
Not on display
- Artist
- Patrick Symons 1925–1993
- Medium
- Oil paint on canvas
- Dimensions
- Unconfirmed: 1740 × 1664 mm
- Collection
- Tate
- Acquisition
- Purchased with assistance from the Sir Andrew Carnwath Charitable Trust and an anonymous benefactor 1999
- Reference
- T07495
Technique and condition
Symons worked on this painting over a fifteen year period. His technique and materials are traditional. The stretched linen canvas has a white priming. Graphite pencil marks are visible in many places where he drew out the carefully realised composition.
Thin applications of paint have been applied first. Subsequently, tube consistency colours have been brushed on. Numerous applications of paint in some areas have resulted in the canvas texture being obscured. There is no varnish.
Presumably some time after it was completed the painting was lined onto a second piece of linen. Possibly this was carried out because cracks and distortions were visually disturbing by this time. A special frame was also made with wide sides and less wide top and bottom faces. All faces are in plane with the picture plane. The completed painting was signed by the artist in the bottom right corner.
Tim Green
January 1999
1
You might like
-
Ceri Richards Cold Light, Deep Shadow
1950 -
William Roberts The Vorticists at the Restaurant de la Tour Eiffel: Spring, 1915
1961–2 -
Robyn Denny First Light
1965–6 -
Carel Weight The Friends
1968 -
Prunella Clough By the Canal
1976 -
Peter Greenham Life Class
1979 -
Leon Kossoff Woman Ill in Bed, Surrounded by Family
1965 -
William Roberts Trooping the Colour
1958–9 -
Helen Lessore Symposium I
1974–77 -
Stephen McKenna Venus and Adonis
1981 -
Patrick Symons Oak Arch Grey (Wimbledon Common)
1977–81 -
John Lessore Sunday
1985–9 -
Jack Smith Objects in Light and Shadow
1959 -
William Roberts The Art Gallery
1973 -
Julian Trevelyan Self-portrait with Mary
1960