Art

Vaux, Marc (34 of 76).  National Life Stories: Artists' Lives

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  • Type

    sound

  • Duration

    00:31:13

  • Shelf mark

    C466/65

  • Subjects

    Art

  • Recording date

    2000-09-13, 2003-02-06, 2003-02-27, 2003-03-27, 2003-06-26, 2003-10-15, 2003-11-05

  • Recording locations

    Interviewee's studio, London

  • Interviewees

    Vaux, Marc, 1932- (speaker, male)

  • Interviewers

    Courtney, Cathy, 1954- (speaker, female)

  • Abstract

    Part 34: Tape 18: Side B: Marc Vaux [MV] comments on a early piece of his that the Tate had given to them by Ted Power who originally bought it from Whitechapel Gallery; MV describes this painting in detail; on the relationship between this piece and another from 1998; details on scale of painting and position of viewer; on use of colour block in this 1972 work and other techniques and the theory behind them. MV comments on the sense of the ridiculous – for example, the first time MV saw Giacometti sculptures; recalls first showing his wife, Tess Jaray, his small element paintings and she began to giggle; on the emotive quality of colour and colour relationships. MV comments on time during the mid-60s to mid-70s when he was extremely interested in colour field effect, large area of colour had different effect from small area of same colour. Comments on MV’s colour workshop at Visual Research Department at Hornsey – the ‘monochromatic experience’; remarks on Barnet Newman and Mark Rothko. MV comments on colour field painting practised more in UK than USA – Bill Turnbull did a lot of colour field painting; on colours contribution to the chromatic experience – physiological explanation for this. Comments on reading colour theory books – Scientific American magazines; on relationship between MV’s painting practice and colour theory; MV remarks that people more susceptible to changes in density of colour than to changes of hue; MV’s paintings that were nearly black or appeared to be white.

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