This beguiling oil sketch is an early work by Ambrose McEvoy and demonstrates his developing freedom of painterly expression.
The small scale of this work allows a closer inspection of the artist’s innovative method; perspective is somewhat abandoned in favour of a celebration of movement and light. The figure’s face is illuminated with warm hues in a manner which harkens to that of the great masters, however, the energy and movement inherent in his bold brushstrokes distances this from the work of the past masters and places it firmly in the present. McEvoy was formidable in his ability to assimilate knowledge from artists whom he respected and use these skills as a vehicle through which to experiment with his own techniques.
McEvoy has painted this work quickly, applying multiple layers of paint over one another to ‘build up’ the composition. One of his favourite techniques – which is visible in this work – is ‘scumbling’ where patches of colour...
This beguiling oil sketch is an early work by Ambrose McEvoy and demonstrates his developing freedom of painterly expression.
The small scale of this work allows a closer inspection of the artist’s innovative method; perspective is somewhat abandoned in favour of a celebration of movement and light. The figure’s face is illuminated with warm hues in a manner which harkens to that of the great masters, however, the energy and movement inherent in his bold brushstrokes distances this from the work of the past masters and places it firmly in the present. McEvoy was formidable in his ability to assimilate knowledge from artists whom he respected and use these skills as a vehicle through which to experiment with his own techniques.
McEvoy has painted this work quickly, applying multiple layers of paint over one another to ‘build up’ the composition. One of his favourite techniques – which is visible in this work – is ‘scumbling’ where patches of colour are rapidly applied over the top of another colour beneath, allowing the lower layers to show through.
McEvoy was economical with his painting materials and in later life would often reuse canvasses instead of buying new ones. He was clearly very efficient in his early years too, for this work appears to have been painted on a panel liberated from the base of a small drawer.