Following his early education at Conamur School, Sandgate, Kent, Ivon Hitchens attended Bedales School, Hampshire from until acute appendicitis cut short his school days and sent him on a recuperative voyage to New Zealand. Hitchens’ art education began at St John’s Wood School of Art, London from and continued at the Royal Academy Schools from He returned to the RA Schools between , following two years’ service in hospital supply during the First World War. Still not fully recovered from his youthful illness, Hitchens was declared unfit for active service in
After graduating from the RA Schools, Hitchens moved into a studio at Adelaide Road, Hampstead in and became part of a circle of avant-garde British artists including Barbara Hepworth, Henry Moore, Paul Nash and Ben Nicholson. He also tapped into what was happening on the continent, particularly in France. Whilst looking to Cèzanne and Matisse in particular, Hitchens chose to focus on the subject matter right in front of him - the landscapes of Sussex, as well as flower paintings, interiors and studies of the nude and of family members.
Ivon Hitchens was one of the earliest member
Ivon Hitchens British,
However, he never felt totally at home with purely non-objective art, preferring to structure his work so that it preserved a sense of illusionistic space, even if it was equally about the harmonious arrangement of pure colour and form across a flat surface. After his London studio was bombed in , Hitchens moved with his family to a gipsy caravan in the middle of the Sussex countryside, where he embarked on the landscapes - using long horizontal canvasses traditionally reserved for seascapes and panoramas - that were to define his career. In his later years, his work became increasingly abstracted, the brush mark and colours taking on a language of their own far removed from the motif, so that they became less landscapes and more a kind of visual music.
Works by Ivon Hitchens have been shown extensively both nationally and internationally, with retrospectives held at the Royal Academy in and the Serpentine Gallery in He is represented in numerous public collections in Britain and abroad, including the Tate Gallery Courtauld Institute, Victoria & Albert Museum, Arts Council & The Yale Center for British Art in New Haven.
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(b London, 3 Mar. ; d Lavington Common, nr. Petworth, Sussex, 29 Aug. ). British painter, mainly of landscapes. He created a highly distinctive style, on the borderline between abstraction and figuration, in which broad, fluid areas of vibrant colour, typically on a canvas of wide format, evoke but do not represent the forms of the English countryside that were his main inspiration. From , after his London studio was destroyed by bombing, he lived in Sussex. By this time his characteristic manner was fully developed and subsequently his work altered little, apart from the fact that his palette changed from naturalistic browns and greens to much more vivid colours such as bright yellows and purples. Contrary to what often happens when an artist remains constant in one style over a period of decades, Hitchens's work did not become stereotyped or banal.
In addition to landscapes he painted flowers and figures, and he did several large murals, for example at the University of Sussex ().
Text source: The Oxford Dictionary of Art and Artists (Oxford University Press)
Ivon Hitchens British,
Ivon Hitchens' Coronation of is one of the Tate's hidden treasures, a painting that is both of its era and also ahead of its time. On the one hand, it is the apotheosis of the Modern Movement in Britain in the Thirties, in its synthesis of the avant-garde theories coming out of Paris, Amsterdam and Berlin that were so influential on his contemporaries, such as Nicholson, Hepworth and Moore. On the other, the freedom with which Hitchens handles the division of the pictorial space through loose, irregular blocks of expressively brushed colour, has almost as much in common with abstract painting of some twenty years later. It is as if he saw in the work of those European masters who passed through London in the Thirties exactly the same possibilities as a younger generation of American painters would, after their arrival in New York, at the onset of the War.
This painting, however, just as it represents a high-water mark of early modernism in this country, also signals an end - or a departure point - for Ivon Hitchens himself. By the following year, he was fully immersed in the project that was to occupy him for the rest of his career: translating t
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