[19] A major exhibition of rarely seen works on paper by Sutherland, curated by artist George Shaw, was shown in Oxford, in 2011–12. : Arbres épineux, 1945). C’est aussi un art que de laisser le sujet se révéler graduellement et inconsciemment par sa voix et par son regard aussi bien que par sa chair…», Vidéo démonstrative pour tout savoir sur : Graham Sutherland, https://www.youtube.com/embed/2khoYNdfWrI. [22] From 1948 until 1954, Sutherland served as a trustee of the Tate gallery. His work was much inspired by landscape and religion, and he designed the tapestry for the re-built Coventry Cathedral.. Printmaking, mostly of romantic landscapes, dominated Sutherland's work during the 1920s. part. The same year he also taught painting at Goldsmiths' School of Art. Mais ses natures sont plantées d’arbres tourmentés, de racines griffues, peuplées d’insectes; il avoue «aimer cette violence qui donne un répertoire de formes d’un intérêt exceptionnel car elles sont opposées les unes aux autres». After initially refusing to be presented with it at all, he accepted it disparagingly as “a remarkable example of modern art". Il est représenté à New York (M. O. M. Réponse du serveur : {{status_text}} (code {{status_code}}). Griggs. He served as an official war artist in the Second World War drawing industrial scenes on the British home front. Après 1949, il compose encore des paysages angoissants, tente de «fixer l’essence même de la personne» et réalise les portraits angoissés, analytiques, des membres de l’aristocratie ou de l’intelligentsia anglaise (Somerset Maugham, Winston Churchill…).
A.) [5], Sutherland returned to Wales in September 1941 to work on a series of paintings of blast furnaces. [5] After a year he succeeded in persuading his father that he was not destined for a career in engineering and that he should be allowed to study art. ), du Prince de Fürstenberg (1959, château de Donaueschingen, coll. He particularly emphasized printmaking, which he taught from 1926 to 1940 at the Chelsea School of Art. Works by Sutherland are held in the collections of Amgueddfa Cymru – National Museum Wales, Bristol Museum and Art Gallery, Doncaster Museum and Art Gallery, Kirklees Museums and Art Gallery, Herbert Art Gallery and Museum, Manchester Art Gallery, National Portrait Gallery, Norwich Castle Museum and Art Gallery, Northampton Museums and Art Gallery, Pallant House Gallery, Southampton City Art Gallery, The Ingram Collection of Modern British and Contemporary Art, Tenby Museum and Art Gallery, The Fitzwilliam Museum and The Priseman Seabrook Collection. He did not begin to paint in earnest until he was in his 30s, following the collapse of the print market in 1930 due to the Great Depression. [2] It was subsequently destroyed on the orders of Churchill's wife, Clementine. Retournant en 1967 dans le Pembrokeshire, il est de nouveau fasciné par les paysages et multiplie les vues des petits estuaires de Sandy Haven et du Picton (Estuaire avec oiseaux, 1971-72, Picton Castle Trust), où, en 1976, est inaugurée la Graham Sutherland Gallery. [23], Although Sutherland had converted to Catholicism in 1926, and from 1950 until he died was deeply involved in religion, he never stopped creating work based on nature and natural forms. [13] A number of features reoccur within this body of work, for example, the fallen lift shafts that were often the most recognizable aspect of larger bombed buildings and a double row of bombed houses Sutherland saw in the Silvertown area of the East End. L'attitude mystique et panthéiste devant la nature, qui était celle de William Blake et de Samuel Palmer, se retrouve dans son œuvre, dont le sentiment poétique intime était tout à fait en harmonie avec la sensibilité anglaise de l'époque (Entrée d'un sentier, 1939, Londres, Tate Gal.). His work from this period includes two suites of prints The Bees (1976–77) and Apollinaire (1978–79). Il ne commença à peindre à l'huile qu'en 1935, un an après son premier séjour dans le Pembrokeshire. [5] Between 1935 and 1940, he also taught composition and book illustration at Chelsea. Parallèlement, il réalise deux suites de lithographies, les Abeilles et le Bestiaire d'Apollinaire. Pendant la Seconde Guerre mondiale, il devient célèbre pour ses tableaux de villes ravagées par les bombardements (série Dévastation).
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His work was much inspired by landscape and religion, and he designed the tapestry for the re-built Coventry Cathedral. Promotions, réductions et bonnes affaires n'attendent que vous pour toute commande d'un produit Graham Sutherland moins cher, pourquoi vous en priver ? View Graham Sutherland’s 2,759 artworks on artnet.
Graham Sutherland. Il est ensuite reconnu pour son traitement halluciné et expressif des sujets religieux (Crucifixion de l’église Saint Matthew à Northampton, 1946 ; tapisserie du Christ en gloire de la cathédrale de Coventry, 1954-1957). [8] Oil paintings of the Welsh landscape dominated his first one-man exhibition of paintings held in September 1938 at the Rosenberg and Helft Gallery in London. [7] While still a student Sutherland established a reputation as a fine printmaker and commercial printmaking was to be his main source of income throughout the late 1920s. Sutherland expose régulièrement depuis 1938 ; des expositions rétrospectives lui ont été consacrées à la Biennale de Venise et au M. A. M. de la Ville de Paris (1952), à la Tate Gal. Sutherland focused on the inherent strangeness of natural forms, abstracting them to sometimes give his work a surrealist appearance; in 1936 he exhibited in the International Surrealist Exhibition in London. Graham Sutherland réalise la tapisserie pour l'église de Coventry reconstruite sur ses ruines, le Christ en gloire, qui est une vaste fresque sur les atrocités nazies.
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