Dr Robert Bohanさんのプロフィール画像

Dr Robert Bohanさんのイラストまとめ


Irish contemporary artist, doctor of science & history, statistician | #Art | Drawing & Painting | He/Him | Buy here: robbohan.etsy.com
robertbohan.com

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By 1956 his alcoholism was out of control & his mental health suffered to the point where he took his own life in his Chelsea home on 20th January 1957, aged just 40. Kevin Maybury (oil & drawing study, 1956), Maybury & the Spanish Boy, 1956) & Self-Portrait (1953)

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He exhibited regularly in one man shows from 1949-56. The Entombment (nd), Landscape near Kingston, Jamaica (1950), Horseguards in their Dressing Rooms at Whitehall (1953) & London’s River (1951)

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Minton travelled widely including to Spain (1948 & 1954), The West Indies (1950) & Morocco (1952). Portuguese Canon, Morocco (1953), Jamaican Market (1951), David Tindle (c1952) & Norman Bowler (1952)

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Minton was a keen educationalist & taught at various art schools including the Royal College (1948-56). Road to Valencia (1949), Two Fishermen (1949), Fishermen (1949) & Matador (1949)

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In 1942 he was given a show at the Leicester Gallery in London. The Hop Pickers (1945), Two Fishermen (1944), Weathercote Cave (1944) & Landscape (1944). His art was deeply personal & creative.

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During WWII he painted & drew many scenes of England & what was being fought for. He first registered as a conscientious objector but then joined up - & ended up being too ill to serve. The Kite (1940), On the Quay, Cornwall (c1944) & Coleman’s Heath (1942)

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Blitzed City with Self-Portrait (1941) & Bomb Damage, Poplar (1941) have a desolate beauty & sense of loss. The latter resembles a wood grain finish. He presents himself as an anti-hero mourning the losses.

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The palette of Urban Romanticism with its acid colours was dark & a harbinger of the war years. The Ship (1937), Myra Davis (1940), Bombed Building, Poplar (1941) & Wapping (1941)

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His final self-portrait is a fascinating image where he painted light with a profound honesty. Pictures like this suggest that where he painted reality he could do so with great power. Self-Portrait (1898-9), Nessus & Deianeira (1898)

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In his final years he remained true to his theme. Odysseus & Polyphemus (1896), La Caccia di Diana (1896), Pan & Dryads (1897) & the Chapel (1898)

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