Norman Stevens ARA
Selected Prints
26 Feb - 25 May 2014
Norman Stevens ARA
Levens Hall Garden, 1985.
Screenprint. Private collection © Estate of the artist.
Levens Hall Garden, 1985.
Screenprint. Private collection © Estate of the artist.
Norman Stevens ARA
Clapboard House with Fronds and Architectural French Curve, 1974.
etching and aquatint. Private collection © Estate of the artist.
Clapboard House with Fronds and Architectural French Curve, 1974.
etching and aquatint. Private collection © Estate of the artist.
Norman Stevens ARA
Morning, 1973
etching, aquatint and mezzotint. Private collection © Estate of the artist.
Morning, 1973
etching, aquatint and mezzotint. Private collection © Estate of the artist.
Norman Stevens ARA
Black Walnut Tree, 21st October 1987, 1988.
Screenprint. Private collection © Estate of the artist
Black Walnut Tree, 21st October 1987, 1988.
Screenprint. Private collection © Estate of the artist
Norman Stevens ARA
Construction Company, 1983.
screenprint. Private collection © Estate of the artist.
Construction Company, 1983.
screenprint. Private collection © Estate of the artist.
Norman Stevens ARA
The Stilt Garden, Hidcote, 1981.
etching and aquatint. Private collection © Estate of the artist.
The Stilt Garden, Hidcote, 1981.
etching and aquatint. Private collection © Estate of the artist.
Norman Stevens ARA
Painswick, Moonlight, 1979.
Etching and aquatint. Private collection © Estate of the artist.
Painswick, Moonlight, 1979.
Etching and aquatint. Private collection © Estate of the artist.
Norman Stevens ARA
The Fox, Knighsthayes, 1982.
etching and aquatint. Private collection © Estate of the artist
The Fox, Knighsthayes, 1982.
etching and aquatint. Private collection © Estate of the artist
Norman Stevens ARA
Stonehenge: Homage to John Constable, 1976.
hand-coloured etching. Redfern Gallery © Estate of the artist.
Stonehenge: Homage to John Constable, 1976.
hand-coloured etching. Redfern Gallery © Estate of the artist.
NORMAN STEVENS ARA
Selected Prints
26 February — 25 May 2014
We present works by master printmaker Norman Stevens exploring the landscape and built environment.
This spring we present the much admired prints of Norman Stevens ARA, an artist who originally trained as a painter alongside John Loker, David Hockney RA and David Oxtoby in the 1950s at Bradford College of Art.
A master of the medium, Stevens taught himself printmaking in the early 1970s and in the process, found an art form that perfectly suited his meticulous and subtle approach. Exploring the landscape and built environment, his prints make use of colour, light and shade to powerful and often haunting effect. Human presence is always suggested but never shown, a quality that the art critic, William Packer, has likened to a ‘game of hide-and-seek with the real world’.
At the heart of the exhibition are important groups of prints including Stevens’ depictions of Venetian blinds and ‘clapboard’ houses, his distinctive images of Stonehenge and his captivating views of English formal gardens. From his first black and white etchings to the large-scale prints he produced in the 1980s, discover the work of an artist who developed an international reputation for his technically brilliant and beguiling prints.
Selected Prints
26 February — 25 May 2014
We present works by master printmaker Norman Stevens exploring the landscape and built environment.
This spring we present the much admired prints of Norman Stevens ARA, an artist who originally trained as a painter alongside John Loker, David Hockney RA and David Oxtoby in the 1950s at Bradford College of Art.
A master of the medium, Stevens taught himself printmaking in the early 1970s and in the process, found an art form that perfectly suited his meticulous and subtle approach. Exploring the landscape and built environment, his prints make use of colour, light and shade to powerful and often haunting effect. Human presence is always suggested but never shown, a quality that the art critic, William Packer, has likened to a ‘game of hide-and-seek with the real world’.
At the heart of the exhibition are important groups of prints including Stevens’ depictions of Venetian blinds and ‘clapboard’ houses, his distinctive images of Stonehenge and his captivating views of English formal gardens. From his first black and white etchings to the large-scale prints he produced in the 1980s, discover the work of an artist who developed an international reputation for his technically brilliant and beguiling prints.