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.
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Famous quotes containing the word work:
“We are weighed down, every moment, by the conception and the sensation of Time. And there are but two means of escaping and forgetting this nightmare: pleasure and work. Pleasure consumes us. Work strengthens us. Let us choose.”
—Charles Baudelaire (1821–1867)
“... to work, to work hard, to see work steadily, and see it whole, was the way to be reputable. I think I always respected a good blacksmith more than a lady of leisure.”
—Elizabeth Stuart Phelps (1844–1911)
“A man should have a farm or a mechanical craft for his culture. We must have a basis for our higher accomplishments, our delicate entertainments of poetry and philosophy, in the work of our hands.”
—Ralph Waldo Emerson (1803–1882)