|
|
|
|
|
|
About Glynn Thomas RE
|
|
|
|
Glynn
Thomas was born in Cambridge 1946. He studied at the Cambridge
School of Art 1962-67, specialising in illustration and printmaking;
taught printmaking at the Ipswich School of Art 1967-79, and
is now a full-time artist living in Suffolk.
He has illustrated a number of books. He is a Fellow of the
Royal Society of Painter-Printmakers and at the Society's
1983 annual exhibition his etching 'Honfleur', was awarded
the Davys' prize for the best print.
In addition, his work has been included in the Houses of Parliament art collection
|
|
|
One man exhibitions
include the Dominion Centre Toronto, the John Russell Gallery, Ipswich,
Printworks and the Minories, Colchester, the New Ashgate Gallery
Farnham, the Royal Exchange Theatre, Manchester, the Lyric Hammersmith,
and the Barbican Centre London. Mixed exhibitions include the Cambridge
Contemporary Art Gallery, the Adelphi Gallery New York, Donald Hughes,
Hong Kong, the Royal Academy, the British Miniature Print Exhibition,
the National Print Exhibition Pall Mall Galleries and exhibitions
throughout the UK. Works are in the Ashmolean, the Museum of London
and Ipswich Museum collection.
Work has been commissioned by Christies Contemporary Art, the Royal
Society of Painter-Printmakers and the Riding for the Disabled Association
- this etching was presented to HRH the Princess Royal.
|
|
The
perspective is cockeyed, not a few of the buildings are lying
on their sides in their eagerness to be included, but there,
in a single, friendly print is the essence of the place.
Nicholas
Butler, Essex County Standard
|
|
It
is all very revealing of an effusive and sometimes impatient,
thought process, this zany topography, whether the subject
is a tiny Essex village like Tollesbury or a city like Norwich.
The character of each place comes over like a caress of fairy-tale
nostalgia.
Ray
Rushton, Arts Guardian
|
|
|
Initially,
one might be bewitched by his apparent naivete and charm,
but deeper examination uncovers much greater profundity than
that. In his more complex prints, he frequently tilts the
picture plane, so that he simultaneously presents both horizontal
and vertical aspects of the subject.
This attempt to portray a multiplicity of viewpoints within
the same picture was one of the most inventive aspects of
early Cubism, yet no man could be less likened to a Cubist
than Glynn Thomas. He employs Chinese methods in Cambridge
Bridges, in which six bridges pile vertically on top of one
another, yet one discovers vestigial traces of perspective
as well.
It would be hard, however, to name another artist who combines
charm and intellect with such felicity.
Colin
Moss, East Anglian Daily Times
|
|
We
who live in this part of East Anglia inhabit an environment
which is attractive and, in parts, decidedly picturesque.
The problem, however, is that the attentions of artists over
the years have tended to overlay some of the most familiar
and best-known sights with visual cliches difficult to escape.
The Quay, at Wivenhoe, the Cambridge Backs and Walberswick,
are perhaps cases in point. It takes an artist of genuine
originality to produce out of such subjects images which are
both truthful and new, Glynn Thomas, perhaps the most prolific
and professional of the region's printmakers, succeeds virtually
every time.
His Backs at Cambridge is a particular joy. The Dordogne landscapes
are magical, replete with ordered fecundity, and Kennebunkport
lies stretched out in innocence under an East Coast sky. His
drawing is sure, expressing wit without whimsy.
Jack
Cross, East Anglian Daily Times
|
|
|
email
studio@glynnthomas.com
tel/fax
01473 310512
address
lodge
cottage, bluegate lane, capel st mary, ipswich, suffolk ip9 2jx
website
designed and produced by jetlabs
ltd
©2000-2018
|
|