Patrick Caulfield trained at the Chelsea School of Art in 1956 followed by the Royal College of Art between 1960 -1963; just a year below David Hockney.
Preferring to be coined a ‘formal’ painter rather than be linked to the emerging Pop artists of the time, such as Roy Lichtenstein and Andy Warhol, Caulfield experimented with a range of flat-imaged objects employing reduced colour palette and thick black outline.
Caulfield sought inspiration, not from American painters such as Jasper Johns, but from the renowned Cubist artist, Juan Gris. He admired his precision and even painted Portrait of Juan Gris in his honour.
By the mid 1960’s, following successful mixed and solo shows at Whitechapel and Robert Fraser Gallery, Caulfield moved away from acrylic on board to oil on canvas. Consequently, his work became larger, focused on internal architecture and elements of photo realism.
In 1971 Caulfield was able to give up teaching and dedicate all his energy to painting. Soon after, a monograph was written by Christopher Finch. With the benefit of more available time Caulfield developed his interests in light and shade with a growth of vibrancy and concentration of complex interior scenes.
Caulfield also enjoyed a range of other artistic projects including a tapestry for the 1975 Waddington Galleries exhibition. In the 1990’s he was commissioned by The Ivy restaurant to design a stained glass window called Paper Moon. Additionally, his designs for posters and book covers were always in demand.
His early demise at 69 only increased the public’s interest in his work. Tate Britain recently held a major show of Caulfield’s work.
One of eight screenprints from the White Ware Prints series, each published in an ediiton of forty five, printed by Advanced Graphics and published by Waddington Graphics in 1990. Each print includes a single white ceramic pot shown against a dark background. Caulfield said that his inspiration came from visiting the Victoria and Albert Museum's large collection of oriental ceramics.