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William Tillyer

Nicholson, The Half Vase, 1983

Etching with aquatint in colours on wove
Bidding closed
About the work
R
Roseberys

two, published by Romer Frankland Limited Editions, each sheet 81.4 x 70.4 (framed) (2) (ARR)

Read more

two, published by Romer Frankland Limited Editions, each sheet 81.4 x 70.4 (framed) (2) (ARR)

Please refer to department for condition report

Signature
Signed and numbered 131/150 and 117/150 respectively in pencil
William Tillyer
British, b. 1938
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William Tillyer’s approach to painting is constantly evolving. His work redefines and reinterprets classic subject matter, like landscapes, still lifes, and portraits, in methods that challenge historical traditions and vary between bodies of work. During a time in which Tillyer believes art is too often a projection of the artist, he attempts to initiate instead a dialogue between elements of paint, surface, and subject. His “Helmsley Sky Studies”, for example, are based a cloud series by 19th-century Romantic painter John Constable. Unlike the originals, which Constable controlled solely by oil paint and precise brushwork, Tillyer incorporates grids of metal lattice; as the paint conforms to the wire mesh, the focus is shared by subject and materials, thus separating it from the confines of the traditional landscape.

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About the work
R
Roseberys

two, published by Romer Frankland Limited Editions, each sheet 81.4 x 70.4 (framed) (2) (ARR)

Read more

two, published by Romer Frankland Limited Editions, each sheet 81.4 x 70.4 (framed) (2) (ARR)

Please refer to department for condition report

Signature
Signed and numbered 131/150 and 117/150 respectively in pencil
William Tillyer
British, b. 1938
Follow

William Tillyer’s approach to painting is constantly evolving. His work redefines and reinterprets classic subject matter, like landscapes, still lifes, and portraits, in methods that challenge historical traditions and vary between bodies of work. During a time in which Tillyer believes art is too often a projection of the artist, he attempts to initiate instead a dialogue between elements of paint, surface, and subject. His “Helmsley Sky Studies”, for example, are based a cloud series by 19th-century Romantic painter John Constable. Unlike the originals, which Constable controlled solely by oil paint and precise brushwork, Tillyer incorporates grids of metal lattice; as the paint conforms to the wire mesh, the focus is shared by subject and materials, thus separating it from the confines of the traditional landscape.

William Tillyer

Nicholson, The Half Vase, 1983

Etching with aquatint in colours on wove
Bidding closed
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