Eric Ravilious (1903–1942)
Auteur de High Street
A propos de l'auteur
Œuvres de Eric Ravilious
Eric Ravilious, 1903-42: A re-assessment of his life and work [Towner Art Gallery exhibition catalogue] (1986) 8 exemplaires
Notes on the wood-engravings of Eric Ravilious, (Ariel books on the arts) (1946) — Illustrateur — 5 exemplaires
Ravilious at War - The complete work of Eric Ravilious, September 1939-September 1942 (2002) 4 exemplaires
Almanack 1929; 1 exemplaire
Ravilious for Curwen: A Glimpse of Joy from 1933 1 exemplaire
Oeuvres associées
British birds and their books : catalogue of an exhibition arranged for the National Book League (1952) — Illustrateur — 2 exemplaires
Étiqueté
Partage des connaissances
- Nom légal
- Ravilious, Eric William
- Date de naissance
- 1903-07-22
- Date de décès
- 1942-09-02
- Sexe
- male
- Nationalité
- England
- Lieu de naissance
- Acton, London, England, UK
- Lieu du décès
- At sea (plane crash off Iceland)
- Cause du décès
- aeroplane crash
- Professions
- artist
war artist - Relations
- Garwood, Tirzah (wife|1930-1942)
Ravilious, James (son)
Membres
Critiques
Listes
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Statistiques
- Œuvres
- 16
- Aussi par
- 5
- Membres
- 178
- Popularité
- #120,889
- Évaluation
- 3.9
- Critiques
- 3
- ISBN
- 15
The text is interesting, providing some historical and biographical background, but concentrating on the art, and it is the numerous illustrations that make this book worthwhile.
Reading a whole book about Ravilious hasn’t been an artistic revelation, as I have already seen illustrations of what I still consider to be the most memorable and impactful works. However the author has done an excellent job of showing the different mediums in which Ravilious worked, woodcuts and watercolours are expected, but there are also murals (now mainly lost), designs for Wedgewood Potteries, fabric designs and even furniture.
For me, Ravilious’ most engaging picture is the watercolour Train Landscape from 1939, with the chalk Westbury Horse seen through a railway carriage window. It surprised me to realise that the picture only measures about 44cm x 55cm. However seeing illustrations of so much work by Ravilious, the consistent emotional detachment of the art became very evident as you are exposed to the repeated absence or simplification of human figures. But this detachment can also create a nostalgic, timeless quality, even when the landscape is anchored with contemporary (now historical) objects.
A 2013 Guardian review which I think captures something of what I feel:
[Ravilious] remains the artist of the empty landscape and the uninhabited room, of a transient period in national life when the old and the new could still, just, be reconciled – even if he did have to create a parallel imaginative reality in which to do it.… (plus d'informations)