Tim Woolcock

Donegal Dusk, 2023 - Contemporary Landscape Oil Painting on Board, Green + Blue

2023

Tim Woolcock was born in Lancashire, though his family originates from St Just-in-Penwith in Cornwall, where the artist spent many summers. He now lives part of the year on his farm in County Carlow, Ireland, where his studio is located. Between 1963 and 1970 Tim attended Arnold School in Blackpool and regularly visited the Grundy Art Gallery in the town. In 1971, he began his studies in to study Philosophy and Art at the Roehampton Institute, University of London. After graduating, Tim stayed in London to teach for twelve years. Tim's painting clearly shows his inspiration from Modern British painters, particularly the traditions of the 1950s and St Ives Schools. As with landscape painters of the earlier twentieth century, such as Paul Nash and Evelyn Dunbar, Tim's landscapes have a somewhat mystical quality and at times approach abstraction. The simplicity and geometry found in work of the St Ives School - so important to the development of Modern British art - is a particular inspiration, with artists such as Patrick Heron, William Scott and Ben Nicholson being most key in his development, though Tim's paintings have a strength and clarity all their own. A knowledge of Zen and understanding of the natural world is reflected in his work, 'I have been greatly influenced by Zen writers, some who have said that the real aim of art is purposeless - not to be confused with a nihilistic approach - in 'Zen and The...

Peter Joyce was born in Poole, Dorset, and was educated at Bournemouth & Poole College of Art & Design from 1980. He went on to study at Stourbridge College of Technology & Art and q...

Untitled (Green), Oil on Paper Painting by John Hubbard 1931-2017, 1962 Additional information: Medium: Oil on paper 21 x 21 cm 8 1/4 x 8 1/4 in Signed and dated '22-VII-62'; furthe...

Rain, Oil on Board Painting by Keith Purser B. 1944 Additional information: Medium: Oil on board Dimensions: 27 x 100 cm 10 5/8 x 39 3/8 in Signed with initials and dated Keith Pur...

Above the Beach No 5 is a part of a series in which Rick Rivet is probing the environmental crisis in Arctic regions. The polar territories of Canada are under serious and imminent threat resulting from pollution, global warming, and poor resource management. Sport hunting is depleting animal resources that local populations need to survive, global warming is melting the polar icecaps threatening polar bear populations, and lead pollution is resulting in poisonous biomagnification levels in some sea animals while plastic pollution is trapping and suffocating others. The major degradative pollution began in the 1950s from nuclear testing which introduced radioactive isotopes produced by nuclear fission into plant and animal life, the effects of which are lethal and long-lasting. The melting resulting from global warming has increased to such a degree that the previously, and notoriously, challenging Northwest passage has opened wide now allowing tourist ships to glide through, further contributing to oil pollution and environmental wear and tear. The red horizon line in Above the Beach No 5 sketching the intersection of the land with the sky demarcates the pollution that is penetrating every pore of our environment. The snaking cream-coloured lines in the foreground indicate the different paths taken, the journeys that were cut short, the short-sighted policies that taxed the land and fell flat leaving no solutions, the hunting paths, the lack of direction and clear vision. Nevertheless, this painting is not about doom it is about hope. The shock of bright green grass edging the bottom is flecked with yellow from the radiating sun. The sun, high in a cold blue arctic sky, is twice hallowed by a glow of white suggesting reverence for its ability to regenerate life and for us to carry forward together if we build a sustainable and long-sighted path together. Richard James Rivet was born in the remote area of Aklavik in the Northwest Territories of Canada in 1949. His early years were spent growing up in the delta in a Metis family which made their living by trapping, hunting and fishing. Of Metis background, Rivet's Indigenous roots, and his experience in growing up in Canada's North, have been important factors in his development as an artist. Since 1989, Rivet has worked fulltime on his artwork, mainly concentrating in acrylic painting, mixed media and collage on canvas, with some drawing. Influences in his artwork are varied and derive from Shamanistic imagery of ancient peoples the world over (North American Indian, Inuit, Australian Aborigine, Norse, Oceanic, Siberian). Equally influential are Western and contemporary influences from various artists and art movements (such as: Edvard Munch, German Expressionism, Abstract Expressionism, Antoni Tapies, and Paterson Ewen...

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Valley Song is an original landscape painting by Helen Howells. It was inspired by the mountains of South Wales, where I truly feel at peace, amongst the astounding beauty of the lan...