Gifts
Derek Carruthers (1935 2021),
Hertfordshire , United Kingdom
£2,100 per item
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Item details
Height
127.0 cm
Width
95.0 cm
Depth
5.0 cm
Wear conditions
Good
Wear conditions
Excellent
Shows little to no signs of wear and tear.
Good
May show slight traces of use in keeping with age. Most vintage and antique items fit into this condition.
Average
Likely to show signs of some light scratching and ageing but still remains in a fair condition.
Apparent Wear and Tear
Visible signs of previous use including scratches, chips or stains.
Please refer to condition report, images or make a seller enquiry for additional information.
Description
Derek Carruthers (1935-2021).
A large original oil on canvas with lay figures. Carruthers said of his ‘lay figures’ they should be seen ”as symbols or metaphors of the human condition, their neutrality – faceless, ageless and without race, gender or colour”.
Housed in a substantial black painted wooden frame.
Monogrammed to the bottom right ‘DC’ and signed and dated to verso ‘Derek Carruthers Aug-Sept 2010′.
Approx dimensions inc frame: H:127cm W:95cm D:5cm
BIOGRAPHY:
Carruthers grew up in the north-west of England having been born in Penrith, and one of his earliest memories of what art might be was formed by his encounter with the extraordinary creations of Kurt Schwitters. The latter had fled Germany in 1937, after his art had been labelled ‘degenerate’. He stayed, first, in Norway and then arrived in Britain in 1940. Carruthers had already encountered Schwitters’ work as a boy, and had been launched on his own life-long examination of the nature of art.
Carruthers was further inspired by Victor Pasmore and Hamilton (British Constructivists) who were working closely together at King’s College London and eventually offered a challenging course to all first year students. Thus, Carruthers – who was at King’s in 1953 to 1957 was encouraged to take a rigorous approach to probing abstraction, spatial relationships, and the interlinking of art and architecture.
Having had the good fortune to have been an art student at such a time and in such a place, it is not surprising that Carruthers embarked on a voyage of artistic discovery. He showed his works with the major touring exhibition, organised by the Arts Council, in 1963, ‘Construction England’, together with Pasmore and Mary and Kenneth Martin.
His work was also included in exhibitions of new art at the Drian Galleries, Porchester Place, in 1963 to 1965. Reflecting the more recent re-examination of post-War, British Constructivism, Carruthers’ work was also included in the 1992 show, ‘British Abstract Art of the 50s and 60s’, held at the Belgrave Gallery. This early work, in which solid or relief forms change their nature as they – or the viewers – move through space and time, deliberately challenges the human tendency to find comfort in regarding the world as fixed and knowable.
In these years, too, Carruthers taught at Sunderland and Leicester Colleges of Art, before moving to lead the Fine Art course, as a Professor, at Trent Polytechnic (now the Nottingham Trent University). He was a dedicated educator, leaving to pursue his own art, full time, only in the mid 1980s.
Inspired, perhaps, by this freedom, the 1980s saw Carruthers exploring new ideas. He turned from working in 3-dimensions, or collage and relief, and rediscovered the power of traditional materials, oil and watercolour, on canvas and paper. He moved away from Non-Objectivity towards a practice which explored both abstracted and figurative imagery. Throughout, he remained preoccupied with exploring the human condition: by this trite remark, we mean that he continued to question how each individual experiences the world; he explored the ways in which human beings create totems to make their mark, as if to claim immortality; he tries to, ‘symbolise the triangular relationship between humankind and religion and the art / architecture which it inspires’. Hence – as well as warm glimpses of holidays and home life – his work yields the Egyptian pyramid, the Graeco-Roman heroic figure, the Christian monument; and, ultimately, the ‘sexless, ageless, raceless anonymity’ of the artist’s lay figure.
Condition report:
Scuffs and marks to frame. Small loses of paint particularly to top right hand side.
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Estimated delivery time
One to two weeks
Free collection available
No
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- Selling at Vinterior since 2021
- 115 sales
- Ships from Hertfordshire , United Kingdom
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Cancellations and Returns
Last updated: 17th October 2024
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