Papirformat

Veiledning for studentkunst

Self Portrait

Navn Klasse Dato

cliff holden, Self Portrait (1947). Gjengitt i illustrasjonsøyemed; alle rettigheter forbeholdt rettighetshaver.

Fakta om verket

Kunstner
cliff holden topimpressionists.com/no/artists/cliff-holden/
Kunstnerens levetid
1919 – 2020
Malt
1947
Opprinnelig størrelse
42 x 33 cm

I sammenheng med

Self Portrait — cliff holden

Dimensjoner

Originalen måler 42 × 33 cm (høyde × bredde), vist her ved siden av en voksen person med gjennomsnittlig høyde.

Når ble dette malt?

  1. 1910
  2. 1920
  3. 1930
  4. 1940
  5. 1950
  6. 1960
  7. 1970
  8. 1980
  9. 1990
  10. 2000
  11. 2010
  12. 2020

Skyggelagt: livsløpet til cliff holden (1919–2020) ▲ dette verket, 1947

Lignende verk

  • Two Seated Figures, 1948 topimpressionists.com/no/art/cliff-holden-two-seated-figures-AQSMT3-en/
  • Pietà, 1990 topimpressionists.com/no/art/cliff-holden-pieta-AQSMT5-en/
  • Standing Figure topimpressionists.com/no/art/cliff-holden-standing-figure-AQSMTB-en/

Velg ett av verkene ovenfor: nevn to ting det har til felles med dette, og én ting som er annerledes.

Flere verk som kan stå ved siden av dette: topimpressionists.com/no/art/similar/cliff-holden-self-portrait-AQSMSV-en/

Fargepalett

Målt ut fra bilde

    Hovedfarge

    Phthalo Green #2a221b

    Lagret palett

    • #2A221B
    • #C6B793
    • #59402E
    • #8E633D
    Palett
    Earthy Den dominerende fargefamilien i bildet.
    Navn på hovedfarge
    Phthalo Green
    Metning
    Balanced Hvor mettede og varierte fargene er, fra en enkelt dempet nyanse til mange klare toner.
    Kontrast
    Balanced Hvor mye fargene varierer i lyshet og metning over hele bildet.
    Harmoni
    Strong Color Unity Hvor godt fargene fungerer sammen, fra kontrastfylt til fullstendig harmonisk.
    Lysstyrke
    Deep_shadow Hvor lyst eller mørkt bildet fremstår totalt sett, fra dype skygger til lyse høylys.
    Metning
    Subtle Color Hvor rene og sterke fargene er, fra nesten grått til helt livlige.

    Kunstner og museum

    Kunstner

    cliff holden

    The Visionary Spirit of Cliff Holden

    In the grand tapestry of twentieth-century British modernism, few threads are as intricately woven or as resilient as those left by Cliff Holden. Born in Manchester in December 1919, Holden’s early life was far removed from the avant-garde studios of London; instead, his formative years were rooted in the practical and grounded disciplines of agriculture and veterinary science at Reaseheath School. This initial connection to the natural world, characterized by an observant eye for structure and life, would later manifest in a subtle, underlying strength within his artistic compositions. However, it was a transformative encounter in 1944 with the legendary David Bomberg at the City Literary Institute that redirected his destiny, pulling him away from the sciences and into the profound, experimental realm of fine art.

    The bond between Holden and Bomberg became the catalyst for one of the most significant movements in postwar British art. Following Bomberg to Borough Polytechnic, Holden became a foundational figure in the Borough Group, serving as its inaugural president from 1946 to 1948. This was not merely a social circle but an intellectual laboratory where artists sought to push the boundaries of abstraction and challenge the stagnant artistic norms of the era. Alongside peers such as Dennis Creffield, Holden helped cultivate an aesthetic defined by rigorous experimentation and a shared devotion to Bomberg’s visionary principles. Through his leadership, the group became a cornerstone of modernism, fostering a spirit of rebellion against convention that would resonate through the decades.

    A Journey Across Borders and Mediums

    As Holden’s artistic horizons expanded, so too did his geographic and stylistic reach. His connection with the Swedish artist Torsten Renquist opened a gateway to the international art community, leading to exhibitions in Sweden that solidified his reputation far beyond the shores of England. From 1956 onward, his residence in Sweden provided a new landscape for his creative evolution. This period of his life saw him masterfully navigating diverse mediums; he was not only a painter but a skilled designer and silk-screen printer, demonstrating a versatility that allowed him to bridge the gap between fine art and applied design. His membership in the London Group and his status as a Fellow of the Chartered Society of Designers underscore a career that refused to be confined by a single discipline.

    The technical brilliance of Holden’s work often lies in its ability to evoke deep emotion through texture and light. Whether working with the delicate precision of silk-screen printing or the bold, tactile application of acrylics and oils, his pieces possess an enduring vitality. His later works, such as the vibrant Bathers, showcase a mastery of color—utilizing warm yellows and reds to create atmospheres that feel both contemporary and timeless. There is a rhythmic quality to his compositions, where figures and landscapes interact with a sense of movement and energy that draws the viewer into a contemplative state.

    Legacy and Enduring Significance

    The legacy of Cliff Holden is etched into the very fabric of major institutional collections worldwide. His contributions are preserved in the hallowed halls of Tate Britain, the Victoria and Albert Museum, and the Arts Council, ensuring that his role in the development of British abstraction remains a subject of scholarly and aesthetic reverence. Beyond the canvas, his influence as a designer and educator left an indelible mark on the visual culture of the twentieth century.

    Reflecting on a life that spanned an incredible century—from the post-war reconstruction of London to the dawn of the twenty-first century—Holden’s work remains a testament to the power of artistic persistence. His journey from a student of agriculture to a pioneer of the Borough Group serves as an inspiring narrative of intellectual growth and creative courage. Through his eyes, we see a world where abstraction meets structure, and where the boundaries between design and fine art dissolve into a singular, beautiful expression of human experience.

    Her kan du lese mer

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    QR-kode som lenker til nedlastingssiden for Self Portrait

    topimpressionists.com/no/art/download/cliff-holden-self-portrait-AQSMSV-en/

    Kildehenvisning for dette kunstverket

    MLA
    holden, cliff. Self Portrait. 1947, https://topimpressionists.com/no/art/cliff-holden-self-portrait-AQSMSV-en/
    APA
    holden, cliff (1947). Self Portrait [Painting]. https://topimpressionists.com/no/art/cliff-holden-self-portrait-AQSMSV-en/
    Chicago
    cliff holden. Self Portrait. 1947. https://topimpressionists.com/no/art/cliff-holden-self-portrait-AQSMSV-en/
    Harvard
    holden, cliff (1947) Self Portrait. Available at: https://topimpressionists.com/no/art/cliff-holden-self-portrait-AQSMSV-en/

    Se nærmere etter

    Self Portrait — cliff holden

    Se nærmere på detaljene

    Svar med egne ord. Det finnes ingen feil svar her – bare svar du kan forklare.

    1. Hva fanger blikket ditt først, og hvorfor?
    2. Hvilke farger eller former skaper stemningen – og hva er den stemningen?
    3. Se tilbake på Two Seated Figures (1948), tidligere i denne guiden. Nevn to ting det har til felles med dette verket, og én ting som er annerledes.
    4. cliff holden var omtrent 28 da dette ble laget. Hva i verket bærer preg av å være skapt av en kunstner i den fasen?
    5. Hva kan kunstneren ha ønsket at du skulle føle?

    Ditt svar

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