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Fy nghyfrif

Casgliadau ac Ymchwil

Adrannau Casgliadau Arlein Canolfan Gasgliadau Cenedlaethol

Casgliadau Arlein

Amgueddfa Cymru

Chwilio Uwch

Testun rhydd

Rhif yr Eitem

Adnabyddiaeth

Pwnc

Artistiaid/Creadur

Lle

Categori

Cofnodion â delweddau yn unig

Nôl i Ganlyniadau

[No title]

EVANS, Merlyn (Etcher)

Pwnc

Celf

Rhif yr Eitem

NMW A 29547

Creu/Cynhyrchu

1910-1973

Rôl: Artist

Rôl: Etcher

Cyfnod: 1939

Derbyniad

Gift, 1/1/1980

Mesuriadau

h(cm) plate size:34

h(cm)

w(cm) plate size:26.5

w(cm)

Uchder (cm): 73

Lled (cm): 55

Techneg

Soft ground etching on paper

Etching

Intaglio printing

Prints

Fine Art - works on paper

Lleoliad

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Categorïau

Printiau | Prints Gweithiau ar bapur | Works on paper Celf Gain | Fine Art 08_CADP_Nov_21 Hunan bortread Cynrychioliadol Wyneb Llygad CADP content

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Eitemau cysylltiedig

Celf

<p>Information provided by the estate of Moody: 'The artist's first self-portrait in bronze so displeased him, that he destroyed it. This second version pleased him no better. By the time he finished it in June 1937, he was utterly dedicated to wood and had virtually abandoned bronze. He therefore decided to try another version in elm and, within a month, produced Self-Portrait 3. For the next nine years, all his portraits were in wood.</p> <p>When Marie Seton went to live in America, she put this mask into storage, together with several other works the artist had left in her care. Although it is mentioned in her letter of 27.10.42 to Cox & King's, authorising Helene Moody to collect them, it remained with Marie Seton until her death in 1985 and was restored to the artist's collection by her executor Pamela Cullen in 1989.'</p>

Artist: MOODY, Ronald Clive

(1937)

NMW A 24925

Celf

[No title]

Artist: TARR, James C.

(1930 ca)

NMW A 1655

Celf

[No title]

Artist: TARR, James C.

(1930 ca)

NMW A 1656

Celf

<p>Information provided by the estate of Ronald Moody:</p> <p>'By the time he finished Self-Portrait 2 in June 1937, the artist was utterly dedicated to wood and had virtually abandoned bronze. He therefore decided to try another version and, within a month, produced this mask in elm. The difference between the two versions is remarkable, even though they are almost identical in concept. The earlier, though life-size, gives the impression of being much smaller, and the smooth stylisation of the material seems to add impassivity and sombreness to the whole. The second is more expansive, both in size and feeling, and the grain of the wood subtly underlines the contour of the face, giving it animation and character. Greatly encouraged by this, Moody eagerly turned to wood for future portraits and for the next nine years used nothing else. </p> <p>On 4.1.39, it was shipped from Paris to the Harmon Foundation in New York, for inclusion in exhibitions in America, where it was shownas A Mask. It remained in the Foundation's custody throughout the war and for some time afterwards.</p> <p>On 2.3.49, the artist wrote to Marie Seton listing the works he wished her to bring back to England. Amongst these was: "Another mask, wood, based on my head (about life size)".'</p>

Artist: MOODY, Ronald Clive

(1937)

NMW A 24926