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Empuriabrava, a Canal Scene, Mid 1960's
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Graduating from the Royal College of Art in 1951, Alistair Grant was to return in 1955 as a Tutor within the printmaking department. He progressed within the Royal College, and was made Head of Printmaking in 1970, and Professor in 1984, retiring in 1990.
Despite his academic focus on printmaking, Alistair Grant is as well known as a painter as he is a printmaker, being elected to, and regularly exhibiting at, the London Group and the Royal Society of British Artists. He also regularly exhibited at the Royal Academy.
Examples of Alistair Grant’s works can be found in numerous public collections, including the Victoria and Albert Museum and the Government Art Collection.
Despite his academic focus on printmaking, Alistair Grant is as well known as a painter as he is a printmaker, being elected to, and regularly exhibiting at, the London Group and the Royal Society of British Artists. He also regularly exhibited at the Royal Academy.
Examples of Alistair Grant’s works can be found in numerous public collections, including the Victoria and Albert Museum and the Government Art Collection.
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About the work

About the Work
With its swirling blue sky, pink peeling buildings and sluggish waters, Alistair Grant’s Canal Scene brings the modern-day Spanish waterways to life with painterly gusto.
Painted in the mid-1960s, Canal Scene represents Grant on the very cusp of his transition to the abstract, having worked predominantly with figurative subjects in the preceding post-war years. While his tumultuous sky and slow-rolling river owe an obvious debt to Van Gogh’s Starry Night and the late works of Monet, in the simplified waterfront buildings and their blurred windows and walls Grant was moving closer and closer towards the colour-form abstraction that would define the latter half of his career.
Painted in the mid-1960s, Canal Scene represents Grant on the very cusp of his transition to the abstract, having worked predominantly with figurative subjects in the preceding post-war years. While his tumultuous sky and slow-rolling river owe an obvious debt to Van Gogh’s Starry Night and the late works of Monet, in the simplified waterfront buildings and their blurred windows and walls Grant was moving closer and closer towards the colour-form abstraction that would define the latter half of his career.
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