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拍品專文
William Crozier's reputation is perhaps established better outside his native Scotland, having a large following of overseas private clients and being well represented in various public collections abroad such as the Copenhagen Museum of Modern Art, the National Gallery of Australia, the National Gallery of Canada as well at home at the Victoria and Albert Museum, the Aberdeen Art Gallery and the Glasgow Art Gallery.
Crozier studied at the Glasgow School of Art from 1949-53. He had his first one-man exhibition in London in 1957, and achieved early success as a painter. From the early 1980s began to spend part of each year in West Cork. Most of Crozier's paintings from this period dwell on the Irish landscape, or more specifically, the landscapes of West Cork, near Ballydehob and Toe Head, where the artist has a house and studio. He works rapidly, applying bright, contrasting colours with expressive brushstrokes. Crozier rejects the Renaissance in favour of a perspective that respects the picture plane, employing pictorial devices such as raising the horizon. Toe Head, one of the favourite landscapes of West Cork that Crozier likes to paint is rendered with a passionate intensity of colour, but also a rigorous sense of composition that is common to most of Crozier's work.
Crozier studied at the Glasgow School of Art from 1949-53. He had his first one-man exhibition in London in 1957, and achieved early success as a painter. From the early 1980s began to spend part of each year in West Cork. Most of Crozier's paintings from this period dwell on the Irish landscape, or more specifically, the landscapes of West Cork, near Ballydehob and Toe Head, where the artist has a house and studio. He works rapidly, applying bright, contrasting colours with expressive brushstrokes. Crozier rejects the Renaissance in favour of a perspective that respects the picture plane, employing pictorial devices such as raising the horizon. Toe Head, one of the favourite landscapes of West Cork that Crozier likes to paint is rendered with a passionate intensity of colour, but also a rigorous sense of composition that is common to most of Crozier's work.