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Tractor and Plough, 1947
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Born in Hampstead, London, on 19 March 1908, Rothenstein was the youngest of four. He studied at Chelsea Polytechnic and Central School of Arts and Crafts, 1924-7. He had his first one-man show in 1938 and during World War II participated in the Pilgrim Trust Recording Britain project. After the war, he taught printmaking at Camberwell School of Art and was Art Fellow at Sheffield University in 1962.
Rothenstein became one of the most experimental printmakers in Britain during the ‘50s and ’60s. As well as found objects such as wood offcuts and metal debris, he incorporated fresh 20th century imagery into his relief prints, combining photographic material with traditional woodcuts and linocuts. Numerous major galleries currently hold his work and he was made Hon. RE and elected RA in 1983.
Rothenstein became one of the most experimental printmakers in Britain during the ‘50s and ’60s. As well as found objects such as wood offcuts and metal debris, he incorporated fresh 20th century imagery into his relief prints, combining photographic material with traditional woodcuts and linocuts. Numerous major galleries currently hold his work and he was made Hon. RE and elected RA in 1983.
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About the work
About the Work
Initialled oil on canvas.
Rothenstein gives a little insight into his paintings in the book Looking at Paintings by Michael Rothenstein, published by Routledge in 1947, the same year that he painted Tractor and Plough.
In the foreward Rothenstein says:
“A good picture can never be explained… if you look at a work only to pull it to pieces the pleasure is gone.”
For the book Rothenstein picked 20 paintings, including one of his own, which were his own personal choice and spins his own commentary about the work, mostly the composition and very little about the use of colour.
In the selection Rothenstein has picked work by artists such as Paul Nash, Graham Sutherland, John Piper, Edward Bawden and Duncan Grant plus many more.
When looking at the piece above it is very clear to see how those selected artists have influenced his painting, from the composition to the colours and the shapes Rothenstein used.
Commenting on his own painting, Rothenstein states “It will be obvious that the features of the existing scene were not drawn literally, but with reference to the varied sweep of the design. Shapes I specially liked and colours – some of them scattered outside the actual area I was painting – were brought into closer relation. The intention was to create a single family of forms and colours.”
This can also be seen in Tractor and Plough.
Framed size: 74 x 104 cm
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