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PAPER is easily and variously marked. Charcoal and chalk scuff, smudge or slice; pen and ink dash, hatch and stipple; areas of colour shimmer in pastel, glow in gouache or wash in thinned oil paint. Each combination of these media serves a different need. The drawings, works on paper and graphic art in this display show the many reasons why artists have been drawn to paper. These works map out a trajectory of different styles and practices in the long twentieth century. For Degas, Sickert and Vuillard at the end of the nineteenth century and the beginning of the twentieth, charcoal and chalk helped to suggest effects of light and movement. In 1930s Paris, Alexander Calder forged a new world of abstraction in saturated gouache and cosmic scribbles of pen and ink. In post-war London, Auerbach, Freud and Kossoff sought new ways to create the human figure in media ranging from charcoal to pastel. Most recently, in the early twenty-first century, Jenny Saville has revisited Leonardo’s brand of disegno, finding significance in layered charcoal drawings of herself and her young son.
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WORKS
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Alexander Calder
Untitled, 1932 Gouache and india ink
58 x 78 cm
22 7/8 x 30 3/4 in -
Barbara Hepworth
Reclining Figures, 1952 Pencil, oil and oil wash on board
22.9 x 83.8 cm
9 x 33 in
Framed: 39 x 97 cm -
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Frank Auerbach
Reclining Nude, 1954 Charcoal on paper
48.3 x 57.1 cm
19 x 22 1/2 in -
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Pablo Picasso
Profils et Têtes, 1967 India ink on paper, affixed to a mount
37.2 x 52.7 cm
14 5/8 x 20 3/4 in -
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David Bomberg
Ronda El Barrio, San Francisco, 1954 Charcoal on paper
46.4 x 61 cm
18 1/4 x 24 in -
Howard Hodgkin
Window (Indian Leaves), 1978 Indian textile dyes on paper
71 x 91 cm
28 x 35 7/8 in -
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Drawn to Paper : 2021
Past viewing_room