Paper

Student Artwork Guide

Bird

Name Class Date

ian howard, Bird (1991). Reproduced for reference; rights reserved by the rights holder.

The facts

Artist
ian howard topimpressionists.com/en/artists/ian-howard/
Artist’s dates
1952 – ?
Painted
1991
Original size
136 x 101 cm

In context

Bird — ian howard

How big is it?

The original measures 136 × 101 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1950
  2. 1960
  3. 1970
  4. 1980
  5. 1990

Shaded: the lifetime of ian howard (1952–?) ▲ this work, 1991

Compare with

  • Symmetry (diptych), 1998 topimpressionists.com/en/art/ian-howard-symmetry-diptych-AR2BXG-en/
  • Untitled topimpressionists.com/en/art/ian-howard-untitled-AR2BXL-en/
  • Martyrs II topimpressionists.com/en/art/ian-howard-martyrs-ii-AR2BXS-en/

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/ian-howard-bird-AR2BXE-en/

Colours

Measured from the image

    Main colour

    Gray #818885

    Catalogued palette

    • #818885
    • #215288
    • #C2BCAC
    • #373432
    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Discordant Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Bright How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Artist and museum

    Artist

    ian howard

    Ian Howard: Architect of Surreal Symmetry

    Ian Howard, born in Aberdeen, Scotland, in 1952, isn’t merely a painter; he's an architect of perception, meticulously constructing worlds where the familiar bends and distorts. His art, characterized by intricate symmetry, unsettling narratives, and a deep engagement with alchemical symbolism and hermeticism, has established him as one of Scotland’s most distinctive contemporary artists. Howard’s work isn’t about straightforward representation; it's an exploration of visual connections, inviting the viewer into a labyrinthine space where logic yields to intuition and the rational gives way to the enigmatic.

    Howard’s artistic journey began with formal training at Edinburgh College of Art (1970-1975), followed by a travelling scholarship to Italy in 1976. This formative period exposed him to Renaissance art, sparking an enduring fascination with its complex iconography and symbolic language. He later honed his skills as Head of Painting at Duncan of Jordanstone College of Art, Dundee, from 1984-1987, a role that allowed him to nurture the next generation of artists while simultaneously developing his own unique visual vocabulary. His career trajectory included significant roles within Scottish Arts Council and as Director of Dundee Contemporary Arts, demonstrating a commitment to both artistic creation and institutional leadership.

    The Alchemy of Form

    Howard’s artistic practice is deeply rooted in the principles of alchemy – not as a literal pursuit of turning lead into gold, but as a metaphor for transformation and the exploration of hidden connections. He draws heavily on alchemical illustrations from the 17th century, particularly those produced by Heinrich Khunrath and John Dee, finding within them a rich source of symbolic imagery and a framework for understanding the creative process. His paintings are often described as “heretical diagrams,” reflecting his deliberate subversion of traditional artistic conventions and his willingness to embrace ambiguity and contradiction.

    A key element of Howard’s work is the manipulation of symmetry – not in a simple, decorative sense, but as a tool for creating unsettling juxtapositions and revealing hidden structures. He frequently employs repeating patterns and mirrored forms, generating a sense of disorientation and inviting the viewer to question their own perceptions. This meticulous attention to detail, combined with his exploration of symbolic imagery, results in paintings that are both visually arresting and intellectually stimulating.

    Notable Works & Techniques

    Several of Howard’s works stand out as particularly compelling examples of his distinctive style. “Symmetry (diptych)” (2018) exemplifies his mastery of intricate patterns and unsettling juxtapositions, while "Bruno Consigned to the Flames" (1987) showcases his ability to evoke powerful emotions through carefully constructed imagery. His series of “Untitled” works, particularly those created in the late 1980s and early 1990s, are characterized by their enigmatic symbolism and exploration of psychological themes. Howard’s use of color is often muted and restrained, allowing the intricate patterns and symbolic imagery to take center stage.

    Beyond painting, Howard has also explored printmaking and drawing, further expanding his artistic repertoire. His prints, like “Rolling” (1988), demonstrate a similar commitment to meticulous detail and complex symbolism. He frequently incorporates elements of collage and assemblage into his work, creating layered surfaces that invite close examination.

    Influence & Legacy

    Ian Howard’s influence extends far beyond the confines of Scotland. His work has been exhibited internationally and is held in prominent collections around the world. He's a respected figure within the contemporary art scene, known for his intellectual rigor, artistic innovation, and unwavering commitment to exploring the boundaries of perception. Howard’s legacy lies not only in his individual artworks but also in his contribution to the development of contemporary Scottish art – he has inspired countless artists with his willingness to challenge conventions and embrace ambiguity.

    His academician status within the Royal Scottish Academy of Art and Architecture underscores his recognition as a leading figure in the field. Howard’s work continues to resonate with viewers today, prompting reflection on the nature of perception, symbolism, and the enduring power of art to transform our understanding of the world.

    Where to read more

    • The artist ian howard topimpressionists.com/en/artists/ian-howard/
    • Similar works More works to compare topimpressionists.com/en/art/similar/ian-howard-bird-AR2BXE-en/

    Find this online

    QR code linking to the download page for Bird

    topimpressionists.com/en/art/download/ian-howard-bird-AR2BXE-en/

    Cite this artwork

    MLA
    howard, ian. Bird. 1991, https://topimpressionists.com/en/art/ian-howard-bird-AR2BXE-en/
    APA
    howard, ian (1991). Bird [Painting]. https://topimpressionists.com/en/art/ian-howard-bird-AR2BXE-en/
    Chicago
    ian howard. Bird. 1991. https://topimpressionists.com/en/art/ian-howard-bird-AR2BXE-en/
    Harvard
    howard, ian (1991) Bird. Available at: https://topimpressionists.com/en/art/ian-howard-bird-AR2BXE-en/

    Look closely

    Bird — ian howard

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Look back at Symmetry (diptych) (1998), earlier in this guide. Name two things it shares with this work, and one that is different.
    4. ian howard was about 39 when this was made. What in it looks like the work of an artist at that stage?
    5. What might the artist have wanted you to feel?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.