What to see this week: prints

Country Life Every Week - - Athena -

‘Linocut Lives On’ watts­gallery.org.uk) Linocuts by nine con­tem­po­rary artists are joined by works of three 20th-cen­tury masters of the genre— Robert Tavener ( Three Horse­guards, St James’s Palace, above), Ed­ward Baw­den and Ru­pert Shep­hard. Co-cu­rated by de­signer Cath Kid­ston and gallery owner Gwen Hughes, the show cel­e­brates the graphic qual­i­ties of the linocut, whether bold and colour­ful or whim­si­cal and po­etic, and is ap­pro­pri­ately based in the thriv­ing Arts-and-crafts en­clave es­tab­lished at Comp­ton more than a cen­tury ago. All works are for sale. at Watts Gallery Artists’ Vil­lage, Comp­ton, Sur­rey un­til Oc­to­ber 9 ( 01483 810235; www. ‘Pi­casso Linocuts from the Bri­tish Mu­seum’ at the Lady Lever Art Gallery, Port Sun­light, Wir­ral un­til Jan­uary 8, 2017 (0151–478 4136; www.liv­er­pool­mu­se­ums. org.uk/la­dylever) A prodi­gious print-maker, Pi­casso in­spired Bri­tain's golden age of linocut. To­wards the end of his life, he de­vel­oped his own in­no­va­tive linocut-mak­ing tech­nique, with re­sults that can be seen here in three sets with a strong fo­cus on the fig­ure.

‘To watch the corn grow and the blos­soms set: The Art of Claughton Pellew’ at Nor­wich Cas­tle Mu­seum & Art Gallery, Nor­wich, un­til Jan­uary 15, 2017 ( 01603 495897; www.mu­se­ums.nor­folk.gov.uk) This ex­hi­bi­tion ex­plores the ex­tra­or­di­nary ef­fects Pellew (1890–1966) achieved in en­grav­ing, draw­ing and paint­ing and how the Nor­folk land­scape per­me­ates his work. The lit­tle-known artist stud­ied at the Slade and mixed in an avant-garde cir­cle. Among those in­flu­enced by his po­etic de­pic­tion of Na­ture and ru­ral life was Paul Nash.

‘Un­mak­ing the Modern; the work of Stan­ley An­der­son RA 1884–1966’ at Thame Mu­seum, 79, High Street, Thame, Ox­ford­shire ( 01844 212801; www. thames­mu­seum.org) An ex­hi­bi­tion of works by the painter-print­maker who is best known for his work de­pict­ing Eng­land’s dis­ap­pear­ing ru­ral crafts, ac­tiv­i­ties that nur­tured ‘con­ti­nu­ity and har­mony of spirit’ as op­posed to what he saw as the spir­i­tual empti­ness of Modernism.

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