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William Townsend
William Townsend
1909 - 1973
William Townsend was born in England in 1909, and trained at the Slade School in London. An admired teacher of painting at Camberwell, and subsequently at the Slade, he was honoured as a Fellow of University College London in 1968. His work is in notable public and private collections internationally, including the Arts Council Collections, and the National Gallery of Canada.
Townsend’s landscapes of the 1930s and 1940s hold a central place in British mid-twentieth century art, and its debates about the relationship between modernism and tradition. Early in his career, with friends Victor Pasmore, Claude Rogers and William Coldstream, he did much to revive landscape painting, rural and urban, including the bomb-damaged cityscapes of London and Canterbury (his recording of the sand-bagging and other air raid precautions for Canterbury Cathedral is in the cathedrals’ collection, while South Bank 1948 is in the Tate Gallery). John Berger was an early admirer.
Closer to structure than sentiment, Townsend’s attention to the underlying form of things seen, whether landscape or architecture, anticipated his intense scrutiny of the forms of the mountains and cities of western Canada. This interest was to develop in the coming years and can be seen in his two other paintings in the Tate: Dungeon Ghyll, its ferocious geology prefiguring his obsession with the mountain formations of western Canada, and Hop Alleys. In Britain he is perhaps best known for the series of paintings, through the 1950s, based on meticulous observation of the geometries of the hop gardens of Kent, each farm with its own variant on the intricate system of stringing between the tall rows of hop poles.
From the early 1950s Townsend spent most summers in Canada, teaching at the Banff School, eventually advising on, and contributing to, its development into the internationally significant Banff Centre of today. As an artist his encounter with Canada was transformative. He relished the struggle to understand the mountains around Banff, to reconcile the drama of their shifting appearances with the solidity of their forms. While Artist in Residence at the University of Alberta in Edmonton, 1963-4, the equivalent challenge was to understand the distortions and tricks of light, colour and distance on the developing cityscape. The largest of his Edmonton series, Southeast from 110th Street VI, is in the collection of the Canadian Embassy in Washington.
His advocacy of Canadian art, at the time little regarded in Britain, lead to an invitation to curate the 6th Biennial for the National Gallery of Canada in 1965 . In 1973 Townsend edited the ground-breaking Canadian Art Today, a special issue of Studio International.
Ever the observer, dispassionate and engaged, Townsend kept a detailed journal all his life which records the political as well as artistic currents of his times. A rich account of places seen, and people met, it is an intriguing record of many studio visits and wide-ranging conversations about art, politics and places, during his travels across the country. Now in Special Collections at the Library of University College London, the Townsend journals are a still largely untapped historical resource for Canadian art and artists from 1952 to the early ‘70s.
After his sudden death in Banff there was a retrospective at the Tate Gallery (1976) while a larger exhibition toured in the UK 1978-80. A successful revisit of an earlier period, William Townsend: Landscape Paintings 1930-1950, was mounted in 2006 at the James Hyman Gallery in London. In 2018 William Townsend in Alberta, curated by Laura Ritchie at the Art Gallery of Alberta, focused on his principal Canadian series - Cascade Mountain and the Edmonton cityscapes. It also drew on the many productive links between his work and that of his Canadian contemporaries, and friends - Jack Bush, Gordon Smith, Molly and Bruno Bobak, Christopher Pratt, Roy Kiyooka, Claude Breeze, Iain and Ingrid Baxter - reports of perceptive conversations, insights, the odd joke.
Art historian and critic Andrew Forge, editor of An Artist’s Record of his Times, journal extracts published by the Tate in 1976, wrote in his introduction: “Townsend’s painting reflects those qualities of balance, sensitivity, and acute economical observation which were essential to him, and in some of the Kentish hop garden series and the cityscapes of Edmonton, these qualities are refined to a pitch that approaches perfection”.
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Les résultats record de la Maison
Heffel
William Townsend
Springtime, Lake Louise (03191/348)
36 x 48 in, 91.4 x 121.9 cm
huile sur toile
Estimation : 800 $ - 1 200 $ CDN
Vendu pour :
6 490 $
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April 2016 - 3rd Session, mercredi, 20 avril 2016
William Townsend
Jasper Avenue West III
22 x 28 in, 55.9 x 71.1 cm
huile sur panneau entoilé
Estimation : 1 000 $ - 2 000 $ CDN
Vendu pour :
625 $
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Post-War & Contemporary Art, jeudi, 28 novembre 2019