In the 1950s Evans examined the expressive power of abstract shape and became a leading British printmaker, reviving the technique of mezzotint for large-scale prints. His six aquatints Vertical Suite in Black (1958) used shapes from primitive art, while the Pentaptych mezzotints (1961) shared the geometrical abstraction of his paintings of the 1960s. Evans's large post-war paintings were often based on the patterns made by crowds of people and were intended as a public art on an architectural scale. His work became increasingly abstract and geometrical but retained a feeling of confrontation or movement by means of black outline and colour contrast.
Merlyn Evans (exh. cat., intro. R. H. Wilenski; London, Whitechapel A.G., 1956)
The Graphic Work of Merlyn Evans (exh. cat. by R. Erskine and B. Robertson, London, V&A, 1972)
Merlyn Evans, 1910–1973 (exh. cat. by F. Laws, Cardiff, N. Mus., 1974)
The Political Paintings of Merlyn Evans (exh. cat. by D. F. Jenkins and M. Evans, London, Tate, 1985)
DAVID FRASER JENKINS
Article provided by Grove Art Online www.groveart.com