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Victor PasmoreLinear Development in Two Movements, Oil & Pencil on Incised Board Painting 19721972
1972
About the Item
Linear Development in Two Movements, Oil & Pencil on Incised Board Painting 1972
Additional information:
Medium: Oil and pencil on incised board
16 x 16 in (31 x 31 in including frame)
40.6 x 40.6 cm
Signed with initials
Pasmore visited Ben Nicholson in St Ives and, soon afterwards, began his own relief paintings. Paintings such as Linear Development also relate to his work with architects and town-planner, including as a consultant designer for the new town of Peterlee (1955-77). Here, Pasmore takes painting fully into three-dimensional space, conceiving even the frame as an integral part of the work. The Scottish National Gallery for Modern Art acquired one of these reliefs, via the Knapping Fund, and Portsmouth Museum hold a comparable early work on board.
Victor Pasmore was a British painter of still life and landscapes, who later became a pioneering abstract artist and designer, producing collages, constructions and paintings.
Edwin John Victor Pasmore was born in Chelsham, Surrey. For ten years from 1927, he worked in London’s County Hall, whilst attending evening art classes at the Central School of Arts and Crafts. After 1930 he began to exhibit with the London Group, becoming a full member in 1934. In 1932 he also became a member of the London Artists' Association, with which he held his first solo exhibition in 1933. The following year he exhibited his representational pictures with the Objective Abstractions group at the Zwemmer Gallery.
Pasmore opened a teaching studio in 1937 with Claude Rogers on Fitzroy Street, which relocated shortly afterwards, before becoming the Euston Road School under Graham Bell and William Coldstream. Under the example of the Impressionists, in the late 1930s, the school contributed towards a revival of naturalistic interest. By 1947, Pasmore had turned away from representational painting to abstraction, and later, his constructions. In 1966, he began a vast experimentation with printmaking which became a large part of his ouevre.
Retrospective exhibitions of Pasmore’s work were held at the ICA (1954), the Cambridge Arts Council Gallery (1955) and at the Venice Biennale, in Belgrade, Paris, Amsterdam, Brussels (1960) and Scandanavia (1961). In 1954 Pasmore became Head of Painting at Durham University and, the following year was appointed a Director of Architectural Design for Peterlee, a new town proposed for County Durham. That same year he took part in an exhibition at the Whitechapel Art Gallery, This Is Tomorrow, for which he collaborated with Helen Phillips and Ernö Goldfinger. In 1957 Pasmore worked with Richard Hamilton and Lawrence Alloway on an Exhibit, an installation of acrylic sheets and paper shapes which was shown in Newcastle and the ICA. Pasmore became a Trustee of the Tate Gallery in 1963.
- Creator:Victor Pasmore (1908 - 1998, British)
- Creation Year:1972
- Dimensions:Height: 16 in (40.64 cm)Width: 16 in (40.64 cm)
- Medium:
- Period:
- Framing:Frame IncludedFraming Options Available
- Condition:
- Gallery Location:Kingsclere, GB
- Reference Number:1stDibs: LU2718214575672
Victor Pasmore
Victor Pasmore was born in Surrey, England. He was initially known as both a successful representational painter of still life and landscapes, who later became a pioneering abstract artist, producing collages, constructions, prints and paintings that were some of the most revolutionary works of their kind in Britain at the time.
Pasmore attended evening classes at Central School of Arts and Crafts beginning in 1927, while working as a local government officer, experimenting with art styles reflecting developments in art in France since the 1880s.
After experiments in lyrical abstraction in the early 1930s, Pasmore founded the Euston Road School with William Coldstream, Graham Bell and Claude Rogers in 1937, teaching a style of Cézannesque realism that he adhered to in his own portraits and landscapes. The school closed in 1940, but this group moved on to teach at the Camberwell School of Art 1943-49, though Pasmore himself began to experiment with abstraction again from 1947 onwards with the support of Kenneth Clark. His earliest new abstract experiments used linear forms and collage but in 1952 and in parallel with the work of Kenneth and Mary Martin, became rigorously constructivist, with some works as three-dimensional wall-reliefs in wood and perspex. Teaching at the Central School since 1949, he became Head of Painting at King’s College, Durham University in 1954, staying till 1961, when he was able to devote himself to painting full-time.
In the 1960s the geometry softened, introducing curved lines and edges, and bright colors blossoming in the 1970s and later into lyrical abstract compositions of points, wandering lines and planes of bright colors against his habitual white backgrounds and even some drawn outlines of natural forms again towards the end of Pasmore’s life. These transitions were inspired by his relocation to Malta in 1966, where he resided until his death. That same year, he also began intensive experimentation with making prints at the 2RC print shop in Rome in parallel with his paintings. Printmaking became a major part of his oeuvre and he worked with Curwen Press, Kelpra Studio, White Ink and other print studios. Since his death the popularity of his prints has escalated immensely, and his earlier work is now extremely rare.
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