| 词条 | Draft:Phillip Martin |
| 释义 |
Phillip Martin 1927-2014, was a visionary painter, using collage, calligraphy and spontaneous gestures in his works, his oeuvre is constant with the use of primitive and universal symbols. Contents 1 Early life, UK and Ireland 2 France and Italy 3 Move to India 4 Later life-Australia 5 Solo Exhibitions 6 Reviews Early life, UK and Ireland[edit] Born in 1927, in East Anglia, from an Irish family, son of a bank director. He attended Felsted Public school, for ten years.1938-48 Served three years in the British navy. In the summer of 1948 he entered the Franciscan brotherhood as a lay brother. Left the order because of differences in philosophy and devoted himself to painting. Wandering about and lived with the poor in London. Painted for a time in the cellar of a municipal lodging-house. Two sojourn in the Abbey Art Center ( London )1949-1950 where he commenced painting. He was greatly encouraged on the way by scottish painter Alan Davie. Phillip Martin meet Irish painter Helen Marshall ( 1908-1996 ). Phillip Martin early works are influenced by Kurt Schwitters, Max Ersnt, Jackson Pollock and Hans Arp. France and Italy[edit] Phillip Martin and his wife Helen Marshall meet Peggy Guggenheim . From 1953 to 1956 Phillip works in Positano, Ischia and Florence, where he met the surrealist artist Matta.He also met Andre Masson in Aix en provence. This was followed by a period in Mallorca, Alicante and Ibiza from 1958-60 Move to India[edit] Phillip Martin and his family moved to india, 1962-1969 and setlle in the Sri Aurobindo ashram , near Pondicherry. Phillip is confronted with archaic symbols, that was already in his panoply of reference. period of precursors, pushpakas, collage on Indian cloth, relief in wood, metal, cloth. Later life-Australia[edit] Return to Australia in 1975, keep on exhibiting and work in his Glebe house until the very last day. Solo Exhibitions[edit] 1951 Galleria Numero, Florence, Italy 1952 Galerie Les Mages, Venice,Italy 1953 Kunsthalle, Bern. With Helen Marshall and Viera da Silvia. Switzerland 1955 Galerie Pierre Matisse , NYC, USA Galeria Naviglio, Milan, Italy Galeria Schneider, Roma, Italy 1958 Galerie du Dragon Paris, France 1960 Galeria La Bussola, Torino, Italy Galeria del cavallino, Venice, Italy 1961 Gallery Fiegen, Chicago, USA 1963 Galerie Legendre, Paris, France 1965 Galerie Legendre, Paris, France 1966 Palais des Beaux Arts, Brussels. Retrospective with Helen Marshall Galerie Kontact, Anvers 1967 Retrospective. Kunsthalle, Basel. Switzerland 1968 Galerie Legendre, Paris, France 1968 Galerie Jehangir , Bombay, India 1969 Holdworth Galleries, Sydney, Australia 1970 Tolarno Gallery, Melbourne, Australia 1971 Galeria Naviglio, Milan, Italy 1972 Galleria Gissi, Turin, Italy 1976 Galleria San Luca, Bologna, Italy ( with Helen Marshall ) Galerie du Dragon, Paris, France 1977 Galleria Gastaldelli, Milan, Italy 1980 Galerie Gammel Strand, Copenhagen Art of Man Gallery, Sydney, Australia 1981 Affiches 1951-1980. Galerie Borgogna, Milan, Italy 1885 Placards and Ballads, Australia 1980-1985. Irving Sculpture Gallery, Sydney, Australia 1987 Richard King Gallery, Sydney, Australia, Galerie Jean Claude Riedel . Paris, France. 1988 Coventry, Sydney, Australia 1989 Sign boards for survivors. Galerie Jean Claude Riedel. Paris, France, Cibeal Arts festival, with Louis le Brocquy. Ireland 1990 Coventry, Sydney, Australia 1992 Quarante ans d’affiches. Galerie Jean Claude Riedel. Paris France. 2001 Polly Curtin Gallery, Sydney, Australia. Reviews[edit] Ce funambule pantheiste, ce baroque peut paraitre anachronique. Mais c’est justement en cela qu’il est “autre”. Phillip Martin- Au seuil du labyrinthe. Michel Ragon Galerie des Arts mars 1963 La peinture de Phillip Martin, mi-naïve, mi mystique, evoque en de savant et envoutantes constructions, un univers ou les symbols chretiens retrouve tout la force de leur origine tellurique. Jean- Francois Chabrun. L’express 9 March 1961 Art delirant, onirique, comme pratiqué en etat d’hypnose ou de voyance, l’art de PHILLIP MARTIN, semble le resutat de l’exarcerbation des facultés d’interpretation. Denys Chevallier L’observateur march 1961. Au terme d’une mysterieuse commutation, cette alchimie des signes se transforme en trés pure joie de peindre. Pierre Restany- Cimaise Mai- Juin 1961 The tree, the human profile, the humblest fragment of creation all have right of way in this work, the freshness, simplicity and poetical truth of which touch our hearts , far from all the intellectual intreaties which in this event would be truly superfluous Gérald Gassiot-Talabot- CIMAISE march 1963 References |
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