Entering the spirit of Frieze Masters with
its dual emphasis on Old Master
paintings and Modern art, the Richard Green Gallery will display some
fascinating art, which span the centuries. This selection celebrates Frieze
Masters basic concept that great works of modern and contemporary art are
informed by their understanding of the past. As such, there will be some interesting juxtapositions
A painting of Mary Magdalene by the Master of the Female Half Lengths
who flourished in Antwerp during the first half of the sixteenth century,
shares a certain tenderness with Leon Kossoff’s ‘Small Head of Rosalind II’
painted 460 years later. Henry Moore’s watercolour and crayon drawing of a
seated family group bears a formal relationship to Dirck Hals’ 17th century
group of music makers.
Life and colour emanate from a floral still life by Jacob van
Walscapelle, c 1675-79, just as it does in Samuel John Peploe’s 1920s painting
of roses and oranges.
There is something completely harmonious between a 17th century
still life composition of Hubert van Ravestyn and an abstract still life by Ben
Nicholson in the 1930s, just as there is between an 18th century Venetian Canal
scene by Michele Marieschi and a busy industrial river scene by LS Lowry in
Did the modern artists look at the Old Masters?
Undoubtedly. That Monet and the Impressionists were influenced by JMW Turner is
brought home by a comparison of Claude Monet’s atmospheric view of the Normandy
coastline in 1882 with Turner’s awe inspiring landscape that engulfs the ruined
Rievaulx Abbey in Yorkshire in 1824. The overriding meaning of these
juxtapositions is that the qualities of good painting are timeless; they do not
Richard Green is proud to announce that the Cincinnati Art Museum has acquired from the gallery the magnificent Portrait of Sir James and Lady Hodges, their sons John, James and Henry, and their daughters Mary and Elizabeth (The Hodges Family) by Nathaniel Dance.
This important group portrait was painted circa 1766, after Dance (1735-1811) returned from Rome where he worked as an assistant of Pompeo Batoni, and is a major addition to the museum’s European paintings collection. It had been in the Hodges family for more than two centuries and is in exceptional condition. The Curator of European Paintings, Drawings and Sculpture, Dr Esther Bell, who championed the acquisition, points to the virtuoso handling of paint, the dynamic composition, and the handsome sophistication with which Dance imbued the sitters.
Now on view at the Cincinnati Art Museum: Portrait of Sir James and Lady Hodges, their sons John, James and Henry, and their daughters Mary and Elizabeth by Nathaniel Dance (Oil on canvas, 56¼ x 61¼ in / 143 x 155.5 cm; circa 1766)
Commissioned by Sir James and Lady Hodges;
bequeathed by Lady Hodges in her Will of 26th July 1784 (proved 6th August 1787) to her daughter Elizabeth;
by inheritance to her niece Mary Hodges (c.1738-1831), daughter of Rev. Henry Hodges, who married secondly, in 1785, Sir Peter Nugent, subsequently 2nd Bt. (c.1745-1799) of Donore, Co. Westmeath;
by descent in the Nugent family
Corey Piper, ‘A contribution to the iconography of Maria Walpole (1736-1807): a portrait by Nathaniel Dance (1748-1827)’, The British Art Journal, vol. XII, no.2, Autumn 2011, pp.9-10, illus. in colour
A collection of thirteen oil paintings by the Modern British artist Ivon Hitchens (1893-1979) has opened this week at the Richard Green gallery, 33 New Bond Street (until 14 December 2013). This exhibition focuses mainly on the inimitable, elongated landscapes for which he is best known, but also includes three rare nudes and two still lifes, examples of which are dated 1932 and 1975, the earliest and latest works in the exhibition.
A Standing Jar of Flowers
Signed and dated lower right: Hitchens 75
Oil on canvas, 25 1/2 x 34 3/4 in / 64.8 x 88.3 cm
Three of the greatest Impressionist painters, Pierre-Auguste Renoir, Camille Pissarro and Alfred Sisley, are at the heart of Richard Green’s latest exhibition at 147 New Bond Street, The Spirit of Impressionism (until 14 December 2013). This is a kaleidoscopic look at the best known of all art movements, from its early intimations in the beach scenes of Eugene Boudin through to its Post-Impressionist manifestations in the breezy seascapes of Raoul Dufy in the 1930s.
All but one of the artists in the catalogue is French and they painted portraits and still lifes, but the dominant genre is landscape. Some toured constantly in search of new motifs, others like Alfred Sisley in Moret-sur-Long and Henri Le Sidaner in Gerberoy drew inspiration from the familiar scenes around the domestic paradises they had constructed.
The Spirit of Impressionism is the first exhibition at the gallery since its recent refurbishment. The experience of visitors to this distinguished 18th-century building that was once the home of Lord Nelson has been enhanced by the changes made by interior decorator Philip Hooper of Colefax & Fowler working with the Green family. “We wanted a classical ethos with a contemporary twist,” says Jonathan Green, Deputy Executive Chairman. The way that paintings are hung takes inspiration “from the way that our collectors live with their pictures”.
PIERRE-AUGUSTE RENOIR: Jeune fille au chapeau de paille
Signed upper right: Renoir. Oil on canvas, 12 x 7 7/8 in / 30.5 x 20 cm
Richard Green Gallery is proud to be a Supporter of Lowry and the Painting of Modern Life at Tate Britain (until 20 October 2013).
The exhibition is curated by the historians and writers T.J. Clark and Anne M. Wagner, together with Helen Little from Tate. They situate Laurence Stephen Lowry (1887-1976) – renowned as a painter of Northern and industrial English life – in an international historical context by placing his work alongside examples by European painters of ‘modern life’, including Van Gogh and Utrillo.
There are more than 80 works on view, including the 23 pieces by L.S. Lowry owned by Tate and loans from museums and collections, including works secured by the Richard Green Gallery.
This long-awaited museum exhibition has sold more advance tickets online than any previous Tate show.
To book, visit www.tate.org.uk
Above, currently on view at Richard Green, 33 New Bond Street, London W1:
'Figures by a lamppost' by L.S. Lowry, signed (lower left) and dated 1966 (lower right)
Oil on board, 6.5 x 6 in.
The early life of the British painter Sir Alfred Munnings (1878-1959) is the subject of a new feature film, Summer in February, released on 14 June, based on the novel by Jonathan Smith and starring Dominic Cooper as the artist.
The actor is pictured here at Richard Green’s recent exhibition of Munnings’ work with art historian Susan Morris, who wrote the catalogue. They are standing in front of Tagg’s Island, on loan to the exhibition from the Sir Alfred Munnings Museum, Dedham.
As part of the celebrations to mark one hundred years of the Royal Horticultural Society’s Chelsea Flower Show this year (20-24 May 2013), Professor Ken Howard was commissioned by lead sponsors M&G Investments to paint their garden, ‘Windows Through Time’, which went on to win a gold medal.
For three mornings Ken Howard was at his easel in the garden from 6am until 8am when the gates opened and the visitors took over. “That early there was a lovely silvery light and only the workers were around. One man said, ‘I look at it every day and it’s as if the garden is growing on the canvas’ – and that’s exactly what it felt like.”
Ken Howard painting in the Windows Through Time garden, photographed by Matthew Lloyd/M&G.
The world of British painter Mary Fedden, OBE RA (1915-2012)
is one of carefree joy in the beauty of everyday things and she is
probably best known for the way she arranged vibrantly coloured flowers,
fruit, shells and vessels on her canvases as if released from gravity
in a dream. The gallery has now assembled 22 of her oil paintings and 13
watercolours that can be viewed at Richard Green, 33 New Bond Street, until 1 June 2013.
Mary Fedden studied at the Slade and later taught at the Royal College of Art where she was appointed the first woman tutor in the painting school and where her students included David Hockney, R.B. Kitaj, Patrick Caulfield and Allen Jones. Her own style reflected a number of influences, from Braque, Matisse and Picasso and, at home, the likes of other Modern British artists such as Henri Hayden, Ben Nicholson, Winifred Nicholson, Anne Redpath and William Scott. And, of course, the artist, Julian Trevelyan, whom she married in 1951. They lived and worked in great harmony at Durham Wharf on the Thames in Chiswick until he died in 1988 and this remarkable setting is reflected in many of her works.
Blue still life: The lamp
Signed Fedden and dated 1987 (lower left)
Oil on board: 24 x 30 in / 61 x 76.2 cm
This rare and exceptional portrait of Christina of Denmark, Duchess of Milan and then of Lorraine, painted by François Clouet in 1558, features in the Gallery’s exhibition of Recent Acquisitions at Richard Green, 147 New Bond Street, W1.
Both sitter and artist are of particular significance. Princess Christina’s life was entwined with the royal houses and high politics of Europe throughout much of the 16th Century and her descendants include the present royal houses of Denmark, Norway and Sweden. As a young woman she had been considered as a possible match for Henry VIII who commissioned Hans Holbein the younger to paint her portrait (now in the National Gallery, London).
François Clouet (c.1515-1572) was the official portraitist to four kings of France. One of his greatest patrons was Catherine de Médicis, queen consort of Henri II, who undoubtedly requested Clouet to make a likeness of the Duchess of Lorraine around the time of the marriage of their daughter to the Duchess’s son. A preparatory drawing for this portrait is in the British Museum, London. The portrait itself shows no sign of intervention by the atelier, something quite usual at that time.
Paintings by François Clouet that have survived are extremely rare but include portraits now hanging in the Louvre, Paris, and in the Metropolitan Museum of Art in New York.
Portrait of Christina of Denmark, Duchess of Milan and then of Lorraine (1521-1590)
Dated upper right: 1558
Oil on panel: 12 x 9 in / 30.5 x 22.5 cm
View the painting
Richard Green is delighted to lend two paintings to the exhibition ‘Dame Laura Knight RA – In the Open Air’ at Penlee House Gallery & Museum in Penzance (until 8 September).
Both works date from the decade when she and her husband, the artist Harold Knight, were living in the Cornish fishing village of Newlyn. It was there that Knight established herself as a painter of sunlight and shadows with a series of airy, radiant paintings of women and children beside the sea, as exemplified by In the Sun, Newlyn (c1909) in which a group of children pause on a sunlit headland overlooking the bay. The boy and girl in The two fishers (c1915-18), on the other hand, are shown playing by a stream and this setting was probably chosen in response to wartime regulations restricting depictions of the British coastline.
During the Second World War, Laura Knight served as a war artist in Britain and afterwards at the Nuremberg Trials. She was much acclaimed in her lifetime (1877–1970): she was the first woman elected to the Royal Academy and the first artist to be appointed a Dame Commander of the Order of the British Empire.
Above: 'In the Sun, Newlyn' (c1909). Signed lower right, 25 x 30 in (63.5 x 76.2 cm)