- Barry Flanagan 1941–2009
- Linocut on paper
- Image: 365 × 252 mm
- Presented by Sue Flanagan, the artist's former wife 1985
This catalogue entry discusses a group of works; details of the individual work are given at the end of the introductory text.
This group of prints represents nearly the entire printed output of the artist up to 1983 and is one of the largest public collections of his prints. The titles were all given by the artist. Those prints bearing the stamped monogram ‘f’ were stamped by the Tate Gallery at the artist’s request.
The artist has said that print-making represents for him a ‘traditional pursuit’. Flanagan began to make prints in 1970. His prints (and drawings) often have a very personal content and can be seen as akin to private memoranda. Sometimes used as gifts for friends, they record aspects of the artist’s personal life. He first published prints with the Rowan Gallery in 1972, a year in which his print-making was prolific. Thereafter he published series of prints with Bernard Jacobson Gallery in 1976 and Waddington Graphics in 1983.
In 1981 Flanagan exhibited a comprehensive range of his prints and drawings at the Mostyn Art Gallery, Llandudno. The exhibition travelled to Mold, Cardiff, Swansea, Southampton and London and then, in 1983, toured in Italy, France and Holland. In the early 1980s Colin Dyer, working with the artist in his studio, completed archival sets of prints using cream Vélin d’Arches paper. Those etchings in the Sue Flanagan donation printed on white paper are generally those which the artist printed at Petersburg Press, at Burleighfield Press (with David Harding) or in his own studio in the early and mid 1970s.
Many of the prints have a small dark rectangle at one of their edges which results from the etching process. David Brown explains:
In the preparation of etching plates, they are ‘smoked’ in a flame to produce a fine, even covering of wax, the plate being held by a pair of tongs and therefore unaffected by the ‘smoking’ process would be waxed later, but with these prints, Flanagan chose to eliminate this final stage leaving a small area etched by acid and absorbing the ink (Barry Flanagan: Etchings and Linocuts, exh. cat., Waddington Graphics 1984, [p.3]).
So characteristic of Flanagan’s etchings is this black mark, it can almost be seen as a second ‘signature’.
These entries are based on conversations with Sue Flanagan and Colin Dyer and have been approved by the artist.
Linocut 365 x 252 (14 1/8 x 9 7/8) on cream Vélin d'Arches paper 571 x 383 (22 1/2 x 15 1/8); printed by Colin Dyer and published by Waddington Graphics; artist's proof aside from the edition of 50
Lit: [Elizabeth Knowles (ed.)], Barry Flanagan Prints 1970-1983, exh. cat., Tate Gallery, 1986, p.32 repr.; Lewis Biggs, Barry Flanagan - A Visual Invitation, Sculpture, 1967-1987, exh. cat., Laing Art Gallery, Newcastle upon Tyne 1987, p.49, repr. p.50. Also repr: Barry Flanagan, exh. cat., Pace Gallery, New York, 1983, p.38; Barry Flanagan: Etchings and Linocuts, exh. cat., Waddington Graphics, 1984, [p.5] in col.
While working on the horse studies described in the entry on P02827, Flanagan also happened to be reading a book of Greek myths. The title of this print was inspired by one of the tales in this book. According to the myth, Jupiter, attracted by the beauty of Ganymede, took on the guise of an eagle and snatched the boy up to Olympus to be his cupbearer and bedfellow. As a recompense, Ganymede's father was given a stud of immortal horses (Lewis Biggs 1987). Elizabeth Knowles quotes the artist as saying that he chose this particular title for his image of the Welsh cob he was using as a model ‘because it sounded Welsh'.
The Tate Gallery 1984-86: Illustrated Catalogue of Acquisitions Including Supplement to Catalogue of Acquisitions 1982-84, Tate Gallery, London 1988, pp.333 and 355-6