Editing Graham Sutherland (section)

==Biography==
===Early life===
Graham Sutherland was born in [[Streatham]], London, the eldest of three children of George Humphrey Vivian Sutherland (1873–1952), a barrister who later became a civil servant in the [[HM Land Registry|Land Registry]] and the [[Ministry of Education (United Kingdom)|Board of Education]], and his wife Elsie (1877–1957), née Foster.<ref name="RBerthoud">{{cite ODNB | url=https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-31737 |isbn=978-0-19-861412-8 | doi=10.1093/ref:odnb/31737 | year=2004 |author= Roger Berthoud |title=Sutherland, Graham Vivian (1903–1980), painter and printmaker }}</ref> Both were amateur painters and musicians.<ref name="JKing">{{cite web|url=https://artuk.org/discover/stories/graham-sutherland-the-evolution-of-a-twentieth-century-master|title=Graham Sutherland: the evolution of a twentieth-century master |author=Jade King |date=24 August 2021|website=[[Art UK]] |access-date= 21 July 2022}}</ref> Graham Sutherland attended [[Homefield Preparatory School]] in [[Sutton, London|Sutton]] and was then educated at [[Epsom College]] in [[Surrey]] until 1919. Upon leaving school, after some preliminary coaching in art, Sutherland began an engineering apprenticeship at the [[Midland Railway]] locomotive works in [[Derby]] where several members of the extended Sutherland family had previously worked.<ref name="Darkness">{{cite book |author=Paul Gough, Sally Moss & Tehmina Goskar |publisher=Sansom & Company|year=2013|title= Graham Sutherland From Darkness into Light, Mining, Metal and Machines|isbn=978-1-908326-38-6}}</ref> After a year, Sutherland succeeded in persuading his father that he was not destined for a career in engineering and that he should be allowed to study art. After failing to gain a place at his first choice, the [[Slade School of Fine Art|Slade School of Art]], he entered [[Goldsmiths, University of London|Goldsmiths' School of Art]] in 1921, specialising in [[engraving]] and [[etching]] before graduating in 1926.<ref name="alley">{{cite book |author= Ronald Alley|title=Graham Sutherland |year=1982|publisher=Tate Gallery|isbn=9780905005485}}</ref> In both 1925 and 1928, Sutherland exhibited drawings and engravings at the XXI Gallery in London.<ref name="ODNBgs">{{cite book |editor= HCG Matthew & Brian Harrison |publisher=Oxford University Press |year=2004|title=Oxford Dictionary of National Biography Vol 53 (Strang-Taylor)|isbn=0-19-861403-9}}</ref> While still a student, Sutherland established a reputation as a fine printmaker and commercial printmaking would be his main source of income throughout the late 1920s.<ref name="Darkness"/><ref name="JKing"/> His early prints of pastoral subjects show the influence of [[Samuel Palmer]], largely mediated by the older etcher, [[F.L. Griggs]].

===1930s===
[[File:Slag-ladles (Art.IWM ART LD 1773).jpg|thumb|upright|''Slag-ladles'' (1943) (Art.IWM ART LD 1773)]]
Following the collapse of the print market in the early 1930s, due to the [[Great Depression]], Sutherland began to concentrate on painting.<ref name="Spalding">{{cite book |author=[[Frances Spalding]]|publisher=Antique Collectors' Club |year=1990|title=20th Century Painters and Sculptors |isbn=1-85149-106-6}}</ref> His early paintings were mainly landscapes and show an affinity with the work of [[Paul Nash (artist)|Paul Nash]]. In 1934, Sutherland visited [[Pembrokeshire]] in Wales for the first time and was profoundly inspired by its landscape.<ref name=BritCgs>{{cite web |url=http://collection.britishcouncil.org/collection/artists/sutherland-graham-1903/initial/S
|title=Graham Sutherland (1903–1980) |access-date=1 November 2016|work=[[British Council]]}}</ref><ref name="ERowan">{{cite book|author=Eric Rowan|publisher=Welsh Arts Council, University of Wales Press|year=1985|title=Art in Wales: An Illustrated History 1850-1980|isbn=0708308546}}</ref> The region remained a source for his paintings for much of the following decade and he visited the area each year until the start of the Second World War.<ref name="Spalding"/> Sutherland focused on the inherent strangeness of natural forms, abstracting them to sometimes give his work a [[surrealist]] appearance and in 1936 he exhibited at the [[International Surrealist Exhibition]] in London.<ref name="Must See">{{cite book|editor=[[Stephen Farthing]] |publisher=Cassell Illustrated/ Quintessence|year=2006|title=1001 Paintings You Must See Before You Die|isbn=978-1-84403-563-2}}</ref> As the 1930s progressed and the political situation in Europe grew worse, he began to depict ominous, distorted human forms emerging from the land.<ref name="JKing"/><ref>{{cite web|url=https://www.tate.org.uk/art/artworks/sutherland-green-tree-form-interior-of-woods-n05139|title=Display caption, Green Tree Form: Interior of Woods|website=Tate|access-date=21 July 2022}}</ref> Oil paintings of the Pembrokeshire landscape dominated his first one-man exhibition of paintings, held in September 1938 at the Rosenberg and Helft Gallery in London.<ref name="ODNBgs"/> It was these oil paintings, of surreal, organic landscapes of the Pembrokeshire coast, that secured his reputation as a leading British modern artist.<ref name=Beebbio>{{cite web |url=http://www.bbc.co.uk/wales/arts/sites/graham-sutherland/|title= Graham Sutherland |date=13 January 2011|access-date=6 November 2016|work=[[BBC Wales]]}}</ref>

Alongside oil painting, Sutherland also took up glass design, fabric design, and poster design during the 1930s, and taught engraving at the [[Chelsea School of Art]] from 1926.<ref name="Darkness"/> Between 1935 and 1940, he also taught composition and book illustration at Chelsea.<ref name="ODNBgs"/> Sutherland converted to [[Catholic Church|Catholicism]] in December 1926, the year before his marriage to Kathleen Barry (1905–1991), who had been his fellow student at Goldsmiths College. The couple, who were inseparable, lived at various locations in Kent, before eventually buying a property in [[Trottiscliffe]] in 1945.<ref name="ODNBgs"/>

===World War Two===
At the start of World War Two, the Chelsea School of Art closed for the duration of the conflict and Sutherland moved to rural Gloucestershire.<ref name="CLewis1">{{cite web |author=Caroline Lewis|url=http://www.culture24.org.uk/history-and-heritage/war-and-conflict/world-war-two/tra27963|title=War Artists - World War Two on Canvas and Paper Part One: The Home Front|access-date=20 June 2017|work=culture24.org.uk}}</ref> Between 1940 and 1945, Sutherland was employed as a full-time, salaried artist by the [[War Artists' Advisory Committee]]. He recorded bomb damage in rural and urban Wales towards the end of 1940, then bomb damage caused by the [[The Blitz|Blitz]] in the City and East End of London.<ref name="ERowan"/><ref name=BlitzGS>{{cite web |url=http://www.tate.org.uk/art/artworks/sutherland-devastation-1941-east-end-burnt-paper-warehouse-n05737|title=Display caption, ''Devastation, 1941: East End, Burnt Paper Warehouse'' |date= May 2007|access-date=1 November 2016|work=[[Tate]]}}</ref> Almost all of Sutherland's paintings of bomb damage from the Blitz, either in Wales or in London, are titled ''Devastation:...'' and as such form a single body of work reflecting the needs of war-time propaganda, with precise locations not being disclosed and human remains not shown.<ref name=FarmhouseGS>{{cite web |author=Chris Stephens|url=http://www.tate.org.uk/art/artworks/sutherland-devastation-1940-a-house-on-the-welsh-border-n05734/text-catalogue-entry|title=Catalogue entry, ''Devastation, 1940: A House on the Welsh Border'' |date= November 1998|access-date=19 November 2016|work=Tate}}</ref> A number of features reoccur within this body of work, for example, the fallen lift shafts that were often the most recognizable aspect of larger bombed buildings and a double row of bombed houses Sutherland saw in the [[Silvertown]] area of the East End.<ref name="Darkness"/>
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Sutherland returned to Wales in September 1941 to work on a series of paintings of blast furnaces. From June 1942, he painted further industrial scenes, first at tin mines in Cornwall, then at a limestone quarry in Derbyshire, and then at open-cast and underground coal mines in the Swansea area of South Wales. Sutherland spent four months from the end of March 1944 at the [[Royal Ordnance Factory]] at [[Royal Arsenal|Woolwich Arsenal]] working on a series of five paintings for WAAC.<ref name=FurnacesGS>{{cite web |author=Chris Stephens|url=http://www.tate.org.uk/art/artworks/sutherland-furnaces-n05743/text-catalogue-entry |title=Catalogue entry, ''Furnaces'', 1944 |date= September 1998|access-date=1 November 2016|work=[[Tate]]}}</ref> In December 1944, he was sent to depict the damage inflicted by the RAF on the railway yards at [[Trappes]] and on the flying bomb sites at [[Saint-Leu-d'Esserent]] in France.<ref name=IWMgs>{{cite web |author=Imperial War Museum|url=http://www.iwm.org.uk/collections/item/object/1050000866|title=Correspondence with Artists, Graham Sutherland |access-date=1 November 2016|work=[[Imperial War Museum]]}}</ref><ref name="Foss">{{cite book|author=Brain Foss|publisher=Yale University Press|year=2007|title=War Paint: Art, War, State and Identity in Britain, 1939–1945 |isbn=978-0-300-10890-3}}</ref> In all, Sutherland completed some 150 paintings as part of his WAAC commission.<ref name="CLewis1"/>

===Post-war career===
In 1944, Sutherland was commissioned by [[Walter Hussey]], the Vicar of [[St Matthew's Church, Northampton]], and an important patron of modern religious art, to paint ''The Crucifixion'' (1946).<ref name=Crucifixion>{{cite web |author=Chris Stephens|url=http://www.tate.org.uk/art/artworks/sutherland-crucifixion-n05774/text-catalogue-entry|title=Catalogue entry, ''The Crucifixion'' 1946|date=March 1998|access-date=1 November 2016|work=[[Tate]]}}</ref> This was Sutherland's first major religious painting and his first large figure study.<ref name="JKing"/> ''The Crucifixion'' shows a pale Christ with broken limbs and was followed by a series of paintings that combined abstract forms from nature, usually the spikes and points of thorns, with religious iconography.<ref name="JKing"/> A subsequent series, ''Origins of the Land'', developed this approach, showing combinations of rocks and fossils in increasingly complex and abstract designs.<ref name="JKing"/>

In 1946, Sutherland had his first exhibition in New York. That same year, he also taught painting at Goldsmiths' School of Art. From 1947 into the 1960s, his work was inspired by the landscape of the [[French Riviera]], and he spent several months there each year. Eventually, in 1955, he purchased the villa Tempe à Pailla, designed by the Irish architect [[Eileen Gray]], at [[Menton]], near the French-Italian border.

===1950s===
[[File:Christ in Glory tapestry by Graham Sutherland in Coventry Cathedral.jpg|thumb|upright|The tapestry ''[[Christ in Glory in the Tetramorph]]'' in [[Coventry Cathedral]], installed in 1962]]
Beginning in 1949, alongside his abstract works, Sutherland painted a series of portraits of leading public figures, with those of [[Somerset Maugham]] and [[Max Aitken, 1st Baron Beaverbrook|Lord Beaverbrook]] among the best known. Beaverbrook regarded his portrait by Sutherland, which clearly depicted him as cunning and reptilian, as both an "outrage" and a "masterpiece".<ref name=Beebbio/> Maugham initially greatly disliked his portrait but came to admire it even though it had been described as making him look "like the madam of a brothel".<ref name="JKing"/> [[Sutherland's Portrait of Winston Churchill|Sutherland's ''Portrait of Winston Churchill'']] (1954) greatly upset the sitter, who initially refused to accept its presentation.<ref name="Distillations">{{cite journal |author= Michal Meyer |title=Sketch of a Scientist|url=https://www.sciencehistory.org/distillations/magazine/sketch-of-a-scientist|journal=Distillations|publisher=[[Science History Institute]]|date=2018|volume=4|issue=1|pages=10–11|access-date=27 June 2018 }}</ref> The elderly Churchill had wanted to direct the composition towards a fictionalised scene but Sutherland had insisted upon a realistic portrayal, one described by [[Simon Schama]] as "No bulldog, no baby face. Just an obituary in paint".<ref name="JKing"/> After initially refusing to be presented with it at all, Churchill accepted the painting disparagingly as “a remarkable example of ''modern art''".<ref name="Distillations"/><ref name="Black">{{cite book |author= Jonathen Black |title=Winston Churchill in British Art, 1900 to the Present Day: The Titan with Many Faces|pages=154–170 |date=23 March 2017 |publisher=Bloomsbury Publishing |isbn=9781472592415 |url=https://books.google.com/books?id=GJBHDgAAQBAJ&pg=PA154 |access-date=27 June 2018}}</ref> Although the painting was subsequently destroyed on the orders of [[Clementine Churchill|Lady Spencer-Churchill]],<ref name="tele">{{cite news |author= Furness, Hannah |url = https://www.telegraph.co.uk/news/winston-churchill/11730850/Secret-of-Winston-Churchills-unpopular-Sutherland-portrait-revealed.html |title = Secret of Winston Churchill's unpopular Sutherland portrait revealed |date = 10 July 2015 |work = [[The Daily Telegraph]] |location = London }}</ref> some of Sutherland's studies  for the portrait have survived.<ref name="tele"/><ref name="JJones">{{cite web |author=Jonathan Jones|title=Winston Churchill, Graham Sutherland (1954)|url=https://www.theguardian.com/culture/2001/nov/03/art|work=The Guardian |access-date=16 November 2016|date=3 November 2001}}</ref><ref name=OMyN>{{cite web|author=Kevin Driscoll|url=http://english.ohmynews.com/articleview/article_view.asp?at_code=278128|title=The Artist Winston Churchill Loved to Hate|date=2 September 2005|access-date=17 October 2016|work=OhMyNews|archive-date=22 March 2006|archive-url=https://web.archive.org/web/20060322075104/http://english.ohmynews.com/articleview/article_view.asp?at_code=278128|url-status=dead}}</ref> In all, Sutherland painted more than fifty portraits, often of European aristocrats or senior businessmen.<ref name=CStephens>{{cite web |author=Chris Stephens|url=http://www.tate.org.uk/art/artworks/sutherland-lord-goodman-t01880
|title=Catalogue entry: ''Lord Goodman'' (1973-4) by Graham Sutherland OM|date=November 1998 |access-date=13 June 2017|work=Tate}}</ref> Following the Churchill portrait, Sutherland's portraits of, among others, [[Konrad Adenauer]] and the [[Queen Elizabeth The Queen Mother|Queen Mother]] established him as something of an unofficial state portrait painter. This status was underlined by the award of the [[Order of Merit]] in 1960.<ref name=CStephens/>

In 1951, Sutherland was commissioned to produce a large work for the [[Festival of Britain]].<ref name=Origins>{{cite web |url=http://www.tate.org.uk/art/artworks/sutherland-the-origins-of-the-land-n06085|title=Display caption, ''The Origins of the Land'' |date=August 2004|access-date=1 November 2016|work=[[Tate]]}}</ref> He exhibited in the British Pavilion at the [[Venice Biennale]] in 1952 along with [[Edward Wadsworth]] and the New Aspects of British Sculpture Group.<ref name=Overton>{{cite web|author=Tom Overton|url=http://venicebiennale.britishcouncil.org/people/reference/graham-sutherland|title=Graham Sutherland (1903–1980), Venice Biennale participation|year=2009|access-date=21 November 2016|work=British Council|url-status=dead|archive-url=https://web.archive.org/web/20161122072256/http://venicebiennale.britishcouncil.org/people/reference/graham-sutherland|archive-date=22 November 2016}}</ref> From 1948 until 1954, Sutherland served as a trustee of the [[Tate]] gallery.

In early 1954, Sutherland was commissioned to design a monumental tapestry for the new [[Coventry Cathedral]]. ''[[Christ in Glory in the Tetramorph]]'' took three years to complete and was installed in 1962. To complete the work, Sutherland visited the weavers, {{ill|Pinton Frères|fr}} of [[Felletin]] in France, on nine occasions.<ref name="RBerthoud"/>

===Later life===
[[File:Devastation, 1940 AHouse on the Welsh Border by Graham Sutherland (Tate N05734).jpg|thumb|upright|''Devastation, 1940, A House on the Welsh Border'' (Tate)]]
From his portrait work, Sutherland acquired several patrons in Italy and took to spending the summer in [[Venice]]. However, in 1967, for an Italian television documentary, Sutherland visited [[Pembrokeshire]] for the first time in more than twenty years and became inspired by the landscape to regularly work in the region until his death.<ref name="ODNBgs"/> Living abroad had led to something of a decline in his status in Britain, but his return to working in Pembrokeshire went some way toward restoring his reputation as a leading British artist.<ref name=Beebbio/>
Much of his work from this point until the end of his life incorporates motifs taken from the area, such as the estuaries at Sandy Haven and [[Picton Castle|Picton]]. His work from this period includes two suites of prints ''The Bees'' (1976–77) and ''Apollinaire'' (1978–79).

There were major retrospective shows at the [[Institute of Contemporary Arts]] in 1951, the Tate in 1982, the [[Château Grimaldi (Antibes)|Musée Picasso, Antibes]], France in 1998 and the [[Dulwich Picture Gallery]] in 2005.<ref name=OMyN/> A major exhibition of rarely seen works on paper by Sutherland, curated by artist [[George Shaw (artist)|George Shaw]], was shown in Oxford, in 2011–12.

Sutherland died in 1980 and was buried in the graveyard of the [[Church of St Peter and St Paul, Trottiscliffe|Church of St Peter and St Paul]] in [[Trottiscliffe]], Kent.