λ JAMES FITTON (BRITISH 1899-1982), FIREBIRD I

lotto/l james fitton british 1899 1982 firebird i 8BMZYW5 633022820 / In vendita

lotto/l james fitton british 1899 1982 firebird i 8BMZYW5 633022820

In venditaRisultati d’asta

lotto/l james fitton british 1899 1982 firebird i 8BMZYW5 633022820

In venditaRisultati d’asta

Porta la tua asta ai collezionisti di tutto il mondo!

Pubblica ora

λ JAMES FITTON (BRITISH 1899-1982), FIREBIRD I

λ JAMES FITTON (BRITISH 1899-1982) FIREBIRD I Oil on board Signed and dated 1966 (to stretcher verso) 122 x 101.5cm (48 x 39¾in.) Provenance: Acquired directly from the artist by family of current owner and by descent Exhibited: London, Royal Academy, 1966, no. 2 London, Dulwich Picture Gallery, James Fitton R.A. 1899-1982, 12 November 1986-4 January 1987, no. 36 London, National Portrait Gallery, Painting the Century: 101 Portrait Masterpieces, 26 October 2000-4 February 2001, no cat. no. Literature: J. Sheeran, James Fitton R.A. 1899-1982, exhibition catalogue, Dulwich Picture Gallery, London, 1986, pp. 21, 56-7, 76, fig. 68 illus Robin Gibson, Painting the Century: 101 Portrait Masterpieces 1900-2000, exhibition catalogue, National Portrait Gallery, London, 2000-1, pp. 194-5 James Fitton was passionate about music throughout his life and the present painting was the result of seeing the Russian born composer, Igor Stravinsky (1882-1971) conduct his own music in St Mark’s Venice, in 1960. He became obsessed with the idea of capturing the composer at work. He later described the process of creating the present portrait as well as the second version, which does not have the colourful background. In order to familiarise the audience with a difficult and complicated work he conducted two of the movements through for a second time. I was hypnotised by the whole setting and performance but particularly by his own part in it. And the next few days I spent making notes and drawings from memory. I find this an ideal way of working – the more I drew – the clearer and more precise the image became… I’ve watched out for a chance to repeat the process and this came last year with the Stravinsky rehearsals on television. I did dozens of drawings until it became absolutely clear what I wanted to paint – I think I could now draw him standing on my head with my eyes closed, he’s become so engrained in my mind. (R.Gibson, op. cit. p. 194). Condition Report Disclaimer, λ, λ JAMES FITTON (BRITISH 1899-1982) FIREBIRD I Oil on board Signed and dated 1966 (to stretcher verso) 122 x 101.5cm (48 x 39¾in.) Provenance: Acquired directly from the artist by family of current owner and by descent Exhibited: London, Royal Academy, 1966, no. 2 London, Dulwich Picture Gallery, James Fitton R.A. 1899-1982, 12 November 1986-4 January 1987, no. 36 London, National Portrait Gallery, Painting the Century: 101 Portrait Masterpieces, 26 October 2000-4 February 2001, no cat. no. Literature: J. Sheeran, James Fitton R.A. 1899-1982, exhibition catalogue, Dulwich Picture Gallery, London, 1986, pp. 21, 56-7, 76, fig. 68 illus Robin Gibson, Painting the Century: 101 Portrait Masterpieces 1900-2000, exhibition catalogue, National Portrait Gallery, London, 2000-1, pp. 194-5 James Fitton was passionate about music throughout his life and the present painting was the result of seeing the Russian born composer, Igor Stravinsky (1882-1971) conduct his own music in St Mark’s Venice, in 1960. He became obsessed with the idea of capturing the composer at work. He later described the process of creating the present portrait as well as the second version, which does not have the colourful background. In order to familiarise the audience with a difficult and complicated work he conducted two of the movements through for a second time. I was hypnotised by the whole setting and performance but particularly by his own part in it. And the next few days I spent making notes and drawings from memory. I find this an ideal way of working – the more I drew – the clearer and more precise the image became… I’ve watched out for a chance to repeat the process and this came last year with the Stravinsky rehearsals on television. I did dozens of drawings until it became absolutely clear what I wanted to paint – I think I could now draw him standing on my head with my eyes closed, he’s become so engrained in my mind. (R.Gibson, op. cit. p. 194). JAMES FITTON (BRITISH 1899-1982), FIREBIRD I, Provenance:, Exhibited:, James Fitton R.A. 1899-1982, Painting the Century: 101 Portrait Masterpieces, Literature:, Painting the Century: 101 Portrait Masterpieces 1900-2000, In order to familiarise the audience with a difficult and complicated work he conducted two of the movements through for a second time. I was hypnotised by the whole setting and performance but particularly by his own part in it. And the next few days I spent making notes and drawings from memory. I find this an ideal way of working – the more I drew – the clearer and more precise the image became… I’ve watched out for a chance to repeat the process and this came last year with the Stravinsky rehearsals on television. I did dozens of drawings until it became absolutely clear what I wanted to paint – I think I could now draw him standing on my head with my eyes closed, he’s become so engrained in my mind. op. cit, Condition Report Disclaimer

Stima:€4,662.38

Vai all’asta