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Gwaith Celf Blaenorol Gwaith Celf Nesaf

abstract

SETCH, Terry

abstract

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 25823

Historical Associations

Association Type: Provenance

Creu/Cynhyrchu

b. 1936

Rôl: Artist

Derbyniad

Gift, 11/11/2002

Mesuriadau

h(cm) frame:202

h(cm)

w(cm) frame:230

w(cm)

Uchder (cm): 184

Lled (cm): 214

Dyfnder (cm): 3

Techneg

Acrylic on canvas

Techniques (fine art)

Art dept - fine

Fine Art - painting

Deunydd

Acrylic

Canvas

Lleoliad

In store

Mwy

Tags

Rhannu

Mwy fel hyn

Amgueddfa Cymru

<p>cloud shapes</p>

WILLIAMS, Kyffin

(1961)

© Llyfrgell Genedlaethol Cymru / Amgueddfa Cymru

Amgueddfa Cymru

STEELE, Jeffrey

(1974)

© Ystâd Jeffrey Steele/Amgueddfa Cymru

Amgueddfa Cymru

MALTHOUSE, Eric

(1955)

© Eric Malthouse/Amgueddfa Cymru

Amgueddfa Cymru

<p>Ganed y paentiwr a’r garddwr, Cedric Morris, yn Sgeti, Abertawe, ac astudiodd ym Mharis. Cyfarfu Morris â’i gydymaith oes, yr arlunydd Arthur Lett-Haines, ym 1918. Ym 1937, sefydlodd y ddau Ysgol Baentio ac Arlunio Dwyrain Anglia. Roedd eu disgyblion yn cynnwys Lucian Freud, a baentiodd y portread hwn o’i athro ym 1940. Cofiai Freud yn ddiweddarach: ‘Dysgodd Cedric fi i baentio ac, yn bwysicach oll, i ddal ati. Nid oedd yn dweud rhyw lawer, ond roedd yn gadael i mi ei wylio’n gweithio. Rwyf i bob amser wedi edmygu ei baentiadau a phopeth amdano’. </p> <p>Tynnodd Morris lun ei fyfyriwr hefyd yn yr un flwyddyn (Oriel Tate). Erbyn hyn, roedd potensial Freud yn cael ei gydnabod yn eang. Ar 7 Mawrth 1940, dywedodd yr Evening Standard fod ynddo'r 'addewid i fod yn baentiwr nodedig...deallus a llawn dychmyg, ag iddo synnwyr seicolegol greddfol yn hytrach na gwyddonol'.</p>

FREUD, Lucian

(1940)

© Ystâd Lucian Freud. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

JOHN, Augustus

© Ystâd yr artist. Cedwir Pob Hawl 224/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

KNAPP-FISHER, John

(1975)

© John Knapp-Fisher/Amgueddfa Cymru

Amgueddfa Cymru

<p>repeated images of landscape</p>

BOSHIER, Derek

(1975)

© Derek Boshier. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

<p>Un llun yw hwn o grŵp o bortreadau a gomisiynwyd gan y diwydiannwr Francis Crawshay yn y 1830au. Mae pob un o’r gweithwyr – dynion i gyd – yn grefftwyr a gwŷr di-grefft o weithfeydd dur Hirwaun a gweithfeydd tunplat Trefforest. Peth anghyffredin oedd i un o gewri diwydiant gomisiynu portreadau unigol o’i weithwyr, ond nid diwydiannwr cyffredin oedd Francis Crawshay. Adeiladodd fwthyn bychan i’w hun yn hytrach na byw ym mhlasty’r teulu, a doedd dim diddordeb ganddo yn arferion busnes y Crawshays: cwynai ei dad ei fod yn gwario arian fel y dŵr. Ef oedd unig siaradwr Cymraeg y teulu, a byddai’n fwy tebygol i chi ei weld yn rhannu sgwrs gyda’i weithwyr nag yn eu gorchymyn. Enw hoffus y gweithwyr amdano oedd ‘Mr Frank’. Ddechrau’r 1830au cymerodd Francis yr awennau yng Gweithfeydd Dur Hirwaun, a brynwyd gan ei dad ym 1819, a’r gweithfeydd tunplat newydd yn Nhrefforest. Comisiynwyd portreadau’r gweithwyr oddeutu 1835, ac maent wedi’u priodoli i’r artist teithiol W J Chapman. Arhosodd y set ym meddiant y teulu Crawshay drwy ewyllys, ac mae’n bosib bod mwy yn wreiddiol – mae cofnod o un arall sydd bellach ar goll i bob tebyg.</p>

CHAPMAN, W. J. (attributed to)

(1835-1840)

Trwy ganiatâd Amgueddfa Cymru

Amgueddfa Cymru

GAUDIER-BRZESKA, Henri

(20th century - (first half))

Trwy ganiatâd Amgueddfa Cymru

Amgueddfa Cymru

<p>abstract</p>

SELWAY, John

(1964 ca)

© John Selway/Levi Selway/Amgueddfa Cymru

Amgueddfa Cymru

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

<p>abstract, browns/oranges</p>

SHAPIRO, Hermon

(1960-1970)

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)

Amgueddfa Cymru

BURNS, Brendan Stuart

(2009)

© Brendan Stuart Burns/Amgueddfa Cymru

Amgueddfa Cymru

BURNS, Brendan Stuart

(2009)

© Brendan Stuart Burns/Amgueddfa Cymru

Amgueddfa Cymru

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

<p>various sketches</p>

STEVENS, Anthony

(1960 ca)

Amgueddfa Cymru

Tirlun Glas a Choed

PRENDERGAST, Peter

(1970)

© Ystâd Peter Prendergast. Cedwir Pob Hawl. DACS 2025/Amgueddfa Cymru

Amgueddfa Cymru

COHEN, Harold

(1977)

© Harold Cohen/Amgueddfa Cymru

Amgueddfa Cymru

FEILER, Paul

(1973)

© Ystâd Paul Feiler. Cedwir Pob Hawl 2025/Bridgeman Images/Amgueddfa Cymru

Amgueddfa Cymru

COHEN, Harold

(1977)

© Harold Cohen/Amgueddfa Cymru

Amgueddfa Cymru

COHEN, Harold

(1977)

© Harold Cohen/Amgueddfa Cymru