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[No title]

MORRIS, Cedric

Mae'r wefan hon yn tynnu ar ddata casgliadau hŷn. Rydyn ni'n cydnabod y gall peth o'r wybodaeth fod wedi dyddio neu'n gwahaniaethu, ac yn gweithio i ddiweddaru ein cofnodion. Os oes gennych gwestiwn neu sylw ar ddarn o gelf, cysylltwch â ni.

Datganiad hawlfraint wedi'i ddarparu gan Amgueddfa Cymru

Manylion

Collection

Amgueddfa Cymru

Rhif yr Eitem

NMW A 2043

Creu/Cynhyrchu

1889-1982

Rôl: Artist

Derbyniad

Gift, 6/10/1933

Mesuriadau

Uchder (cm): 54.1

Lled (cm): 67.3

Uchder (in): 21

Lled (in): 26

h(cm) frame:70.0

h(cm)

w(in) frame:83.0

w(in)

d(cm) frame:5.0

d(cm)

Techneg

Canvas

Deunydd

Oil

Lleoliad

In store

Mwy

Tags

Rhannu

Mwy fel hyn

Amgueddfa Cymru

MORRIS, Cedric

(1936)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

MORRIS, Cedric

(1925)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

MORRIS, Cedric

(20th century)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

MORRIS, Cedric

(20th century)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

MORRIS, Cedric

(1933)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

Eglwys Stoke-by-Nayland

MORRIS, Cedric

(1940)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

O Ffenestr yn 45 Brook Street, Llundain W.1

MORRIS, Cedric

(1926)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

MORRIS, Cedric

(1919)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

NICHOLSON, Ben

(1940-1943)

© ystâd yr artist/DACS/Amgueddfa Cymru

Amgueddfa Cymru

NICHOLSON, Ben

(1967)

© Angela Verren Taunt. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

NICHOLSON, Ben

(1944-1945)

© Angela Verren Taunt. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

<p>Relief of cut pieces of wood glued to reverse of hardboard and painted. Depicts an abstracted face and bird (dove). In a Miro-esque style. Also stones and wooden sticks glued to surface and painted. The entire relief has been varnished.</p>

BYRD, Charles

© Charles Byrd/Amgueddfa Cymru

Amgueddfa Cymru

<p>Mae Cedric Morris wedi paentio ei bartner Arthur Lett-Haines mewn siwt a het fowler yn cerdded drwy ddinas ryfedd, ddychmygus. Roedd y ddau ar y pryd yn byw ac yn gweithio ym Mharis, a Cedric Morris (a fagwyd ger Abertawe) yn arbrofi â datblygiadau diweddaraf celf fodern.</p>

MORRIS, Cedric

(1923)

© Ystâd Cedric Morris. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

Vase of flowers on a pillar

GRANT, Duncan

(1913)

© Ystâd Duncan Grant. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

Yr Wyddfa o Lyn Nantlle

WILLIAMS, Kyffin

© Llyfrgell Genedlaethol Cymru / Amgueddfa Cymru

Amgueddfa Cymru

Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

SMITH, Jack

(1969)

Amgueddfa Cymru

STEELE, Jeffrey

© Jeffrey Steele Estate/Amgueddfa Cymru

Amgueddfa Cymru

CRABTREE, Jack

© Jack Crabtree/Amgueddfa Cymru

Amgueddfa Cymru

<p>Ganwyd John Elwyn yn ne Ceredigion a bu'r Gymru wledig, yn arbennig yr ardal o gwmpas Castell Newydd Emlyn, yn ysbrydoliaeth iddo yn ystod ei yrfa fel athro yn Lloegr. Roedd 'Bore Sul' yn un o ddau beintiad 'capel' o 1950, yn darlunio pobl yn eu dillad dydd Sul a'u siwtiau tywyll yn mynd i'r Capel neu'n dod oddi yno. Dangoswyd y ddau yn yr Eisteddfod Genedlaethol y flwyddyn honno. Roedd Elwyn yn un o nifer o beintwyr o'r 1950au y teimlid bod eu gwaith yn hygyrch ac yn unigryw Gymreig. Roedd 'Bore Sul' yn un o nifer o weithiau a brynwyd gan Gymdeithas Celfyddyd Gyfoes Cymru.</p>

ELWYN, John

(1916)

© Ystâd John Elwyn/Amgueddfa Cymru

Amgueddfa Cymru

Rydyn ni’n gweithio ar ryddhau’r ddelwedd hon.

<p>An abstract painting of form and colour, resembling the shapes of angels and people. Colour layering is the most important element in Morris' work. One colour is laid upon another in thin washes, sometimes in three layers, but each colour resonates through to the surface.</p> <p>The following is a quote from Mali Morris (Dec 2009):</p> <p>I painted Angel and People thirty years ago. Along with most of my paintings from that time, it was made flat on the floor, on unprimed canvas stretched across a solid board, and only later put onto a stretcher.</p> <p>There were many reasons for this way of painting. I wanted very fluid paint to stain large shapes directly into the fabric, and as thinning down oil paint dilutes colour saturation, I had by now changed to acrylic paint. Working flat meant that the flow of paint could be controlled more easily. </p> <p>I'm not exactly sure how the shapes came about. One or two because of something seen in the world, and others because I must have decided I needed a certain red, for example - which in turn would mean deciding how much of it there should be, how transparent or opaque, what kind of edges, where it should sit, how it might touch or cover other colours. I was fascinated - and still am - by how colour constructs light, which opens up the space in a painting. It's as if another world is being formed, and the way in which it happens, as the painting evolves, becomes almost a subject in itself. </p> <p>Working on the floor is physically different from working on a vertical canvas. The muscles of the whole body seem to do the drawing, and this animates the painting in unpredictable ways. There were always surprises when the painting was lifted upright, - good and bad ones. I spent more time looking at what I'd got so far and planning the next moves, than actually painting. I remember that time looking seemed slow, and time painting went quickly, and I hope that both those rhythms are somehow still visible.</p> <p>Painting on a board rather than a stretcher meant that the canvas could take more pressure, and I could, if necessary, walk right into the painting. The golden ground-colour was stained into the canvas first, and then left to dry. Everything else was painted on top of that, in two or three further stages. I started in the middle, moving out towards the edges, feeling my way visually across the expanding composition. The edges were the final thing I decided on, wanting two of them to be clear, with the other two, top and left, slicing into the thin black and yellow, just a little. The space in the painting seemed to need those two anchors.</p> <p>The three main forms are countered by the seven smaller ones, which act in varying ways as links, bridges, veils or appendages. The eye is moved about, across the shapes, and in and out of the painting's space, from colour to colour, and through colour. These rhythms swing and shift, and the relationships between the colours create a particular light. That is what fascinates me in painting - how such a flat, still thing can be luminous, how it can keep the eye moving and noticing all the tiny details, but all the time returning to the whole image.</p> <p>I title the paintings after they are finished, and try to find words to echo the ideas and sensations of the painting. The titles don't describe anything in a literal way, but are like clues. The idea for this one came from a friend who saw the painting in the studio. He described the left-hand form as having 'wings like an angel', I liked the different sounds made by the words 'angel' and 'people', almost a rhyme, and the pairing of the words proposed the idea of a conversation, or an appearance. </p> <p>Looking back, I can remember my painter-heroes of that time - Matisse, always returned to, lessons learned from him lasting a life-time, and Miro, whose work is serious and carefree in equal measure. The American painters I had been excited by as a student were Jackson Pollock, Helen Frankenthaler, Morris Louis, and Kenneth Noland. Closer to home, in the UK, I admired Roger Hilton, Gillian Ayres, Prunella Clough, Ian Stephenson, - and painters who had become friends, Jennifer Durrant, John McLean, and Geoff Rigden. I was to discover the work of Thomas Nozkowski, Mary Heilmann, Bernard Frize, many others, - but that would be later.</p> <p>There have been many changes in how I work, since 1979, but seeing this painting again makes me realize what has been constant. It's difficult to put into words, because it is to do with what is peculiar to painting - how it seems a never-ending involvement, to make something appear and then to find out as you go along what it means to you, what has become familiar, what to discard, what to keep searching for. It's an on-going fascination with painting as visual language and expression, its evolution, its possibilities, its difficulties and its pleasures.</p> <p>Mali Morris December 2009</p> <p>Angel and People 1979 180 x 171 cms acrylic on canvas </p> <p>The painting was made flat, so that I could work with fluid acrylics, staining intense colour directly into the canvas. Unlike oil paint, acrylic keeps its colour saturation when diluted. I worked from the centre out, feeling my way visually towards the edges. </p> <p>I give titles to paintings when they are finished. This one was suggested by a friend's comment: 'That shape has wings like an angel'. The almost-rhyming words 'angel' and 'people' implied a conversation, or an appearance, - both are ideas I link with painting.</p> <p>I am fascinated by how pictorial space seems always on the move, and how the light in paintings is so particular, constructed by colour. And yet paintings are material things, flat, and still. How to negotiate these contradictions, how to use this visual language, and discover what it can do and say, is, I think, what challenges me, and keeps me searching.</p> <p>Mali Morris December 2009</p>

MORRIS, Mali

(1978)