Jack Metson

The Fishermen's Chapel - 20th Century Cubist Houses Modern British Oil Painting

c.1950

A beautiful large c.1960 French oil on paper laid on board cubist influenced landscape by Oleg Zinger. The work depicts a summer landscape with white build...

A beautiful signed and dated 1963 French cubist oil on canvas depicting Paris rooftops. Signature in bottom right corner is indistinct. A lovely painting in excellent condition. Art...

A beautiful signed and dated 1977 Italian cubist oil painting depicting snow covered roofs in a city. Striking and excellent quality work in bright and vibrant colours. Excellent c...

This charming oil on board by Lord Paul Ayshford Methuen RA depicts the Hotel d'Aligre at 30 Rue Damiette, Rouen in Normandy, France. The building, which is a 16th century mansion in the centre of the city, still exists today. The painting shows the back wing of the building with the access porch to the main courtyard. Please see final image for a present day view with the addition of windows in the roof. The work was most likely painted during or just after WW2, when Methuen was serving as a captain in the British Army. He wrote a book ''Normandy Diary'' recounting his experiences with the Procurement and Fine Art branch, which was set up to protect works of art during the invasion of the continent. A finely painted and atmospheric work which clearly shows the influence of Methuen's one time teacher Walter Sickert. Signed on the reverse and presented in a beautiful gilt frame. Artist: Lord Paul Ayshford Methuen RA (English, 1886-1974) Title: Hotel d'Aligre, Rouen Medium: Oil on board Size: 22 x 16.5 inches (56 x 42 cm) including the frame Lord Methuen (Paul Ayshford Methuen, 4th Baron), RA, RWS, PRWA (1886-1974) was a well known painter in oil, watercolour and pastel of landscapes, town scenes and figures subjects. Born at Corsham in Wiltshire he studied art under Sir Charles Holmes and later under Walter Sickert. He had his first one man show at the Warren Gallery in 1928 and later had several shows with The Leicester Galleries and Colnaghi's. He exhibited extensively at the major galleries, and was elected an Associate of the Royal Academy 1951, full RA 1959, member of the Royal Watercolour Society 1952, Royal Society of British Artists 1939, New English Art Club 1943, and President of the Royal West of England Academy. His work is represented in a number of major collections, including the Tate Gallery (five examples), the Victoria & Albert Museum, and several collections in the provinces. He lived in London and at the family home at Corsham Court in Wiltshire, where he established an influential art school in 1946. Further information The Hôtel d'Aligre is a private mansion located in Rouen , France. The first body of building on this location was called the Hôtel des Presses or Hôtel des Étuves , owned by the wealthy Dufour manufacturing family. Mentioned for the first time in 1446, it was rebuilt in the second half of the 16th century by Guillaume de Fieu. Guillaume Le Fieu (November 9, 1584) was treasurer-secretary to Catherine de Medici then receiver general of the Generality of Rouen and finally ordinary master of the Chamber of Accounts of Normandy. His daughter Marie married Pierre de Couldray, sieur de Féville, king's secretary. It was in this hotel that resided at the end of the 16th century Lord Clarendon, minister in exile of the King of England. The property then became the possession of the Dambrays, Sieurs de Montigny, then in 1729 to the Godefroy de Senneville...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...