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Lot Essay
The figure in a landscape was Vaughan’s central concern and he explored the theme, one way or another, for four decades. His not inconsiderable achievement was to combine these two elements into a harmonious union whereby landscape never merely supports or contextualizes the figure, and the human form never dominates its setting; each is inextricably related to and dependent on the other. This is the case in the present work.
In 1959, after teaching at Iowa State University in the United States, Vaughan returned with feelings of great self-confidence. He was painting with assurance and purpose and soon began to tackle some large-scale works (see Bather, 1959 and Landscape with Figure – Morellos, 1959) and a series of ambitious canvases depicting single figures positioned close to the picture plane (see Lazarus III and IV, 1959 and Standing Figure – Warrior, 1959).
Landscape with Figure belongs to this group of paintings, which explores aspects of the human condition. In each a solitary, unidentified figure emerges from within a landscape, his form conditioned and characterised by his context. In most cases the arms of the figures extend outwards and upwards, or to the sides of the canvas, as if to achieve a sense of physical stability and psychological equilibrium. Nevertheless, qualities of isolation and loneliness pervade these paintings and none more so than the present work.
Landscape with Figure stands apart from Vaughan’s 1959 single figure compositions in that it is essentially motionlessness, sombre and still. It is a serious depiction of humanity; there is something portentous and unsettling, perhaps, about the bowed head of this dark profile. His shadowy, organic presence emerges from out of a rectilinear framework – perhaps from behind a wall or a series of fence posts. The very ambiguity of the scene suggests all manner of possibilities. The dark, spectral presence, silhouetted against a bright sky, successfully hovers midway between abstraction and figuration.
'Good period of work (month or so). Very conscious of learning a lot – from myself – from discussions at the Slade – For the first time for two years or more, fully aware of what I want to do, & of my powers – approval from outside – my constant need. Also the success from the show at Leicester [Galleries]... Feeling of absolute contentment with life generally. (But am wary of saying this). But even so. Although it may all collapse. I think I know better now how to cope with the depressions. Absence of need. Seem to have got what I want. But great urge to paint well. Really well. I understand the process so much better than a year ago' (The artist’s journal, 18 November 1959).
We are very grateful to Gerard Hastings, author of Drawing to a Close: The Final Journals of Keith Vaughan (Pagham Press) and Keith Vaughan: The Photographs (Pagham Press), for preparing this catalogue entry. He is currently working on an edition of Keith Vaughan's unpublished private writings to be published later in the year.
In 1959, after teaching at Iowa State University in the United States, Vaughan returned with feelings of great self-confidence. He was painting with assurance and purpose and soon began to tackle some large-scale works (see Bather, 1959 and Landscape with Figure – Morellos, 1959) and a series of ambitious canvases depicting single figures positioned close to the picture plane (see Lazarus III and IV, 1959 and Standing Figure – Warrior, 1959).
Landscape with Figure belongs to this group of paintings, which explores aspects of the human condition. In each a solitary, unidentified figure emerges from within a landscape, his form conditioned and characterised by his context. In most cases the arms of the figures extend outwards and upwards, or to the sides of the canvas, as if to achieve a sense of physical stability and psychological equilibrium. Nevertheless, qualities of isolation and loneliness pervade these paintings and none more so than the present work.
Landscape with Figure stands apart from Vaughan’s 1959 single figure compositions in that it is essentially motionlessness, sombre and still. It is a serious depiction of humanity; there is something portentous and unsettling, perhaps, about the bowed head of this dark profile. His shadowy, organic presence emerges from out of a rectilinear framework – perhaps from behind a wall or a series of fence posts. The very ambiguity of the scene suggests all manner of possibilities. The dark, spectral presence, silhouetted against a bright sky, successfully hovers midway between abstraction and figuration.
'Good period of work (month or so). Very conscious of learning a lot – from myself – from discussions at the Slade – For the first time for two years or more, fully aware of what I want to do, & of my powers – approval from outside – my constant need. Also the success from the show at Leicester [Galleries]... Feeling of absolute contentment with life generally. (But am wary of saying this). But even so. Although it may all collapse. I think I know better now how to cope with the depressions. Absence of need. Seem to have got what I want. But great urge to paint well. Really well. I understand the process so much better than a year ago' (The artist’s journal, 18 November 1959).
We are very grateful to Gerard Hastings, author of Drawing to a Close: The Final Journals of Keith Vaughan (Pagham Press) and Keith Vaughan: The Photographs (Pagham Press), for preparing this catalogue entry. He is currently working on an edition of Keith Vaughan's unpublished private writings to be published later in the year.