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Anthony GrossWinter Grasses by Anthony Gross, 19721972
1972
$3,204.26
£2,350
€2,726.77
CA$4,411.59
A$4,827.96
CHF 2,551.15
MX$57,624.84
NOK 32,555.86
SEK 29,774.99
DKK 20,367.53
About the Item
Winter Grasses by Anthony Gross, 1972
Additional information:
Medium: etching
39 x 52 cm
15 3/8 x 20 1/2 in
signed, titled and dated
English painter and printmaker. He trained in London, Paris and Madrid from 1923 to 1925, specialising in etching. In 1926 he settled in France, where he created a number of animated films between 1931 and 1939; in 1936 the first of many books illustrated by him was published, an edition of Jean Cocteau's Les Enfants terribles. His oil paintings of this period are largely affectionate depictions of French and English life and leisure, as in Place du Théâtre, Brive-la-Gaillarde (1929; London, Tate). Gross returned to England in 1939 and from 1941 to 1946 served as an Official War Artist, covering campaigns in El Alamein, India, Burma, Iran and Normandy; among the works produced in this connection are three watercolours depicting episodes in the Liberation and Battle of France (1944; London, Tate). After World War II he divided his time between France and England, where in 1965 he became the first President of the Print Makers Council. From the 1950s he adopted an increasingly emphatic line and densely packed compositions, particularly in his etchings, for which he remained best known, and devoted much of his attention to landscape, as in Wheatfield (etching, 1966; London, Tate).
- Creator:Anthony Gross (1905 - 1984, British)
- Creation Year:1972
- Dimensions:Height: 15.375 in (39.06 cm)Width: 20.5 in (52.07 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Kingsclere, GB
- Reference Number:1stDibs: LU2718214577622
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By Anthony Gross
Located in Kingsclere, GB
Winter Grasses, 1972
signed, titled and dated
etching
39 x 52 cm
15 3/8 x 20 1/2 in
Category
20th Century Prints and Multiples
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Additional information:
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Additional information:
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Kim Lim was born in Singapore and spent much of her early childhood in Penang and Malacca. After her schooling in Singapore, Lim knew that she wanted to become an artist, and at eighteen, she enrolled at St. Martin's in London, where she spent two years concentrating mainly on wood carving. She then transferred to the Slade, where taught by the etcher Anthony Gross and lithographer Stanley Jones, she developed a strong commitment to print making.
On journeys back to Singapore she stopped off in Europe and India, soaking up the art 'like a sponge'. These were the experiences that confirmed in her a lifelong predilection for things archaic, and for the flow and rhythm of Indian and South East Asian sculpture: " I found that I always responded to things that were done in earlier civilizations that seemed to have less elaboration and more strength." In Greece she was entranced by Cycladic sculpture. Of Chinese art she was moved most by early Shang bronzes, Han sculpture, Sung pottery...
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