In our current Important Irish Paintings auction, three works by Basil Blackshaw trace the development of his artistic style to become an incredibly influencial and sought-after Irish artist.
On the Road to Clough (Lot 26) is dated 1956, this was painted only a few years after Blackshaw graduated from the Belfast College of Art. This was the same year his second ever one-man exhibition was held at the Council for Encouragement of Music and the Arts Gallery. During college, Blackshaw travelled to Paris and London, seeing first-hand masterpieces of European modernism which would provide great impact during the formative years of the artist’s career. The influence of Cezanne particularly was highlighted in John Hewitt’s essay, Portrait of a Young Man as the Artist, published in 1956. In Lot 26, the vivid colour palette captures a rich sunlight across which speaks to the French landscapes of Cezanne or Van Gogh. A simplification of forms in the distant farm buildings and loose, unpredictable hedgerows demonstrate Blackshaw’s ability to interact with his influences for his own purpose. In this instance, he transforms characteristics of the Impressionists for a local Irish context.
In comparison to On the Road to Clough, Racehorses Exercising (Lot 10) refines a subject incredibly familiar to Blackshaw to its basic elements through muted tones and loose brushwork. His ability to capture equine subjects was testament to his first-hand interaction and knowledge of the animals. Lot 10 is refined in all senses, from composition, to colour, to tone, yet still conveys Blackshaw’s great awareness for the subject in order to form three horses and riders out of minimalism. In 1964, from when this painting dates, the Arts Council held a solo exhibition of his work followed by a mid-career retrospective in 1974.
Like equestrian scenes, Cockerel (Lot 43) would become a subject often returned to by Blackshaw. Described by Kenneth Jamison animals ‘have provided abiding and recurrent themes for this artist, both as subjects in their own right and as extensions of the human condition’. Scenes of animals were translated to subjects of humanity for Blackshaw, a reflection of his upbringing and personal heritage. In Lot 43, this sense of an internal struggle is particularly apparent through clashing lines of colour and staccato brushstrokes evoking tension and movement. Rather than simply achieving representation, Blackshaw transcends typical animal scenes to create an emotive expression of character and vitality. These paintings by Blackshaw each reflect a personal connection to the depicted subject which shaped his ability to effectively capture more than representation, but rather an ephemeral quality or sense of a place.
On the Road to Clough (Lot 26) is dated 1956, this was painted only a few years after Blackshaw graduated from the Belfast College of Art. This was the same year his second ever one-man exhibition was held at the Council for Encouragement of Music and the Arts Gallery. During college, Blackshaw travelled to Paris and London, seeing first-hand masterpieces of European modernism which would provide great impact during the formative years of the artist’s career. The influence of Cezanne particularly was highlighted in John Hewitt’s essay, Portrait of a Young Man as the Artist, published in 1956. In Lot 26, the vivid colour palette captures a rich sunlight across which speaks to the French landscapes of Cezanne or Van Gogh. A simplification of forms in the distant farm buildings and loose, unpredictable hedgerows demonstrate Blackshaw’s ability to interact with his influences for his own purpose. In this instance, he transforms characteristics of the Impressionists for a local Irish context.
In comparison to On the Road to Clough, Racehorses Exercising (Lot 10) refines a subject incredibly familiar to Blackshaw to its basic elements through muted tones and loose brushwork. His ability to capture equine subjects was testament to his first-hand interaction and knowledge of the animals. Lot 10 is refined in all senses, from composition, to colour, to tone, yet still conveys Blackshaw’s great awareness for the subject in order to form three horses and riders out of minimalism. In 1964, from when this painting dates, the Arts Council held a solo exhibition of his work followed by a mid-career retrospective in 1974.
Like equestrian scenes, Cockerel (Lot 43) would become a subject often returned to by Blackshaw. Described by Kenneth Jamison animals ‘have provided abiding and recurrent themes for this artist, both as subjects in their own right and as extensions of the human condition’. Scenes of animals were translated to subjects of humanity for Blackshaw, a reflection of his upbringing and personal heritage. In Lot 43, this sense of an internal struggle is particularly apparent through clashing lines of colour and staccato brushstrokes evoking tension and movement. Rather than simply achieving representation, Blackshaw transcends typical animal scenes to create an emotive expression of character and vitality. These paintings by Blackshaw each reflect a personal connection to the depicted subject which shaped his ability to effectively capture more than representation, but rather an ephemeral quality or sense of a place.
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