Eliot Hodgkin. Howard Hodgkin.

Eliot Hodgkin (19 June 1905 – 30 May 1987) was an English painter and collector.

the abstract painter Howard Hodgkin (1932–2017) was his cousin.)(我介紹過他：147 紀念Howard Hodgkin 漢清講堂 2017-03-18

https://www.youtube.com/watch?v=3iV0DSTw584&t=5s_

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'What I want to paint are the things that have been seen so often that people no longer notice them.' - Eliot Hodgkin

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​ Hodgkin painted nature in London during his days off while serving as an air-raid warden in 1941. https://bit.ly/3aIzTqA

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147 紀念Howard Hodgkin 漢清講堂 2017-03-18

紀念Howard Hodgkin (1932-2017) 【漢清講堂】 2017.3.18 心得分享與討論會 日期：2017年3月18日(周末)， 地址：台北市新生南路三段88號2樓 電話：（02） 23650127 參與者：林義正、蘇錦坤、羅文森、鍾漢清 http://www.studiointernation...

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'What I want to paint are the things that have been seen so often that people no longer notice them.' - Eliot Hodgkin

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​ Hodgkin painted nature in London during his days off while serving as an air-raid warden in 1941. https://bit.ly/3aIzTqA

CATALOGUE ENTRY

N05558 UNDERGROWTH 1941

Inscr. ‘Eliot Hodgkin’ b.r.
Tempera on canvas, 16 1/4×14 1/2 (41×37).
Chantrey Purchase from the artist 1943.
Exh: R.A., 1943 (584).
Lit: Maxwell Armfield, ‘Eliot Hodgkin: Painter in Tempera’ in Studio, CXXXIV, 1947, p.39, repr. p.37 (in colour).

Painted in London in 1941 during the artist's ‘days off’ while serving as an air-raid warden, from drawings of plants and flowers made near Purley, Berkshire. He began painting in tempera in 1937 and this was the eighth tempera painting he did (letter of 31 October 1957).

The artist wrote in the R.W.S. catalogue, 1946: ‘Why tempera? ...Because tempera enables me most nearly to achieve the effects I am aiming at. What I want to paint are the things that have been seen so often that people no longer notice them - or, if they are noticed, are no longer thought beautiful: such things as an old boot washed up by the tide, cabbages growing, a ruined room carpeted with snow, a tangle of weeds. I try to show these things exactly as they are, yet with some of their mystery and poetry, and as though seen for the first time. And it seems to me that, in trying to depict “a World in a grain of sand”, perhaps the best medium is tempera, because it combines clarity and definition with a certain feeling of remoteness.’

Published in:
Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, I