Although by a relatively unknown artist today, this painting is considered a masterpiece of British modernist painting. It shows Stephenson?s interest in modernist architecture, which was emerging in Britain at this time. The abstracted forms are bold, dynamic and uncompromising, suggesting a new and radical spirit of modernity. It was painted in 1937. This year saw the publication of the Circle manifesto and related Circle exhibition, where this painting almost certainly featured. Together these represented the most significant and radical manifestation of modernism of the time and cemented British artists? position at the forefront of the European avant-garde.
John Cecil Stephenson (, 1889 - 1965)
Stephenson was one of the leading modernist artists working in Britain between the wars. Born in County Durham, he studied at Leeds College of Art, then the Royal College of Art and the Slade in London. After the First World War he moved into a studio at The Mall, in Hampstead, London. This little lane would become the focal point of British Modernism in the 1930s: Barbara Hepworth, Ben Nicholson and Henry Moore all moved there. Stephenson became involved with this avant-garde group in the 1930s and during this period produced much of his best work. Following World War II, he adopted a more figurative style, but by 1951 he was again exploring abstraction, this time on a large scale. He was head of the Architectural department of Northern Polytechnic from 1922-55.