Craigie Aitchison C.B.E., R.S.A, R.A. (British, 1926-2009) Indian Crucifixion signed and dated 'Craigie Aitchison 1999' (on the canvas overlap) oil on canvas 76.2 x 63.5 cm. (30 x 25 in.) Fußnoten Provenance With Timothy Taylor Gallery, London, where purchased by the present owner Private Collection, U.K. Exhibited New York, Galeria Ramis Barquet, Craigie Aitchison 2000 Literature Cate Haste, Craigie Aitchison A Life in Colour, Lund Humphries, Farnham, 2014, p.187, pl.176 (col.ill.) The crucifixion motif first appeared in Craigie's work as far back as the late 1950s, inspired by his visits to altarpieces in Italian churches, and they became his most recognised and frequent subject in the following decades, critically acclaimed and with broad commercial appeal. Other British artists of the period tackled this subject, including Graham Sutherland, but only Craigie embraced it in an almost obsessive way. The present work was painted in 1999 and during a revelatory visit to India to stay with Anthony and Sabrina Fry in Fort Cochin, Kerala. Anthony Fry recalls, 'We put ice-packs on his head and gave him fans and he was fine. In retrospect it was a very important trip for him to have done' (Cate Haste, Craigie Aitchison A Life in Colour, Lund Humphries, Farnham, 2014, p.186). The direct inspiration for Indian Crucifixion came from the antique shops he visited and found small crucifixions that were a legacy of Portuguese Christian influence. Painted in blinding yellow like a heat haze the present work incorporates the artist's passion for vivid colour whilst firmly placing the picture in a hot landscape. The inclusion of a palm tree (based on a model made for him by Euan Uglow takes us away from other sun-drenched locations that Craigie frequented such as Montecastelli in Italy (see lot 64), instantly placing us within an exotic context. When asked whether the yellow symbolised the resurrection, Craigie replied 'Oh no, I only had yellow left and it was raining and I didn't fancy going out in the rain 'cos I'd get wet and so I used yellow' (Ibid, p.186). The figure of Christ is supported on the cross by the left arm draped over the woodwork as the limp body indicates his suffering has ceased. The Bedlington terrier, another powerful motif and important part of Craigie's life, looks up with curiosity and concern, a silent attendant as if it has been walking through the landscape and stumbled upon the scene. The bird perched next to the figure of Christ is still and contemplative whilst two others take flight, symbolic of the departing spirit and possibly redemption. The artist's modern and wholly personal interpretation of this most famous of stories takes place in the shadow of a familiar pyramid shaped mountain that invokes his homeland and specifically Goatfell on the Isle of Arran.
Craigie Aitchison C.B.E., R.S.A, R.A. (British, 1926-2009) Indian Crucifixion signed and dated 'Craigie Aitchison 1999' (on the canvas overlap) oil on canvas 76.2 x 63.5 cm. (30 x 25 in.) Fußnoten Provenance With Timothy Taylor Gallery, London, where purchased by the present owner Private Collection, U.K. Exhibited New York, Galeria Ramis Barquet, Craigie Aitchison 2000 Literature Cate Haste, Craigie Aitchison A Life in Colour, Lund Humphries, Farnham, 2014, p.187, pl.176 (col.ill.) The crucifixion motif first appeared in Craigie's work as far back as the late 1950s, inspired by his visits to altarpieces in Italian churches, and they became his most recognised and frequent subject in the following decades, critically acclaimed and with broad commercial appeal. Other British artists of the period tackled this subject, including Graham Sutherland, but only Craigie embraced it in an almost obsessive way. The present work was painted in 1999 and during a revelatory visit to India to stay with Anthony and Sabrina Fry in Fort Cochin, Kerala. Anthony Fry recalls, 'We put ice-packs on his head and gave him fans and he was fine. In retrospect it was a very important trip for him to have done' (Cate Haste, Craigie Aitchison A Life in Colour, Lund Humphries, Farnham, 2014, p.186). The direct inspiration for Indian Crucifixion came from the antique shops he visited and found small crucifixions that were a legacy of Portuguese Christian influence. Painted in blinding yellow like a heat haze the present work incorporates the artist's passion for vivid colour whilst firmly placing the picture in a hot landscape. The inclusion of a palm tree (based on a model made for him by Euan Uglow takes us away from other sun-drenched locations that Craigie frequented such as Montecastelli in Italy (see lot 64), instantly placing us within an exotic context. When asked whether the yellow symbolised the resurrection, Craigie replied 'Oh no, I only had yellow left and it was raining and I didn't fancy going out in the rain 'cos I'd get wet and so I used yellow' (Ibid, p.186). The figure of Christ is supported on the cross by the left arm draped over the woodwork as the limp body indicates his suffering has ceased. The Bedlington terrier, another powerful motif and important part of Craigie's life, looks up with curiosity and concern, a silent attendant as if it has been walking through the landscape and stumbled upon the scene. The bird perched next to the figure of Christ is still and contemplative whilst two others take flight, symbolic of the departing spirit and possibly redemption. The artist's modern and wholly personal interpretation of this most famous of stories takes place in the shadow of a familiar pyramid shaped mountain that invokes his homeland and specifically Goatfell on the Isle of Arran.
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
