Nicholson's marriage to his first wife, Winifred, had broken down in 1931 (although he would continue to remain in contact with her) and from 1932 he shared a studio with Hepworth. 29: this exhibition travelled to Stromness, Pier Arts centre, June 1985; and Aberdeen, Artspace, September 1985. p.15; Paul Nash, ‘Ben Nicholson's Carved Reliefs’ in Architectural Review, LXXVIII, 1935, p.143; J. M. Richards, ‘Ben Nicholson at the Lefevre’ in Axis, IV, November 1935, pp.21–4; John Rothenstein, Modern English Painters: Lewis to Moore, 1956, p.280, repr. Oct 06, 2020, Tate Modern [4] The white has a purity and a metaphysical dimension, beyond place and temporality, a sense of the pregnant void that owes a debt to Malevich. 1935 (white relief), 1935 by Ben Nicholson (1894-1982, United Kingdom) | | WahooArt.com 1935 (white relief) signed and dated 'Ben Nicholson 1935' (on the reverse) oil on carved board, relief 15½ x 6½ in. (Cambridge: Kettle’s Yard Gallery, 1983), 28. Licensing images supports Tate. (1894-1982) $39,950 - 58,350 cit.). FREE Shipping. | Tate Images. Hepworth's carved work, combined with European influences such as the forms of reliefs of Arp, tied up with the craft idea of the self-taught Cornish fisherman-painter, Alfred Wallis [see lot 43] painting on rough board all contributed to the production of carved white reliefs such as the present work. J. Russell, Ben Nicholson, London, 1969, no. Cornette de Saint Cyr Paris Dimension 54.5 X 80 CM Media OIL CARVED AND BUILT UP WOOD Accession number P31. By October 1934, Nicholson and Hepworth had married and Hepworth had given birth to triplets. On one level, this gesture might seem out of touch with the realities that were bearing down on world events, given the economic depression, national rearmament and the rise of Fascism in Europe. For more information, see our, What's Happening in the Art World in October, Select a different artwork to unlock, go to artist's artworks page >>, FRAGMENT OF TUSCAN CATHEDRAL - Ben Nicholson, Free sale info for 1 artwork at your choice, Receive alerts on upcoming lots, sold lots, exhibitions and articles – up to 300 followed artists, Have unlimited access to our auction price database. In the Spring of 1933 Nicholson and Hepworth visited the studios of Jean Arp and Constantin Brancusi in Paris, whilst on their return, they visited Pablo Picasso at Château Boisgeloup, Gisors, which Picasso had bought in 1930. His collection is now being offered in New York, Doig’s 1993 painting, offered in London on 22 October, stands apart in his seminal ‘Concrete Cabins’ series. In a letter to Herbert Read, Nicholson explains, 'I don't think Arp's reliefs had any influence on mine - mine came about by accident & bec. CHRIS STEPHENS: We’re standing in front of Ben Nicholson’s '1935 (White Relief)', the largest of a series of 'White Reliefs' that Nicholson start the previous year. In the late 1970s the handsome New York stockbroker and connoisseur retreated into the Appalachian Mountains. New … The problems dealt with in “abstract” art are related to the interplay of forces ...the geometrical forms often used by abstract artists do not indicate, as has been thought, a conscious and intellectual, mathematical approach - a square and a circle in art are nothing in themselves and are alive only in the instinctive and inspirational use an artist can make of them in expressing a poetic idea.... You can create a most exciting tension between these forces...’; in reliefs, ‘you can take a rectangular surface and cut a section of it one plane lower and then in the higher plane cut a circle deeper than, but without touching, the lower plane.
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