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拍品专文
In this peaceful painting, Fedden recalls an occasion on holiday when she saw a great mass of yellow flag irises beside a lake. It relates to one of her illustrations for the book, Birds, (1995), on which she collaborated with Mel Gooding.
A landscape scene of great stillness, Oyster-catcher incorporates many hallmarks of Fedden's style. It betrays her fascination with still-lives, in which she often incorporates landscape backgrounds. While painting in her London studio, Fedden habitually draws on her vast collection of the sketches she has made during her travels, sometimes combining her still lives and portraits with a scene she may have witnessed some time before. Objects such as the flowers bearing seeds and the pebbles on the beach are typical of Fedden's vocabulary.
The architectural style of the cottage in the middle distance, the mountainous landscape in the background and the pale-coloured sand of the beach suggest a geographical setting for the landscape in western Ireland or north-western Scotland. These are areas rich in inspiration for Fedden, who has travelled widely throughout her life, particularly in Europe and North Africa.
Fedden concentrates on the scene observed, but her paintings represent an interpretation of what she sees. Her work betrays a variety of inspirations, in particular those of Christopher Wood and the early paintings in Ben Nicholson. The landscapes and still-lives of Nicholson and of his wife, Winifred, would have been a powerful influence at the start of her career in the 1940s.
Fedden was born in Bristol and studied in London at the Slade School of Art between 1932 and 1936. By the time that she was appointed at the Royal College of Art in 1958, where she was the first female teacher, her reputation was well established. She had held her first solo exhibition at the Mansard Gallery in Heal's department store in 1947 and has enjoyed at least one every year since 1950. These included the Redfern Gallery from 1953, the New Grafton Gallery from 1960, the Hamet Gallery from 1970 and the Beaux-Arts Gallery in London in the 1990s. Married to Julian Trevelyan from 1951 until his death in 1988, she contines to work in the studio they shared at Durham Wharf on the Thames at Chiswick.
A landscape scene of great stillness, Oyster-catcher incorporates many hallmarks of Fedden's style. It betrays her fascination with still-lives, in which she often incorporates landscape backgrounds. While painting in her London studio, Fedden habitually draws on her vast collection of the sketches she has made during her travels, sometimes combining her still lives and portraits with a scene she may have witnessed some time before. Objects such as the flowers bearing seeds and the pebbles on the beach are typical of Fedden's vocabulary.
The architectural style of the cottage in the middle distance, the mountainous landscape in the background and the pale-coloured sand of the beach suggest a geographical setting for the landscape in western Ireland or north-western Scotland. These are areas rich in inspiration for Fedden, who has travelled widely throughout her life, particularly in Europe and North Africa.
Fedden concentrates on the scene observed, but her paintings represent an interpretation of what she sees. Her work betrays a variety of inspirations, in particular those of Christopher Wood and the early paintings in Ben Nicholson. The landscapes and still-lives of Nicholson and of his wife, Winifred, would have been a powerful influence at the start of her career in the 1940s.
Fedden was born in Bristol and studied in London at the Slade School of Art between 1932 and 1936. By the time that she was appointed at the Royal College of Art in 1958, where she was the first female teacher, her reputation was well established. She had held her first solo exhibition at the Mansard Gallery in Heal's department store in 1947 and has enjoyed at least one every year since 1950. These included the Redfern Gallery from 1953, the New Grafton Gallery from 1960, the Hamet Gallery from 1970 and the Beaux-Arts Gallery in London in the 1990s. Married to Julian Trevelyan from 1951 until his death in 1988, she contines to work in the studio they shared at Durham Wharf on the Thames at Chiswick.