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Artist Statement:
Since my late teens I have
been fascinated by the
treatment of 'detail' in art.
At one level this can be
interpreted as the artist's
attempt to reproduce as
faithfully and accurately
'what he sees' in front of
him. However, the process by
which he actually achieves
this, namely ...
Further Information
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Artist Exhibitions:
1978 Royal Scottish Academy
1979 Royal Scottish Academy
1980 Royal Scottish Academy
1981 Royal Scottish Academy
1981 Hugh McIntyre Gallery,
Dumfries
1982 Royal Scottish Academy
1982 Royal Academy
1982 Royal Society of
British Artists
1982 Royal Glasgow Institute
1982 Hugh McIntyre Gallery,
Dumfries
1983 R.S.W.,Edinburgh
1983 R....
Further Information
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Artist Galleries:
Coming Soon!
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Artist Reviews:
From Time's Educational
Supplement review of 1974
D.G.F.A. Exhibition in
Dumfries:- " Personal
preference naturally colours
one's appreciation of any one
artist or of any one picture.
In Peter Warden's ' The Light
and the Gate'- a village scene
lit by a low sun- I would ...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Peter Warden Biography:
| Biographical information for Peter Warden can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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57
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| Gender |
Male
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| Status |
Committed
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| Children |
1
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| Religion |
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| Education |
Post Graduate Degree |
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| Hobbies / Interests |
Listening to classical music; Playing chess; Reading |
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| Favorite Artistic Medium |
Drawing Pencil
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| Favorite Arthistory Movement |
Dutch School - (1600 - 1670)
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| Favorite Visual Artist |
Andrew Wyeth
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| Favorite Work of Art |
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| Biggest Artistic Inspiration |
Nature |
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| Why Did You Become An Artist |
I like the process |
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| Your Personal Biography |
I was born in Vancouver to mixed Norwegian/English/Native Nations parents; at the age of 2 I was adopted by Jack and Doreen Warden and lived with them and sisters Anne , Peggy and Barbara on Vancouver Island until 1959. Then, the whole family together with another adopted sister Kate, moved to Europe. Both of Scottish ancestry Jack and Doreen Warden felt the pull of Scottish, British and European cultures so strongly that they wanted the whole family to experience them. As children we loved the stimulation of Europe's diverse landscapes and societies. The benefits of an English education are acknowledged unreservedly too !
It was only late in my teens that I felt I wanted to express myself in the visual arts. Before then my sister Anne was always the 'arty' one! Her portrait drawings were things of awe to us all.
It is difficult to explain this move towards drawing and painting, all I know is that it led to a period of compulsive, frustrating and, slowly, satisfying productivity. I thank the patience and encouragementI received from my parents and family during this time.
Eventually it was thought I had the glimmerings of a talent; so much so that I enrolled at the Glasgow School of Art in 1972.
At that time a great emphasis was placed on drawing from the model. The tutors were all practising artists, their own styles were never thrust upon us but we were encouraged to blossom best to our abilities. Artists, draughtsmen and painters such as Danny Ferguson, David Donaldson, James Robertson, Leon Morrocco and Duncan Shanks all inspired.In my post-degree year in Printmaking I learned lithography and etching with Philip Reeves and Michael Roschlau.
Since graduating from Glasgow School of Art I have lived and worked in SW Scotland, Cornwall and South Wales.
Peter C. Warden R.B.A.
Email:peterwardenpear@yahoo.com
Education:Lancing College,
Glasgow School of Art 1972-1977
John and Mabel Craig Award ( twice)
Diploma- Drawing and Painting 1976
Post-Diploma- Printmaking 1977
Awards:
Special Prize- Robert Colquhoun 1976
Winner- Devon and Cornwall Figurative Art Competition 1992
Exhibitions:-
1978 Royal Scottish Academy
1979 Royal Scottish Academy
1980 Royal Scottish Academy
1981 Royal Scottish Academy
1981 Hugh McIntyre Gallery, Dumfries
1982 Royal Scottish Academy
1982 Royal Academy
1982 Royal Society of British Artists
1982 Royal Glasgow Institute
1982 Hugh McIntyre Gallery, Dumfries
1983 R.S.W.,Edinburgh
1983 R.B.S.A.,Birmingham
1983 Royal Scottish Academy
1983 Royal Academy
1983 Royal Society of British Artists
1984 Royal Academy
1983 Oundle
1984 Royal Society of British Artists
1984 One-Man Show, The Gallery, Moffat
1984 Oundle
1985 Swansea
1985 Royal Academy
1985 Royal Society of British Artists
1985 Ashbarn Gallery, Petersfield
1985 Oundle
1986 Royal Society of British Artists
1987 One-Man Show, Malaga
1987 One-Man Show, Marbella
1987 Royal Society of British Artists
1988 Royal Society of British Artists
1988 Falmouth
1989 Royal Society of British Artists
1989 Ottersburn Gallery, Dumfries
1989 Blackheath Gallery
1990 Royal Society of British Artists
1990 Ottersburn Gallery, Dumfries
1990 Bath Arts Festival
1990 L'Orient, France
1990 Falmouth
1990 Hallam Gallery
1990 Ottersburn Gallery, Dumfries
1990 Grosvenor Gallery, Hitchin
1991 Royal Society of British Artists
1991 Roy Miles Gallery, London
1991 One-Man Show ,Ottersburn Gallery, Dumfries
1991 Falmouth
1991 Blackstone Gallery
1991 Grosvenor Gallery, Hitchin
1991 Truro
1992 Royal Academy
1992 Royal Society of British Artists
1992 Lexington, U.S.A.
1992 Devon & Cornwall Figurative Art Competition Winner
1992 Maidstone
1992 Wykeham Gallery
1993 Royal Society of British Artists
1994 Royal Society of British Artists
1994 SouthWest Open, Plymouth
1994 Two-Man Show, Stert's Arts Centre, Cornwall
1995 Royal Society of British Artists
1995 One-Man Show, Lostwithiel, Cornwall
1996 Frome, Somerset
1996 Royal Society of British Artists
2001 Royal Academy
tbc
Press Reviews:-
From Time's Educational Supplement review of 1974 D.G.F.A. Exhibition in Dumfries:- " Personal preference naturally colours one's appreciation of any one artist or of any one picture. In Peter Warden's ' The Light and the Gate'- a village scene lit by a low sun- I would have been happier had we not had the small boy standing halfway out of the gate. There is often difficulty when arrested motion holds so important a place in any picture "
From Time's Educational Supplement review of 1977 D.G.F.A. Exhibition :- " From the high windows of an Edinburgh tenement we look down upon a small walled garden, and the privacy and order of the scene- the potting sheds, the lean-to, the garden tools, the compost heap- are somehow homely and comforting. Such a setting, drawn steeply in perspective, forms the baseline of Peter Warden's etching 'Gethsemane', one of a series of superb works by this artist currently on view....'Gethsemane' starts pleasantly enough. Beyond the potting sheds the garden rises uphill in a delightful wilderness of flowers and plant-life, access to which is through a tumbledown wicket-gate. As the eye is taken slowly yet surely up the twisting path ( by compositional means reminiscent of Giotto's 'Descent from the Cross') it is only gradually that the truth begins to dawn, the awfulness to become apparent. We are three-quarters of the way up the path before we realise that somehow the landscape has changed, has saddened, the rocks now bare and frightening have assumed human or superhuman form...."
From the Time's Educational Supplement review of 1978 D.G.F.A. exhibition, Dumfries ;_ " A visit to the 51st Annual Exhibition at the Gracefield Arts Centre is worthwhile if only to see a selection of new work by the young Moffat painter Peter Warden. The pictures have a steel temper to them that springs from superb draughtsmanship; and more and more the approach seems to be a cerebral one, with austere biblical undertones to many of the themes. There is also, however, a poignant sensitivity that appears from time to time; and the rivetting lithograph 'The Visitation' is the one work in this exhibition which has haunted me since my visit."
From the Time's Educational Supplement review of the 1981 Royal Scottish Academy show :- " One of the most haunting images in this exhibition is 'The Allotment' by Peter Warden. Three soldiers. puppet/human instruments of the Passion, draw lots with thorns for the seamless robe of Christ."
From Edward Gage's review of the 1982 Royal Scottish Academy show :-
"I would also like to commend for originality of conception, Peter Warden's blue-slated version of Gethsemane in which the environment has engulfed the dramatis personae and given formal and poetic expression to 'The Agony in the Garden' This is more than Spencer done over again"
From Western Morning News, Review of One-Man show in Lostwithiel, 1995. "What does one say about an art show that is so completely different to any other seen there before? The 30 or so works by Peter C Warden must be seen, seen and seen again to fully appreciate their delicacy and sense of other-worldliness. Peter works mostly in acrylic which he handles with masterly effect; pen, pencil with occasional delightful asides in colour.....The watchwords for this extraordinary exhibition could be : Look....and then ponder."
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