Biography
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Presentation: Unmounted
Oil on canvas, 16 1/2 x 16 1/2 ins. (42 x 42 cms.)
Provenance: Albert Hill, the artist's grandson
Multicoloured dots on a grey ground is one of a series of six such studies that Wood made, all with varying colours.
Literature: Tate Etc, issue 7, summer 2006, "Every Work of Art is a Child of its Time..." illustrated p 43
UNFRAMED
Throughout his artistic and literary career Jas 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.
This painting was featured in Adrian Glew's article on the influence of Kandinsky on British Art:
"Whilst most of these artists moved on to different ends - Nevinson would launch the Futurist manifesto with Marinette several months later - 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."
A near identicle canvas by Wood is in the collection of the Yale Centre for British Art
Biography
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Presentation: Framed
Signed and dated
Pencil, sight size 15⅜ × 11 in. (39 × 28 cm.);
overall size 18⅞ × 15 in. (48 × 8 cm.)
Provenance: Albert Hill, the artist’s grandsonIn a gilded oak frame
‘His best drawings are exquisite. They have a peculiar smooth tone … and are as skilfully composed as they are delicate’ (Yorkshire Post, c. 1940).
Stylistically this drawing has similarities with those of Stanley Spencer and Henry Lamb, both close friends of Wood at this time (see cat. 23).
Biography
Enquire about this picture£2,500
Presentation: Framed
Oil on canvas, 16 1/2 x 16 1/2 ins. (42 x 42 cms.)
Provenance: Albert Hill, the artist's grandson
Literature: Tate Etc, issue 7, summer 2006, "Every Work of Art is a Child of its Time..."
Throughout his artistic and literary career Jas 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.
This painting was featured in Adrian Glew's article on the influence of Kandinsky on British Art:
"Whilst most of these artists moved on to different ends - Nevinson would launch the Futurist manifesto with Marinette several months later - 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."
A related canvas by Wood is in the collection of the Yale Centre for British Art
Biography
Enquire about this picture£850
Presentation: Passe-partout
Signed on the reverse in pencil and inscribed James Wood, 18 Upper Park Road, Hampstead PRI 6840
Watercolour over pen and ink
11 in. 28 cm. diameter
Literature: Tate Etc, issue 7, summer 2006, "Every Work of Art is a Child of its Time..."
Throughout his artistic and literary career Jas 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.
This painting was featured in Adrian Glew's article on the influence of Kandinsky on British Art:
"Whilst most of these artists moved on to different ends - Nevinson would launch the Futurist manifesto with Marinette several months later - 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."
A related canvas by Wood is in the collection of the Yale Centre for British Art
Biography
Enquire about this picture£900
Presentation: Framed
Game Keeper and Cherubs, a painting in oil, was exhibited at Zwemmer Gallery in October 1947. Jas Wood might well have learnt the technique of using cut figures to arrange compositions from his friend Stanley Spencer
Biography
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Presentation: Framed
Watercolour, 7D X 6S ins. (19.5 X 16 cms.)
Provenance: the artist's own collection; thence by descent
This early self-portrait probably dates from around the period of the Great War. Wood portrays himself wearing a morning coat, patterned with colourful stripes in keeping with his literary and artistic aspirations. Wood, having read history at Cambridge and studied art in Paris and Munich, served in the Royal Flying Corps during World War I, and subsequently worked on the camouflage of battleships, along with his life-long friend Richard Carline (see cat. 15).
Biography
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Presentation: Framed
Oil on canvas, 7¾ × 6¼ in.
(19.7 × 15.8 cm.)
Provenance: Albert Hill, the artist’s grandson
As an artist and intellectual,Wood was fascinated by ‘the treatment of form and colour’ and the ‘great advances made by the artists of the last generation’ (see cat. 18). Throughout his life he explored theories about colour and especially the relationship between sound and colour, which was the subject of a series of articles he published in The Cambridge Magazine between January and June 1918, in which, as he wrote,‘the whole problem was dealt with by a number of experts, psychologists, physicists and artists, in collaboration’. With I.A. Richards and C.K. Ogden as co-authors,Wood went on to publish The Foundation of Aesthetics (1922) on the subject.
Biography
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Presentation: Unmounted
water colour over charcoal and pencil.
sight size 7 1/2 x 6 in. (19 x 15.3 cm.)
As an artist and intellectual,Wood was fascinated by ‘the treatment of form and colour’ and the ‘great advances made by the artists of the last generation’. Throughout his life he explored theories about colour and especially the relationship between sound and colour, which was the subject of a series of articles he published in The Cambridge Magazine between January and June 1918, in which, as he wrote,‘the whole problem was dealt with by a number of experts, psychologists, physicists and artists, in collaboration’. Wood was one of the earliest collectors of Kandinsky. With I.A. Richards and C.K. Ogden as co-authors, Wood went on to publish The Foundation of Aesthetics (1922).
In an article on the influence of Kandinsky on British Art, Adrian Glew wrote of Wood as follows:
"Whilst most of these artists moved on to different ends - Nevinson would launch the Futurist manifesto with Marinette several months later - 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."
Work by Wood is in the collection of the Yale Centre for British Art
Biography
Sold
Presentation: Framed
Oil on canvas, 16 1/2 x 16 1/2 ins. (42 x 42 cms.)
Provenance: Albert Hill, the artist's grandson
Literature: Tate Etc, issue 7, summer 2006, "Every Work of Art is a Child of its Time..."
Throughout his artistic and literary career Jas 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.
This painting was featured in Adrian Glew's article on the influence of Kandinsky on British Art:
"Whilst most of these artists moved on to different ends - Nevinson would launch the Futurist manifesto with Marinette several months later - 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."
A related canvas by Wood is in the collection of the Yale Centre for British Art
Biography
Sold
Presentation: Unframed
Oil on canvas, painted in grisaille,
13 x 10 ½ in. (33 x 26.7 cm.)
Provenance: Albert Hill, the artist’s grandson
Wood is likely to have undertaken this study in grisaille while he was a student in Paris just before the First World War. A study of form, it is based on the famous Venus accroupie (Crouching Venus) in The Louvre Museum.
Thumbnail panels:
