Reserved

Wood, James

(1889 – 1975)

Colour study

Oil on canvas

10 x 12 cm (19 x 21 cm framed)

DESCRIPTION

Provenance:
The Artist’s Studio
Throughout his artistic and literary career James Wood sought to define beauty. With fellow authors C. K Ogden and I. A. Richards he wrote The Foundation of Aesthetics (1922) and following this Colour Harmony, in which he explored colour as a language in its own right. He had a deep admiration for Kandinsky and at this time owned an important early work by the artist. 
A colour study by Wood is in the collection of the Yale Centre for British Art.  Referring to Kandinsky’s influence on British Art in the 20th century Adrian Glew suggests that the most specific, enduring, yet least known influence of Kandinsky on British artists at that time was on James Wood.  He had absorbed the lessons on colour theory, particularly those establishing correspondences between colour and musical tones, when studying at Percyval-Hart’s art school in Paris in 1909, …. . These views were mirrored in Wood’s own paintings, where the colour correspondences serve specific functions and where the image vibrates and resonates beyond the canvas.”  Tate Etc (issue 7 2006)
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THE ARTIST

Wood, James

1889 – 1975

Painter, draughtsman, writer and aesthete, born in Southport, Lancashire. From 1908-11 he read history at Cambridge University, then in Paris, after studying etching, pursued painting with Percyval Tudor-Hart before going to Munich. During World War I he was in the army and Royal Flying Corps, later working on battleship camouflage. Among Wood’s writings after World War I were The Foundations of Aesthetics, written with C. K. Ogden and I. A. Richards. He also wrote on colour harmony, a favourite topic, and in 1926 published New World Vistas, an autobiographical work. From the 1930s Wood became increasingly fascinated by Persian Art; he learn Persian and subsequently became art adviser to the Persian government. His own paintings were influenced by Kandinsky, and he showed at Leicester and Zwemmer Galleries in solo exhibitions. After 1955 he rarely exhibited, but painted several portraits of Cambridge Academics. Throughout the war years Wood lived in a remote cottage above Llantony, Monmouthshire. After the war he lived mainly in his Hampstead house, where his studio was situated, though spent some of his time in his wife’s house in rural Gloucestershire with occasional visits to Llantony. Wood was married to a painter, Elisabeth Robertson, who had previously been the wife of the artist and writer Humphrey Slater.

In 1980 Blond Fine Art held a retrospective.

MORE PICTURES BY ARTIST

Multi coloured dots, version one, on a grey ground, circa 1920
£9,500.00