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Kenneth Hall (1913-1946)DRAKE RESTING, 1943oil on canvassigned lower rightLandscaPortraite13.25 by
Description
Kenneth Hall (1913-1946)
DRAKE RESTING, 1943
oil on canvas
signed lower right
LandscaPortraite
13.25 by 18.25in., 33.125 by 45.625cm.
`Kenneth Hall 1913-1946: A Retrospective Exhibition`, European Modern Art, Dublin, March 1991, no. 35
Herbrand, Ingouville-Williams, Three Painters: Basil Rákóczi, Kenneth Hall, Patrick Scott, at the sign of The Three Candles, Dublin, 1945, catalogue no. 12 (illustrated)
Drake Resting was used by Hall as a symbol on his catalogues in Dublin in the 1940s and on the cover of his Dublin retrospective in 1991. In the text Three Painters the author draws on the construction of `subjective artwork` noting the importance of materials - the paint and colour - as crucial components in the creation of form, citing the present example by Hall as a successful implementation of these elements. He continues, …The brush is rarely used. When it is, the strokes are applied with a view not only to luminosity, but so that each stroke aids in forming the surface-pattern and rhythm of the whole design. Often the outline of an area of colour is etched in with a sharp point to give definition and to emphasise pattern." (p.19-20)"
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Kenneth Hall (1913-1946)
DRAKE RESTING, 1943
oil on canvas
signed lower right
LandscaPortraite
13.25 by 18.25in., 33.125 by 45.625cm.
`Kenneth Hall 1913-1946: A Retrospective Exhibition`, European Modern Art, Dublin, March 1991, no. 35
Herbrand, Ingouville-Williams, Three Painters: Basil Rákóczi, Kenneth Hall, Patrick Scott, at the sign of The Three Candles, Dublin, 1945, catalogue no. 12 (illustrated)
Drake Resting was used by Hall as a symbol on his catalogues in Dublin in the 1940s and on the cover of his Dublin retrospective in 1991. In the text Three Painters the author draws on the construction of `subjective artwork` noting the importance of materials - the paint and colour - as crucial components in the creation of form, citing the present example by Hall as a successful implementation of these elements. He continues, …The brush is rarely used. When it is, the strokes are applied with a view not only to luminosity, but so that each stroke aids in forming the surface-pattern and rhythm of the whole design. Often the outline of an area of colour is etched in with a sharp point to give definition and to emphasise pattern." (p.19-20)"
Irish & British Art
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RDS Clyde Hall
Anglesea Road
Ballsbridge
Dublin 4
Ireland
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Shipping:
Whytes do not handle this themselves but will recommend a suitable company who can collect your purchases on your behalf and pack and despatch them to you once they have been paid for.
