Work
The first important exhibition of her work appeared in 1947 at the Pierre Matisse Gallery in New York City. Leonora Carrington was invited to show her work in an international exhibition of Surrealism where she was the only female English professional painter. She became a celebrity almost overnight. In Mexico she authored and has successfully published several books. The first major exhibition of her work in the UK for twenty years took place at Chichester's Pallant House Gallery, West Sussex, from 17 June to 12 September 2010 as part of a season of major international exhibitions called Surreal Friends, celebrating the place of women in the Surrealist movement. Her work was exhibited alongside pieces by her close friends the Spanish painter Remedios Varo (1908–1963) and the Hungarian photographer Kati Horna (1912–2000).
In Carrington's artwork one can see her depiction of horses within her Self-Portrait (Inn of the Dawn Horse) or within her painting The Horses of Lord Candlestick. During her childhood, Carrington's fascination with drawing horses was even prevalent. She also incorporates the use of horses in her writings as well. Within her first published short story, The House of Fear, Carrington places the horse in the role of a psychic guide to a young heroine. 1n 1935, before The Seventh Horse was published, Carrington's first essay Jezzamathatics or Introduction to the Wonderful Process of Painting was published.In addition to her enjoyment of depicting horses and writing, Carrington also commonly used code words to dictate meaning to her artwork such as the code work Candlestick she commonly used for her family, and the word lord for her father.
Carrington was one of the last living Surrealist painters of her era. In 2005, Christie's auctioned Carrington's "Juggler". The realized price was US$713,000, which set a new record for the highest price paid at auction for a living surrealist painter.
Read more about this topic: Leonora Carrington
Famous quotes containing the word work:
“If there is a special Hell for writers it would be in the forced contemplation of their own works, with all the misconceptions, the omissions, the failures that any finished work of art implies.”
—John Dos Passos (1896–1970)
“As for my own business, even that kind of surveying which I could do with most satisfaction my employers do not want. They would prefer that I should do my work coarsely and not too well, ay, not well enough. When I observe that there are different ways of surveying, my employer commonly asks which will give him the most land, not which is most correct.”
—Henry David Thoreau (1817–1862)
“The work of art, just like any fragment of human life considered in its deepest meaning, seems to me devoid of value if it does not offer the hardness, the rigidity, the regularity, the luster on every interior and exterior facet, of the crystal.”
—André Breton (1896–1966)