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拍品專文
In 1942 Vaughan was introduced to Graham Sutherland by the patron, Peter Watson, and in 1947, Vaughan wrote about the older artist, 'What Picasso did to the human figure Graham Sutherland is doing to the English landscape. I think he is the first painter to relate the full discoveries of the twentieth century in France to the English romantic tradition (see K. Vaughan, A View of English Painting, London, 1947, p. 144).
Vaughan was also drawn to the work of Samuel Palmer and during the early 1940s Vaughan produced densely worked landscapes of the Malton area, often depicting houses among trees as demonstrated in the present work. Malcolm Yorke comments, 'The vast skies, fells and moors of his Yorkshire surroundings did not appeal to Vaughan. Like Sutherland, and Palmer too, he needed to create enclosed spaces; houses shielded by trees, figures in front of landscapes rather than distanced and dwarfed by them' (see The Spirit of Place: Nine Neo-Romantic artists and their times, London, 1988, p. 267).
Vaughan was also drawn to the work of Samuel Palmer and during the early 1940s Vaughan produced densely worked landscapes of the Malton area, often depicting houses among trees as demonstrated in the present work. Malcolm Yorke comments, 'The vast skies, fells and moors of his Yorkshire surroundings did not appeal to Vaughan. Like Sutherland, and Palmer too, he needed to create enclosed spaces; houses shielded by trees, figures in front of landscapes rather than distanced and dwarfed by them' (see The Spirit of Place: Nine Neo-Romantic artists and their times, London, 1988, p. 267).