.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
Harold Knight was born in Nottingham. It was during his training at the Nottingham School of Art, that he met Laura Johnson (1877-1970). The couple soon married, and after living in Staithes and travelling across the Netherlands, the Knights moved to Cornwall in 1907. Both artists became part of the ‘Newlyn School’ and, despite moving to London in 1919, they regularly returned to paint Cornish seascapes throughout their careers. By 1937, Harold Knight was elected a member of the Royal Academy, and the two artists became the first married Royal Academicians.
Land’s End is a captivating example of Harold Knight’s seascapes. Knight is meticulous in his depiction of the undulating coast line and rocky cliffs. These dramatic cliffs are juxtaposed with the soft blue tones of the sea and white crests of the waves breaking up the coast. His striking use of colour was recognised by contemporaries, as a 1921 article in The Studio notes that Harold Knight ‘has devoted himself to the study of the effect of daylight, both in the open and indoors and he has mastered the difficulties created by the subtle variations of tone and colour due to the pervading light. This enables him to introduce into his pictures delicate and beautiful tone-gradations without sacrificing the brilliancy and freshness of his colour-schemes.’ (Ernest G. Halton, ‘Foreword’, Modern Paintings Number One: The Work of Laura and Harold Knight, The Studio Ltd, London, 1921, p. 5).
Despite their at times overlapping subject matter, the couple approached their work in opposing ways. This is described by Charles Wheeler in the foreword to their joint exhibition of 1967, ‘In Laura’s attack there is a compelling immediacy. One feels her pencil is itching her hand to get to the paper... Harold would seem to stand back awhile and think. With great care he would then put into operation his most restrained modus operandi’ (exh. cat. Dame Laura Knight, Harold Knight, Upper Grosvenor Gallery, May 18th – June 2nd, 1967). The present lot was exhibited at this joint exhibition at the Upper Grosvenor Gallery and Laura Knight is pictured standing in front of the work, perhaps showing its personal significance.
This painting will be included in the forthcoming catalogue raisonné of the work of Dame Laura Knight currently being prepared by R. John Croft F.C.A., the artist’s great-nephew.
Land’s End is a captivating example of Harold Knight’s seascapes. Knight is meticulous in his depiction of the undulating coast line and rocky cliffs. These dramatic cliffs are juxtaposed with the soft blue tones of the sea and white crests of the waves breaking up the coast. His striking use of colour was recognised by contemporaries, as a 1921 article in The Studio notes that Harold Knight ‘has devoted himself to the study of the effect of daylight, both in the open and indoors and he has mastered the difficulties created by the subtle variations of tone and colour due to the pervading light. This enables him to introduce into his pictures delicate and beautiful tone-gradations without sacrificing the brilliancy and freshness of his colour-schemes.’ (Ernest G. Halton, ‘Foreword’, Modern Paintings Number One: The Work of Laura and Harold Knight, The Studio Ltd, London, 1921, p. 5).
Despite their at times overlapping subject matter, the couple approached their work in opposing ways. This is described by Charles Wheeler in the foreword to their joint exhibition of 1967, ‘In Laura’s attack there is a compelling immediacy. One feels her pencil is itching her hand to get to the paper... Harold would seem to stand back awhile and think. With great care he would then put into operation his most restrained modus operandi’ (exh. cat. Dame Laura Knight, Harold Knight, Upper Grosvenor Gallery, May 18th – June 2nd, 1967). The present lot was exhibited at this joint exhibition at the Upper Grosvenor Gallery and Laura Knight is pictured standing in front of the work, perhaps showing its personal significance.
This painting will be included in the forthcoming catalogue raisonné of the work of Dame Laura Knight currently being prepared by R. John Croft F.C.A., the artist’s great-nephew.