Curved Barn Print by Ivon Hitchens
- Medium: Giclée Print
- Numbered
- Number of editions: -
- Unframed
- Print size: 66 x 44cm
- Paper size: 91.5 x 69.5cm
£185.00
Add to basketCurved Barn Print by Ivon Hitchens
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Curved Barn, 1922 © Estate of the Artist
Printed using 10 colour Pigment Inks on Hahnemühle – William Turner, 310gsm, Acid-free, 100% rag, Archival Grade
Limited Edition giclee print reproduced from the original oil painting by Ivon Hitchens. Exclusively produced by Gallery Bookshop Limited this Ivon Hitchens Curved Barn print is part of Pallant House Gallery's permanent collection of Modern British Art.
One of the earliest paintings by Hitchens, Curved Barn takes as its subject the old barn at Bex Mill, Heyshot. Curved Barn is painted in sombre tones, with dynamic rhythms reflecting the influence of the Futurists. Hitchens later recalled being inspired by the work of the contemporary French naturalist painter Andre Lhote. This giclee reproduction reproduces one of the most popular paintings from the collection of Pallant House Gallery.
For further details of this Ivon Hitchens Painting and others held by Pallant House Gallery please visit the Gallery website.
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Artists Biography
(b London, 3 March 1893; d Lavington Common, nr Petworth, 29 Aug 1979). English painter. He studied at St John’s Wood School of Art and at the Royal Academy Schools intermittently between 1912 and 1919. He exhibited with the 7 & 5 SOCIETY in 1921 and continued to do so throughout the 1920s. He soon became part of the circle of artists known as the LONDON GROUP and exhibited with Ben Nicholson, Barbara Hepworth, Henry Moore and others during the 1930s. Hints of his mature style can be found in the delicate green-grey shades of a still-life such as Spring Mood No. 2 (1933; artist’s estate), which was influenced by Braque, but he also experimented with pure abstraction, as in Coronation (1937; London, Tate). After his house was bombed in 1940 he moved to a patch of woodland near Petworth, W. Sussex, living at first in a caravan which later acquired numerous outbuildings. He worked there for the next 40 years, distanced from the predominantly literary currents of British modern art. In his commitment to colour and open brushwork he was closer to the modern French masters, especially in his Fauvist orange nudes set in sunlit interiors. He painted mostly outdoors, however, and his technique developed from a tonal treatment that recalled the informality of Constable’s sketches, as in Damp Autumn (1941; London, Tate), where the motif is clearly legible, to brushmarks that became wider, quickening in pace as they deflected vertical and horizontal movement, as in Arno No. 4 (1965; London, Tate).
