Enquire
This still life, painted in 1919, displays Grant’s daring abandonment of traditional constraints in still-life painting. Boldly painted works like this secured Duncan Grant’s reputation as a central proponent of modern British art and a leading artist of his generation.
Exemplifying his newly radical style, this still life was produced by Duncan Grant during the run-up to his first solo exhibition, at the Carfax Paterson Gallery in Old Bond Street, London. This 1920 exhibition secured Grant’s reputation as one of the most prominent artists on the global avant-garde art scene. It is possible that the present still life was exhibited in the show, as ‘The Glass Cup’ (no. 24).
After the First World War, Grant exchanged vivid iridescence for more controlled intensity and solidity. His palette, as evidenced here, gained depth and richness which is translated in the integrity of his subjects. As a result, Grant began to luxuriate in the details of design – here, the elaborate...
This still life, painted in 1919, displays Grant’s daring abandonment of traditional constraints in still-life painting. Boldly painted works like this secured Duncan Grant’s reputation as a central proponent of modern British art and a leading artist of his generation.
Exemplifying his newly radical style, this still life was produced by Duncan Grant during the run-up to his first solo exhibition, at the Carfax Paterson Gallery in Old Bond Street, London. This 1920 exhibition secured Grant’s reputation as one of the most prominent artists on the global avant-garde art scene. It is possible that the present still life was exhibited in the show, as ‘The Glass Cup’ (no. 24).
After the First World War, Grant exchanged vivid iridescence for more controlled intensity and solidity. His palette, as evidenced here, gained depth and richness which is translated in the integrity of his subjects. As a result, Grant began to luxuriate in the details of design – here, the elaborate designs on the background are reflected in the sheen of the tabletop.
The work remained in the Strachey family until 2024, and its recent emergence into the art market offers new insight into Grant’s early career.
