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Dexter Dalwood

Auden, 2011

Oil on canvas
90 3/5 × 137 4/5 × 1 1/5 in
230 × 350 × 3 cm
location
Vienna
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About the work
Galerie Hubert Winter
Vienna
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courtesy of the artist and Simon Lee Gallery London/Hong Kong.

courtesy of the artist and Simon Lee Gallery London/Hong Kong.

Image rights
© Dexter Dalwood
Dexter Dalwood
English, b. 1960
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Working in the traditional genre of history painting, Dexter Dalwood merges art history and the pop-cultural in imagined scenes such as that in Jackie Onassis’ yacht in Jackie Onassis (2000) or Mao Tse-Tung's workspace in Mao Tse-Tung's Study (2000). Dalwood paints from collages he first creates out of printed matter, often appropriating elements from artists like Henri Matisse, Ed Ruscha, and David Hockney. In Gorky's Studio (2009)—from his "Endless Night" series, which depicted death scenarios of famous figures—the scene of the artist's suicide is obscured by a dense black field, recalling the work of Abstract Expressionist Clyfford Still.

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About the work
Galerie Hubert Winter
Vienna
Follow

courtesy of the artist and Simon Lee Gallery London/Hong Kong.

courtesy of the artist and Simon Lee Gallery London/Hong Kong.

Image rights
© Dexter Dalwood
Dexter Dalwood
English, b. 1960
Follow

Working in the traditional genre of history painting, Dexter Dalwood merges art history and the pop-cultural in imagined scenes such as that in Jackie Onassis’ yacht in Jackie Onassis (2000) or Mao Tse-Tung's workspace in Mao Tse-Tung's Study (2000). Dalwood paints from collages he first creates out of printed matter, often appropriating elements from artists like Henri Matisse, Ed Ruscha, and David Hockney. In Gorky's Studio (2009)—from his "Endless Night" series, which depicted death scenarios of famous figures—the scene of the artist's suicide is obscured by a dense black field, recalling the work of Abstract Expressionist Clyfford Still.

Dexter Dalwood

Auden, 2011

Oil on canvas
90 3/5 × 137 4/5 × 1 1/5 in
230 × 350 × 3 cm
location
Vienna
Want to sell a work by this artist? Consign with Artsy.
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