[17] This was Sutherland's first major religious painting and his first large figure study. Art Boxing by Sir David Low in the Evening Standard, 1955. Graham Vivian Sutherland OM (24 August 1903 – 17 February 1980) was an English artist who is notable for his work in glass, fabrics, prints and portraits. Beginning in 1949, Sutherland painted a number of portraits, with those of Somerset Maugham and Lord Beaverbrook among the most famous. [5], Sutherland's early prints of pastoral subjects show the influence of Samuel Palmer, largely mediated by the older etcher, F.L. [1], Graham Sutherland was born in Streatham in London, the son of a lawyer who later became a civil servant in the Land Registry Office and the Board of Education. Sutherland died in 1980 and was buried in the graveyard of the Church of St Peter and St Paul in Trottiscliffe, Kent. Sutherland spent four months from the end of March 1944 at the Royal Ordnance Factory at Woolwich Arsenal working on a series of five paintings for WAAC. Hydrant II, Sutherland, Graham, OM, 1954, Oil paint on canvas. [23], Although Sutherland had converted to Catholicism in 1926, and from 1950 until he died was deeply involved in religion, he never stopped creating work based on nature and natural forms. Works by Sutherland are held in the collections of Amgueddfa Cymru – National Museum Wales, Bristol Museum and Art Gallery, Doncaster Museum and Art Gallery, Kirklees Museums and Art Gallery, Herbert Art Gallery and Museum, Manchester Art Gallery, National Portrait Gallery, Norwich Castle Museum and Art Gallery, Northampton Museums and Art Gallery, Pallant House Gallery, Southampton City Art Gallery, The Ingram Collection of Modern British and Contemporary Art, Tenby Museum and Art Gallery, The Fitzwilliam Museum and The Priseman Seabrook Collection. Inside of front cover: Two small sketches of girls' heads, the upper one wearing a hat, Sketchbook 2. Front cover. [19] In all, Sutherland painted over fifty portraits, often of European aristocrats or senior businessmen. [22] From 1948 until 1954, Sutherland served as a trustee of the Tate gallery. Upon leaving school, after some preliminary coaching in art, Sutherland began an engineering apprenticeship at the Midland Railway locomotive works in Derby as several members of the extended Sutherland family had previously worked there. [7] In 1934 he visited Pembrokeshire for the first time and was profoundly inspired by its landscape, and the region remained a source for his paintings for much of the following decade. [clarification needed] Sometimes he was able to combine religious symbolism with nature, such as with putting thorns into his religious artwork. High resolution image available off-line. Shop. Sketchbook 33. He recorded bomb damage in rural and urban Wales towards the end of 1940, then bomb damage caused by the Blitz in the City and East End of London. Study of a swan in flight and drawing of a vertical form with a pointed top, Sketchbook 1. Suggested terms: Art Terms; Tate Papers; Turner Collection; Tate Kids; Tate Collective; ARTIST ROOMS; Tate Exchange; Late at Tate; Jenny Holzer; Barbara Hepworth Museum; Angelica Kauffman; Become a Member. Images of Graham Sutherland from Tate Images. Graham Vivian Sutherland OM (24 August 1903 – 17 February 1980) was an English artist who is notable for his work in glass, fabrics, prints and portraits. Sketchbook 1. [8] Oil paintings of the Welsh landscape dominated his first one-man exhibition of paintings held in September 1938 at the Rosenberg and Helft Gallery in London. He did not begin to paint in earnest until he was in his 30s, following the collapse of the print market in 1930 due to the Great Depression. Small drawing, possibly of a root form, Sketchbook 1. [1] Sutherland taught at a number of art colleges, notably at Chelsea School of Art and at Goldsmiths College, where he had been a student. Oporto, Museu Nacional de Soares dos Reis, Exhibition catalogue from The Lefevre Gallery, February 1946, Letter from Graham Sutherland to Kenneth Clark, Exhibition catalogue for 'Exhibition of works by Sutherland, Wadsworth, Adams, Armitage, Butler, Chadwick, Clarke, Meadows, Moore, Paolozzi, Turnbull', The British Pavilion, XXVI Biennale, Venice. [14] In December 1944 he was sent to depict the damage inflicted by the RAF on the railway yards at Trappes and on the flying bomb sites at Saint-Leu-d'Esserent in France. [4], In 1955, Sutherland and his wife purchased a property near Nice. Christ in Glory in the Tetramorph took three years to complete and was installed in 1962. Winston Churchill hated Sutherland's depiction of him. | Tate Images. | Tate Images. From 1947 into the 1960s, his work was inspired by the landscape of the French Riviera, and he spent several months there each year. Sketches of a fishing net and a running figure, Sketchbook 1. 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Living abroad led to something of a decline in his status in Britain. It is these oil paintings, often of surreal, organic landscapes of the Pembrokeshire coast, that secured his reputation as a leading British modern artist. Lord Goodman, Sutherland, Graham, OM, 1973-4, Oil paint on canvas. This status was underlined by the award of the Order of Merit in 1960.[20]. There were major retrospective shows at the Institute of Contemporary Arts in 1951, the Tate in 1982, the Musée Picasso, Antibes, France in 1998 and the Dulwich Picture Gallery in 2005. A radio play, Portrait of Winston, by Jonathan Smith, is a dramatisation of his portrait of Winston Churchill. Griggs. [6] In both 1925 and 1928, Sutherland exhibited drawings and engravings at the XXI Gallery in London. [13] A number of features reoccur within this body of work, for example, the fallen lift shafts that were often the most recognizable aspect of larger bombed buildings and a double row of bombed houses Sutherland saw in the Silvertown area of the East End. We use cookies to enhance your experience on our website. Sketch of the Regatta at Solva and studies of a male running figure, Sketchbook 1. [5], Sutherland returned to Wales in September 1941 to work on a series of paintings of blast furnaces. [19] A major exhibition of rarely seen works on paper by Sutherland, curated by artist George Shaw, was shown in Oxford, in 2011–12. His work from this period includes two suites of prints The Bees (1976–77) and Apollinaire (1978–79). [7] Much of his work from this point until the end of his life incorporates motifs taken from the area, such as the estuaries at Sandy Haven and Picton. In 1951, Sutherland was commissioned to produce a large work for the Festival of Britain. In 1946, Sutherland had his first exhibition in New York.

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