特里·佛洛斯特认领

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 screenprint 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). The background of Rider's Song features a large diamond shape. The central part of the diamond is uncoloured except for the faint outline of diagonal lines; the outer part of the image is composed of streaked marks of blue-grey. Four round shapes are positioned near the four corners of the print. The circles in the top right and bottom left are dense matt black. The round form in the top left is rendered in the same grisaille markings as the background with an overlaid black crescent. At the bottom right is a more informal shape. The outline of a circle is suggested with a thick black line and a long bright red arc. Overlapping this shape above and to the right is another loose circular form in grey on which a black spiral appears. The expressive poem on which the print is based describes a rider’s lonely journey through the night: ‘Black pony, big moon, / and olives in my saddle-bag’. Frost described his excitement at these lines, saying, ‘Well that was enough for me. I’m a great black olive fan – and in my saddle bag ! I had to do it’ (quoted in Linda Saunders, ‘Frost and the Duende’, Terry Frost , p.218). The circles on the print can be seen to represent both olives and the moon against the night sky. This print relates directly to a painting that Frost made during the same period, Black Olives for Lorca , 1989 (private collection; reproduced no.35 in colour in Terry Frost: Six Decades ).

Etching 13 3/4 × 10 1/4 (348 × 256) on paper 16 3/4 × 11 3/4 (399 × 299), printed by the artist at Umea Summer School, Sweden, not editioned Inscribed ‘Terry Frost 79’ b.r. and ‘Umea A/P’ Purchased from the artist (Grant-in-Aid) 1983 ‘Umea, Sweden’ [ P07987 ] was made at Umea while Frost was directing the summer school there. It has generally been Frost's practice to make prints when the facilities have been easily available to him. This print depicts three circles in outline separated from each other by two roughly cut squares printed in dense black. The configuration is arranged vertically and ‘is to do with the sun’. This entry has been approved by the artist.

Like Reg Butler, whose work hangs alongside, Frost was one of a young generation of British artists whom Read helped to promote in the 1950s. This print relates to the painting by Frost, also in this room.

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’.

This is one of a series of laced works, some, as here, where the laces have been drawn by the artist, some using actual laces, threaded through the surface of the canvas . The theme was inspired by Frost seeing his wife sitting in a laced up bikini. He has said that this painting also refers to his grandmother's old fashioned stays or corsets that he frequently helped to lace up as a child. The artist has drawn in a spine above the laced section, indicating human anatomy. He has said of these laced works that the lacing was also a device to tighten the forms in the painting, 'I remember thinking I would like to use a spanner'.

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 screenprint 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). Tree, Tree is a dense green image. Alternating semi-circles in light and dark shades of green radiate from the top of the image. In the centre of the print is a broad white crescent overlaid with bright green circles. A series of chevron shapes point towards the middle of the chevron from the bottom right corner; their trajectory leads up and along the top edge of the crescent to the right. The poem on which this print is based describes a girl gathering olives under a ‘dry and green’ tree, heedless of the suitors who call to her as they pass by. The circles in Frost’s print suggest olives, while the chevrons appear swept by the wind that dominates Lorca’s poem. Linda Saunders has described the symbolic weight of the chevrons, describing them as ‘Frostian signs, arrows of desire’ (Saunders, ‘Frost and the Duende’, Terry Frost , p.217).

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 screenprint 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). The Spinster at Mass is composed in black and red on a white background. A wide horizontal strip of black at the top of the print is echoed by parallel lines of red and black near the bottom. Below the lines are two rows of half-ovals; the upper row are outlined in black and roughly filled in with red, while in the lower row the forms are slightly larger and solid black. The middle of the composition features four larger truncated oval shapes, two of which appear to be encroaching from each side of the image. Each of these forms is filled in with black dots. The lower forms also include red squiggles on the left and red dots on the right. Between the oval forms thin lines form a cobweb-like pattern. Three simple crosses punctuate the space. Lorca’s poem is a description of a pious spinster at mass. The poet suggests the repressed sensuality in the incensed air in the lines ‘Give the black melons of your breasts / to the murmur of the mass’. The rounded forms in Frost’s print suggest the spinster’s hidden breasts and the beads of her rosary, while the sectioned off composition indicates her outward composure. Frost discussed the use of black and red in relation to the Lorca portfolio, saying, ‘Black and Red become a symbol for death and life, lust, passion, tenderness, fear, love’ (quoted in Terry Frost , p.216).

Frost's move from St Ives to Leeds in Yorkshire introduced him to a new landscape. In the Yorkshire Dales he felt like a tiny presence in a huge expanse of space. He related this unusually long, thin work to a particular experience: tobogganing with friends down a steep hill in Leeds, quite out of control. He said the black form at the top left derived from a Russian hat worn by his friend; the long sweep of the lines evokes his experience of careering down the hill.

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 screenprint 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). The poem on which this print is based comprises three couplets, the second of which Frost reproduces in his own handwriting, along with the poem’s title, at the bottom of the print: ‘still waters of the water / under a frond of stars’. A simple calligraphic star is scrawled in the bottom right corner next to these words. Above the text gently undulating dark blue lines over a swirled wash of paler blue denote a calm sea. Semi-circular forms in red, yellow, black and blue sit above the waterline. These forms are mirrored in a row of semi-circular blue forms towards the bottom of the print, a reflection that recalls ‘the boughs of the echo’ in Lorca’s poem. Frost’s modifications of a simple geometric form , the semi-circle, are comparable to Lorca’s variations on a poetic couplet.