Avant-garde British Printmaking 1914-1960

Fülszöveg

19
Some of the most exciting work in British 20th-century art was produced by artists experimenting with a wide range of often unorthodox printmaking techniques. Much of this work was never published in standard editions, and is therefore still largely unknown. This study, the first devoted primarily to the non-commercial printmaking of the period, begins with the earliest abstract prints by artists such as Edward Wadsworth and David Bomberg, ranged alongside the intensity of vision which C. R. W. Nevinson and Paul Nash brought to bear upon the desolation of the First World War. Outstanding among the achievements of the 1920s and 1930s are the spare linocuts of Ben Nicholson, the striking evocations of speed and modernity by Claude Flight and Cyril Power, the adventurous blueprints of John Banting, and the Surrealist engravings of Stanley Hayter, while the 1940s and 1950s saw the monotypes of Robert Colquhoun, Alan Davie and William Gear, the etchings of Lucian Freud and Richard... Tovább

Fülszöveg

19
Some of the most exciting work in British 20th-century art was produced by artists experimenting with a wide range of often unorthodox printmaking techniques. Much of this work was never published in standard editions, and is therefore still largely unknown. This study, the first devoted primarily to the non-commercial printmaking of the period, begins with the earliest abstract prints by artists such as Edward Wadsworth and David Bomberg, ranged alongside the intensity of vision which C. R. W. Nevinson and Paul Nash brought to bear upon the desolation of the First World War. Outstanding among the achievements of the 1920s and 1930s are the spare linocuts of Ben Nicholson, the striking evocations of speed and modernity by Claude Flight and Cyril Power, the adventurous blueprints of John Banting, and the Surrealist engravings of Stanley Hayter, while the 1940s and 1950s saw the monotypes of Robert Colquhoun, Alan Davie and William Gear, the etchings of Lucian Freud and Richard Hamilton, and the remarkable variety of work produced by the St Ives group. The survey draws to a close with the experimental screenprints and lithographs of the sculptors Reg Butler, Eduardo Paolozzi, William Turnbull and Michael Sandle. The years around i960 mark the turning-point when the increasing intervention of professional printers and large-scale publishers changed the nature of printmaking in Britain as well as in America.
Over 230 prints are discussed and illustrated, and biographies and bibliographical information given for each of the 65 artists represented. Vissza