圣拉斐尔（科尔多瓦）

Frost was a major figure in the second generation of St Ives artists. Although he is primarily known as an abstract painter, printmaking was a major part of his artistic output throughout his career. The prints in the series Eleven Poems by Federico Garcia Lorca were produced to accompany a suite of poems by Spanish poet and dramatist Federico García Lorca (1898-1936) printed in the original Spanish and in English translation. Work on Frost’s colour intaglio prints in this series was overseen first by painter and graphic designer Gordon House and then by printmaker Hugh Stoneman. The poems and prints were published by Austin/Desmond Contemporary Books, London in 1989 in a solander box designed by the artist. In the box each print rests inside a paper folder on which the respective poem is printed. In addition Frost decorated the exterior of the box and designed a title page for the portfolio . The suite was produced in an edition of seventy-five plus fifteen artist’s copies; Tate’s copy is the fourth of ten artist’s proofs. Widely regarded as one of Spain’s greatest writers, Lorca was killed by pro-Franco forces in the early days of the Spanish Civil War. Along with his literary achievements his early death sealed his posthumous reputation as a political martyr. Frost began reading Lorca’s poetry in depth in the 1970s and was inspired by the poet’s visual imagery, particularly his emotive descriptions of colour. The artist’s first print made in response to a Lorca poem was a 1974 screen-print entitled Variations . In the late 1980s Frost obtained copyright to English translations of several of Lorca’s poems and began work on the images in this portfolio. Recalling this period of his life, Frost proclaimed his admiration for the poet, saying, ‘Lorca is so simple, and so direct, and so full of colour and ideas. I was so much in love with the poetry at that time’ (quoted in Terry Frost: Six Decades , p.69). One of the more representational prints in the series, Saint Raphael (Cordoba) depicts two fish, one bright blue, the other in a slightly glossy embossed off-white like a pale shadow of the first. They swim in water denoted by three horizontal black lines evenly spaced in the bottom half of the print. Above the blue fish are blocks of vertical lines in blue, black and pink that suggest reeds or rushes. A yellow crescent moon in the top right corner is reflected just above the blue fish. The visual echoes in the print relate to the reflected image of the Andalucian city of Córdoba in Lorca’s poem: ‘One fish alone in the water: / two Córdobas of beauty. / One broken in spurts of water, / one dry in the high heaven’.