Sir Terry Frost, R.A. (1915-2003)
Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Sir Terry Frost, R.A. (1915-2003)

Installation - Contrasts in Red, Black and White

Sir Terry Frost, R.A. (1915-2003)
Installation - Contrasts in Red, Black and White
acrylic, collaged canvas and string on 31 canvases, and 8 blocks of painted MDF
one canvas 90 x 90 in. (228.5 x 228.5 cm.); 30 canvases, 30 x 30 in. (76.2 x 76.2 cm.) each; 8 blocks, varying sizes.
Painted in 2002-03.
The artist, from whom purchased by the present owner in 2003.
M. Gooding, exhibition catalogue, Terry Frost Black White and Red, St Ives, Tate, 2003, illustrated throughout.
J. Pratty, 'The Last Picture Show - Working at Tate St Ives with Terry Frost', The Guardian, 3 September 2003.
Exhibition catalogue, Royal Academy Illustrated A selection from the 236th Summer Exhibition, London, Royal Academy, 2004, pp. 26-27, illustrated (in part).
St Ives, Tate, Terry Frost Black, White and Red, February - May 2003.
London, Tate Britain, Terry Frost, November 2003 - April 2004.
London, Royal Academy, 2004, no. 81.
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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André Zlattinger
André Zlattinger

Lot Essay

Installation - Contrasts in Red, Black and White, created in the last two years of Frost's life, can be seen as a culmination of his life's work. It brings together the motifs and imagery used by Frost again and again in the course of his work from the early 1950s to 2003, mainly inspired by his Cornish surroundings: the sun, moon, spiral, boats, harbour and quay.

The installation, made up of 31 canvases and eight coloured blocks, was an ambitious undertaking for Frost, and its size and medium encourage the viewer to interract with it in a way that marked a new departure in Frost's work. In a 2003 article in The Guardian by Jon Pratty (loc. cit.), Tate St Ives' Director Susan Daniel-McElroy is quoted as saying 'I think it's really fresh work - with the vigour of a young artist. It has a dynamic that's totally unexpected, because looking at Contrasts, you find yourself within the experience, and that's not happened before in Terry's work. The viewer comes into the environment, you find yourself going in several directions at once, because you knew there was a lot to look at from different angles'.

In the early 1950s Frost became aware of the Russian Constructivists and the early abstract painters, including artists Kasimir Malevich, El Lissitzky, Piet Mondrian and Naum Gabo: 'On one occasion ... Frost saw, and was amazed by, a lithographic revolutionary poster by El Lissitzky at the Leicester Galleries in London. "Of all the lessons you can get in the world", said Frost recently, a half-century after the event, "there's nothing better than seeing something that stops you in your stride, that stops your heart, and is absolutely marvellous!" The image (as he remembers) was in black and white with one red element, the exclamation mark at the end of the letters which constituted the principal graphic feature: CCCP! It was an epiphany' (see M. Gooding, op. cit., p. 11).

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