Graham Sutherland is perhaps one of the most underappreciated men in 20th Century British art. During his later life, Sutherland produced a selection of abstract paintings on the theme of natural forms which are distinctive and highly captivating. Read on for a short biography and in-depth analysis of two of his most famous abstract pieces: ‘Insect’ and ‘Thorn Structure’.
Brief Biography of Graham Sutherland (1903 – 1980)
Graham Sutherland was born in Streatham near London. He worked as an engineer on a railroad until he went on to study art at Goldsmith’s College School of Art from 1920 to 1925. Sutherland was assigned as an official war painter during the Second World War when he met the artist Francis Bacon; they became firm friends.. Sutherland’s work consisted mainly of landscapes with elements of surrealism and painting abstract versions of natural forms. He had his work in many exhibitions during his lifetime
Graham Sutherland passed away in February 1980, in London. His work continues to be exhibited in galleries around the world.
Brief Analysis of ‘Insect’ (1963) by Graham Sutherland
Colour and shape seem to be the emphasis in Sutherland’s abstract piece ‘Insect’ (1963). He uses strong, vivid blocks of colour in this painting, most predominately red, yellow and green, which complement each other and form a confronting piece. The large, curved, green body provides a striking contrast with the thin, delicate lines to suggest the spindly legs of the insect.
Although this piece is abstract, the viewer is given hints of the insect’s anatomy; the texture created by the brushstrokes, especially the fine dots on the wing, creates variety and makes each part of the insect more distinguishable. The dark tones of black outline the sharpest parts of the insect and emphasise the contrasts of shape. The background is plain and filled with white space except for two large splashes of vibrant yellow in two opposite corners; both white and yellow serve to draw attention more to the green and red shades of the insect.
Brief Analysis of ‘Thorn Structure’ (1970) by Graham Sutherland
Graham Sutherland said of his visits to the country that he ‘began to notice thorn bushes and the structure of thorns, which pierced the air in all directions, their points establishing limits of aerial space’. He went on to say that a change took place whilst observing the thorns, and that ‘while preserving their normal life in space, the thorns rearranged themselves and became something else.’ ‘Thorn Structure’ (1970) is an example of work during this period of contemplation; the focus and emphasis of this piece is evidently on the intricate jigsaw and whirlwind of lines, brushstrokes and tones at the top of the structure.
At first glance, the scene seems realistically plausible. The colours Sutherland uses for each subject are bold and exaggerated, yet do not stray from their natural tones. The vivid orange and yellow background and the plain green and dark ground contrast the striking white and black (with the occasional splash of green) thorn structure which stands dominantly central in the piece and provides the only evidence of tonal variety. Focus is drawn upwards by the trunk of the structure and into the complex mass of overlapping branches and thorns – an intricate pattern or sharp-edged shapes and varied lines, which transfixes the viewer (as it no doubt did Sutherland) into a state of confusion and wonder at nature’s elaborate beauty. Sutherland’s aim for this piece was not to recreate what he could see before him, but present an interpretation of it which subsequently began to take a life of its own.
Sutherland’s abstract work on natural forms is intriguing and unique. The emphasis he puts on shape and lines is fascinating. It is no wonder that his art work is still internationally acclaimed.
Source:
Graham-Sutherland.com: Graham Sutherland Biography
