1938

Identification of the Painting 1938

1938 is an oil on canvas work by the British artist Ben Nicholson. Created in 1938, the piece marks a significant period in the artist's career, coinciding with a return to color. During this time, Nicholson and his wife, the sculptor Barbara Hepworth, provided shelter to the painter Piet Mondrian.

Born in 1894 in Buckinghamshire, United Kingdom, Ben Nicholson became a central figure in the development of abstract art. His practice evolved from naturalistic still lifes toward the exploration of geometric forms and the relationships between space and form. This specific work, executed in 1938, reflects his engagement with the principles of Cubism and the emerging abstract movements of the era.

Nicholson lived until 1982, leaving behind a body of work that transitioned from realistic treatments of the material world to a focus on transcendental formal relationships. This painting remains a key example of his mid-career development.

The Composition and Visual Elements

The composition marks a significant return to color for the artist, moving away from previous periods of austerity. It is an abstract work that utilizes geometric forms to establish a sense of order. The arrangement is characterized by the use of circles, squares, and rectangles, which simplify the visual field into essential relationships between shapes. This approach reflects a departure from realistic treatments of the material world in favor of exploring transcendental formal structures.

The work is deeply rooted in the principles of Cubism, emphasizing the flattening of space and the intersection of planes. Its structural logic is linked to the St Ives School and the broader development of abstract art in Britain. The visual language relies on a controlled palette to define these geometric intersections, creating a tension between the perceived surface and the underlying mathematical precision of the forms.

Technique and Artistic Materials

The work is an oil painting executed on canvas. Nicholson utilized oil paint to achieve the specific tonal qualities required for this composition, marking a significant return to color in his practice during this period.

The application of oil on canvas allowed for the precise layering of pigments. This method was essential for the development of the geometric forms and the subtle shifts in the palette that characterize the piece.

Scientific Studies and Conservation

Technical analysis through infrared photography has provided significant insight into the structural layers of this oil on canvas. These scans reveal a prominent yellow grid positioned beneath the surface composition. This underlying geometry suggests a deliberate preparatory stage that anticipates the yellow lattices found in the later New York canvases of Piet Mondrian. The presence of this grid is particularly notable given that the work was executed while Nicholson and his wife, Barbara Hepworth, were sheltering Mondrian.

The painting marks a specific transition in the artist's technical approach, representing a period when Nicholson returned to the use of colour. This shift in palette coincides with the historical circumstances of its creation, capturing a moment of significant cross-influence within the artist's immediate circle. The layering of these geometric elements beneath the visible surface offers a rare view into the conceptual development of the work.