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Pink and Black Tea Set, 1934
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Graham Sutherland was born in 1903 in Streatham. He attended Epsom School and then studied art at Goldsmith’s School of Art (1921-26) where he quickly became a highly skilled etcher. As an official War Artist, Sutherland depicted bomb damage in London but it was not until after the war that he started to become really well known. He was awarded the Order of Merit in 1960 and died in London in 1980.
In his work Sutherland developed an interest in natural forms of growth such as tree roots and thorn bushes which he often depicted in close-up or from foreshortened viewpoints. These organic growth formations, which remained central to Sutherland’s work throughout his career, often appeared menacing or threatening with their hints of human or animal like characteristics.
In his work Sutherland developed an interest in natural forms of growth such as tree roots and thorn bushes which he often depicted in close-up or from foreshortened viewpoints. These organic growth formations, which remained central to Sutherland’s work throughout his career, often appeared menacing or threatening with their hints of human or animal like characteristics.
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About the work
About the Work
Tea Set for Clarice Cliff ‘Bizarre’ Range, 1934
Graham Sutherland’s association with the popular ceramics designer Clarice Cliff began in 1932 when he was brought on board to help select, and mediate between, several ‘modern masters’ (Vanessa Bell and Duncan Grant, Paul Nash, Ben Nicholson, among others) who had been asked to provide designs for new limited edition tea and dinner sets. Eventually 27 artists, Sutherland included, contributed to the Artists in Industry project: an highly ambitious and, as it transpired, expensive venture that proved just that bit too challenging for public taste at the time. So poorly did the range perform, in fact – despite positive reviews and praise for its central premise, bringing fine artists into the realm of commercial pottery – that Sutherland disavowed his various designs. But this rather fetching tea set, reminiscent of Ravilious’ work for Wedgwood, suggests he might have had a little more faith in his work.
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