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"ZIGGURAT" Discover the best available selection of multiples by the artist Joe Tilson. Buy from art galleries around the world with Kooness! Kooness
1500 EUR

"ZIGGURAT"

2003

Signed Dated Titled

1

Size

29.5 x 40 x 4 cm
11.61 x 16 x 1.57 in

Year

2003

Medium

Multiples , Sculpture

Reference

d973a038

Painted wood

Signed and listed on the back by the artist 

Edition of 75

1928 London, United Kingdom

The artist was born in London on Aug. 24, 1928; between 1944 and 1946 he worked as a carpenter and joiner while studying at the Brixton School of Building; he then served in the military, from 1946 to 1949, in the R.A.F. (Royal Air Force).

In 1949 he made his first trip to Italy. From 1949 to 1952 he attended St. Martin's School of Art in London, along with Leon Kossof and Frank Auerbach (who were to become two of the leading exponents, along with Francis Bacon, Lucian Freud and Ronald B. Kitaj, of the so-called "London School"); he would return to the same institution as a teacher from 1958 to 1963. Meanwhile, Tilson attended, from 1952 to 1955, the Royal College of Art in London, along with Peter Blake (one of the best-known exponents of British Pop Art, whose cover of the Beatles' Sgt. Pepper's Lonely Hearts Club Band is celebrated) and Richard Smith. Between 1955 and 1957 he stayed and worked first in Italy and then in Spain; in Rome he met Joslyn Morton, then a student at the Brera Academy in Milan, where she took sculpture classes with Marino Marini. Joe and Jos lived for a time in Sicily, in Cefalù, and in 1956 they married in Venice, where they kept a studio at Casa Frollo on the Giudecca - three children were born of the marriage, Jake, Anna and Sophy. After spending a few months in Catalonia with Peter Blake, the Tilsons returned to London; here Joe began his teaching career: after St. Martin's School of Art, he taught at the Slade School of Art, University College London and King's College, Newcastle-upon-Tyne; in 1966 he taught at the School of Visual Arts in New York and in 1971 at the Hochschule für Bildende Künste in Hamburg. After his first paintings in the 1950s, which reflected the suggestions of his discovery of the, hitherto unknown, reality of Italy and Spain, Tilson took a peculiar path that led him to make reliefs in rough wood, the result of assembling, on the surface, geometric forms of various configurations, which are followed, in the early 1960s, by works in which color bursts in, which again becomes attenuated in the cycles of the 1970s, closely linked to his interests in primitive cultures (American Indian civilizations, the "dream time" of the Australian aborigines, alchemical thought) and ancient Greek mythology; color then regains strength and consistency in the works of the last thirty-five years, in which the artist has been developing a kind of diary in the form of a work of his own intellectual researches and life experiences, increasingly aware of the widespread presence, even in small things, of the sacred, of the breath of what is infinite and everlasting, unscathed by human events: from the animals he encounters daily in the days when he lives inside the woods where his house stands in Umbria to the facades of churches and the forms of their floors in Venice. Closely consistent with this peculiar view of the world and of human existence, in the early 1970s Tilson left London to immerse himself in the countryside, in close contact with nature and its cycles of life, going to live in 1972 in the Old Rectory at Christian Malford in Wiltshire and, for a few months of the year, at Casa Cardeto, not far from Cortona (Arezzo).

Tilson would return to London in the late 1890s; his summer sojourns in the secluded Teverina valley and in the small, old house he fixed up in Venice continue to this day.

Tilson's exhibition activity unfolds, intense and skilled, over the last fifty years he holds his debut solo exhibition in 1962 at the Marlborough Gallery in London; in the following years, and until 1977, he repeatedly exhibited at various venues in Marlborough itself; subsequently, starting in 1978, he exhibited regularly at the Waddington Galleries in London; since 2011 Tilson has again established a contractual relationship linking him to Marlborough. Among public exhibitions, we should at least mention: the major anthological exhibition at the Boymans-van-Beuningen Museum in Rotterdam in 1973, which then went to the Musée Royal des Beaux Arts in Antwerp-a substantial part of that exhibition was presented at the Scuderie della Pilotta in Parma in 1974; the exhibition at the Vancouver Art Gallery in 1979; the anthological exhibition at the Arnolfini Gallery in Bristol in 1983; and the exhibition at the Sackler Wing of the Royal Academy of Arts in London in 2002. Particularly intense was Tilson's exhibition activity in Italy, where in 1964 he participated in the Venice Biennale, in the Pavilion of Great Britain, and in 1974 in the aforementioned anthological exhibition in Parma. He then exhibited at the Tour Fromage in Aosta in 1991, and, in 1995, he presented Le Crete Senesi at the Pinacoteca in Macerata and at the Palazzo Pubblico - Magazzini del Sale in Siena - in 1996 the Municipality of Siena entrusted him with the realization of the Palio -;

The artist subsequently holds various exhibitions in important public spaces and private galleries in Italy and abroad, which it would be long to list in detail here, up to the one at the Saint Bénin Center in Aosta in 2014. 

Also significant is the presence of his works in the collections of important public museums internationally, including at least: Boijmans van Beuningen Museum, Rotterdam; Calouste Gulbenkian Foundation, Lisbon; Galleria d'Arte Moderna, Museo Civico, Turin; Galleria Nazionale d'Arte Moderna, Rome; Kunsthalle, Basel; Kunstmuseum, Hannover; Kunstverein, Hamburg; Louisiana Museum, Humlebaek; Museo de Arte Contemporaneo, Caracas; Museo de Arte Moderno, Ciudad Bolivar; Museo de Arte, São Paulo del Brasil; Museum of Art, Carnegie Institute, Pittsburgh; Museum of Contemporary Art, Tehran; Museum of Modern Art, New York; Museum voor Schone-Kunsten, Antwerp; National Gallery of Australia, Canberra; National Gallery of Ontario, Toronto; Royal Academy of Arts, London; Scottish National Gallery of Modern Art, Edinburgh; Sharjah Art Museum, United Arab Emirates; South African National Gallery, Cape Town; Stedelijk Museum, Amsterdam; Tate, London; The Royal Collection, London; C. S.A.C., University of Parma; Victoria & Albert Museum, London; Walker Art Center, Minneapolis; Walker Art Gallery, Liverpool.

In 1985 Joe Tilson was elected a member of the Royal Academy of Arts in London, and in 2001 he was called to be a member of the historic Accademia di San Luca in Rome, further evidence of his "elective" link with Italy, a sort of second homeland of his, which sees him living not only in Casa Cardeto but also in Venice for some months of the year. It is precisely the lagoon city that has been the prevailing subject of his paintings in recent years, as evidenced by some of the graphic works created by Gino Berardinelli's Stamperia, which often resort to the motif of large illustrated postcards emerging from a white envelope: a sort of message in a bottle, a confession of an uninterrupted love - that for Venice - that has lasted since 1956.


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Address

Reggio Emilia, Via dell'Aquila, 6/c

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