|
|
|
|
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
| |
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
|
|
Artist Galleries:
Coming Soon!
|
|
|
|
Collections:
Coming Soon!
|
|
Commissions:
Coming Soon!
|
|
|
Reviews for Peter Warden:
|
|
|
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."
|
|
contact artist
