Today’s broadcast features two 1960s oil paintings by Peter Kinley, one from the estate of Monica Kinley, the artist’s widow and muse. Also, we look at lithographs made after drawings by Camille Pissarro, executed by the renowned French lithographer Georges Thornley (who had previously worked with Edgar Degas). Finally, we’re shown chawan (teabowls) made especially for Goldmark by Japanese potter Ryotaro Kato.
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Peter Kinley was born in Vienna in 1926. He arrived as a refugee in Britain in 1938 and served in the British army between 1944-48. He studied at Staatliche Kunstakademie, Düsseldorf, and at St Martin’s School of Art, London.
Kinley’s first solo exhibition was held in London in 1954, following which he showed with regularity at galleries in both America Europe, India and Australia. In 1982 a retrospective was held at the Museum of Modern Art, Oxford. He taught as Senior Lecturer at Bath Academy of Art from 1971-1975, and then as Principal Lecturer 1975-1988. Kinley died shortly after retiring from his Corsham post in 1988.
As the paternal voice of Impressionist painting, Camille Pissarro was undoubtedly one of the most influential artists of the 19th century. Less well known is his immense contribution to the printmaking of that movement, in which he was the most prolific – and certainly most original – of the peintre-graveurs. The earlier years of his printmaking, from 1879-82, were filled with experimentation and innovation in etching and lithography, Pissarro constantly reworking or changing plates and trialling new techniques with each impression.
Despite the enormous enjoyment of working with prints, which Pissarro saw as an art equal in value to oil painting, there was little demand for his work during his lifetime. Ever the self-deprecating critic, Pissarro considered his achievements as amateurish: what a pity, he writes, there is no demand for my prints, I find this work as interesting as painting, which everybody does, and there are so few who achieve something in engraving. They can be counted.
French lithographer Georges Thornley was testament to the printer’s prodigious technique and sensitivity. The talented son of a Welsh immigrant, Thornley offered his cooperation in producing a series of plates based on the artist’s paintings, and the two developed a rewarding working relationship. Pissarro had no doubt been convinced of Thornley’s ability after witnessing his previous joint ventures with dealer Theo Van Gogh, brother to Vincent, and Edgar Degas, with whom Pissarro had also collaborated extensively in the past, as well as his outstanding interpretations of drawings by Puvis de Chavannes.
Ryotaro Kato was born into a potter’s family with 220 years of history. His late grandfather Takuo Kato (1917 – 2005) was awarded the title of Japanese Living National Treasure and Ryotaro grew up immersed in the traditional skills and culture of pottery.