MK

Jesse Watkins

| Great Britain |

1899 – 1980

Human Struggle, 1967

aluminum, 300x85x85

Great Britain

Born | 1936

Maltese, 1969

acrylic on canvas, 122x122cm

 

Brian Rice is a British abstract artist associated with the pop art movement who has had 35 solo exhibitions and around 200 group exhibitions.

| Great Britain |

Born in Chelsham | 1908 – 1998

We present artwork signed by Victor Pasmore included in the collection of MoCA:
Untitled, 1982, color silkscreen, 74,5 x 107,5cm

| Great Britain|

1917 – 1984

Dedicated to monumental creations Adams is referring to the title of his artwork as a model, designed by defined materials used for creating a sculpture. His small-format work originate from 1965. Robert has decided to present his artwork as a gift in 1971.
This author is a representative of respected British sculpture art from the first half of the century and his roots are to be found in the sculptural creations of Henry Moore and Barbara Hepworth. His work is at the same time are referred to the plastic contemplations of Brancusi, Picasso and Malevich. In this artwork Adams approaches to find the solution from simple sharpness composed with unusual dynamic and compact statics, in which comprised is the structural monumentality.

We present artwork signed by Robert Adams included in the collection of MoCA:
Vertical Form with Bend, 1965, bronze, iron, 51x20x13см, 1949

| Great Britain |

1933 – 1999

Richard Allen studied at the Bath Academy of Art in the Fifties when it was a hotbed of young talent. During the Sixties and Seventies he was at the heart of the London art world, exhibiting his arresting and technically sophisticated works at the Whitechapel, Hayward and Institute of Contemporary Arts galleries with Bridget Riley, Peter Sedgley and others.

We present artwork signed by Richard Allen included in the collection of MoCA:
Print No. 2, 1968, color silkscreen, a.p., 58,5 x 58,5cm

| Great Britain |

Born in Birmngham in 1939.

As one of the originators of Pop Art, Peter got his start at the Royal College of Arts with his fellow students David Hockney, Allen Jones, R.B. Kitaj and others of the British Pop Art Movement. When he was awarded a Harkness Fellowship he moved to New York, where he exhibited his work alongside his American counterparts Andy Warhol, Roy Lichtenstein and James Rosenquist. Phillips later returned to Europe, where he now resides and continues to paint and exhibit.

We present Peter’s artwork from the series works signed by Phillips included in the collection of MoCA:
Car Parts, 1972, offset on paper, 48/175, 74x106cm

| Great Britain |

1930 – 1994

We present Peter’s artwork from the series works signed by Hobbs included in the collection of MoCA:
Blue Box No. 1, 1969color silkscreen, a.p.101 x 68cm

| Great Britain |

Born in Bristol 1920 – 1999

 

Conjunction, 1965

mixed media on plywood, 99×58,5cm

| Great Britain|

Born in Copenhagen |1929 – 1981

Kenneth Coutts-Smith was a British artist, critic, and historian of art and culture. As well as painting during these years, Coutts-Smith also wrote and published poetry, short stories, and a novel Fuglefrith, and began a career as a journalist of art and society, publishing numerous reviews, articles, interviews, and catalogue introductions.
He also was active as a gallery administrator in London from 1962 to 1969, as secretary of the Drian Gallery, London, managing the New Vision Centre gallery, and as organising secretary of the Commonwealth Biennale of Abstract Art. Complementing his activity as an art critic dating from around 1963, Coutts-Smith began to lecture widely in England and accepted teaching appointments at Liverpool College of Art in 1967 and Harrow College of Art, London, in 1968. Critical study of art and society led to two books published in his lifetime, The Dream of Icarus and Dada, which appeared in 1970, and a third The Demise of the Avant-Garde which collected together essays from the decade 1970—1980. In 1970 Coutts-Smith emigrated to Canada, teaching as a professor at the University of Calgary, University of Manitoba, York University in Toronto, and Nova Scotia College of Art and Design, continuing to be active as a curator, from 1974 at Gallery 111, Winnipeg, lecturing in Europe, North America and Australia, and producing film and video works as well as mail art and paintings, notably the series Artexts shown in Halifax in 1980. He took considerable interest in contemporary art of Eastern Europe, collecting works by Yugoslav artists, and traveled also to study Canadian Inuit artists in 1975 and Australian aboriginal communities in 1980.
Kenneth Coutts-Smith had an important role in the foundation of the Museum of Contemporary Art in Skopje and its collection.

We present artwork signed by Kenneth Coutts-Smith included in the collection of MoCA:
Spectrum, 1963, oil on canvas, 180 x 210cm

| Great Britain |

Born in London in 1932.

Howard Hodgkin is English painter, printmaker and collector. From 1949 to 1954, he studied at the Camberwell School of Art in London and at the Bath Academy of Art in Corsham, where he lectured until 1966. In that year, Hodgkin was given a position at the Chelsea School of Art in London. He taught there until 1972. Hodgkin represented Great Britain at the Biennale in Venice in 1984 and roused international interest with his strong, vivid paintings and drawings. In 1985, the Tate Gallery in London put on the first retrospective of Hodgkin’s works. In the same year, the artist was awarded the Turner Prize. Hodgkin received the Shakespeare Prize in 1997 and was awarded an honorary doctorate from Oxford University in 2000.
Hodgkin’s paintings are generally small in scale, consciously conceived within the tradition of European easel painting. He paints extremely slowly, sometimes taking up to four years or more on one work. During this process the clarity of the original imagery was often obscured, and the spectator was invited to decipher the finished image as a kind of riddle. Hogkin was always concerned to make the picture an object, and from 1970 he worked not on canvas but on assertive wooden supports, such as drawing boards or door frames.
In the 1970s Hodgkin’s work, which was often mentioned in conjunction with the French painter Henri Matisse, shifted from a collaged geometric flatness to a more complex fluid patterning. He applied a restricted range of simple shapes and marks to a variety of moods: lyrical and poetic, or openly erotic. Parallel with the painting Hodgkin worked with the same intensity on large format lithographs and etchings.

We present artwork signed by Howard Hodgkin included in the collection of MoCA:
Untitled, 1986, color etching on paper, 47,5×64,5cm