Patrick Caulfield - part 1

Patrick Caulfield (1936 – 2005) was a British painter and printmaker whose pictures combine simple graphics with a naive pictorial style in which personal, social, political and artistic images meet. Caulfield studied at the Chelsea School of Art, London from 1956 to 1960 and at the Royal College of Art, London from 1960 to 1963, where his fellow pupils included David Hockney and R.B. Kitaj. He returned to the Chelsea School of Art to teach from 1963 to 1971.

In 1964 he exhibited at the New Generation show held at the Whitechapel Gallery, which resulted in him being associated with pop art. Caulfield’s first solo exhibition was held in 1965 at the Robert Fraser Gallery. In 1965 he was represented at the Biennale des Jeunes, Paris and in 1967 at the International Exhibition of Graphic Art, Ljubljana, Yugoslavia. 

At the start of his career Caulfield's paintings were characterised by flat images depicting objects that were paired with angular geometric devices or isolated against unmodulated areas of colour. In Portrait of Juan Gris (1963) Caulfield paid tribute to the Cubist painter whose work, alongside that of other early modernists such as Léger and Magritte, established the principals of stylisation and formal rigour that he has employed in still lifes, landscapes and interiors.

1963 Portrait of Juan Gris 
oil on board 122 x 122 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

He adopted the anonymous techniques of sign painting, dispensing with visible brushwork and distracting detail and simplifying the representation of objects to a basic black outline in order to make them appear more iconic. During this period he deliberately chose subjects that seemed hackneyed and mundane (Still Life with Dagger, 1963), overtly exotic and romantic (Artist's Studio, 1964) and picturesque (View of the Bay, 1964), which presented an emblematic view of Mediterranean ruins).

1963 Still Life with Dagger 
oil on board 121.5 x 121.6 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1964 Artist's Studio 
oil on board 91.4 x 281.4 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1964 View of the Bay 
oil on board 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

Later on Caulfield became more focused on the architectural elements in his work. "Inside a Weekend Cabin" (1969) is one of the earliest examples of a series of interiors where the atmosphere is suffused with a single enveloping colour, enabling him to portray interiors with an atmosphere of introspection and melancholy.

1969 Inside a Weekend Cabin 
oil on canvas 274 x 183 cm

Caulfield is also a master of the screen print, the first of which, Ruins (1964), was commissioned by the ICA. The medium suited his taste for vivid areas of flat colour, which mirrored the representative mixture of decorative opulence and technical austerity in his paintings.

1964 Ruins 
screenprint on paper 50.8 x 76.2 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

In works such as "After Lunch" (1975), Caulfield began to insert highly detailed passages in the photorealist mode into his canvases, playing up ambiguities of perceptions about what is real and what is artificial.

1975 After Lunch 
acrylic on canvas 248.9 x 213.4 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

In later works like "Still-life: Autumn Fashion" (1978) he amplified this profusion of styles in increasingly elaborate still lifes, analysing the conventions of 20th-century painting.

1978 Still Life, Autumn Fashion 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

This high level of pictorial invention was sustained in such works as the mural for the London Life headquarters in Bristol (1982). During the 1980s he returned to a more stripped-down aesthetic in large paintings like "The Blue Posts" (1989), in which the precise disposition of a few identifiable elements transforms an ostensibly abstract picture into one evoking a vivid sense of place.

1989 The Blue Posts 
acrylic on canvas 289.5 x 205.7 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

Among Caulfield’s many commissions are designs for the sets and costumes of Michael Corder’s ballet "Party Game" for the Royal Ballet at the Royal Opera House, Covent Garden in 1984. Other such work includes the carpet design for the atrium of the British Council offices in Manchester (1991) (in part 3 of this post) and the commission for the giant mosaic entitled "Flowers, Lily Pad, Pictures and Labels" at the National Museum of Wales in Cardiff (1994). In 1995 he designed the sets and costumes for the production of Frederick Ashton’s "Rhapsody" at the Royal Opera House, Covent Garden, which went on to be performed at the Opera National de Paris in 1996.

Patrick Caulfield was joint-winner of the Jerwood Painting Prize in 1995. In 1987 he was nominated for the Turner prize and in 1996 he was given a CBE and received an Honorary Fellowship of the London Institute. He died in 2005 and is buried in Highgate Cemetery in London. He had designed his own gravestone.

This is part 1 of a 4-part post on the works of Patrick Caulfield. 
Parts 1 - 3 feature Caulfield's work chronologically. Part 4 features his 1973 silkscreen print series "Some Poems of Jules Laforgue."

1962 Christ at Emmaus 
alkyd house paint on board 102 x 127 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1962 Vases of Flowers 
oil on board 121.9 x 121.9 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1963 Black and White Flower Piece 
oil on board 121.9 x 121.9 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1963 Greece Expiring on the Ruins of Missolonghi (after Delacroix) 
oil on board 152.4 x 121.9 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1966 Sculpture in a Landscape 
oil on board 122 x 213.4 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1967 Coloured Still Life 
screenprint on paper 55.9 x 91.4 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1967 Sweet Bowl 
screenprint on paper 55.9 x 91.4 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1967 The Hermit 
screenprint on paper 56 x 83.5 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1967 The Letter 
screenprint on paper 48 x 76 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1967 Weekend Cabin 
screenprint on paper 55.9 x 91.4 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1968 Café Sign 
screenprint on paper 71.1 x 92.4 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1968 Cross 
screenprint on paper 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1968 Found Objects 
screenprint on paper 71.1 x 93.7 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1968 Loudspeaker 
screenprint on paper 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1969 Coal Fire 
screenprint 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1969 Lampshade 
screenprint 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1969 Pottery 
oil on canvas 213.4 x 152.4 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1969 Wine Glasses 
screenprint on paper 35.9 x 30.8 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1970-71 (1) Interior, Morning 
screenprint on paper 71 x 58.5 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1970-71 (2) Interior, Noon 
screenprint on paper 71 x 58.5 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1970-71 (3) Interior, Evening 
screenprint on paper 71 x 58.5 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

1970-71 (4) Interior, Night 
screenprint on paper 71 x 58.5 cm 
© Patrick Caulfield 2001. All rights reserved, DACS. Estate of Patrick Caulfield 2005

Thomas Eakins - part 6

This is part 6 of a 6-part post on the works of American artist Thomas Eakins. Parts 1 – 4 feature his paintings, parts 5 – 6 his photography. Thomas Eakins (1844-1916) was the most powerful figure painter and portrait painter of his time in America. For biographical notes on Eakins, and for earlier works, see parts 1 - 5

In addition to being an accomplished painter, watercolourist and teacher, Thomas Eakins was a dedicated and talented photographer.  For more information on Eakins' photography, see part 5.

1884 ( Male Portrait )
 albumen silver print

c1884 Portrait of Amelia Van Buren

c1885 ( Betty Reynolds with Doll on Lap )
 gelatin silver print 5.5 x 5.3 cm

1887 Walt Whitman

1889-94 Self-Portrait 
platinum print

1889-94 Self-Portrait 
platinum print

1890 ( Mrs. Crowell with Katie on Her Lap )
 platinum print

1890 Amelia Van Buren 
platimum print 21 x 16.9 cm

1890 M. E. Eakins, Ella Crowell, Frances E. Crowell, in Yard at Mt. Vernon Street 
albumen silver print 8.9 x 11.5 cm

c1890 Samuel Murray

1892 Weda Cook 
platinum print 24.8 x 10.8 cm

1892 ( Fanny and Caroline )
 platinum print

c1892 Dorothy Cook Katar 
platinum print 13.1 x 8.5 cm

c1892 Weda Cook 
platinum print 11.4 x 6.8 cm

c1892 Weda Cook 
platinum print 17.9 x 13 cm

c1895-99 Benjamin Eakins and Samuel Murray with Bicycles

Motion Study, Male Nude ( Eakins himself )
chromophotography

Mr and Mrs William H. MacDowell

 Unfortunately I couldn't find any details for the following seven photographs by Eakins: