Sutherland’s travelling to the South of France and his return to Pembrokeshire in later years inspired his mature style to lead back to an intimate portrayal of landscape. This lead to some large commissions, including completing designs for Coventry Cathedral Tapestry ‘Christ in Glory in the Tetramorph’ between 1954-7 and a portrait of Winston Churchill. He then went on to be appointed as an official war artist from 1941-4, which helped to solidify his established international reputation. Sutherland also demonstrated an affinity with the Surrealist movement, taking part in the Surrealist Exhibition in London in 1936. Both artists touch on a wide range of themes including religion, landscape, figures and other natural forms, whilst offering a profound psychological insight in their paintings. Sutherlands major portrait commission of Sir Winston Churchill in 1954 was. In 1954, Lady Churchill viewed the completed portrait and took a photo to show her husband. Throughout the process, Sutherland was reluctant to show Churchill the progression on his painting. Artist Graham Vivian Sutherland (1903-1980), Painter. Graham Sutherland was an English artist known for his work in prints, glass. Sutherland made multiple sketches focusing on Churchill’s features, especially his face, hands and solid body. Although this friendship is often purely viewed as imparting a huge influence on Sutherland’s work, in actual fact the friendship facilitated a symbiotic exchange of influences between the artists. (403 mm x 305 mm) Given by the artist's widow, Mrs Graham Sutherland, 1980 Primary Collection NPG 5331 Sitter Sir Winston Leonard Spencer Churchill (1874-1965), Prime Minister. It was around this time that Sutherland befriended Francis Bacon. has led me to the discovery of these photos of artist Graham Sutherland in the process of painting the infamous portrait of Winston Churchill in 1954. He then went on to teach both illustration and etching at Chelsea School of Art in 1926.Īlthough these practices continued to influence a structural and gestural basis in his work, the mid 1930’s marked Sutherlands point of departure from these printing techniques and his practice shifted into the realm of painting. It was in 1921 that Sutherland persuaded his parents to let him study art, entering Goldsmith’s College of art he chose to specialise in etching and engraving. Born in 1903 in London, Sutherland was educated at Epsom College, where he began to explore his passion for art but was encouraged by his parents to take up an engineering apprenticeship once he left.
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