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HOWARD HODGKIN (1932-2017)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
HOWARD HODGKIN (1932-2017)


HOWARD HODGKIN (1932-2017)
signed twice, titled and dated 'ESCAPE Howard Hodgkin 1996 Howard Hodgkin' (on the reverse)
oil on wood
13 3/8 x 18 ¾in. (34 x 47.8cm.)
Painted in 1996
Anthony D'Offay Gallery, London.
Acquired from the above by the present owner in 1996.
A. Graham-Dixon, Howard Hodgkin, London 2001, pp. 199 and 230 (illustrated in colour, p. 198)
M. Price (ed.), Howard Hodgkin: The Complete Paintings, Catalogue Raisonné, London 2006, no. 291 (illustrated in colour, p. 293).
Special Notice

Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.

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Lot Essay

Painted in 1996, and held in the same private collection since that year, Escape reveals Howard Hodgkin’s pictorial poetics. Evocative of a sublime pastoral, strips of verdant green fill the panel as an emerald streak flashes across the expanse. Characteristically, Hodgkin has incorporated the frame into his composition, his brushwork extending beyond the painting’s conventional boundaries. The artist’s heady, atmospheric works are almost always inspired by real encounters that have been distilled through the veil of memory. Although they may resemble real landscapes and architectural settings, these paintings—typically created over long periods—instead show a refracted, prismatic view. The combination of animated brushwork and non-representational use of colour captures the shifting viewpoints and perspectives that result from the passage of time. They exist somewhere between truth and fiction, offering outpourings of feeling and perception. As critic John McEwen has written, ‘All Hodgkin’s pictures can be thought of as the grit of some experience pearled by reflection. They begin where words fail, evocations of mood and sensation more than visual records, but descriptions indubitably of the physical as well as the emotional reality’ (J. McEwen, Howard Hodgkin: Forty Paintings, exh. cat. Whitechapel Art Gallery, London 1984, p. 10).

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