* STEVEN CAMPBELL (SCOTTISH 1953 - 2007) HARVEST WITH WINTER WIND (1983)
oil on canvas framed Provenance: Barbara Toll Fine Arts, New York label verso. We are grateful to Mrs Carol Campbell of the Steven Campbell Trust for confirming "an early work from his New York period painted in his studio at the Pratt Institute in Bedford-Stuyvesant New York, while attending as a Fulbright Scholar". Note: viewing is by appointment only image size 259cm x 299cm, overall size 260cm x 300cm Comment: In 2023, The City Art Centre, Edinburgh acquired "Portrait of the Lost Travelogue Writer" (a 220 x 183cm oil on canvas) from Mrs Carol Campbell for £32,000 which included a 20% Museum discount. In the same collection they also hold "Gesturing Hiker with a Furnace" a 1983 oil on board (190 x 121cm). These and many other public collection works by Campbell reinforce the National Collection calibre of "Harvest with Winter Wind". When Steven Campbell died from a ruptured appendix at the age of just 54 in August 2007, the world was robbed of an artist at the peak of his powers; someone whose rigorous, fast-paced approach to creativity was absolute and uncompromising - Jan Patience. Note: Steven Campbell was born in Glasgow in 1953. Having attended Rutherglen Academy, he left school aged 16 to work as a maintenance engineer at the Clydebridge Steelworks in Cambuslang. In 1978 he decided to retrain in the visual arts, enrolling as a mature student at Glasgow School of Art. Initially he was drawn to performance art, but soon changed direction to focus on painting. Campbell graduated from the Painting Department of Glasgow School of Art in 1982, winning the Bram Stoker Gold Medal. Shortly afterwards he was awarded a Fulbright Scholarship, which allowed him to study at the Pratt Institute in New York. Campbell remained in New York for the next four years, quickly establishing an international reputation. In 1983 a group of Campbell’s paintings were exhibited at Barbara Toll Fine Arts in New York, where they were admired by influential art critics including John Russell. From this point onwards, Campbell enjoyed increasing commercial success, with his artworks sought by both public and private buyers. The Hirshhorn Museum (Smithsonian Institution) and the Art Institute of Chicago were among the first major American collections to acquire examples of his work. During his time in New York, Campbell was involved in several important exhibitions in the UK. In 1985 he featured in New Image Glasgow, an exhibition at the Third Eye Centre curated by Sandy Moffat. Campbell’s work was displayed alongside pieces by Peter Howson, Ken Currie and Adrian Wiszniewski, a grouping that would be hailed in the media as the ‘New Glasgow Boys’. Together these young artists reinvigorated the tradition of figurative art in Scotland. Campbell returned to Glasgow in 1986. His painting The Dangerous Early and Late Life of Lytton Strachey was acquired by the Tate the same year. The following summer, Campbell was prominently included in the group exhibition The Vigorous Imagination: New Scottish Art at the Scottish National Gallery of Modern Art, cementing his position as a key figure in the contemporary Scottish art scene. In 1990 Campbell staged the pioneering solo exhibition On Form and Fiction, which toured venues in Glasgow, Llandudno, London, Aberdeen, Manchester and Southampton. This exhibition saw drawings and paintings by the artist completely covering the walls of a constructed museum-like setting, with dramatic lighting and an absurd soundtrack. The installation proved highly influential for the next generation of Scottish artists. It was recreated in 2014 for the exhibition GENERATION: 25 Years of Contemporary Art in Scotland, and in 2016 it was jointly acquired by the National Galleries of Scotland and Glasgow Museums. Campbell continued to paint during the 1990s and early 2000s, with high-profile exhibitions in London, Glasgow and Edinburgh. He died in 2007. His estate is now managed by the Steven Campbell Trust. Throughout Campbell’s career, he cultivated a distinctive painting style that was rich in narrative and symbolism. His dream-like imagery was inspired by literature, history and philosophy, as well as film, fashion and sport. He was well-read and knowledgeable about art history, enabling him to incorporate into his work references to artists like Pablo Picasso and René Magritte. Campbell’s paintings were often executed on a large scale. Their monumental size and detailed imagery have the combined effect of creating an immersive experience for the viewer. In The Scottish Contemporary Art Auction of 28th August 2022 lot 104 and untitled oil on paper laid down on linen, unframed overall size 207cm × 157cm sold for £18000 (hammer). Special note: The vendor has advised that the stretcher for this large painting can be split in half to accommodate transport and access. Please contact the Pictures Department for more details ([email protected]).
[ translate ]oil on canvas framed Provenance: Barbara Toll Fine Arts, New York label verso. We are grateful to Mrs Carol Campbell of the Steven Campbell Trust for confirming "an early work from his New York period painted in his studio at the Pratt Institute in Bedford-Stuyvesant New York, while attending as a Fulbright Scholar". Note: viewing is by appointment only image size 259cm x 299cm, overall size 260cm x 300cm Comment: In 2023, The City Art Centre, Edinburgh acquired "Portrait of the Lost Travelogue Writer" (a 220 x 183cm oil on canvas) from Mrs Carol Campbell for £32,000 which included a 20% Museum discount. In the same collection they also hold "Gesturing Hiker with a Furnace" a 1983 oil on board (190 x 121cm). These and many other public collection works by Campbell reinforce the National Collection calibre of "Harvest with Winter Wind". When Steven Campbell died from a ruptured appendix at the age of just 54 in August 2007, the world was robbed of an artist at the peak of his powers; someone whose rigorous, fast-paced approach to creativity was absolute and uncompromising - Jan Patience. Note: Steven Campbell was born in Glasgow in 1953. Having attended Rutherglen Academy, he left school aged 16 to work as a maintenance engineer at the Clydebridge Steelworks in Cambuslang. In 1978 he decided to retrain in the visual arts, enrolling as a mature student at Glasgow School of Art. Initially he was drawn to performance art, but soon changed direction to focus on painting. Campbell graduated from the Painting Department of Glasgow School of Art in 1982, winning the Bram Stoker Gold Medal. Shortly afterwards he was awarded a Fulbright Scholarship, which allowed him to study at the Pratt Institute in New York. Campbell remained in New York for the next four years, quickly establishing an international reputation. In 1983 a group of Campbell’s paintings were exhibited at Barbara Toll Fine Arts in New York, where they were admired by influential art critics including John Russell. From this point onwards, Campbell enjoyed increasing commercial success, with his artworks sought by both public and private buyers. The Hirshhorn Museum (Smithsonian Institution) and the Art Institute of Chicago were among the first major American collections to acquire examples of his work. During his time in New York, Campbell was involved in several important exhibitions in the UK. In 1985 he featured in New Image Glasgow, an exhibition at the Third Eye Centre curated by Sandy Moffat. Campbell’s work was displayed alongside pieces by Peter Howson, Ken Currie and Adrian Wiszniewski, a grouping that would be hailed in the media as the ‘New Glasgow Boys’. Together these young artists reinvigorated the tradition of figurative art in Scotland. Campbell returned to Glasgow in 1986. His painting The Dangerous Early and Late Life of Lytton Strachey was acquired by the Tate the same year. The following summer, Campbell was prominently included in the group exhibition The Vigorous Imagination: New Scottish Art at the Scottish National Gallery of Modern Art, cementing his position as a key figure in the contemporary Scottish art scene. In 1990 Campbell staged the pioneering solo exhibition On Form and Fiction, which toured venues in Glasgow, Llandudno, London, Aberdeen, Manchester and Southampton. This exhibition saw drawings and paintings by the artist completely covering the walls of a constructed museum-like setting, with dramatic lighting and an absurd soundtrack. The installation proved highly influential for the next generation of Scottish artists. It was recreated in 2014 for the exhibition GENERATION: 25 Years of Contemporary Art in Scotland, and in 2016 it was jointly acquired by the National Galleries of Scotland and Glasgow Museums. Campbell continued to paint during the 1990s and early 2000s, with high-profile exhibitions in London, Glasgow and Edinburgh. He died in 2007. His estate is now managed by the Steven Campbell Trust. Throughout Campbell’s career, he cultivated a distinctive painting style that was rich in narrative and symbolism. His dream-like imagery was inspired by literature, history and philosophy, as well as film, fashion and sport. He was well-read and knowledgeable about art history, enabling him to incorporate into his work references to artists like Pablo Picasso and René Magritte. Campbell’s paintings were often executed on a large scale. Their monumental size and detailed imagery have the combined effect of creating an immersive experience for the viewer. In The Scottish Contemporary Art Auction of 28th August 2022 lot 104 and untitled oil on paper laid down on linen, unframed overall size 207cm × 157cm sold for £18000 (hammer). Special note: The vendor has advised that the stretcher for this large painting can be split in half to accommodate transport and access. Please contact the Pictures Department for more details ([email protected]).
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