“Evelyn Williams must be one of the most stubbornly tenacious and imaginatively gifted octogenarian painters at work in Britain today. The expressive intensity and emotional force of the figurative works – often on a very large scale – flow from her studio in North London with absolutely no sign of any lessening either of quantity or quality. The new show at the Martin Tinney Gallery which celebrates over sixty years of creative activity is an absolute stunner, but where on earth is the museum retrospective and Tate purchase? A Disgrace.” Galleries Magazine January 2010.
Some of the recent work shown, click on them to see larger versions:
Buying work in 2010
There is still a substantial stock of work including recent paintings held at Evelyn's studio in Finsbury Park, London which can be viewed by emailing art@evelynwilliams.com
As We Were 1 |
Summer Painting |
One of the large paintings sold at theMartin Tinney Gallery in Cardiff, October 2008. |
Sold at the 2009 Royal Academy Summer show, London. |
Evelyn
Williams
Evelyn Williams born 1929 has been painting pictures since she left A. S. Neil's famous Summerhill School at age 14 and went to St Martins School of Art and the The Royal College of Art.
Visit "work" to see some of Evelyn's other paintings, drawings and sculptures. See what the critics have said about her work over the years by clicking on "details".
Triptych: The Family
This large charcoal triptych dating from 1977 was sold at the 2008 Abbott and Holder exhibition.
The Birds & The Woods 2
These major works were sold by Agnews in their brilliant "Looking Forward" show in July 2007.
The only hope for painting lies in the revival of the image. It may already be too late and there may be no future, for the image demands an underlying mastery of drawing and the convincing communication of all those qualities that were made to seem so easy half way through the Italian Renaissance six centuries ago. The urge to paint is as strong an instinct as ever, but those who teach have abandoned the necessary skills and disciplines, and the patronage of the church and stage that nourished so many works of genius is now moribund. If painting is ever to triumph, then painters must recover skills that for centuries were commonplace, and find subjects that have something of the once universal moral weight of the Bible, the old mythologies and history.