Spring Exhibition - 40 Years OnSpring Exhibition - 40 Years On

Spring Exhibition - 40 Years On

Roger Hilton

1911-1975

Untitled 1969

Born in Middlesex, Hilton studied at the Slade School from 1929-1931 under Henry Tonks winning a Slade Scholarship in 1931 which he declined to take. For two and a half years in the early 1930s he studied in Paris at the Academie Ranson under Bissiere and had his first one-man exhibition at the Bloomsbury Gallery in 1936. He joined the Commandos in 1940 and was captured in 1942 becoming a prisoner of war until 1945.

 

After the war he became a schoolteacher and in the early 1950's encouraged by a member of the Cobra Group Hilton turned to Abstract Art. In 1951 Hilton was invited to take part in Abstract Paintings, Sculptures and Mobiles, the first fully abstract post-war exhibition in England, at the AIA gallery in London. In 1952 he held his first post-war solo exhibition at Gimpel Fils. Between 1954 - 1956 Hilton taught at Central School of Art & Design during which time he began making trips to Cornwall, staying first with Patrick Heron. He moved permanently to Botallack, Cornwall in 1965 and became an important part of the St Ives group.

 

A major retrospective of Roger Hilton was exhibited at the Hayward Gallery, London in 1993, followed by a drawing survey at the Tate Gallery St Ives in 1997. His work is in numerous international public collections including the Tate Gallery, the Victoria and Albert Museum, the British Museum, and the Fogg Art Gallery at Harvard.

oil on canvas66 x 92 cm (26 x 36 ins)
Framed size: 86 x 112 cm (34 x 44 ins)

signed and dated 1969 verso 

Provenance:

Private Collection 2004 - 2016

Literature:

Andrew Lambirth, Roger Hilton The Figured Landscape of Thought, published by Thames & Hudson, 2007. (photograph by Jorge Lewinski  circa 1970 of Roger Hilton in his studio in front of this painting, page 104)

Gallery Notes:

In later years, Hilton moved away from solid slabs of colour, often with subdued palette, towards more gestural and joyous mark-making.  As one of the last series of paintings on canvas, Untitled 1969,  with its rich orange and greens, paved the way for the later riotous gouaches.

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