John Ivor Stewart PPPS (1936-2018) - Signed & Framed 2002 Pastel, Lily Pond I

Description

A vibrant and expressive waterlily study by the British artist John Ivor Stewart PPPS (1936-2018). Stewart's passion for portraying the dynamic and vibrant essence of nature is evident in this wonderful study. His technique is both expressive and delicate, producing distinct line and form, and illustrating the artist's accomplished proficiency for botanical subject. Stewart had much admiration for the impressionist masters, often naming them in the titles of his works. Here we can clearly see the stylistic and thematic influences of Monet's 'Water Lilies' series.

With a 'Mall Galleries' label on the reverse; titled, dated and signed, and an additional artist sticker. Wonderfully presented in a contemporary painted wood frame which perfectly complements the tones within the artwork. With an additional painted slip with gilt effect detail.

Signed. On wove.

Condition

In fine condition.

Size

78 x 57.5cm (30.7" x 22.6")
Framed Size: 95 x 73cm (37.4" x 28.7")

Collection Information

Sulis Fine Art is proud to bring you a selection of wonderfully executed works by the artist John Ivor Stewart (1936-2018).

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Artist Biography

John Ivor Stewart (1936-2018) was born in Northern Ireland Co Antrim in July 1936. He studied at Belfast College of Art 1956-60, Reading University for his ATD in 1960, and later the Cardiff College of Art for his ADAE 1973-74. He was a founder member of the Society of Botanical Artists 1982, and was elected a member of the Pastel Society in 1987. He won the Major Prize as a non-member in 1986 and twice again as a member in 1992 and 1997.

In his time as a member of the Pastel Society, he served as Honorary Treasurer and Membership Secretary, and was elected President 2009-12. Until 2017, he held the post of Education Officer for the Pastel Society. He retired as a full-time art teacher at Frensham Heights in 1990.

His paintings in the Societies' exhibitions were un-inhibited and full of passion, showing his admiration for women and his love of flowers and botanical studies. In conversations, he often expressed sadness at the disengagement from the voluptuousness in certain aspects of British art.