Michael Perton ((1935–1996))

Vertical Horizontal Oblique, 1971

£2,500.00

SKU: 11988
Oil on canvas
Presentation:
framed

Size:
Height – 122.75cm x Width – 121.5cm

1 in stock

DESCRIPTION

Provenance:
The Artist’s Studio

In the 1970’s, Perton’s work became more graphic and controlled the canvas gridded up onto which marks were notated, stencilled or collaged. 

“Working initially with wax pencil and straight-edge, I made several large paintings, using as a starting point, grids of fabrication like those used in blueprints for city planning and layout. Measurement was important to me. Various ready-made sizes of Sellotape and prior cut stencils provided me with a limited means of repeatability where appropriate.”

This technique developed into a sophisticated and elegant series of large works in the late 70’s using observational line drawings he referred to as drawing notes. To retain the original sensual quality of the drawn line, the drawings were photocopied onto transparencies, enlarged in the process, and projected onto the gridded-up canvas using an epidiascope, which further allowed for scaling the image. He felt this process, in addition to collage and direct painting onto the canvas, let more feeling come into the works.

Many thanks to Janni and Miles Visman.

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THE ARTIST

Michael
Perton
(1935–1996)

Michael Perton’s works are in the public collections of the Arts Council of Great Britain and The Hunterian, University of Glasgow and in numerous private collections.

In 2018, ‘Free Composition (Item 13)’ from the Arts Council collection was selected for inclusion in the exhibition ‘Post-Pop. Beyond the commonplace’ shown at the Calouste Gulbenkian Museum, Lisbon.

Born in London, he studied at Regent Street Polytechnic School of Art, which during his time there (1956-1959) became Chelsea School of Art. His tutors included luminaries Leon Kosoff and Frank Auerbach. His fellow students were Frank Bowling and Patrick Caulfield.

As a gradate he was awarded a number of Scholarships which allowed him to study in Berlin and Munich, where he was artist in residence.

In 1964 he was in the Young Contemporaries. In the same year he won the Chelsea Prize. He had a solo show at the Whitechapel in 1972. His work was selected for the Hayward Annual in 1976. And in 1981 he was described in an appraisal in the Arts Review as an ‘up and coming artist’.

As a group exhibitor he was in numerous shows, including The John Moores Liverpool Exhibition and the Royal Academy Summer Show.

He taught at the Waltham Forest School of Art/ North East London Polytechnic alongside Derek Boshier.

A driven, passionate, and ambitious artist, his early painting was figurative, then semi figurative, moving to abstract, becoming graphic and controlled: the canvas gridded up onto which marks were notated, stencilled or collaged. This technique developed into a sophisticated and elegant series of large works in the late 70’s. All works originated as drawings that were scaled up; he drew constantly. In the 80’s and 90’s, his interest in mediation became his lens. He began to paint directly onto canvas without preparatory drawings. The marks were looser, more dynamic with larger brush strokes. Curves and circles replaced the angular aspects of his earlier abstract works but the painting still had considered composition.

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Michael Perton ((1935–1996))

Self Portrait at Easel, 1959

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Abstract – Summer Day I, c.1965

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Four Black Cats Eating, c.1964

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Life Class, 1965

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Michael Perton ((1935–1996))

Woman In Garden III, 1966
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Michael Perton ((1935–1996))

Woman In Garden I, 1966

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Woman in Garden IV, 1966

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Michael Perton ((1935–1996))

Experiment with Spray Gun, 1971

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Arrow on Dark Blue, 1975

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Michael Perton ((1935–1996))

Vertical Horizontal Oblique, 1971

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Michael Perton ((1935–1996))

Earth Movements, 1989/90

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Michael Perton ((1935–1996))

Black Circles on Grey, c. 1960’s

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Michael Perton ((1935–1996))

Diamond on Grey, 1976

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Michael Perton ((1935–1996))

Koan 22, 1994

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Michael Perton ((1935–1996))

Tao, 1992

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