“In an êj ẃr ɖ slfportrit hz arğbli bcm wn v ɖ most popylr viźl źãṛz, nt līst ʈru ɖ rîz v ɖ slfi, ɖs xbiśn sīcs t inrić âr undstandñ v its pârfl funẋn in śêpñ îdiyz v ɖ slf n îdentti”
Lucian Freud: Reflection (Self-Portrait), 1985. Oil on canvas, 22 x 19 7/8 in. (56 x 50.7cm.)
CLIVE HEAD Les Souvenirs du Cafe Anglais (work in progress), 2014, 198 x tbc cm
Clive Head: Looking Glass, 2014. Oil on canvas, 195.6 x 208.3 cm
Philip Harris: Arizona Bloom, 2014. 1525 x 3050, oil on Linen.
Caroline Walker: Consulting the Oracle, 2013. Oil on linen, 193 x 175 cm.
ALAN MACDONALD The Candy Man, 2013, 190.5 x 215.9 cm
Alan Macdonald: Spam Dragon, 2013. Oil on linen, h. 190 x w. 214 cm
Gwen Hardie: Body 03.20.12, 2012, 76.2 cm diam.
ALISON WATT Black Star, 2012, 183 x 183 cm, Ingleby Gallery
Ray Richardson: Our Side of the Water, 2012. Oil on linen, h. 137 x w. 127 cm
KATARZYNA COLEMAN Admiralty Road 1, 2012, 70 x 90 cm
KATARZYNA COLEMAN Admiralty Road 2, 2012, 70 x 90 cm
Chris Stevens: The Age of Reason or Salem’s Lot, 2011. Oil on canvas. 170 x 180 cm
Chris Stevens: Anthem to an Embittered Youth, 2011, 170 x 180 cm, Courtesy of the artist 170 x 180 cm
GWEN HARDIE Body 06.29.11, 2011, 76.2 cm diam.
David Hepher: Tree, 2011. Oil, acrylic, inkjet and concrete on canvas, h. 208 x w. 810 cm
KEN CURRIE Dirty King, 2011, 275 x 198.5 cm, Flowers Gallery
KEN CURRIE Hunting Lodge, 2011, 244 x 366 cm, Flowers Gallery
JOCK MCFADYEN Tate Moss, 2010, 200 x 300 cm
SAM JACKSON Querelle, 2009, 60 x 60 cm, Private Collection
SAM JACKSON Vas Defrens, 2009, 60 x 60 cm, Private Collection
SAM JACKSON Young Gorbachev, 2009, 60 x 60 cm, Private Collection
Gwen Hardie: Body 03.30.09, 2009, 91.4 x 76.2 cm
ALISON WATT Hollow, 2009, 183 x 183 cm, Ingleby Gallery
RAY RICHARDSON Everything is Everything, 2005, 106 x 97 cm
CECILY BROWN Maid’s Day Off, 2005, 200.7 x 198.1 cm, Hiscox Collection
JOHN KEANE Inconvenience of History II, 2003, 86 x 122 cm, Flowers Gallery
George Shaw: Scenes from the Passion: Late, 2002. Enamel paint on board, 917 x 1215 x 52 mm. Collection: Tate
JOHN KEANE Hopeless in Gaza (Road to a Settlement), 2002, 137 x 183 cm, Flowers Gallery
DEXTER DALWOOD Grosvenor Square, 2002, 268 x 347 cm, Saatchi Collection
Philip Harris: S.P Behind a Glass Door, 2001. Oil on linen, 132 x 305 cm (unframed). Photograph: John Jones.
George Shaw: Scenes from the Passion (The Path on the Edge), 1997-8. Enamel on panel, 43 x 53 cm. Collection: Royal College of Art
Chantal Joffe: Untitled (Face), 1994. Oil & acrylic or alkyd (?) on canvas, 132.5 x 109.1 cm. Collection: Royal College of Art
GRAHAM CROWLEY No Such Thing, 1993, 168 x 240 cm, Courtesy of the artist
Lucian Freud: Standing by the Rags, 1988–9. Oil on canvas, 1689 x 1384 mm, frame: 1810 x 1505 x 84 mm. Collection: Tate
GRAHAM CROWLEY The Chain Store, 1987, 203 x 254 cm, Middlesbrough Council/MIMA
PAULA REGO Snare, 1987, 150 x 150 cm, British Council
TONY BEVAN Tender Possessions, 1986, 210.5 x 119.5 cm, British Council
TERRY SETCH Once Upon a Time there was Oil III, Panel I, 1981-2, Tate
Jock McFadyen: The Street, 1980. Oil on canvas, h. 173 x w. 173 cm
DAVID HOCKNEY My Parents, 1977, 194 x 194.1 cm, Tate
L.S. LOWRY Bargoed, 1965, 122.2 x 151.7 cm, The L.S. Lowry Collection
Francis Bacon: Study for Portrait of P.L. No2, 1957. Collection: Sainsbury Centre for Visual Arts
Carel Weight: Fury, 1956. Oil on canvas, 92 x 122 cm. Collection: Herbert Art Gallery & Museum, Coventry
JOHN BRATBY Dustbins in the Studio, 1954, 112 x 101 cm, Royal College of Art Collection
STANLEY SPENCER Self-portrait with Patricia Preece, 1937, 61 x 91.2 cm, The Fitzwilliam Museum
Walter Sickert: Ennui, 1917. Oil on canvas, h. 76 x w. 56 cm
“Kretd bî ātist Cris Stīvnz, RIAḶTI brñz tgɖr ovr 50 wrcs seḷbretñ ɖ streñʈ v Britiš pêntñ, wɖ sm v ɖ bst n most influenšl ātists v ɖ last sixti yirz.
Uncompṛmîzñ n drct, ɖ wrc v č ātist reprizntd rtenz a stroñ refṛns t ɖ riyl wrld, ɖ stuf v lîf. Ẇl, t an xtnt, pêntñ hz bn iclipst in rīsnt decedz bî ɖ Miniml n Cnsepčl muvmnts, insṭlešn, ftogṛfi n film, RIAḶTI testifîz t ɖ svîvl v pêntñ az a mīdı̣m, n ɖ impact v Britiš pêntñ tde.
Mêjr 20ʈ Senčri ātists r reprizntd, sč az Woltr Sic̣t, Fransis Bêcn, Lūšn Frýd n Dêvid Hocni, alñsd cntmprri pêntrz includñ Cen Curi, Jwj Šw n Caṛlîn Wōcr.
Ɖ ātists in RIAḶTI tacl a dvrs renj v subjcts, refṛnsñ ɖ bodi, rlešnšps, histri, poḷtcs, wor, ɖ ŕbn invîrnmnt n sošl išuz. Dspt ɖz dfṛnt refṛnsz, ɖ wrcs r ol ynîtd bî tu ʈñz – ɖ hāš riaḷtiz ɖt hv cnsrnd ci Britiš ātists ovr ɖ decedz n ɖ simpl act v pêntñ.
(Posted 27 January 2015. The text is in an older version of Ñspel.)
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“Pītr Pwl Rūbnz hz bn dscrîbd az ɖ prins v pêntrz. A bold clem? Juj fr yrslf at ɖs, ɖ frst mêjr ovrvy v hiz wrc n leġsi.
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‘The Garden of Love’ (c. 1633), by Peter Paul Rubens
Rūbnz n Hiz Leġsi brñz tgɖr mastrpìsz pṛdyst jrñ hiz lîftîm, az wel az mêjr wrcs bî grt ātists hu wr inflụnst bî hm in ɖ jeṇrešnz ɖt folod. W si ɖ inflụns v Rūbnz in ɖ prints v Picaso n Rembrant, in ɖ pwtričr v Van Dîc, in ɖ huntñsìnz n dvošnl wrcs v Deḷqā, n in ɖ landsceps v Cunsṭbl n Gênzbra. It z a far-rīčñ n rmāc̣bl leġsi.
Rūbnz, bst nôn fr hiz fleši nyd wimin, olso imbrest a brwd are v subjcts, fṛm rlijs n myʈ̇lojcl sìnz t landsceps n pwtrits. W lc at č v ɖz erı̣z ʈru ɖ lenz v six ʈīmz; pâr, lust, cmpašn, eḷgns, powtri n vayḷns.
Set t b wn v ɖ bgist specṭclz v 2015, ɖs z an unpreṣdntd oṗtyṇti t si mastrpìsz bî Rūbnz sîd bî sîd wɖ ɖ wrc v hiz ātistc érz.
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La Peregrina
Cntemprri wrcs t jýn Rūbnz n Hiz Leġsi
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Az pāt v ɖs landmāc xibišn, seḷbretd ātist n Royl Acaḍmišn Jeni Savil hz kretd La Peregrina, a prsnl n cntmprri rspons t Rūbnz n Hiz Leġsi.
Fr La Peregrina, Savil hz čozn a ṣlẋn v wrcs bî mêjr 20ʈ n 21st senčri ātists. Az wel az pêntñz bî Wiḷm d’Cūnñ, Pablo Picaso, Fransis Bêcn, Sẹra Lūc̣s, Lūšn Frýd n uɖrz, y cn si xtrōdnri ny wrc crietd bî Savil ispešli fr ɖs ocežn.
Jeni Savil z bst nôn fr hr lj-scêl ýlpêntñz v fīmel figrz. Wɖ hr dīp fasinešn in ɖ palṗbiḷti v fleš, xtreṃtiz v anaṭmi n ɖ gṛtesc, Savil’z ātwrc invocs ɖ inflụns v Rūbnz. Ɖ renj v wrcs š hz brwt tgɖr rflct bʈ hr prsnl rspons n dīp undrstandñ v wn v ɖ grt mastrz v āthistri.
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Ẇɖr y ʈnc y lîc Rūbnz or nt, hiz inflụns runz ʈru ɖ paʈwez v pêntñ. Lîc Wōhol, h čenjd ɖ gem v āt. Jeni Savil RA”
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Edwin Landseer: The Hunting of Chevy Chace, 1825-6
Peter Paul Rubens: Tiger, Lion and Leopard Hunt, 1616
Eugène Delacroix: Lion Hunt, 1858
Peter Paul Rubens: Pan and Syrinx, 1617
François Boucher: Pan and Syrinx, 1759
Attributed to Anthony van Dyck: Drunken Silenus Supported by Satyrs, c. 1620
Peter Paul Rubens: Evening Landscape with Timber Wagon, 1630–40
Peter Paul Rubens: The Triumph of Henri IV, 1630
Eugène Delacroix: : The Triumph of Apollo (Apollo Vanquishing the Serpent Python), c. 1853
“Ɖs dsple xplorz ɖ pạniyrñ rôl ɖt pêntrz sč az Fransis Bêcn, Lūsı̣n Frýd n Dêvid Hocni plêd in ɖ riinvnšn v fiğṛtv āt in ɖ secnd hāf v ɖ 20ʈ senčri.
In pôstwor Britiš āt, radicl wrc tendd twdz verı̣s stîlz inflụnst bî ɖ modn āt v Paris n Ny Ywc, sč az Sriylizm, abstraẋn n Popāt. Alñsd ɖz paṛlel muvmnts ɖr xistd anɖr cnd v āt pạnird bî a grūp v lūsli asošietd ātists lêtr lebld Ɖ Scūl v Lundn. Ẇt ɖe hd in comn wz a frm ḅlif ɖt ɖe cd fînd ny wez t criet riylist pêntñz n riinvent ɖ repṛzentešn v ɖ hymn figr t mc it reḷvnt in a wrld trwṃtîzd bî ɖ Secnd Wrldwor.
Mni v ɖs grūp v fiğṛtv pêntrz wr t b fând drōñ in ɖ Našnl Gaḷri, Lundn, ẇn nt in ɖer stydioz. Ɖe studid ɖ āt v ɖ Rnesns n v Impreṣ̌nizm wɖ a pašn, siyñ ɖ pạnirz bfr modn āt az ɖer tīčrz. Ɖer wrc olso hd orijinz in prīwor Britiš āt: in ɖ pêntñ v Wōltr Sic̣t, Dêvid Bombrg n ɖ riylists v ɖ Ystnrôd Scūl.
Ʈru ɖ 1970z n 1980z ɖer wrc grajli bgan t b recgnîzd az amñst ɖ most impwtnt Britiš āt v its tîm. Hu cd b cnsidrd pāt v ɖs undiclerd grūp hz olwz vẹrid, bt Fransis Bêcn, Lūsı̣n Frýd, Franc Ârbac, Mîcl Andrūz, Lion Cosof, Ywn Ūglo n ɖ mr Popāt-asošietd Dêvid Hocni r rgādd az ɖ ci ātists. Btwn ɖm ɖe fând ny wez v lcñ intnsli at ɖ wrld arnd ɖm, t cmbîn in pênt ẇt ɖe sw, wɖ ẇt ɖe felt.
Ɖ dsple includz wrcs bî Bêcn, Frýd n Hocni fṛm ɖ c̣lẋnz v Mančestr Ātgaḷri n Ɖ Ẇitẉʈ Ātgaḷri, alñsd wrcs fṛm ɖ Ātscaunsl C̣lẋn, Lundn.
An Ātscaunsl C̣lẋn Pātnršp ṣpwtd bî Cristi’z.
Ṣlctd bî Tim Wilcox”
Ywn Ūglo│GRL’Z HED IN PRÔFÎL WĐ CAP ON│1963–4│Ātscaunsl C̣leẋn
“Ɖs spešl dsple ofrz an intṛduẋn t ɖ ljst bt lst nôn pāt v ɖ Gaḷri’z âtstandñ c̣lẋn – its holdñ v prints.
Ɖ Cwtold Gaḷri hâzz wn v ɖ most significnt c̣lẋnz v wrcs on pêpr in Britn, wɖ aproxiṃtli 7,000 drōñz n wōtrculrz n 20,000 prints renjñ fṛm ɖ Rnesns t ɖ 21st senčri.
Ɖs dsple v sm ʈrti ptklrli rmācbl n intrīgñ xamplz spanz mr ɖn 500 yirz n incumṗsz a vrayti v print-mcñ tecnīcs.
