-1959)Epstein was born on 10 November 1880 in New York, of Polish-Jewish parentage. He attended art classes at the Art Students League c.1896 and then went to night school c.1899 where he began sculpting under George Grey Bernard. On the proceeds of illustrating Hutchins Hapgood's The Spirit of the Ghetto (1902) he was able to go to Paris and spent six months at the École des Beaux-Arts, and afterwards studied at the Académie Julian. Epstein settled in London in 1905 and became a British citizen in 1907. He met Picasso, Brancusi, Modigliani in Paris in 1912-13. He then returned to England and worked near Hastings from 1913 to 1916.
Sir Kyffin WilliamsSir Kyffin Williams was born in 1918 in Llangefni, Anglesey, Wales. He studied at the Slade School of Fine Art, London from 1941 to 1944. He went on to become the Senior Art Master at Highgate School from 1944 to 1973, and in 1968 gained a Winston Churchill Fellowship to record the Welsh in Patagonia. Williams’s first one-man exhibition was held at P & D Colnaghi, London in 1949.
Subsequent solo exhibitions were held at the Leicester Galleries, London, Glynn Vivian Museum & Art Gallery, Swansea, Howard Roberts Gallery, Cardiff and the Tegfryn Gallery, Menai Bridge. He has exhibited at the Thackeray Gallery, London biennially from 1975 and also exhibits regularly at the Albany Gallery, Cardiff.
A retrospective of his work was held in 1987 at the National Museum of Wales, Cardiff, and subsequently toured to the Mostyn Gallery, Llandudno and the Glynn Vivian Art Gallery, Swansea. A portraits retrospective was held at Oriel Ynys Mon, Llangefni in 1993.
Williams was President of the Royal Cambrian Academy from 1969 to 1976, and again from 1992. He was elected ARA in 1970 and RA in 1974. He was made an Honorary Fellow of University College, Swansea (1989), University College, Bangor (1991) and University College of Wales, Aberystwyth (1992).
In 1991 he received the Medal of the Honourable Society of Cymmrodorion.
Sir Peter Blake RAGodfather of British Pop Art Peter Blake has been collaborating with CCA since 2003, producing spectacular original prints. His work crosses all generational divides, and inspires great respect from younger artists such as Damien Hirst, Gavin Turk, Pure Evil and Tracey Emin. Knighted in 2002, an honorary doctor of the Royal College of Art, and with his work represented in major collections throughout the world, Peter Blake truly is a grandee of British Art.
Peter Blake's work reflects his fascination with all streams of popular culture, and the beauty to be found in everyday objects and surroundings. Many of his works feature found printed materials such as photographs, comic strips or advertising texts, combined with bold geometric patterns and the use of primary colours. The works perfectly capture the effervescent and optimistic ethos of the sixties, but are also strikingly fresh and contemporary. There is also a strain of sentimentality and nostalgia running throughout his work, with particular focus towards childhood innocence and reminiscence, as can be seen clearly in his recent Alphabet series. Blake is renowned for his connection with the music industry, having produced iconic album covers for the Beatles, Paul Weller, The Who, and Oasis.
Peter Blake was born in Dartford, Kent in 1932 and studied initially at Gravesend Technical College from 1949-51. After a period of national service in the Royal Air Force, Blake attended the Royal College of Art, graduating in 1956. Upon graduation he won the Leverhulme Research Award to study popular art, this allowed him to travel and study folk art in countries such as Belgium, France, Italy and Spain: his grand tour. It was around the period of his return to the UK that Blake's style evolved from the classical naturalistic oil works of his early period to the collaged works containing images of movie stars, musicians and pin-up girls that we most readily associate him with (however, Blake as always retained the naturalistic strain of his work and has continued to work in oil on canvas throughout his career).
During the 1960s and 70s Blake taught at various institutions such as St. Martins School of Art, Harrow School of Art, Walthamstow School of Art and the Royal College of Art. He also exhibited his work in many individual and group shows during this period, both domestically and internationally. In 1961 Blake won the John Moores Award for his work Self Portrait with Badges, and was also featured in Ken Russell's BBC film on Pop Art 'Pop Goes the Easel', which first brought him to wide popular attention. In 1969 Blake left London to live in the West country where he was a founding member of the Brotherhood of Ruralists in 1975. He continued to live near Bristol until 1979 and during this period his work moved away from the glossy commercial pop art for which he is most celebrated and focussed on literary and rural subjects in oil.
Blake moved back to Chiswick in 1979, upon his return to London his work reverted to the earlier popular culture references that had been his dominant inspiration before his rural period. He still resides and works in Chiswick, maintaining a prolific output of work. He was elected a member of the Royal Academy of Arts in 1981, and a CBE in 1983. There was a major retrospective of his work Now We Are 64, at the National Gallery in 1996, as well as at Tate Liverpool in 2007.
Recent years have been as busy as ever: 2016 started with a solo show of original work 'Portraits and People' at London's Waddington Custot Galleries, which garnered national and international press attention. Highlights in 2015 included Blake's commission from Tate Liverpool and Liverpool Biennial to transform a Mersey ferry into a 'dazzle ship' to commemorate the work of First World War ship designers. The 'dazzle ferry' project was at the centre of a BBC 'What Do Artists Do All Day?' episode focusing on Blake. Blake has designed fabrics for Stella McCartney, as well as the carpets in the new Supreme Court. In 2012 he re-designed the BRIT award statuettes and produced a portrait of the the Queen commissioned by the Radio Times to celebrate the Diamond Jubilee (which appeared on its cover). He is currently working on a series of jacket designs for Penguin books, he has also been commissioned to paint a canvas of St. Martin for the Knights Chapel in St. Paul's Cathedral- the first new artist to be included for several hundred years.
Sir Terry Frost (1915-2003)Sir Terry Frost RA (1915-2003) was born in Leamington Spa in the Midlands, and raised by his grandmother. After several jobs, Frost joined the Territorial Army in 1933 and was called up for service upon the declaration of war in 1939. Frost was taken prisoner of war in 1941 and began painting during his internment, sending paintings home in 1944. Whilst in captivity he met British artist and fellow prisoner Adrian Heath. Upon his return to England and on the advice of Heath, Frost moved with his wife to St Ives, and coincidentally the same road as Ben Nicholson and Barbara Hepworth. An artistic community built up, drawn by Nicholson and Hepworth, and included Peter Lanyon and Bryan Winter amongst others. In 1947, Frost returned to London until 1950 to train at Camberwell School of Art, and Frost was heavily influenced by Victor Pasmore, then a teacher at Camberwell. Frost's family remained in Cornwall, and it was the motifs of the Cornish landscape that dominate throughout Frost's career. Coastlines, quays, boats, sails, waves and the sun constitute the building blocks of Frost's formal qualities in his continual negotation between abstraction and figuration, exploring aspects of balance, rhythm, relational shapes, line, colour, space and depth. During the 1950s Frost, alongside Patrick Heron, Bryan Winter and, in particular, Roger Hilton, became one of Britain's most creative, prominent and prolific painters.
Frost had numerous British and international solo exhibitions in his lifetime, including at the Museum of Modern Art, Oxford (1969), the ICA (1971), a touring Arts Council retrospective (1976), the Mayor Gallery (1989), Tate St Ives (198), the British Council in New York (1998) and an RA retrospective in 2000. He was made an RA in 1992 and awarded a knighthood in 1998. Throughout his career, Frost was revered as a teacher, working at Leeds College of Art, Bath Academy of Art, Coventry Art College, Reading University, and the University of California. Frost was awarded an Honorary Doctor of Law by the Council for National Academic Awards in 1977, a Doctorate of Letters by the University of Exeter in 1999 and the same doctorate by the University of Warwick in 2000. Frost's work is held in numerous private and public collections around the world including Tate, MoMA, and the National Gallery of Canada.
Tate Gallery London
British Council, London
Victoria & Albert Museum, London
Nations Gallery of Scotland
National Gallery of Wales
Leeds City Council
Santa Barbara Museum of Art
Walker Art Museum
and many more...
Sir William Nicholson (1872-1949)
(b Newark-on-Trent, Nottinghamshire, 5 Feb. 1872; d Blewbury, Berkshire [now Oxfordshire], 16 May 1949). British painter, printmaker, and designer. He briefly attended Herkomer's school in Bushey, then studied at the Académie Julian, Paris. Early in his career he worked mainly as a printmaker and designer, notably on some brilliant poster designs in the 1890s, done in collaboration with his brother-in-law James Pryde under the name ‘J.
& W. Beggarstaff’. Like Pryde, he had a great interest in the theatre, and he made designs for several plays, including the original production of Peter Pan in 1904. By this time, however, he was turning increasingly to painting. He was successful mainly as a portraitist (he had many celebrity sitters), but he is now particularly admired for his still lifes, typically small, unpretentious, and sensitively handled: his son Ben Nicholson praised their ‘poetic spirit’.
Steve SlimmSteve is from The Black Country and later lived in the Cotswolds. Moving to Cornwall, in 1970, he joined an art group under John Miller for a brief period. Painting began to feature as a main interest in his life, with periodic encouragement from John through the next two decades.
Turner was an obvious influence during the early years. Many atmospheric watercolours found their way into collections worldwide.
The Land remains the prime inspiration for his work, although the human form tends to creep in occasionally, albeit subliminally.
His work is now often far from realism, with an emotional intensity that is self-evident.
His shows are always colourful, with most pieces hallmarked by a deep sense of mystery.
Since 2009 Steve has been featured in the UK national Art A-level syllabus - in particular for his use of light.
TemperTemper, aka Arron Bird, is widely recognised as one of the most successful and talented graffiti artists of his generation.
Temper first picked up a spray can at the age of 10 and hasn’t looked back since Quickly mastering the art, he was involved with a number of graffiti art crews across the 80s just as the hip-hop culture that accompanied it was making its way from the US to UK shores.
Temper has excelled in his genre, developing a unique style of graffiti art which allows him to work in illustrative and free-hand ‘traditional’ graffiti, as well as detailed and exquisite figurative work reminiscent of the Old Masters and breathtaking photorealist landscapes.
Temper has not only been critically acclaimed by his peers in the art world - becoming the first graffiti artist to ever be awarded a solo show in a major public gallery (Birmingham Museum & Art Gallery, 2001) - but also from fans and collectors of his creations, producing private commissions for Roman Abramovich, Saatchi & Saatchi and the BBC to name but a few.
In 2001, Temper was commissioned by global brand Coca-Cola to create the artwork for their drinks brand Sprite; resulting in art by Temper appearing on over 100 million cans and bottles around Europe in what was the biggest graffiti advertising campaign ever seen.
Tony LathamA graduate of Manchester Polytechnic. Tony Latham has been a photograpgher for over 30 years, exercising his particluar vision, clarity and wit in the service of and extensive roster of international clients and an ever-expanding portfolio of personal work.
To do so, Tony has traveled extensively, shooting throughout the UK, Europe & US. Tony's work has been exhibited regularly in London included the Association of Photographers Gallery and the Tea Building Gallery and has been recognised by numerous advertising and photographic societies.
Tony moved to Shropshire from London in 2010 and remains as passionate today about photography as he did when he began his career. The images in this show represent his singular vision of Marfa, Houston, LA, Lisbon& Rome and closer to home, Montgomery, Shrewsbury & Wakefield - always spare, elegant and thoughtful.
Tracey Emin (b.1963)Tracey Emin is a British artist who emerged in the 1980s, during the "Young British Artists" movement. She is noted for her provocative and controversial pieces, including "Everyone I Have Ever Slept With 1963-1995," "My Bed" and "The Last Thing I Said To You is Don't Leave Me Here."
Vicki NormanIn recent years I have studied with master painters from Italy and the USA, all the time searching for traditional skills and methods which can be applied to paintings of a modern world. I give workshops and classes on various aspects of drawing and painting and also painting holidays for those who want to work outside the studio. I have always been a painter, I graduated with a BA Hons in Fine Art Painting and later studied for a teaching certificate specialising in post 16 education.
My fondness for travelling and painting has naturally led me into the world of Plein Air painting. Working quickly on location to capture the essence of a time and place encourages a looser, more impressionist style of painting. This puts an emphasis on atmosphere rather than detail, and colour is the vehicle through which I seek to capture light and place. Colour is everything, the harmony of colours together on the canvas and the thick, creamy blobs of paint on the surface inspire me every time. I really do just love paint and I love making paintings. So, being an ambassador for Michael Harding Oils is really great for me, because he makes the best paint in the world.
Victor Pasmore (1908-1998)Pasmore (1908-1998) was born in Surrey. Attended evening classes at Central School of Arts and Crafts from 1927, while working as a local government officer, and experimenting with art styles reflecting developments in art in France since the 1880s. In 1937 founded the Euston Road School with William Coldstream, Graham Bell and Claude Rogers, teaching a style of Cézannesque realism. The school closed in 1940, but this group moved on to teach at the Camberwell School of Art 1943-49, although Pasmore himself began to experiment with abstraction from 1947 onwards. Teaching at the Central School since 1949, he turned to abstract reliefs in 1952, and in the following year became Head of Painting at King’s College, Durham University, staying till 1961, when he was able to devote himself full-time to painting. In 1966 he moved to Malta, where he resided until his death, also enjoying producing graphics at an Italian workshop, in parallel with his paintings.
After experiments in lyrical abstraction in the early 1930s, and until his move towards abstraction again in the late 1940’s, for a decade his work showed a disciplined, sober form of Cézannesque realism in portraits and landscapes. His earliest new abstract experiments used linear forms and collage but soon, in parallel with the work of Kenneth and Mary Martin, became rigorously constructivist, with some works as three-dimensional wall-reliefs in wood and perspex. In the 1960s the geometry softened, introducing curved lines and edges, and bright colours, blossoming in the 70s and later into lyrical abstract compositions of points, wandering lines and planes of bright colours against his habitual white backgrounds, and even some drawn outlines of natural forms again.
After his first retrospective at the Arts Council Gallery in Cambridge (1955), he represented Britain at the 30th Venice Biennale in 1960 with an exhibition which toured to Paris, Brussels, Amsterdam, Bochum, Belgrade, Oslo and Copenhagen, and represented Britain again at the 8th Sao Paulo Bienial in 1965, toured to Rio de Janeiro, Buenos Aires, Lima and Santiago, in the same year as his retrospective at the Tate Gallery. Museum and gallery exhibitions proliferated across Europe and the USA, culminating in retrospectives at the Yale Center for British Art, New Haven, and the Phillips Collection, Washington DC (1988-89) and the Center for International Contemporary Arts , New York (1990) and the Serpentine Gallery, London (1991).
Wilf RobertsWilf Roberts was born in 1941 on the Isle of Anglesey. In his early years he was raised in the idyllic setting of Mynydd Bodafon, a setting to which he returned after thirteen years of working as a teacher of art in Croydon. During the 1960s and 70s in London, he exhibited extensively and successfully whilst studying part-time at Croydon Art College. In 1973, Roberts returned to Anglesey and continued to paint, accepting a number of private commissions and illustrating books and posters on a voluntary basis for a number of local and national charities. He did not publicly exhibit his work during this period until 1996 when he held a very successful solo show at Oriel Ynys Mon.
His inspiration comes from the stark and rocky landscape near his home. As a youngster he liked nothing better than to wander the naturally beautiful landscape which he represents in his work. In his landscapes he manages to simplify without losing the essence of the scenes depicted and produces work that is strong and powerful.
His palette tends towards the more sombre end of the spectrum (browns, greens, greys, etc)..'earthy colours' to quote the artist... Wilf's controlled and selective employment of white, for example, on cottages and other rural buildings that frequently appear in his compositions, brings the paintings vividly to life with a drama and vibrancy that is quite startling and emotive. With this inspired ability of juxtaposing bright elements and highlights against dark and sombre backdrops, the work manages to attain faultless tonal balance and harmony.
The majority of his pictures are groups of buildings in landscapes devoid of people, animals or birds and yet, like the empty chapels found all over the island, they contain invisible memories of people from the past. His interest in painting and drawing was always an integral part of his life. One can sense the affinity he had with his surroundings in his paintings; the tranquillity and sheer simplicity of stark stone cottages and peaceful olive groves, or the rugged cliffs and turbulent seas.
His work is held in public and private collections in The Hague, Paris, New York, Australia and the UK. Wilf died at his Anglesey home in September 2016.
William Gear (1915-1997)William Gear was born in Fife, Scotland, on 2 August 1915, the son of Janet Gear and Porteous Gear, a coal miner. He studied at Edinburgh College of Art from 1932-6, gaining a postgraduate scholarship that enabled him to study art at Edinburgh University from 1936-7. Winning a travelling scholarship enabled him to visit Italy, Greece, and the Balkans and to study in Paris with Fernand Leger.
Gear served throughout the Second World War as an officer in the Royal Corps of Signals including a stint with the ‘Monuments Men’. In 1947, he settled in Paris where he met many of the leading post-war Parisian artists. After meeting Appel, Constant, Corneille and Jorn, he joined the CoBrA group, Europe’s most important avant-garde movement of the mid-twentieth century. CoBrA is an acronym based on Copenhagen, Brussels and Amsterdam in acknowledgement of the founders’ nationalities and to emphasise the internationalism of their attitude.
The CoBrA painters emphasised spontaneity – an image, they felt, should appear on the canvas as naturally and quickly as a sudden change of weather in the world beyond the window. And it ought to be as impersonal as a thunderstorm.
William Gear exhibited with the group in Amsterdam and Copenhagen in 1949; however, beyond his association with CoBrA, he had a long and successful career in his own right. For example, he was awarded a Festival of Britain Purchase Prize in 1951 and his work appeared at the 1954 Venice Biennale.
Gear was Towner’s curator from 1958 until 1964. During this time, he added to the diversity and modernity of the Permanent Collection with his acquisitions. These included paintings by major British Abstract artists of the 1950s and 1960s, such as Sandra Blow, Alan Davie, Roger Hilton and Ceri Richards, and prints by both young and established printmakers. So successful was he in increasing the reputation of Towner, that in 1962 the Observer newspaper hailed it as the ‘most go-ahead municipal gallery of its size in the country’.
He became a Senior Royal Academician in 1995. His work is held in many major public and private collections around the world.
William Scott (1913-1989)William Scott was born in Greenock, Scotland, in 1913. In 1924, his family moved to his father’s home town of Enniskillen in Northern Ireland where Scott soon began art classes with a local teacher, Kathleen Bridle. In 1928 he enrolled at the Belfast School of Art, moving to London three years later to take up a place at the Royal Academy Schools, initially in the sculpture department, later moving to painting. He married fellow student Mary Lucas in May 1937 and soon after they travelled to Italy and France, establishing an art school in Pont-Aven with the painter Geoffrey Nelson. In 1938, Scott exhibited at the Paris Salon d'Automne, and was elected Sociétaire that same year. Days before the outbreak of the World War II, the Scotts left France, moving firstly to Dublin and then to London before eventually settling in Somerset. Scott joined the Army in July 1942, serving firstly with the Royal Army Ordnance Corps and then as a lithographic draughtsman with the Royal Engineers. Although not demobilized until January 1946, he continued to paint and to exhibit during the War both in group and solo shows.
On leaving the Army, Scott took up the position of Senior Painting Master at the Bath Academy of Art, at Corsham Court, Wiltshire. During the decade in which he taught at Corsham, Scott made frequent trips to Cornwall and became good friends with many of the St Ives Group of artists. He also continued to dedicate much of his time to his own painting, which, at that date, was concerned mainly with the theme of still-life. A number of these works were shown at two one-man exhibitions at the Leicester Galleries in London, the first in 1948 and the second in 1951. 1951 was also the year of the Festival of Britain: Scott was one of the sixty artists invited by the Arts Council to exhibit as part of the celebrations. Around this time, Scott’s work moved closer to non-figuration and his first one-man show at the Hanover Gallery in London, which opened in June 1953, included a number of, loosely, abstract paintings. That same year, an extended visit to North America resulted in friendships with New York based artists including Rothko and de Kooning. One of the first British artists to be aware of Abstract Expressionism, the work he saw in America made Scott aware of how much his painting was, and would continue to be, tied to a European artistic tradition.
By 1956, Scott’s success as an artist, both nationally and internationally, allowed him to give up full-time teaching, although he would remain interested in, and involved with, art school education for the rest of his life. In 1958 he represented Great Britain at the Venice Biennale, one of many occasions on which his work was chosen by the British Council to be exhibited abroad. At the 1961 São Paulo Bienal, Scott won the Sanbra (International Critics) Purchase Prize. The 1960s saw retrospective exhibitions in Zurich, Hannover, Berne and Belfast. There were also major shows in London, Tokyo, Paris, Brussels, Copenhagen, Oslo and Rotterdam. In 1963 Scott was invited to take up the offer a 12-month residency in Berlin by the Ford Foundation.
In 1972, the Tate Gallery mounted a major retrospective which included more than 125 paintings dating from 1938 onwards. The following year Scott toured India, Australia and Mexico as a British Council lecturer. He received honorary doctorates from the Royal College of Art in London, Queen's University Belfast and Trinity College Dublin. In 1984 Scott was elected a Royal Academician, shortly after the onset of Alzheimer's disease. The 1985 film, Every Picture Tells A Story - about the artist's early life - was made by his son, James Scott, for Channel 4 Television. A 1986 exhibition at the Ulster Museum in Belfast toured to both Dublin and Edinburgh.
On the 28th December 1989 Scott died at his home in Somerset. Posthumous shows have ranged from a 1998 survey at the Irish Museum of Modern Art to a 2004 show at the Denise Bibro Gallery in New York.
Throughout his career, the themes of still-life, landscape and the female nude recur in Scott’s work. Although there are phases where his paintings could be called non-objective, more often they explore the space between abstraction and figuration. As he himself said: “I am an abstract artist in the sense that I abstract. I cannot be called non-figurative while I am still interested in the modern magic of space, primitive sex forms, the sensual and the erotic, disconcerting contours, the things of life.”
William SelwynBorn in Caernarfon in 1933. From the year 1952 until 1954 he served his National Service in the Royal Artillery and then entered Bangor Normal College in 1954 staying until 1956. He subsequently taught at Maesincla Junior School and Syr Hugh Owen School until his retirement in 1990.
His art revolves around the landscape of Gwynedd, farm workers and fishermen. He is a member of the Royal Cambrian Academy. Works purchased by Gwynedd Council, Anglesey Council, University of North Wales, Bangor, The Arts Council of Wales, National Library of Wales, Bath University, and many private collections both at home and abroad.
He Exhibited at:-
Royal Cambrian Academy, Royal National Eisteddfod of Wales,
Royal West of England Academy, Royal Society of British Artists, London
Tegfryn Art Gallery, Menai Bridge, Albany Gallery, Cardiff
Tibb Lane Gallery, Manchester, Oriel Plas Glyn-y-Weddw,
John Davies Gallery, Stow-on-the-Wold, Snowdon Mill Art, Portmadog,
Electric Mountain, Llanberis, Oriel Arfon, Caernarfon,
Oriel Fach, Beaumaris, 1998 prizewinner, Singer & Friedlander –
Sunday Times Water-colour exhibition.
Yves Brayer (1907-1990)
At a very early age he began to exhibit at the Salon d'Automne and the Salon des independants.
In 1927 aged just 20 he got a financial support as a young emerging painter from the french government to visit Spain, he will be strongly influenced by the masters of the Prado museum in Madrid.
Three years later in 1930 he was awarded a French scholarship ‘Grand prix de Rome’ in 1930, this famous award allowed him to stay in Rome for a further 3 years.
He comes back to Paris in 1934 and starts to exhibit at the "Galerie Charpentier" faubourg St Honoré which is now the headquarters of Sotheby’s.
Living in Paris, he continued to paint as well as set designer for the famous Théâtre Français and the Opera de Paris.
He became a professor at the academy of the Grand Chaumière, Paris for 50 years, president of the Salon d'Automne for 5 years and curator at the Musee Marmottan for 11 years.
2 museums have been made for him and his paintings:
Museum of Cordes du Ciel and
Museum of Baux de Provence openned in 1991.
Yves Brayer was an important painter of the French landscape and is widely known and loved as a scholar of fine art as well as a fine painter.
Many of his paintings are hosted in famous French and International collections and International museums.