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February 9, 2012: Ahead of the launch of the 2013 Carl Melegari exhibition, the National Library of Wales, Aberystwyth, has confirmed it has acquired one of his oil paintings.
The picture, Fairy Glen, will now form part of Wales's national collection.
The Library also acquired paintings from Kooywood artists Wilf Roberts and Anthony Evans, as detailed below.
Gallery founder Rhian Kooy said, "Carl is one of the most exciting artists at work in Britain today and his recent success in London, Paris, New York and Toronto is testimony to this. The new exhibition will comprise work of breathtaking quality."

February 4, 2012: The work of two Kooywood Gallery artists - Wilf Roberts and and Anthony Evans - has been purchased from the gallery to add to Wales's national art collection at The National Library of Wales, Aberystwyth.
It follows the decision by the National Library just 18 months ago to aquire from The Kooywood Gallery two significant oil paintings by the Swansea-born artist Alfred Janes.
Rhian Kooy, founder of The Kooywood Gallery, said, "To secure places for more of our artists in Wales's most prestigious national collection is a significant honour for the gallery and helps highlight the progress we have made with the support of our exhibiting artists in recent years. Wilf Roberts and and Anthony Evans are among the most important painters at work in Wales today and the purchase further underlines their standing."

January 10, 2013. The leading Welsh artist Dewi Tudur is the latest painter to show his work at The Kooywood Gallery. Dewi Tudur was born in Mold, Flintshire in 1957 and trained at Aberystwyth School of Art and Carmarthen College of Art from 1976 - 1980. In 2009 he retired from teaching to concentrate on painting full-time. Over 20 years he has built up a very loyal group of collectors both in Wales and abroad. "Dewi Tudur is an artist of the highest order and we see his decision as further endorsing the strides we have taken to exhibit work of the highest order," said gallery founder Rhian Kooy.

January 1, 2013: Artist Carl Melegari has confirmed he will present a solo show of new paintings at the Kooywood Gallery for a month, beginning February 22, 2013. This follows two previous solo exhibitions by Melegari which received widespread critical acclaim.

Celebrating the centenary of Eric Malthouse 1914 - 1997
10th April - 3rd May 2014


ERIC MALTHOUSE, the artist credited with introducing “modern art to Wales," is regarded as one of our nation’s most important 20th-century painters.
This week, 100 years after Malthouse’s birth, Cardiff’s Kooywood Gallery is marking this important milestone by exhibiting a major exhibition of his work, sourced from a staggering seven decades of output from the 1930s to shortly before his death at the age of 83 in 1997.
The exhibition at the Museum Place gallery draws largely on the collection of paintings and lithographs that remain in the Malthouse estate, many being released for the first time, and fittingly is being staged in a venue just yards from the National Museum and Galleries of Wales, which granted the artist a prestigious solo exhibition some 50 years ago.
Ranging from captivating still life paintings – completed shortly before serving in World War II with the Royal Armoured Corps – to work best described as surrealist and based on an exhaustive exploration of colour and form, the exhibition comprises more than 50 individual works of art.
“The diversity of styles is breath taking, highlighted by several striking examples of his highly acclaimed paintings completed in St Ives in the 1950s, the technically superb lithographs and screen prints of the 1960s and colour-dominated oils of the 1980s,” says Rhian Kooy, owner of the Kooywood Gallery, who has spent the last several months preparing for this month-long exhibition .
“This is also an important and timely exhibition not only for the centenary of his birth and the link with the National Museum and 40 years but also the fact that it is 40 years since his work was admitted to The Tate.”
Although he worked most of his life in Wales, a brief spell away included a time when he joined the artistic enclave in St Ives in the mid 1950s where he complete a series of abstract pieces centred on the local fishing community, Malthouse was actually born in the Midlands in 1914 and studied at Birmingham College of Arts and Crafts before becoming the Art Master at a school in Shipley, Yorkshire.
But it was only after his arrival in Cardiff, when appointed lecturer at Cardiff College of Art in 1944, that he began to make his mark.
He was soon to become a founder member of the South Wales Group in 1946 but as three young artists, along with David Tinker and Michael Edmonds, he made a lasting impact on Welsh art by helping establish the 56 Group Wales in 1956, an organisations that continues to thrive today. Sadly, the last surviving founding member of the 56 Group, Michael Edmonds, died a few days ago.
Malthouse quickly won critical acclaim, largely for the message-laden approach to his work. Among early fans was the distinguished writer Emyr Humphreys, who wrote of him in 1959: “Eric Malthouse is a solitary figure on the Welsh scene; solitary and serious. Elsewhere, in Cornwall, in Paris, in New York, there are painters who live, move and breathe in the spatial relationship of the forms on canvas and who arrive at these balanced relationships through a continuous act of disciplining colour.
“I know no-one else, however, who pursues these essential researches in Wales with the same degree of single-minded intensity as Eric Malthouse. Malthouse is an artist who is now only reaching the plenitude of his powers, and that his explorations of colour, and of the increasingly independent part colour can assume in the structure of a painting, will become a notable part of contemporary painting.”
Malthouse was remained in Wales because he thought of it being a remote nation and because it suited his political ideals; his work often demonstrating the latter ideal in particular by its satire and communication of messages about subjects such as nuclear proliferation and the Vietnam War.
Quite soon into his career in Wales, in the early 1950s, he produced his highly acclaimed series of paintings on the theme of men, boys and pigeons. Then in 1955, while working in Cornwall, he began the series of St Ives fishermen paintings that remain particularly sought-after in today’s market.
The St Ives Rock Pools, together with the earlier series of paintings of the Flight of Pigeons, were concerned with a close analysis of colour and a rigorous concern with spatial composition. But by 1959 his paintings became completely non-figurative. He had been involved in printmaking since his student days and this became an increasingly important component of his work in Llandaff, Cardiff, up to 1963 and subsequently in Penarth.
In 1973 he moved to Cargreen in Cornwall where he continued his work with non-figurative oils and prints. In 1981 he moved to Keynsham. His wife Anne died in 1982 and in 1985 he moved back to Barry in South Wales, where he began a series of watercolours of scenes around Barry which he continued until he died in 1997.
Ms Kooy adds: “Malthouse is among the very best of 20th century artists, and his work continues to enjoy strong demand from collectors around the UK. This exhibition contains several pieces that are being released for the first time and is also a superb opportunity for collectors to understand just how great his achievements were.”

The exhibition is at the Kooywood Gallery, www.kooywoodgallery.com, 8 Museum Place, Cardiff, until May 3, 2014

Sidebar:
Highlights of Eric Malthouse’s work
Where the Wind Blows Red, a lithograph produced in 1965, was suggested by the red sky and spumes of smoke from Port Talbot’s vast new steelworks.

Two little Incendergells (1968) and the Doom Figure (1969) are prints whose titles echo world events. Incendergell was another name for napalm, while the Doom Figure reflects the people who died due to the first atomic bomb.

Ancestor Worship (1970) developed from his illustrations of Emyr Humphreys’ book of poetry of the same title.

Prynu Dol, 1970, was one of the most complex prints produced, its imagery inspired by the Kate Roberts stories and endeavours to express their strange character.

Elegy for Fun, between 1972/79, and the Bagatelles, 1978/82, were started as a casual light-hearted series. The Elegy began as six and was extended to nine. The artist stated it was “tinged with sadness, being dedicated to one who I thought was a misunderstood student. It was for fun, a term she often used, and fun for me, as a series celebrating leaving lecturing”. While Bagatelles began as a series of four paintings to commemorate his son’s doctorate at St Bartholomew’s Hospital Medical

 


     
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