Ben Nicholson 1894-1982 - ACE151.3

Photograph of Winifred Roberts Nicholson. 1921- circa 1923 (Cortivallo, Lugano) (1921-c.1923), where they often spent the winter. Land- and seascapes. Trout (1924), a completely abstract picture, in which the stripes were based on one of his father’s jugs (shown). Picasso’s Bouteille, Guitare, Pipe (1912) which had a profound effect on Nicholson. Christopher Wood’s Self Portrait (1927) and a seascape. Photographs of the Nicholsons’ house in Cumberland; flower painting by Winifred Nicholson showing view from the window; landscapes and a flower painting by Ben Nicholson, as well as another landscape by Winifred, mostly from around 1927. Sailing Boat on a River (1929) by Winifred; a view down the river Fal by Ben (1929). Photograph of Nicholson and Barbara Hepworth. Commentary on Nicholson’s reviving commitment to Abstraction and his "love affair with Parisian painting". Au Chat Botté (1932), "the key picture"; details with Nicholson’s thoughts about the composition read over. Various pictures "the most personal of his career" and "in complete contrast to the total abstraction that followed", including more or the jugs, 1932 (girl in a mirror - drawing) (1932), and composite views of himself and Hepworth. Photograph of their shared studio, photograph of Herbert Read, who lived next door to them in Hampstead where there was "an immense concentration of revolutionary aesthetic power". Exterior Mall Studios, Henry Moore’s flat in Parkhill Road, Blue Plaque to Piet Mondrian, Paul Nash’s house in Eldon Road; commentary points to European artists who were taking refuge in London. Nash’s Equivalents for the Megaliths (1935). Naum Gabo’s Construction through a Plane (Construction on a Plane) (1937). Hepworth’s Three Forms (1935). Top of a sculpture by Moore.