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Kenneth Rowntree
A Centenary Exhibition
Herausgeber: Moore-Gwyn, Harry; Llewellyn, Sacha; Liss, Paul
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Kenneth Rowntree has always been highly regarded by those familiar with his work. The essays in this catalog, which embrace new research and scholarship, reveal him to be an artist of great scope and variety. His early work reflects the inspiration and creative dialogue that came out of his friendship with Eric Ravilious (1903-1942) on account of whom Rowntree moved to Great Bardfield during the 1940s. During this period he was particularly preoccupied with Kenneth Clark''s Recording Britain project. At the end of the war he joined the teaching staff at the Royal College of Art. In 1951 he was...
Kenneth Rowntree has always been highly regarded by those familiar with his work. The essays in this catalog, which embrace new research and scholarship, reveal him to be an artist of great scope and variety. His early work reflects the inspiration and creative dialogue that came out of his friendship with Eric Ravilious (1903-1942) on account of whom Rowntree moved to Great Bardfield during the 1940s. During this period he was particularly preoccupied with Kenneth Clark''s Recording Britain project. At the end of the war he joined the teaching staff at the Royal College of Art. In 1951 he was commissioned to undertake murals for the Lion and Unicorn Pavilion for the Festival of Britain. As Professor of Fine Art in Newcastle (1959-1980) he was at the epicenter of an important northern school of modernism that revolved around his friends Victor Pasmore (1908-1988) and Richard Hamilton (1922-2011). Even in retirement, his work, in its return to figuration from abstraction, displays his consistent qualities of humor and inventiveness. Rowntree''s oeuvre is both influenced by and anticipates a wide variety of artistic styles, from Ravilious to David Hockney, from the Euston Road School to the Dadaism of Kurt Schwitters. His work, however, remains unmistakably his own. This catalogue is published on the occasion of the centenary of Rowntree''s birth, and accompanies exhibitions at The Fry Art Gallery, Saffron Walden and Pallant House, Chichester. This is the first substantial reassessment of Rowntree''s work since John Milner''s monograph (2002). It is hoped that this current initiative will contribute further to ensuring Rowntree the significant place he deserves within the history of 20th century British art.
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