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18 de feb. de 2016 · Paul Wright on Monotypes. 18th February 2016 by Lisa Takahashi 1. Paul Wright’s monotypes are energetic, bold and characterful. His is a language that uses rich oil colour that glides across the surface, offering up not only a likeness of the subject but an essence of the sitter’s inner self, and a painterly quality that is ...
Paul Wright Monotypes . Works on Paper/Framed ‘Paul Wright is an accomplished and immensely talented artist; a defiant standard-bearer for the qualities of technique, craftsmanship, colour and texture in painting. Although clearly influenced by the best traditions of fine art, his approach is individual, contemporary and powerful.’
Paul Wright (b. Leicester, UK 1973) graduated from the Falmouth School of Art in 1995. He has been shortlisted for the National Portrait Gallery BP Award twice, in 2006 and 2015 ‘I have spent the last 20 years developing a painterly language through which I seek to capture a vitality beyond the establishment of a mere ‘likeness’ to the subject.
Monotype is a print medium whose simple concept, spontaneous process, and elegant result attract both artists and collectors. The earliest monotypes date from the 1640s, when Giovanni Benedetto Castiglione printed compositions he drew into ink spread on un-incised metal plates. Since then, artists have periodically rediscovered the technique for themselves.
Paul Wright is a British painter who studied at the distinguished Falmouth College of Art. He is renowned for portrait painting through the UK and endeavours to capture the true essence of his subject, bringing it to life through his collaboration of paint and canvas.
Paul Wright (b. Leicester, UK 1973) 1992 - 1995 BA Illustration Falmouth School of Art. 1991 - 1992 Foundation Studies Loughborough College of Art and Design. Two time shortlister for the National Portrait Gallery BP Award 2006 and 2015. Commission.
Paul Wright was born in Leicester in 1973. I have spent the last 20 years developing a painterly language through which I seek to capture a vitality beyond the establishment of a mere ‘likeness’ to the subject. Whilst I appreciate the importance of the subject being recognisable, they are glimpsed rather than exposed, their inner selves hinted at but ultimately inscrutable.
